In Mikhail Bulgakov's Heart of a Dog (Co6aibe cepOqe [1925])1 Professor Preobrazhensky inserts part of the brain of Klim, an alcoholic and criminal, into the brain of a stray dog.2 The professor claims to be concerned about the question of eugenics, "about the improvement of human nature [o6 y iy'i IIIueHHH IeJIOBelecKoH npHpOAbII],"3 but his experiment improves neither human nor canine nature. Instead, the dog's character is gradually replaced by that of the organ donor. In the dog's humanized body, Klim is the same crim inal and alcoholic; he is given only two things that he lacked before: legal access to the professor's apartnent and the ability to speak his mind within its walls. To the dismay of everyone, the words the creature utters reflect an inter est only in power and self-gratification. The bourgeois Professor Preobrazhen sky and his Communist nemesis Comrade Shvonder begin separate campaigns to transform the dog-man into what each believes a fully-formed human being should be. The professor tries to civilize the creature with rigid rules, etiquette, and high culture. Comrade Shvonder tries to transform him with a new name,
{"title":"BAD WORDS ARE NOT ALLOWED! : LANGUAGE AND TRANSFORMATION IN MIKHAIL BULGAKOV'S HEART OF A DOG","authors":"Eric Laursen","doi":"10.2307/20459524","DOIUrl":"https://doi.org/10.2307/20459524","url":null,"abstract":"In Mikhail Bulgakov's Heart of a Dog (Co6aibe cepOqe [1925])1 Professor Preobrazhensky inserts part of the brain of Klim, an alcoholic and criminal, into the brain of a stray dog.2 The professor claims to be concerned about the question of eugenics, \"about the improvement of human nature [o6 y iy'i IIIueHHH IeJIOBelecKoH npHpOAbII],\"3 but his experiment improves neither human nor canine nature. Instead, the dog's character is gradually replaced by that of the organ donor. In the dog's humanized body, Klim is the same crim inal and alcoholic; he is given only two things that he lacked before: legal access to the professor's apartnent and the ability to speak his mind within its walls. To the dismay of everyone, the words the creature utters reflect an inter est only in power and self-gratification. The bourgeois Professor Preobrazhen sky and his Communist nemesis Comrade Shvonder begin separate campaigns to transform the dog-man into what each believes a fully-formed human being should be. The professor tries to civilize the creature with rigid rules, etiquette, and high culture. Comrade Shvonder tries to transform him with a new name,","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":"51 1","pages":"491-513"},"PeriodicalIF":0.1,"publicationDate":"2007-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20459524","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69228844","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
“It is quite clear that the Socialist economy is not founded on Platon Karatayev,” declared L.D. Trotsky in 1920, attacking a symbolic peasant figure in L.N. Tolstoi’s War and Peace as a remnant of old Russia.1 In this declaration Trotsky articulated a common dream of the Bolsheviks: to cut themselves off from Russia’s past and remake the mind of the Russian people in accordance with their own ideology. After ten years of experimentation, however, the Bolsheviks found that their socialist heroes and other symbols were not attractive enough by themselves to mobilize the ordinary people in war, and those symbols needed to be supplemented with other ones, closer to the people’s hearts from the tsarist era. This u-turn, or retreat, of Soviet politics has long been well known, but recently it has aroused renewed interest as an important topic in the history of national identity in modern Russia. This volume, composed of 12 articles and many historical documents, is a fruit of this renewed interest in the rehabilitation of the tsarist era in Stalin’s Russia, and the attempt of the editors to investigate the complicated and contradictory Stalinist revision of history by organizing collective research from different disciplines attains much success. However contradictory and full of tensions, it is beyond doubt that the revision of the tsarist era in the 1930s was launched from above. Tracing the downfall of Dem’ian Bednyi by the mid-1930s, Alexander Dubrovsky makes clear the gulf between the old, internationalist modes of mocking the Russian epic and the new official modes of rehabilitating traditional Russian culture. The revision of history for propaganda purposes is evident in two studies on the rehabilitation of Ivan the Terrible. As Maureen Perrie points out, among M.A. Bulgakov’s banned plays, only Ivan Vasil’evich had not been revived because of its historical theme. David Brandenberger and Kevin Platt underline the practical necessity for the party leaders to rehabilitate Ivan the Terrible because of his mobilizing capacity. That the revision of tsarist history was initiated from above does not mean, of course, that it was just a manipulation by the party to mobilize the people. A
