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Brian James Baer explores the central role played by translation in the construction of modern Russian literature. Peter I's policy of forced Westernization resulted in translation becoming a widely discussed and highly visible practice in Russia, a multi-lingual empire with a polyglot elite. Yet Russia's accumulation of cultural capital through translation occurred at a time when the Romantic obsession with originality was marginalizing translation as mere imitation. The awareness on the part of Russian writers that their literature and, by extension, their cultural identity were “born in translation” produced a sustained and sophisticated critique of Romantic authorship and national identity that has long been obscured by the nationalist focus of traditional literary studies. By offering a re-reading of seminal works of the Russian literary canon that thematize translation, alongside studies of the circulation and reception of specific translated texts, Translation and the Making of Modern Russian Literature models the long overdue integration of translation into literary and cultural studies.
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Profiles the careers of Russian authors, scholars, and critics and discusses the history of the Russian treatment of literary genres such as drama, fiction, and essays
Scholars from Asia, Europe, and North America working with the support of the Finnish Institute of International Affairs combine their efforts to bring us new insights into how Russia has conducted its foreign affairs since the fall of Communism. Drawing on both archival sources and interviews, they cover such major issues as Russia's decision to use military force in Chechnya, its reactions to NATO expansion, and its emergent relations with Japan and East Asia. The contributors are Eunsook Chung, Henrikki Heikka, Ted Hopf, Andrea Lopez, Hiroshi Kimura, Sergei Medvedev, and Christer Pursiainen.
Includes section, "Recent book acquisitions" (varies: Recent United States publications) formerly published separately by the U.S. Army Medical Library.
Eugene Onegin, a "novel in verse," as announced by its subtitle, and Russia's best-loved classic, was written by Alexander Pushkin, that country's unsurpassed literary idol. Yet the American reading public generally attributes its authorship to Tchaikovsky, who composed the score and co-authored the libretto of its operatic adaptation. Henry Hoyt, translator for this bilingual edition, suggests that this misunderstanding may stem from other translations' having been cast in a mold ill-fitted to capture both the spirit and meaning of the original. Most of the translations follow the complicated rhyme and meter scheme of the original, where the invention of new rhymes for the translated version forces the translator to abandon verbal fidelity to the original. The other translations are in prose, lacking the rhythm and hence much of the spirit of the original. Mr. Hoyt's translation is unrhymed, but retains the meter of Pushkin's verses, a procedure under which he believes verbal fidelity is attainable along with rhythm, affording the English-speaking reader an experience as close as possible to that of a Russian-speaking reader of the original. This publication includes an appendix describing the Cyrillic alphabet for readers unfamiliar with it but interested in examining the original text.
Special edition of the Federal Register, containing a codification of documents of general applicability and future effect ... with ancillaries.