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The Myth of the Non-Russian
Erika Haber's analysis of the interplay between literature and culture in the Soviet Union of the 1970s and 1980s breaks new ground not only in our understanding of this relationship, but also in our appreciation of the literary genre popularized at that time by the Colombian writer Gabriel Garc a M rquez--magical realism. The Soviets perceived Garc a M rquez as a Socialist, and they sanctioned his magical realism--when other writing styles were outlawed--as a natural extension of socialist realism. Haber discusses the use of magical realism in Soviet literature, focusing especially on two non-Slavic writers: Fasil Iskander, of Abkhazia, and Chingiz Aitmatov, of Kyrgyzstan. She explores how these writers used literary tools of subversion and successfully employed magical realism in rebellion against the prescription of national conformity in art. In critical readings of Iskander and Aitmatov, Haber demonstrates how these writers juxtaposed their native myth with Soviet myth, thus undermining the primary message of socialist realism by suggesting a plurality of worlds and truths.
Literary Insinuations
The first in-depth examination of Sinyavsky's satirical side, Literary Insinuations: Sorting out Sinyavsky's Irreverence not only discusses the relatively under-analysed area of playful and provocative writing, but also ties together a number of loose ends in the fascinating and often contentious field of Sinyavsky scholarship
Encyclopaedia of Contemporary Russian
The Encyclopedia is an invaluable resource on recent and contemporary Russian culture and history for students, teachers, and researchers across the disciplines.
Tales of Magic Land 1
This book contains translations into English of the first two Oz-inspired "Magic Land" novels by Russian author Alexander Volkov. In the first story, Ellie, a little girl from Kansas, is blown by a tornado to Magic Land, where she learns that the best things in the world are friendship and mutual assistance. In the second story, Ellie returns to Magic Land to fight an evil ruler. New edition contains revised Afterword, an article comparing the 1939 and 1959 versions of WIZARD, and a select bibliography of Volkov's other works.
State of Madness
What madness meant was a fiercely contested question in Soviet society. State of Madness examines the politically fraught collision between psychiatric and literary discourses in the years after Joseph Stalin's death. State psychiatrists deployed set narratives of mental illness to pathologize dissenting politics and art. Dissidents such as Aleksandr Vol'pin, Vladimir Bukovskii, and Semen Gluzman responded by highlighting a pernicious overlap between those narratives and their life stories. The state, they suggested in their own psychiatrically themed texts, had crafted an idealized view of reality that itself resembled a pathological work of art. In their unsanctioned poetry and prose, the ...
Global Children's Literature in the College Classroom
This volume of critical essays explores global children's literary traditions and not just how non-US-centered children's literature is taught within college courses, but how it can be used to frame undergraduate pedagogy outside of the classroom.
Russia's Dangerous Texts
Russia’s Dangerous Texts examines the ways that writers and their works unnerved and irritated Russia’s authoritarian rulers both before and after the Revolution. Kathleen F. Parthé identifies ten historically powerful beliefs about literature and politics in Russia, which include a view of the artistic text as national territory, and the belief that writers must avoid all contact with the state. Parthé offers a compelling analysis of the power of Russian literature to shape national identity despite sustained efforts to silence authors deemed subversive. No amount of repression could prevent the production, distribution, and discussion of texts outside official channels. Along with tragic stories of lost manuscripts and persecuted writers, there is ample evidence of an unbroken thread of political discourse through art. The book concludes with a consideration of the impact of two centuries of dangerous texts on post-Soviet Russia.
Staging Words, Performing Worlds
Staging Words presents new perspectives on Argentina, Cuba, Mexico, and Venezuela and their theater, by postulating that nation can be imagined and reconstructed through the deliberate performance of intertexts. The book shows how past artistic texts - other plays, stories, newspaper articles, songs, or paintings - can be manipulated and translated to create a new theatrical script, and that this new script can expose an innovative space for interpreting the nation. The introduction reviews theories of intertextuality, nation, and nationalism and applies them to Latin America. Each chapter studies two to three plays and shows how the intertexts open up hidden connections and border spaces within texts and between texts that the new writer and reader fill with significance, replacing the meaning of the pretext with their own. This new textual voice permits texts to be restaged, reconfigured, and imagined in a way that is purely Latin American.
Oz behind the Iron Curtain
Recipient of the 2018 Outstanding Faculty Research Achievement Award in the Department of Languages, Literatures, and Linguistics at Syracuse University In 1939, Aleksandr Volkov (1891-1977) published Wizard of the Emerald City, a revised version of L. Frank Baum's The Wonderful Wizard of Oz. Only a line on the copyright page explained the book as a "reworking" of the American story. Readers credited Volkov as author rather than translator. Volkov, an unknown and inexperienced author before World War II, tried to break into the politically charged field of Soviet children's literature with an American fairy tale. During the height of Stalin's purges, Volkov adapted and published this fairy t...