{"title":"Epic Revisionism: Russian History and Literature as Stalinist Propaganda","authors":"K. Platt, D. Brandenberger","doi":"10.2307/20459529","DOIUrl":"https://doi.org/10.2307/20459529","url":null,"abstract":"“It is quite clear that the Socialist economy is not founded on Platon Karatayev,” declared L.D. Trotsky in 1920, attacking a symbolic peasant figure in L.N. Tolstoi’s War and Peace as a remnant of old Russia.1 In this declaration Trotsky articulated a common dream of the Bolsheviks: to cut themselves off from Russia’s past and remake the mind of the Russian people in accordance with their own ideology. After ten years of experimentation, however, the Bolsheviks found that their socialist heroes and other symbols were not attractive enough by themselves to mobilize the ordinary people in war, and those symbols needed to be supplemented with other ones, closer to the people’s hearts from the tsarist era. This u-turn, or retreat, of Soviet politics has long been well known, but recently it has aroused renewed interest as an important topic in the history of national identity in modern Russia. This volume, composed of 12 articles and many historical documents, is a fruit of this renewed interest in the rehabilitation of the tsarist era in Stalin’s Russia, and the attempt of the editors to investigate the complicated and contradictory Stalinist revision of history by organizing collective research from different disciplines attains much success. However contradictory and full of tensions, it is beyond doubt that the revision of the tsarist era in the 1930s was launched from above. Tracing the downfall of Dem’ian Bednyi by the mid-1930s, Alexander Dubrovsky makes clear the gulf between the old, internationalist modes of mocking the Russian epic and the new official modes of rehabilitating traditional Russian culture. The revision of history for propaganda purposes is evident in two studies on the rehabilitation of Ivan the Terrible. As Maureen Perrie points out, among M.A. Bulgakov’s banned plays, only Ivan Vasil’evich had not been revived because of its historical theme. David Brandenberger and Kevin Platt underline the practical necessity for the party leaders to rehabilitate Ivan the Terrible because of his mobilizing capacity. That the revision of tsarist history was initiated from above does not mean, of course, that it was just a manipulation by the party to mobilize the people. A","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":"51 1","pages":"609"},"PeriodicalIF":0.1,"publicationDate":"2007-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20459529","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69229579","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
"Every film is a foreign film," Atom Egoyan and Ian Balfour tell us in their introduction to Subtitles. How, then, to translate the experience of film -- which, as Egoyan says, makes us "feel outside and inside at the same time"? Taking subtitles as their point of departure, the thirty-two contributors to this unique collection consider translation, foreignness, and otherness in film culture. Their discussions range from the mechanics and aesthetics of subtitles themselves to the xenophobic reaction to translation to subtitles as a metaphor for the distance and intimacy of film.The essays, interviews, and visuals include a collaboration by Russell Banks and Atom Egoyan, which uses quotations from Banks's novel The Sweet Hereafter as subtitles for publicity stills from Egoyan's film of the book; three early film reviews by Jorge Luis Borges; an interview with filmmaker Claire Denis about a scene in her film Friday Night that should not have been subtitled; and Eric Cazdyn's reading of the running subtitles on CNN's post-9/11 newscasts as a representation of new global realities. Several writers deal with translating cultural experience for an international audience, including Frederic Jameson on Balkan cinema, John Mowitt on the history of the "foreign film" category in the Academy Awards, and Ruby Rich on the marketing of foreign films and their foreign languages -- "Somehow, I'd like to think it's harder to kill people when you hear their voices," she writes. And Slavoj Zizek considers the "foreign gaze" (seen in films by Hitchcock, Lynch, and others), the misperception that sees too much.Designed by Egoyan and award-winning graphic designer Gilbert Li, the book includes many color images and ten visual projects by artists and filmmakers. The pages are horizontal, suggesting a movie screen; they use the cinematic horizontal aspect ratio of 1.66:1. Subtitles gives us not only a new way to think about film but also a singular design object.Subtitles is being copublished by The MIT Press and Alphabet City Media (John Knechtel, Director). Subtitles has been funded in part by grants from The Canada Council for the Arts, The Henry N.R. Jackman Foundation, and the Toronto Arts Council, and the Ontario Arts Council.
