{"title":"Experiments with audiences: The Ukrainian and Russian prose of Kvitka-Osnovianenko","authors":"M. Pavlyshyn","doi":"10.30851/58.2.001","DOIUrl":"https://doi.org/10.30851/58.2.001","url":null,"abstract":"","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":"58 1","pages":"197-216"},"PeriodicalIF":0.1,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69704702","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":"After the Ball\": Tolstoy Revisits \"Childhood\"","authors":"Leslie O'bell","doi":"10.30851/58.4.002","DOIUrl":"https://doi.org/10.30851/58.4.002","url":null,"abstract":"","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":"58 1","pages":"590-605"},"PeriodicalIF":0.1,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69705230","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":"Melting in the Mirror: Woman, Body and Self in the Poetry of Czesław Miłosz","authors":"Stanley Bill","doi":"10.30851/58.4.005","DOIUrl":"https://doi.org/10.30851/58.4.005","url":null,"abstract":"","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":"58 1","pages":"645-662"},"PeriodicalIF":0.1,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69705781","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 Numinous Experience of Ego Transcendence in Dostoevsky","authors":"Lonny Harrison","doi":"10.30851/57.3.003","DOIUrl":"https://doi.org/10.30851/57.3.003","url":null,"abstract":"","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":"57 1","pages":"388-402"},"PeriodicalIF":0.1,"publicationDate":"2013-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69704550","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":"Lolita and Kofemolka: Vladimir Nabokov's and Michael Idov's self-translations from English into Russian","authors":"A. Wanner","doi":"10.30851/57.3.006","DOIUrl":"https://doi.org/10.30851/57.3.006","url":null,"abstract":"","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":"57 1","pages":"450-464"},"PeriodicalIF":0.1,"publicationDate":"2013-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69704640","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}
Although the practice of adapting the classics of world literature into the comic medium has always been popular, there seems to be a shift in preference away from the classical adventure stories toward the more experimental (or, at least, less realist and “adaptogenic”) texts from the literary canon. If we concentrate on the “Slavic” situation, among the more recent graphic narrative adaptations we do not discover only the usual suspects with a rich adaptation history such as Lev Tolstoy and Fyodor Dostoevsky, but also less obvious names such as Bohumil Hrabal (Une trop bruyante solitude (2004) by Lionel Tran, Ambre, and Valerie Berge) and Bruno Schulz (Heimsuchung und andere Erzahlungen von Bruno Schulz (1995) by Dieter Judt). This essay explores the Hrabal and Schulz examples in order to tackle the question of the adaptability of modernist or at least less realist – in this case: grotesque – literature into visual artistic media – in this case: comics. As Linda Hutcheon has demonstrated, adaptations are the result of a complex process of “creative reinterpretation” and “extensive, particular transcoding”. What this essay focuses on, therefore, is whether, and if so, how these graphic narrative adaptations of modernist fiction have reinterpreted and transcoded the typically grotesque features of their literary counterparts. The analysis shows that comics adapters can choose, on multiple levels, between a plethora of more or less medium-bound devices to compensate in an inventive way for the so-called “sacrifices” made during the adaptation process. In their adaptation Tran, Ambre and Berge, while omitting the more ludicrous traits of Too Loud a Solitude, managed to retain the intriguing complexity of both the content and the form of the protagonist’s inner musings over his own tragedy. Judt, for his part, may have sacrificed part of the equivocality of Schulz’s phantasmagoric literary world, but he clearly succeeded in visually rendering the grotesque imagery, the semiotic density as well as the narrative salience of the adapted text. As critical readings of their literary counterparts, finally, Judt’s work hints at the dominance of semiosis over mimesis in Schulz’s stories, whereas the Hrabal adaptation demonstrates the universal applicability of the novella’s humanist theme.
