Russians AbroadPub Date : 2019-12-31DOI: 10.1515/9781618116994-007
{"title":"Chapter IIA. The Battle for the Modernists’ Gogol: Bely and Remizov","authors":"","doi":"10.1515/9781618116994-007","DOIUrl":"https://doi.org/10.1515/9781618116994-007","url":null,"abstract":"","PeriodicalId":225681,"journal":{"name":"Russians Abroad","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133530102","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Russians AbroadPub Date : 2019-12-31DOI: 10.1515/9781618116994-004
Shklovskian “Estrangement
{"title":"Chapter IA. Border-Crossings in Postrevolutionary Exile (1919-1924): The Embrace of Shklovskian “Estrangement”","authors":"Shklovskian “Estrangement","doi":"10.1515/9781618116994-004","DOIUrl":"https://doi.org/10.1515/9781618116994-004","url":null,"abstract":"V ictor Shklovsky left the Soviet Union for Berlin in 1922, forced by political circumstances—namely, his affiliation with Socialist Revolutionaries in 1918, which cast a shadow over his political allegiance, even though he switched sides later. In Berlin he became actively engaged in the Russian literary community and its writers’ organizations. Although he returned to Moscow in 1923, this brief interlude abroad turned out to be a period of intense creativity for him—not only critical but literary as well. While in Berlin, Shklovsky published two important books, both printed by Helicon in 1923. The first, The Knight’s Move, was a collection of short pieces, written between 1919 and 1921 in Moscow, Petrograd, and Berlin for the small Petrograd newspaper The Life of Art. The immediately striking detail about The Knight’s Move, dubbed as “irreverent” by Victor Erlich, was its two prefaces—one aimed at the exiles, the other addressed to young literature students at home. The second Berlin publication was Zoo, or Letters Not About Love, an experimental epistolary novel, Because of the Berlin experience, one of the key concepts Shklovsky developed in the early Formalist theory of art, that of estrangement or defamiliarization, found a venue for productive “historical metamorphoses” abroad.1 The etymology of Shklovsky’s term (ostranenie) spans several semantic fields, beginning with its definition as the key artistic device in his early Formalist statement “Art as Technique” (1917). With its root -stranfrom the Russian strana (country) and strannyi (strange), along with the related strannik (wanderer), the term encompasses a broad net of semantic","PeriodicalId":225681,"journal":{"name":"Russians Abroad","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121450489","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Russians AbroadPub Date : 2019-12-31DOI: 10.1515/9781618116994-003
{"title":"Introduction: The October Split and Its Consequences","authors":"","doi":"10.1515/9781618116994-003","DOIUrl":"https://doi.org/10.1515/9781618116994-003","url":null,"abstract":"","PeriodicalId":225681,"journal":{"name":"Russians Abroad","volume":"87 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129644400","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Russians AbroadPub Date : 2019-12-31DOI: 10.1515/9781618116994-008
V. ladimir
{"title":"Chapter IIB. Sirin/Dostoevsky and the Question of Russian Modernism in Emigration","authors":"V. ladimir","doi":"10.1515/9781618116994-008","DOIUrl":"https://doi.org/10.1515/9781618116994-008","url":null,"abstract":"V ladimir Nabokov’s literary career as the Russian writer V. Sirin got off to a brilliant start in the years of the first European emigration (1919-1940). His second emigration—to the United States in 1940—was marked by his turning to the English language and the subsequent international fame of this unique bilingual writer. In a 1962 interview Nabokov maintains, “I do feel Russian and I think that my Russian works... are a kind of tribute to Russia.... Recently I have paid tribute to her in an English work on Pushkin.”2 Meanwhile, contemporary scholars in both the West and in Russia have noted on more than one occasion, with a certain bewilderment, Nabokov’s negative attitude to another classic of Russian literature, Fedor Dostoevsky. This critical attitude to Dostoevsky manifested itself even more strongly in the writer’s English prose, in particular his Lectures on Russian Literature. In her essay “The Quarrelsome Nabokov,” the Russian Dostoevsky specialist Lyudmila Saraskina is at a loss to explain the contemptuousness of Nabokov’s remarks, the “insoluble enigma of his loathing for Dostoevsky.”3 How should we go about solving the “riddle” of his loathing for Dostoevsky? How can we come to an understanding of why Nabokov chose precisely this figure of Russian prose to be the target of parody and hostile criticism? In order to answer this question, it is essential to reconsider the myth of Dostoevsky as a central fact of Silver Age culture, to sketch this myth’s further development in Russian émigré literature, and its parodic trans-","PeriodicalId":225681,"journal":{"name":"Russians Abroad","volume":"116 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115387506","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Russians AbroadPub Date : 2019-12-31DOI: 10.1515/9781618116994-009
{"title":"Chapter IIC. Russia Abroad Champions Turgenev’s Legacy","authors":"","doi":"10.1515/9781618116994-009","DOIUrl":"https://doi.org/10.1515/9781618116994-009","url":null,"abstract":"","PeriodicalId":225681,"journal":{"name":"Russians Abroad","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122973253","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Russians AbroadPub Date : 2019-12-31DOI: 10.1515/9781618116994-010
Osip Mandelstam
{"title":"Chapter IIIA. Modernism/Modernity in the Postrevolutionary Diaspora","authors":"Osip Mandelstam","doi":"10.1515/9781618116994-010","DOIUrl":"https://doi.org/10.1515/9781618116994-010","url":null,"abstract":"I n its last decades, the twentieth century occasioned passionate debates in the West about its beginning—about modernism, its definition, aesthetics, and politics. The importance of a stocktaking of the modernist legacy acquired new urgency in the swiftly approaching turn of the twenty first century. As Marshall Berman noted in his seminal book on modernism, All That is Solid Melts into Air (1983), “we don’t know how to use modernism.”1 Berman’s explicit purpose was to restore the memory of modernism and its promise: “This act of remembering can help us bring modernism back to its roots, so it can nourish and renew itself, to confront the adventures and dangers that lie ahead.”2 This work, concerned with the relation between modernity and revolution, was one of the first that included an extended discussion of the Russian contribution and its distinct history in the context of European modernisms. Modernism for Berman is revolutionary in its break with the past artistic traditions. His main concern is to reveal “the dialectics of modernization and modernism” in the interwar period.3 In a subsequent discussion of Berman’s book, Perry Anderson provides a useful clarification of terms: “Between the two lies the key middle term of ‘modernity’—neither economic process nor cultural vision but the historical experience mediat-","PeriodicalId":225681,"journal":{"name":"Russians Abroad","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123659314","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}