The volume contains ten new essays on Russian literature and thought of the classical age (roughly 1820-1880). The essays are based on papers delivered at the Fourth World Congress for Soviet and East European Studies held at Harrogate in July 1990. It strikes a balance between fresh work on major authors (Pushkin, Lermontov, Turgenev and Dostoevsky), important work on hitherto neglected minor authors (Marlinsky, Pisemsky and Boborykin), and studies that relate to thinkers of the period (Chaadaev, Herzen and Bakunin).
The volume contains ten new essays on Russian literature and thought of the classical age (roughly 1820-1880). The essays are based on papers delivered at the Fourth World Congress for Soviet and East European Studies held at Harrogate in July 1990. It strikes a balance between fresh work on major authors (Pushkin, Lermontov, Turgenev and Dostoevsky), important work on hitherto neglected minor authors (Marlinsky, Pisemsky and Boborykin), and studies that relate to thinkers of the period (Chaadaev, Herzen and Bakunin).
'Russia in the Age of Alexander II, Tolstoy and Dostoevsky' is both history and story, incorporating in its analysis of Alexander II's turbulent reign the lives and ideas of the period's great writers, thinkers and revolutionaries who made this the Golden Age of Russian literature and thought. In his combination of considerable biographical material with the presentation of the main ideas of the era's chief writers and thinkers, Walter G. Moss has written a history that is of interest not only to scholars and students of the period, but also to more general readers.
Few, if any, English-language critics have written as perceptively as Isaiah Berlin about Russian thought and culture. Russian Thinkers is his unique meditation on the impact that Russia's outstanding writers and philosophers had on its culture. In addition to Tolstoy's philosophy of history, which he addresses in his most famous essay, 'The Hedgehog and the Fox,' Berlin considers the social and political circumstances that produced such men as Herzen, Bakunin, Turgenev, Belinsky, and others of the Russian intelligentsia, who made up, as Berlin describes, 'the largest single Russian contribution to social change in the world.'
Accessible to students, tourists and general readers alike, this book provides a broad overview of Russian history since the ninth century. Paul Bushkovitch emphasizes the enormous changes in the understanding of Russian history resulting from the end of the Soviet Union in 1991. Since then, new material has come to light on the history of the Soviet era, providing new conceptions of Russia's pre-revolutionary past. The book traces not only the political history of Russia, but also developments in its literature, art and science. Bushkovitch describes well-known cultural figures, such as Chekhov, Tolstoy and Mendeleev, in their institutional and historical contexts. Though the 1917 revolution, the resulting Soviet system and the Cold War were a crucial part of Russian and world history, Bushkovitch presents earlier developments as more than just a prelude to Bolshevik power.
The history of ideas has played a central role in Russia's political and social history. Understanding its intellectual tradition and the way the intelligentsia have shaped the nation is crucial to understanding the Russia of today. This history examines important intellectual and cultural currents (the Enlightenment, nationalism, nihilism, and religious revival) and key themes (conceptions of the West and East, the common people, and attitudes to capitalism and natural science) in Russian intellectual history. Concentrating on the Golden Age of Russian thought in the mid-nineteenth century, the contributors also look back to its eighteenth-century origins in the flowering of culture following the reign of Peter the Great, and forward to the continuing vitality of Russia's classical intellectual tradition in the Soviet and post-Soviet eras. With brief biographical details of over fifty key thinkers and an extensive bibliography, this book provides a fresh, comprehensive overview of Russian intellectual history.
The mega-bestseller with more than 2 million readers Soon to be a Showtime/Paramount+ series starring Ewan McGregor as Count Alexander Rostov From the number one New York Times-bestselling author of The Lincoln Highway and Rules of Civility, a beautifully transporting novel about a man who is ordered to spend the rest of his life inside a luxury hotel 'A wonderful book' - Tana French 'This novel is astonishing, uplifting and wise. Don't miss it' - Chris Cleave 'No historical novel this year was more witty, insightful or original' - Sunday Times, Books of the Year '[A] supremely uplifting novel ... It's elegant, witty and delightful - much like the Count himself.' - Mail on Sunday, Books of the Year 'Charming ... shows that not all books about Russian aristocrats have to be full of doom and nihilism' - The Times, Books of the Year On 21 June 1922, Count Alexander Rostov - recipient of the Order of Saint Andrew, member of the Jockey Club, Master of the Hunt - is escorted out of the Kremlin, across Red Square and through the elegant revolving doors of the Hotel Metropol. Deemed an unrepentant aristocrat by a Bolshevik tribunal, the Count has been sentenced to house arrest indefinitely. But instead of his usual suite, he must now live in an attic room while Russia undergoes decades of tumultuous upheaval. Can a life without luxury be the richest of all? A BOOK OF THE DECADE, 2010-2020 (INDEPENDENT) THE TIMES BOOK OF THE YEAR 2017 A SUNDAY TIMES BOOK OF THE YEAR 2017 A MAIL ON SUNDAY BOOK OF THE YEAR 2017 A DAILY EXPRESS BOOK OF THE YEAR 2017 AN IRISH TIMES BOOK OF THE YEAR 2017 ONE OF BARACK OBAMA'S BEST BOOKS OF 2017 ONE OF BILL GATES'S SUMMER READS OF 2019 NOMINATED FOR THE 2018 INDEPENDENT BOOKSELLERS WEEK AWARD