{"title":"Subtitles : on the foreignness of film","authors":"Yana Meerzon, Atom Egoyan, Ian Balfour","doi":"10.2307/20459547","DOIUrl":"https://doi.org/10.2307/20459547","url":null,"abstract":"\"Every film is a foreign film,\" Atom Egoyan and Ian Balfour tell us in their introduction to Subtitles. How, then, to translate the experience of film -- which, as Egoyan says, makes us \"feel outside and inside at the same time\"? Taking subtitles as their point of departure, the thirty-two contributors to this unique collection consider translation, foreignness, and otherness in film culture. Their discussions range from the mechanics and aesthetics of subtitles themselves to the xenophobic reaction to translation to subtitles as a metaphor for the distance and intimacy of film.The essays, interviews, and visuals include a collaboration by Russell Banks and Atom Egoyan, which uses quotations from Banks's novel The Sweet Hereafter as subtitles for publicity stills from Egoyan's film of the book; three early film reviews by Jorge Luis Borges; an interview with filmmaker Claire Denis about a scene in her film Friday Night that should not have been subtitled; and Eric Cazdyn's reading of the running subtitles on CNN's post-9/11 newscasts as a representation of new global realities. Several writers deal with translating cultural experience for an international audience, including Frederic Jameson on Balkan cinema, John Mowitt on the history of the \"foreign film\" category in the Academy Awards, and Ruby Rich on the marketing of foreign films and their foreign languages -- \"Somehow, I'd like to think it's harder to kill people when you hear their voices,\" she writes. And Slavoj Zizek considers the \"foreign gaze\" (seen in films by Hitchcock, Lynch, and others), the misperception that sees too much.Designed by Egoyan and award-winning graphic designer Gilbert Li, the book includes many color images and ten visual projects by artists and filmmakers. The pages are horizontal, suggesting a movie screen; they use the cinematic horizontal aspect ratio of 1.66:1. Subtitles gives us not only a new way to think about film but also a singular design object.Subtitles is being copublished by The MIT Press and Alphabet City Media (John Knechtel, Director). Subtitles has been funded in part by grants from The Canada Council for the Arts, The Henry N.R. Jackman Foundation, and the Toronto Arts Council, and the Ontario Arts Council.","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":"51 1","pages":"636"},"PeriodicalIF":0.1,"publicationDate":"2007-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20459547","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69230172","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Kurs obshchei morfologii, t. IV: Chast'piataia: Morfologicheskie znaki","authors":"Míla Sasková-Pierce, I. A. Mel'chuk, E. N. Savina","doi":"10.2307/20459558","DOIUrl":"https://doi.org/10.2307/20459558","url":null,"abstract":"","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":"51 1","pages":"652"},"PeriodicalIF":0.1,"publicationDate":"2007-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20459558","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69230294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Olga Mesropova, Priscilla Meyer, Aleksandra Sviridova
{"title":"Iuz!: Chteniia po sluchaiu 75-letiia Iuza Aleshkovskogo","authors":"Olga Mesropova, Priscilla Meyer, Aleksandra Sviridova","doi":"10.2307/20459538","DOIUrl":"https://doi.org/10.2307/20459538","url":null,"abstract":"","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":"51 1","pages":"622"},"PeriodicalIF":0.1,"publicationDate":"2007-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20459538","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69229257","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Puti kul'turnogo importa: Trudy po russkoi literature XVIII veka","authors":"Amanda Ewington, J. Klein","doi":"10.2307/20459530","DOIUrl":"https://doi.org/10.2307/20459530","url":null,"abstract":"","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":"51 1","pages":"610"},"PeriodicalIF":0.1,"publicationDate":"2007-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20459530","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69229202","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This beautiful book celebrates the remarkable flowering of art in Prague during the reigns of Holy Roman Emperor Charles IV and his two sons, Wenceslas IV and Sigismund. When crowned king of Bohemia in 1347, Charles vowed to make Prague the cultural rival of Paris and Rome. He rebuilt its castle and began a massive building campaign to glorify Saint Vitus's Cathedral. In the ensuing century, Prague became not only an imperial but also an intellectual and artistic capital. In essays and detailed entries on some 240 artworks drawn from American and European collections, an esteemed group of scholars traces the birth of a distinctly Bohemian art in Prague in the mid-fourteenth century and its diffusion throughout Europe over the next hundred years. Panel paintings, goldsmiths' work, sculpture, stained glass, and illuminated manuscripts bear witness to the wide-ranging achievements of the hundreds of artists who were active in Bohemian lands during this spectacular century. Not since they were created have these magnificent objects been accorded the attention that they deserve on an international stage.
