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The culmination of four decades of work by J. Thomas Shaw, this fully searchable e-book carefully analyzes, both chronologically and by genre, Alexander Pushkin’s use of rhyme to show how meaning shifts in tandem with formal changes. Comparing Pushkin’s poetry with that of Konstantin Nikolaevich Batiushkov (1787–1855) and Evgeny Abramovich Baratynsky (1800–1844), Shaw considers, among other topics, what is exact and inexact in “exact” rhyme, how the grammatical characteristics of rhymewords affect the reader’s percepetion of the poem and its rhyme, and how the repetition of a rhyming word can also change meaning. Each of the five chapters analyzes in detail a distinct aspect of rhyme and provides rich resources for future scholars in the accompanying tables of data. The extensive back matter in the book includes a glossary, abbreviations list, bibliography, and indexes of poems cited, names, and rhyme types and analyses.
Pushkin's lyric intelligence is his capacity to transform philosophical and aesthetic ideas into poetry that questions the creative process. This first major study of his lyrics reveals the links between Pushkin's conceptual vocabulary and his intellectual life, and between his writing and the influences of French and English authors and movements.
Includes the original Russian text and, for the first time, an English translation of that version. “Antony Wood’s translation is fluent and idiomatic; analyses by Dunning et al. are incisive; and the ‘case’ they make is skillfully argued. . . . Highly recommended.”—Choice
In this volume we witness Wittgenstein in the act of composing and experimenting with his new visions in philosophy. The book includes key explanations of the origin and background of these previously unknown manuscripts. It investigates how Wittgenstein’s philosophical thought-processes are revealed in his dictation to, as well as his editing and revision with Francis Skinner, in the latter’s role of amanuensis. The book displays a considerable wealth and variety of Wittgenstein’s fundamental experiments in philosophy across a wide array of subjects that include the mind, pure and applied mathematics, metaphysics, the identities of ordinary and creative language, as well as intractable problems in logic and life. He also periodically engages with the work of Newton, Fermat, Russell and others. The book shows Wittgenstein strongly battling against the limits of understanding and the bewitchment of institutional and linguistic customs. The reader is drawn in by Wittgenstein as he urges us to join him in his struggles to equip us with skills, so that we can embark on devising new pathways beyond confusion. This collection of manuscripts was posted off by Wittgenstein to be considered for publication during World War 2, in October 1941. None of it was published and it remained hidden for over two generations. Upon its rediscovery, Professor Gibson was invited to research, prepare and edit the Archive to appear as this book, encouraged by Trinity College Cambridge and The Mathematical Association. Niamh O’Mahony joined him in co-editing and bringing this book to publication.
First Published in 1998. This volume will surely be regarded as the standard guide to Russian literature for some considerable time to come... It is therefore confidently recommended for addition to reference libraries, be they academic or public.
Alexander Pushkin’s lyric poetry—much of it known to Russians by heart—is the cornerstone of the Russian literary tradition, yet until now there has been no detailed commentary of it in any language. Michael Wachtel’s book, designed for those who can read Russian comfortably but not natively, provides the historical, biographical, and cultural context needed to appreciate the work of Russia’s greatest poet. Each entry begins with a concise summary highlighting the key information about the poem’s origin, subtexts, and poetic form (meter, stanzaic structure, and rhyme scheme). In line-by-line fashion, Wachtel then elucidates aspects most likely to challenge non-native readers: archaic language, colloquialisms, and unusual diction or syntax. Where relevant, he addresses political, religious, and folkloric issues. Pushkin’s verse has attracted generations of brilliant interpreters. The purpose of this commentary is not to offer a new interpretation, but to give sufficient linguistic and cultural contextualization to make informed interpretation possible.
The Development of Russian Verse explores the Russian verse tradition from Pushkin to Brodsky, showing how certain formal features are associated with certain genres and, at times, specific themes. Michael Wachtel's basic thesis is that form is never neutral: poets can react positively in terms of stylization and development, or negatively in terms of parody or revision, to the work of their predecessors, but they cannot ignore it. Keeping technical terms to a minimum and providing English translations of quotations, Wachtel offers close readings of individual poems of more than fifty poets. He aims to help English-speaking readers reconstruct the strong sense of continuity that Russian poets have always felt, transcending any individual age or ideology. Ultimately, his 1999 book is an inquiry into the nature of literary tradition itself, and how it coalesces in a country that has always taken so much of its identity from its written legacy.
A biography of composer Sergei Rachmaninoff, published in collaboration with the Bard Music Festival. One of the most popular classical composers of all time, Sergei Rachmaninoff (1873–1943) has often been dismissed by critics as a conservative, nostalgic holdover of the nineteenth century and a composer fundamentally hostile to musical modernism. The original essays collected here show how he was more responsive to aspects of contemporary musical life than is often thought, and how his deeply felt sense of Russianness coexisted with an appreciation of American and European culture. In particular, the essays document his involvement with intellectual and artistic circles in prerevolutionary Moscow and how the form of modernity they promoted shaped his early output. This volume represents one of the first serious explorations of Rachmaninoff’s successful career as a composer, pianist, and conductor, first in late Imperial Russia, and then after emigration in both the United States and interwar Europe. Shedding light on some unfamiliar works, especially his three operas and his many songs, the book also includes a substantial number of new documents illustrating Rachmaninoff’s celebrity status in America.