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When one great author engages another, as Andrei Bely so brilliantly does in Gogol’s Artistry, the result is inevitably a telling portrait of both writers. So it is in Gogol’s Artistry. Translated into English for the first time, this idiosyncratic, exhaustive critical study is as interesting for what it tells us about Bely’s thought and method as it is for its insights into the oeuvre of his literary predecessor. Bely’s argument in this book is that Gogol’s earlier writing should be given more consideration than most critics have granted. Employing what might be called a scientific perspective, Bely considers how often certain colors appear; he diagrams sentences and discusses Gogol’s prose in terms of mathematical equations. The result, as strange and engaging as Bely’s best fiction, is also an innovative, thorough, and remarkably revealing work of criticism.
This innovative study of one of the most important writers of Russian Golden Age literature argues that Gogol adopted a deliberate hybrid identity to mimic and mock the pretensions of the dominant culture.
Replete with Gogolian absurdity and high comedy, GOGOL'S HEAD features Nikolai Gogol himself in semi-fictional scenes; the book is written in a parody of Gogol's own style. In June, 1931, the body of Nikolai Gogol, great writer of the Russian land, was exhumed at the Danilov Monastery in Moscow, where Gogol's remains had rested since his death in 1852. When the coffin was opened the head was missing. Or was it? What about other myths? Was the body turned on its side, or upside down; were there scratch marks on the underside of the coffin lid? In his lifetime Gogol's contemporaries sought incessantly to figure out this inscrutable man. They never could, so they made up stories about him. GOGOL'S HEAD examines the implications of one such story. It tells the tale of the missing head's fate. Mixing in details from the life of the writer to create a hybrid work-a blend of biography and fiction-the book introduces one Adrian Lee Nule: a graduate student in Russian literature and a Gogolian character in his own right. Researcher Nule pursues the head in its new life, as pawn in the evil machinations of Joseph Stalin, then strives to consummate the mystical third finding of the great master's head.
This book, first published in 1926, aimed to introduce to English readers to a great and complex foreign writer in as simple terms as possible. As this was the first extensive study of Gogol in English, the author chiefly considered the general characteristics of the man and his work. This book will be of interest to students of literature.
This monograph is nothing less than a bold attempt at solving the riddle of Gogol’s novel Dead Souls that even inspired a staging of Dead Souls at Schauspiel Stuttgart. Heftrich gives a comprehensive, coherent answer to the question of the novel’s meaning by meticulously laying bare its structure. The first part of the monograph is dedicated to one section of Gogol’s novel that has been neglected by virtually all critics - a clue that leads to a strictly ethical reading of Gogol’s epic. Gogol, as it emerges, constructed Dead Souls strictly according to a moral pattern. It is amazing to discover how flawlessly Dead Souls is built in this regard. The novel thus proves to be a true descendant of medieval romance with its inseparable interrelation between ethics and epics.
Vsevolod Meyerhold considers the life and work of the extraordinary twentieth-century director and theatre-maker. This compact, well-illustrated volume includes: a biographical introduction to Meyerhold’s life a clear explanation of his theoretical writings an analysis of his masterpiece production Revisor, or The Government Inspector a comprehensive and usable description of the ‘biomechanical’ exercises he developed for training the actor. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners offer unbeatable value for today's student.
This is the powerful memoirs which an ailing Dmitri Shostakovich dictated to a young Russian musicologist, Solomon Volkov. When it was first published in 1979, it became an international bestseller. This 25th anniversary edition includes a new foreword by Vladimir Ashkenazy, as well as black-and-white photos. “Testimony changed the perception of Shostakovich's life and work dramatically, and influenced innumerable performances of his music.” – New Grove Dictionary
From the award-winning author of Bubblegum and The Instructions, a daring new novel about the irony, the humor, and the heartbreak of survivorship. "Adam Levin is one of our wildest writers and our funniest." –George Saunders, bestselling, award-winning author of Lincoln in the Bardo A one-in-ten-billion natural disaster devastates Chicago. A Jewish comedian, his most devoted fan, and the city’s mayor must struggle to move forward while the world—quite literally—caves beneath their feet. With this polyphonic tale of Chicago-style politics and political correctness, stand-up comedy and Jewish identity, celebrity, drugs, and animal psychology, Levin has constructed a monument to laughter, love, art, and resilience in an age of spectacular loss.
The acclaimed classical composer chronicles his life and work in twentieth-century Soviet Russia with the help of a distinguished musicologist. Since the time of his death, Dmitri Shostakovich’s place in the pantheon of twentieth-century composers has become more commanding and more celebrated, while his musical legacy, with all its wonderfully varied richness, is performed with increasing frequency throughout the world. This seemingly endless surge of interest can be attributed, at least in part, to Testimony, the powerful memoirs the ailing compose dictated to the young Russian musicology Solomon Volkov. When Testimony was first published in the West in 1979, it became an international bestseller, and was called the “book of the year” by The Times in London. The Guardian heralded Testimony as “the most influential music book of the 20th century.” Testimony offers a chance to reckon with the life and work of one of history’s most lauded musical geniuses—as a man and an artist.
Popular American essayist, novelist, and journalist CHARLES DUDLEY WARNER (1829-1900) was renowned for the warmth and intimacy of his writing, which encompassed travelogue, biography and autobiography, fiction, and more, and influenced entire generations of his fellow writers. Here, the prolific writer turned editor for his final grand work, a splendid survey of global literature, classic and modern, and it's not too much to suggest that if his friend and colleague Mark Twain-who stole Warner's quip about how "everybody complains about the weather, but nobody does anything about it"-had assembled this set, it would still be hailed today as one of the great achievements of the book world. Highlights from Volume 16 include: . excerpts from Edward Gibbon's Decline and Fall of the Roman Empire . poems BY Richard Watson Gilder . scenes from Faust by Goethe . the writings of Nikolai Vasilievitch Gogol . excerpts from Oliver Goldsmith's The Vicar of Wakefield . selections from Ulysses S. Grant's memoirs . the elegies and odes of Thomas Gray . and much, much more.