{"title":"Prague: The Crown of Bohemia, 1347-1437","authors":"Barbara Drake Boehm, Jiří Fajt, Pražský hrad","doi":"10.2307/20459548","DOIUrl":"https://doi.org/10.2307/20459548","url":null,"abstract":"This beautiful book celebrates the remarkable flowering of art in Prague during the reigns of Holy Roman Emperor Charles IV and his two sons, Wenceslas IV and Sigismund. When crowned king of Bohemia in 1347, Charles vowed to make Prague the cultural rival of Paris and Rome. He rebuilt its castle and began a massive building campaign to glorify Saint Vitus's Cathedral. In the ensuing century, Prague became not only an imperial but also an intellectual and artistic capital. In essays and detailed entries on some 240 artworks drawn from American and European collections, an esteemed group of scholars traces the birth of a distinctly Bohemian art in Prague in the mid-fourteenth century and its diffusion throughout Europe over the next hundred years. Panel paintings, goldsmiths' work, sculpture, stained glass, and illuminated manuscripts bear witness to the wide-ranging achievements of the hundreds of artists who were active in Bohemian lands during this spectacular century. Not since they were created have these magnificent objects been accorded the attention that they deserve on an international stage.","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":"51 1","pages":"637"},"PeriodicalIF":0.1,"publicationDate":"2007-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20459548","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69229704","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"THE HUNTER IN TERROR OF HUNTERS : A CYNEGETIC READING OF TURGENEV'S FATHERS AND CHILDREN","authors":"Thomas P. Hodge","doi":"10.2307/20459522","DOIUrl":"https://doi.org/10.2307/20459522","url":null,"abstract":"","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":"51 1","pages":"453-473"},"PeriodicalIF":0.1,"publicationDate":"2007-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20459522","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69228772","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Representations of the Second World War The Soviet canon of representing the Second World War as a heroic exploit of a people that had liberated Europe from fascism and defended the ideals of humanism began to crumble during the glasnost period. In post-Soviet Rus sia, the memory of the war has become inseparable from the memory of the crimes of Stalinism. A number of films that came out in 2004-2005 as part of the celebration of the sixtieth anniversary of the Soviet victory in the Great Patriotic War, showed the war as a tragedy for those who had fought in penal battalions, had been taken away by the NKVD, or had been prisoners of war and were then convicted as traitors and sent to Soviet labor camps.1 These in terpretations of the war in terms of psychic trauma are forcing a rethinking of the ways in which the human psyche has been depicted in Soviet narratives about the war. Indeed, as Dominick LaCapra reminds us, critique of a repre sentation canon includes the noncanonical reading of canonized texts, on the one hand, and new interpretations of texts that have been marginalized or al together excluded (21). It is a startling fact that, despite the horrendous losses of the Soviet Union in the war, suffering as such was not the focus in Soviet depictions of the war, unlike, for instance, in literature and films about the Holocaust produced in the West. Indeed, the image of the people as a victim of Nazism never became canonical in Russia.
{"title":"THE FATE OF A MAN BY SERGEI BONDARCHUK AND THE SOVIET CINEMA OF TRAUMA","authors":"Elena V. Baraban","doi":"10.2307/20459525","DOIUrl":"https://doi.org/10.2307/20459525","url":null,"abstract":"Representations of the Second World War The Soviet canon of representing the Second World War as a heroic exploit of a people that had liberated Europe from fascism and defended the ideals of humanism began to crumble during the glasnost period. In post-Soviet Rus sia, the memory of the war has become inseparable from the memory of the crimes of Stalinism. A number of films that came out in 2004-2005 as part of the celebration of the sixtieth anniversary of the Soviet victory in the Great Patriotic War, showed the war as a tragedy for those who had fought in penal battalions, had been taken away by the NKVD, or had been prisoners of war and were then convicted as traitors and sent to Soviet labor camps.1 These in terpretations of the war in terms of psychic trauma are forcing a rethinking of the ways in which the human psyche has been depicted in Soviet narratives about the war. Indeed, as Dominick LaCapra reminds us, critique of a repre sentation canon includes the noncanonical reading of canonized texts, on the one hand, and new interpretations of texts that have been marginalized or al together excluded (21). It is a startling fact that, despite the horrendous losses of the Soviet Union in the war, suffering as such was not the focus in Soviet depictions of the war, unlike, for instance, in literature and films about the Holocaust produced in the West. Indeed, the image of the people as a victim of Nazism never became canonical in Russia.","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":"51 1","pages":"514-534"},"PeriodicalIF":0.1,"publicationDate":"2007-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20459525","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69228902","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"POLEMICAL ALLUSIONS IN RUSSIAN GULAG PROSE","authors":"D. Galloway","doi":"10.2307/20459526","DOIUrl":"https://doi.org/10.2307/20459526","url":null,"abstract":"","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":"51 1","pages":"535-552"},"PeriodicalIF":0.1,"publicationDate":"2007-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20459526","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69228918","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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