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A Plot of Her Own presents compelling new readings of major texts in the Russian literary canon, all of which are readily available in translation. The female protagonists in the works examined are inextricably linked with the fundamental issues raised by the novels they inform; the interpretations offered strive not to be reductive or doctrinaire, not to be imposed from the outside but to arise from the texts themselves and the historical circumstances in which they were written. Authors discussed include Pushkin, Dostoevsky, Tolstoy, and Bulgakov, and the novels considered range from Fathers and Children to Zamyatin's anti-Utopian We. Throughout, the contributors new visions expand our understanding of the words and reveal new significance in them.
A 1996 overview of key issues in Russian women's writing and of important representations of women by men, from 1600 onwards.
Only Among Women reveals how the idea of a community of women as a social sphere ostensibly free from the taint of money, sex, or self-interest originated in the classic Russian novel, fueled mystical notions of unity in turn-of-the-century modernism, and finally assumed a privileged place in Stalinist culture, especially cinema.
"This collection of essays examines the lives of women across Russia--from wealthy noblewomen in St Petersburg to desperately poor peasants in Siberia--discussing their interaction with the Church and the law, and their rich contribution to music, art, literature and theatre. It shows how women struggled for greater autonomy and, both individually and collectively, developed a dynamic presence in Russia's culture and society"--Publisher's description.
This book is intended to capture the interest of anyone who has been attracted to Russian culture through the greats of Russian literature, either through the texts themselves, or encountering them in the cinema, or opera. Rather than a conventional chronology of Russian literature, the book will explore the place and importance of literature of all sorts in Russian culture. How and when did a Russian national literature come into being? What shaped its creation? How have the Russians regarded their literary language? The book will uses the figure of Pushkin, 'the Russian Shakespeare' as a recurring example as his work influenced every Russian writer who came after hime, whether poets or novelists. It will look at such questions as why Russian writers are venerated, how they've been interpreted inside Russia and beyond, and the influences of such things as the folk tale tradition, orthodox religion, and the West ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
Many readers may know that such writers as F. Scott Fitzgerald, James Joyce and D.H. Lawrence used their marriages for literary inspiration and material. In Russian literary marriages, these women did not resent taking a secondary position, although to call their position secondary does not do justice to the vital role these women played in the creation of some of the greatest literary works in history. From Sofia Tolstoy to Vera Nabokov and Elena Mandelshtam and Natalya Solzhenitsyn, these women ranged from stenographers and typists to editors, researchers, translators, and even publishers. Living under restrictive regimes, many of these women battled censorship and preserved the writers’ illicit archives, often risking their own lives to do so. They established a tradition all their own, unmatched in the West. Many of these women, like Vera and Sofia, were the writers’ intellectual companions and willingly contributed to the creative process—they commonly used the word “we” to describe the progress of their husbands’ work. And their husbands knew it too. Leo Tolstoy made no secret of Sofia’s involvement in War and Peace, and Vladimir Nabokov referred to Vera as his own “single shadow.”
In the last decades of the nineteenth century, two thousand women physicians formed a significant and lively scientific community in the United States. Many were active writers; they participated in the development of medical record-keeping and research, and they wrote self-help books, social and political essays, fiction, and poetry. Out of the Dead House rediscovers the contributions these women made to the developing practice of medicine and to a community of women in science. Susan Wells combines studies of medical genres, such as the patient history or the diagnostic conversation, with discussions of individual writers. The women she discusses include Ann Preston, the first woman dean of a medical college; Hannah Longshore, a successful practitioner who combined conventional and homeopathic medicine; Rebecca Crumpler, the first African American woman physician to publish a medical book; and Mary Putnam Jacobi, writer of more than 180 medical articles and several important books. Wells shows how these women learned to write, what they wrote, and how these texts were read. Out of the Dead House also documents the ways that women doctors influenced medical discourse during the formation of the modern profession. They invented forms and strategies for medical research and writing, including methods of using survey information, taking patient histories, and telling case histories. Out of the Dead House adds a critical episode to the developing story of women as producers and critics of culture, including scientific culture."
Kathryn Ambrose offers a new approach to the Woman Question in mid- to late-nineteenth-century English, German and Russian literature. Using a methodological framework based on feminist theory and post-structuralism, she provides a re-vision of canonical texts (such as Jane Eyre, Wuthering Heights, Middlemarch, Effi Briest, Fathers and Children and Anna Karenina) alongside lesser-known works by Emily and Charlotte Brontë, George Eliot, Theodor Storm, Theodor Fontane, Ivan Turgenev and Leo Tolstoy. Her exploration of the semiotics of barriers – as opposed to the established approach of the semiotics of space – makes for a rewarding reading of this period of literature and establishes new cross-cultural and literary connections between the three countries.
An analysis of the construction of masculinity in early Soviet culture that finds in the novels of Babel and others an utopian society composed exclusively of men.