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This definitive anthology gathers stories, essays, memoirs, excerpts from novels, and poems by more than 130 Jewish writers of the past two centuries who worked in the Russian language. It features writers of the tsarist, Soviet, and post-Soviet periods, both in Russia and in the great emigrations, representing styles and artistic movements from Romantic to Postmodern. The authors include figures who are not widely known today, as well as writers of world renown. Most of the works appear here for the first time in English or in new translations. The editor of the anthology, Maxim D. Shrayer of Boston College, is a leading authority on Jewish-Russian literature. The selections were chosen not simply on the basis of the author's background, but because each work illuminates questions of Jewish history, status, and identity. Each author is profiled in an essay describing the personal, cultural, and historical circumstances in which the writer worked, and individual works or groups of works are headnoted to provide further context. The anthology not only showcases a wide selection of individual works but also offers an encyclopedic history of Jewish-Russian culture. This handsome two-volume set is organized chronologically. The first volume spans the nineteenth century and the first part of the twentieth century, and includes the editor's extensive introduction to the Jewish-Russian literary canon. The second volume covers the period from the death of Stalin to the present, and each volume includes a corresponding survey of Jewish-Russian history by John D. Klier of University College, London, as well as detailed bibliographies of historical and literary sources.
Edited by Maxim D. Shrayer, a leading specialist in Russia’s Jewish culture, this definitive anthology of major nineteenth- and twentieth-century fiction, nonfiction and poetry by eighty Jewish-Russian writers explores both timeless themes and specific tribulations of a people’s history. A living record of the rich and vibrant legacy of Russia’s Jews, this reader-friendly and comprehensive anthology features original English translations. In its selection and presentation, the anthology tilts in favor of human interest and readability. It is organized both chronologically and topically (e.g. “Seething Times: 1860s-1880s”; “Revolution and Emigration: 1920s-1930s”; “Late Soviet Empire and Collapse: 1960s-1990s”). A comprehensive headnote introduces each section. Individual selections have short essays containing information about the authors and the works that are relevant to the topic. The editor’s opening essay introduces the topic and relevant contexts at the beginning of the volume; the overview by the leading historian of Russian Jewry John D. Klier appears the end of the volume. Over 500,000 Russian-speaking Jews presently live in America and about 1 million in Israel, while only about 170,000 Jews remain in Russia. The great outflux of Jews from the former USSR and the post-Soviet states has changed the cultural habitat of world Jewry. A formidable force and a new Jewish Diaspora, Russian Jews are transforming the texture of daily life in the US and Canada, and Israel. A living memory, a space of survival and a record of success, Voice of Jewish-Russian Literature ensures the preservation and accessibility of the rich legacy of Russian-speaking Jews.
Plot elements such as adventure, travel to far-flung regions, the criminal underworld, and embezzlement schemes are not usually associated with Soviet literature, yet an entire body of work produced between the October Revolution and the Stalinist Great Terror was constructed around them. In Writing RoguesCassio de Oliveira sheds light on the picaresque and its marginal characters – rogues and storytellers – who populated the Soviet Union on paper and in real life. The picaresque afforded authors the means to articulate and reflect on the Soviet collective identity, a class-based utopia that rejected imperial power and attempted to deemphasize national allegiances. Combining new readings of canonical works with in-depth analysis of neglected texts, Writing Rogues explores the proliferation of characters left on the sidelines of the communist transition, including gangsters, con men, and petty thieves, many of them portrayed as ethnic minorities. The book engages with scholarship on Soviet subjectivity as well as classical picaresque literature in order to explain how the subversive rogue – such as Ilf and Petrov’s wildly popular cynic and schemer Ostap Bender – in the process of becoming a fully fledged Soviet citizen, came to expose and embody the contradictions of Soviet life itself. Writing Rogues enriches our understanding of how literature was called upon to participate in the construction of Soviet identity. It demonstrates that the Soviet picaresque resonated with individual citizens’ fears and aspirations as it recorded the country’s transformation into the first communist state.
