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The Twentieth Century Russian Short Story: A Critical Companion is a collection of the most informative critical articles on some of the best twentieth-century Russian short stories from Chekhov and Bunin to Tolstaya and Pelevin. While each article focuses on a particular short story, collectively they elucidate the developments in each author's oeuvre and in the subjects, structure, and themes of the twentieth-century Russian short story. American, European and Russian scholars discuss the recurrent themes of language's power and limits, of childhood and old age, of art and sexuality, and of cultural, individual and artistic memory. The book opens with a discussion of the short story genre and its socio-cultural function. This book will be of value to all scholars of Russian literature, the short story, and genre theory.
Inhaltsverzeichnis
Contributors. Acknowledgements. Introduction: The Short Story as the Genre of Cultural Transition. LYUDMILA PARTS. Chekhov’s “The Darling”: Femininity Scorned and Desired. SVETLANA EVDOKIMOVA. Bunin’s “Gentle Breath.” LEV VYGOTSKY. Ekphrasis in Isaak Babel (“Pan Apolek,”“My First Goose”). ROBERT MAGUIRE. Zoshchenko’s “Electrician,” or the Complex Theatrical Mechanism. ALEKSANDER ZHOLKOVSKY.Yury Olesha’s Three Ages of Man: A Close Reading of “Liompa.” ANDREW BARRATT. Nabokov’s Art of Memory: Recollected Emotion in “Spring in Fialta” (1936-1947). JOHN BURT FOSTER, JR. Child Perspective: Tradition and Experiment. An Analysis of “The Childhood of Lovers” by Boris Pasternak. FIONA BJORLING. Andrei Platonov and the Inadmissibility of Desire (“The River Potudan”). ERIC NAIMAN. “This Could Have Been Foreseen”: Kharms’s “The Old Woman” (Starukha) Revisited. A Collective Analysis. ROBIN MILNER-GULLAND. Testimony as Art: Varlam Shalamov’s “Condensed Milk.” LEONA TOKER. The Writer as Criminal: Abram Tertz’s “Pkhents.” CATHARINE THEIMER NEPOMNYASHCHY. Vasilii Shukshin’s “Cut Down to Size” (Srezal) and the Question of Transition. DIANE IGNASHEVNEMEC. Carnivalization of the Short Story Genre and the Künstlernovelle: Tatiana Tolstaia’s “The Poet and the Muse.”, ERICA GREBER. Down the Intertextual Lane: Petrushevskaia, Chekhov, Tolstoy (“The Lady With the Dogs”)., LYUDMILA PARTS. “The Lady with the Dogs,” by Lyudmila Petrushevskaia. Translated by Krystyna Anna Steiger. Russian Postmodernist Fiction and Mythologies of History: Viacheslav Pietsukh’s “The Central-Ermolaevo War” and Viktor Erofeev’s “Parakeet.” MARK LIPOVETSKY. Psychosis and Photography: Andrei Bitov’s “Pushkin’s Photograph.” SVEN SPIEKER. The “Traditional Postmodernism” of Viktor Pelevin’s Short Story “Nika.” OLGA BOGDANOVA.
Über den Autor / die Autorin
Lyudmila Parts (Ph.D. Columbia University) is an associate professor at the Department of Russian and Slavic Studies at McGill University. Her book The Chekhovian Intertext: Dialogue with a Classic (2008) explores the intersection of intertextuality, cultural memory, and cultural myth. She has published articles on Dostoevsky, Chekhov, Tolstaya, Petrushevskaya, P'etsukh, and Pelevin.
Zusammenfassung
Provides a collection of the most informative critical articles on some of the best twentieth-century Russian short stories from Chekhov and Bunin to Tolstaya and Pelevin. While each article focuses on a particular short story, collectively they elucidate the developments in each author’s oeuvre and in the subjects, structure, and themes of the twentieth-century Russian short story.
Zusatztext
“The strongest essays are those on Isaak Babel’ (by the late Robert Maguire), Varlam Shalamov (Leona Toker), and Vasilii Shukshin (Diane Nemec Ignashev). . . . [T]his volume is a welcome reminder of the varied scholarship inspired by the literature of the last century. Recommended.”