For most English-speaking readers, Russian literature consists of a small number of individual writers - nineteenth-century masters such as Dostoevsky, Tolstoy and Turgenev - or a few well-known works - Chekhov's plays, Brodsky's poems, and perhaps Master and Margarita and Doctor Zhivago from the twentieth century. The medieval period, as well as the brilliant tradition of Russian lyric poetry from the eighteenth century to the present, are almost completely terra incognita, as are the complex prose experiments of Nikolai Gogol, Nikolai Leskov, Andrei Belyi, and Andrei Platonov. Furthermore, those writers who have made an impact are generally known outside of the contexts in which they wrote and in which their work has been received. In this engaging book, Andrew Baruch Wachtel and Ilya Vinitsky provide a comprehensive, conceptually challenging history of Russian literature, including prose, poetry and drama. Each of the ten chapters deals with a bounded time period from medieval Russia to the present. In a number of cases, chapters overlap chronologically, thereby allowing a given period to be seen in more than one context. To tell the story of each period, the authors provide an introductory essay touching on the highpoints of its development and then concentrate on one biography, one literary or cultural event, and one literary work, which serve as prisms through which the main outlines of a given period?s development can be discerned. Although the focus is on literature, individual works, lives and events are placed in broad historical context as well as in the framework of parallel developments in Russian art and music.
“The Big Green Tent, for all its grand ambition, manages an intimacy that can leave a reader reeling . . . a masterpiece.” ―Colin Dwyer, NPR With epic breadth and intimate detail, Ludmila Ulitskaya’s remarkable novel tells the story of three school friends who meet in Moscow in the 1950s and go on to embody the heroism, folly, compromise, and hope of the Soviet dissident experience. These three boys—an orphaned poet; a gifted pianist; and a budding photographer with a talent for collecting secrets—struggle to reach adulthood in a society where their heroes have been censored and exiled. Rich with love stories, intrigue, and a cast of dissenters and spies, The Big Green Tent offers a panoramic survey of life after Stalin and a dramatic investigation into the prospects for individual integrity in a society defined by the KGB. Each of the central characters seeks to transcend an oppressive regime through art, literature, and activism. And each of them ends up face-to-face with a secret police that is highly skilled at fomenting paranoia, division, and self-betrayal. Ludmila Ulitskaya’s novel is a revelation of life in dark times. “As grand, solid and impressively all-encompassing as the title implies . . . Ulitskaya's readers will find it hard not to imagine themselves in her characters' place, to ponder what choices we'd make in similar situations.” ―Lara Vapnyar, The New York Times Book Review “A gripping tale.” ―Leonid Bershidsky, The Atlantic “Compelling, addictive reading.” ―Masha Gessen, The New Yorker “[Ulitskaya] writes page-turners that just happen to be monumentally important.” ―Boris Kachka, New York magazine “Worthy of shelving alongside Doctor Zhivago: memorable and moving.” ―Kirkus Reviews, starred review
Pale Fire is regarded by many as Vladimir Nabokov's masterpiece. The novel has been hailed as one of the most striking early examples of postmodernism and has become a famous test case for theories about reading because of the apparent impossibility of deciding between several radically different interpretations. Does the book have two narrators, as it first appears, or one? How much is fantasy and how much is reality? Whose fantasy and whose reality are they? Brian Boyd, Nabokov's biographer and hitherto the foremost proponent of the idea that Pale Fire has one narrator, John Shade, now rejects this position and presents a new and startlingly different solution that will permanently shift the nature of critical debate on the novel. Boyd argues that the book does indeed have two narrators, Shade and Charles Kinbote, but reveals that Kinbote had some strange and highly surprising help in writing his sections. In light of this interpretation, Pale Fire now looks distinctly less postmodern--and more interesting than ever. In presenting his arguments, Boyd shows how Nabokov designed Pale Fire for readers to make surprising discoveries on a first reading and even more surprising discoveries on subsequent readings by following carefully prepared clues within the novel. Boyd leads the reader step-by-step through the book, gradually revealing the profound relationship between Nabokov's ethics, aesthetics, epistemology, and metaphysics. If Nabokov has generously planned the novel to be accessible on a first reading and yet to incorporate successive vistas of surprise, Boyd argues, it is because he thinks a deep generosity lies behind the inexhaustibility, complexity, and mystery of the world. Boyd also shows how Nabokov's interest in discovery springs in part from his work as a scientist and scholar, and draws comparisons between the processes of readerly and scientific discovery. This is a profound, provocative, and compelling reinterpretation of one of the greatest novels of the twentieth century.