Is there an essential Russian identity? What happens when "Russian" literature is written in English, by such authors as Gary Shteyngart or Lara Vapnyar? What is the geographic "home" of Russian culture created and shared via the internet? Global Russian Cultures innovatively considers these and many related questions about the literary and cultural life of Russians who in successive waves of migration have dispersed to the United States, Europe, and Israel, or who remained after the collapse of the USSR in Ukraine, the Baltic states, and the Central Asian states. The volume's internationally renowned contributors treat the many different global Russian cultures not as "displaced" elements of Russian cultural life but rather as independent entities in their own right. They describe diverse forms of literature, music, film, and everyday life that transcend and defy political, geographic, and even linguistic borders. Arguing that Russian cultures today are many, this volume contends that no state or society can lay claim to be the single or authentic representative of Russianness. In so doing, it contests the conceptions of culture and identity at the root of nation-building projects in and around Russia.
Vladimir Nabokov complained about the number of Dostoevsky's characters "sinning their way to Jesus." In truth, Christ is an elusive figure not only in Dostoevsky's novels, but in Russian literature as a whole. The rise of the historical critical method of biblical criticism in the nineteenth century and the growth of secularism it stimulated made an earnest affirmation of Jesus in literature highly problematic. If they affirmed Jesus too directly, writers paradoxically risked diminishing him, either by deploying faith explanations that no longer persuade in an age of skepticism or by reducing Christ to a mere argument in an ideological dispute. The writers at the heart of this study understood that to reimage Christ for their age, they had to make him known through indirect, even negative ways, lest what they say about him be mistaken for cliché, doctrine, or naïve apologetics. The Christology of Dostoevsky, Leo Tolstoy, Mikhail Bulgakov, and Boris Pasternak is thus apophatic because they deploy negative formulations (saying what God is not) in their writings about Jesus. Professions of atheism in Dostoevsky and Tolstoy's non-divine Jesus are but separate negative paths toward truer discernment of Christ. This first study in English of the image of Christ in Russian literature highlights the importance of apophaticism as a theological practice and a literary method in understanding the Russian Christ. It also emphasizes the importance of skepticism in Russian literary attitudes toward Jesus on the part of writers whose private crucibles of doubt produced some of the most provocative and enduring images of Christ in world literature. This important study will appeal to scholars and students of Orthodox Christianity and Russian literature, as well as educated general readers interested in religion and nineteenth-century Russian novels.
This work is an innovative and controversial study of how four famous Jews writing in Russian in the early Soviet period attempted to resolve the conflict between their cultural identity and their place in Revolutionary Russia. Babel, Mandelstam, Pasternak and Ehrenburg struggled in very different ways to form creative selves out of the contradictions of origins, outlook, and social or ideological pressures. Efraim Sicher also explores the broader context of the literature and art of the Jewish avant-garde in the years immediately preceding and following the Russian Revolution. By comparing literary texts and the visual arts the author reveals unexpected correspondences in the response to political and cultural change. This study contributes to our knowledge of an important aspect of modern Russian writing and will be of interest to both Jewish scholars and those concerned with Slavonic studies.
Mikhail Lifshitz is a major forgotten figure in the tradition of Marxist philosophy and art history. A significant influence on Lukács, and the dedicatee of his The Young Hegel, as well as an unsurpassed scholar of Marx and Engels’s writings on art and a lifelong controversialist, Lifshitz’s work dealt with topics as various as the philosophy of Marx and the pop aesthetics of Andy Warhol. The Crisis of Ugliness (originally published in Russian by Iskusstvo, 1968), published here in English for the first time, and with a detailed introduction by its translator David Riff, is a compact broadside against modernism in the visual arts that nevertheless resists the dogmatic complacencies of Stalinist aesthetics. Its reentry into English debates on the history of Soviet aesthetics promises to re-orient our sense of the basic coordinates of a Marxist art theory.