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• Narratives of "Intervention" and the Culture of Space in the Early Twentieth Century
• Faust and the Medieval Roots of "Intervention"
• Modernist Dreams of "Intervention"
• Rituals of "Intervention" in the Early Soviet Era
• Stalinist Ritual and the Impulse toward Judgment.

"Staging the Absolute argues that an array of practices and beliefs came together to define an essential aspect of Russian and Soviet culture in the twentieth century: the persistent desire to interrupt--or disrupt--history. Drawing on sources that define the nature of public rituals, the book reveals the pervasive presence of the impulse to impede history in Russia’s modern era and the realization of the idea in the form of the Stalinist show trials of the 1930s. Thomas Seifrid analyses Soviet festivals, public displays of agitational propaganda, and urban planning, together with such modernist precursors as fin-de-siècle and early twentieth-century projects for reviving the theatre, modernist adaptations of puppet theatre, the Faust legend and its vogue in early twentieth-century Russia, and the nineteenth-century panorama. The book reveals that what binds these otherwise disparate phenomena together is a shared impatience with history and a corresponding desire to appropriate urban space. Illuminating the deeper meanings in these revived archaic forms, Staging the Absolute shows how pervasive the interest in disrupting history was in the Russian modern era."-- Provided by publisher.

• Acknowledgments List of Abbreviations Note on Transliteration and Citation Introduction: Some Better Brick than the Cartesian One" Chapter One: Tolstoy's Uncertain Artist Chapter Two: Nabokov's Moderate Multiplication of the Self Chapter Three: Atrophied Aesthetic Sense Chapter Four: Suspicion on Trial Afterword: The Artful and the Artless Bibliography Notes Index.
• (source: Nielsen Book Data)

Leo Tolstoy's and Vladimir Nabokov's radically opposed aesthetic worldviews emanate from a shared intuition-that approaching a text skeptically is easy, but trusting it is hard Two figures central to the Russian literary tradition-Tolstoy, the moralist, and Nabokov, the aesthete-seem to have sharply conflicting ideas about the purpose of literature. Tatyana Gershkovich undermines this familiar opposition by identifying a shared fear at the root of their seemingly antithetical aesthetics: that one's experience of the world might be entirely one's own, private and impossible to share through art. Art in Doubt: Tolstoy, Nabokov, and the Problem of Other Minds reconceives the pair's celebrated fiction and contentious theorizing as coherent, lifelong efforts to reckon with the problem of other people's minds. Gershkovich demonstrates how the authors' shared yearning for an impossibly intimate knowledge of others formed and deformed their fiction and brought them through parallel logic to their rival late styles: Tolstoy's rustic simplicity and Nabokov's baroque complexity. Unlike those authors for whom the skeptical predicament ends in absurdity or despair, Tolstoy and Nabokov both hold out hope that skepticism can be overcome, not by force of will but with the right kind of text, one designed to withstand our impulse to doubt it. Through close readings of key canonical works-Anna Karenina, The Kreutzer Sonata, Hadji Murat, The Gift, Pale Fire-this book brings the twin titans of Russian fiction to bear on contemporary debates about how we read now, and how we ought to.
(source: Nielsen Book Data)

At the age of twelve, Anatoly Kuznetsov experienced the Nazi invasion of Ukraine, and soon began keeping a diary of the brutal occupation of Kiev that followed. Years later, he combined those notebooks with other survivors' memories to create a classic work of documentary witness in the form of a novel. When Babi Yar was first published in a Soviet magazine in 1966, it became a literary sensation, not least for its powerful and unprecedented narratives of the Nazi massacre of the city's Jews, and later Roma, prisoners of war, and other victims, at the Babi Yar ravine--one of the largest mass killings of the Holocaust. After Kuznetsov defected to Great Britain in 1969, he republished the book in a new edition that included extensive passages censored by the Soviets, along with his later reflections

"In 2021, the world commemorates the 80th anniversary of the massacres of Jews at Babyn Yar. The present collection brings together for the first time the responses to the tragic events of September 1941 by Ukrainian Jewish and non-Jewish poets of the Soviet and post-Soviet periods, presented here in the original and in English translation by John Hennessy and Ostap Kin. Written in 1941-2018 by over twenty poets, these poems belong to different literary canons, traditions, and timeframes, while their authors come from several generations. Together, the poems in 'Babyn Yar: Ukrainian Poets Respond' create a language capable of portraying the suffering and destruction of the Ukrainian Jewish population during the Holocaust as well as other peoples murdered at the site"--$cProvided by publisher

• 2000
• Totální realismus
• Trapná poezie
• Pražský život
• Dagmara, aneb, Nademocionalita
• Für Bondy's unbekannte Geliebte aneb Nepřeberné bohatství
• Velká kniha
• Malá kniha
• Zbytky eposu.