{"title":"Graphic grotesque? Comics adaptations of Bohumil Hrabal and Bruno Schulz","authors":"Michel de Dobbeleer, Dieter De Bruyn","doi":"10.30851/57.2.003","DOIUrl":"https://doi.org/10.30851/57.2.003","url":null,"abstract":"Although the practice of adapting the classics of world literature into the comic medium has always been popular, there seems to be a shift in preference away from the classical adventure stories toward the more experimental (or, at least, less realist and “adaptogenic”) texts from the literary canon. If we concentrate on the “Slavic” situation, among the more recent graphic narrative adaptations we do not discover only the usual suspects with a rich adaptation history such as Lev Tolstoy and Fyodor Dostoevsky, but also less obvious names such as Bohumil Hrabal (Une trop bruyante solitude (2004) by Lionel Tran, Ambre, and Valerie Berge) and Bruno Schulz (Heimsuchung und andere Erzahlungen von Bruno Schulz (1995) by Dieter Judt). This essay explores the Hrabal and Schulz examples in order to tackle the question of the adaptability of modernist or at least less realist – in this case: grotesque – literature into visual artistic media – in this case: comics. As Linda Hutcheon has demonstrated, adaptations are the result of a complex process of “creative reinterpretation” and “extensive, particular transcoding”. What this essay focuses on, therefore, is whether, and if so, how these graphic narrative adaptations of modernist fiction have reinterpreted and transcoded the typically grotesque features of their literary counterparts. The analysis shows that comics adapters can choose, on multiple levels, between a plethora of more or less medium-bound devices to compensate in an inventive way for the so-called “sacrifices” made during the adaptation process. In their adaptation Tran, Ambre and Berge, while omitting the more ludicrous traits of Too Loud a Solitude, managed to retain the intriguing complexity of both the content and the form of the protagonist’s inner musings over his own tragedy. Judt, for his part, may have sacrificed part of the equivocality of Schulz’s phantasmagoric literary world, but he clearly succeeded in visually rendering the grotesque imagery, the semiotic density as well as the narrative salience of the adapted text. As critical readings of their literary counterparts, finally, Judt’s work hints at the dominance of semiosis over mimesis in Schulz’s stories, whereas the Hrabal adaptation demonstrates the universal applicability of the novella’s humanist theme.","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":"57 1","pages":"175-202"},"PeriodicalIF":0.1,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69704023","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":"Introduction: classics interpreted: graphic narrative adaptations of Slavic literary works","authors":"Dieter De Bruyn, Michel de Dobbeleer","doi":"10.30851/57.2.001","DOIUrl":"https://doi.org/10.30851/57.2.001","url":null,"abstract":"","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":"57 1","pages":"150-153"},"PeriodicalIF":0.1,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69704300","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":"Confronting Ukrainian Modernism: Some New and Recent Translations of Poetry","authors":"R. Romanchuk","doi":"10.30851/57.3.007","DOIUrl":"https://doi.org/10.30851/57.3.007","url":null,"abstract":"","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":"57 1","pages":"465-475"},"PeriodicalIF":0.1,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69704686","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}
The work of the “radical” critic N.A. Dobroliubov has gotten lost between the distorting adulation of Soviet scholarship and the Western distaste for Dobroliubov’s apparent instrumentalization of literature. Dobroliubov’s very short career and the impression that he is just a junior version of N.G. Chernyshevsky also contribute to the fact that his writings have not received much sustained critical attention. Yet Dobroliubov deserves our interest, not only for the intellectual vitality and historical significance of his work, but also because he, more than any of his contemporaries, grapples immediately with the core aesthetic conundrums of the civic-minded criticism of mid-19th-century Russia. On the one hand, the “radical” critics proclaimed themselves to be uncompromising realists, committed to a literature that reproduces contemporary life. Yet they also called for social transformation with an idealistic fervor that nearly matched that of the “Romantic” generation they despised. Thus their literary doctrine is shaped by the clash between a present and a future orientation, between sober empiricism and progressive vision—a conflict that had troubled Enlightenment writers in Germany a century earlier, and that flared up anew in the cultural milieu of the reform period in Russia. My talk illuminates Dobroliubov’s critical agility as he attempts to circumvent these problems, particularly in two famous articles from the high point of his career, “Chto takoe oblomovshchina?” (1859) and “Luch sveta v temnom tsarstve” (1860). I will analyze the strained yet occasionally brilliant maneuvers that result from his struggle to remain true to his realist aesthetic even as he desperately searches for signs of a positive hero. And I will show how the model of the realist-positive hero that was successfully theorized by Chernyshevsky falls apart once Dobroliubov engages in practical criticism of actual literary texts.
“激进”批评家N.A.多布罗柳博夫(N.A. Dobroliubov)的作品迷失在对苏联学术的扭曲奉承和西方对多布罗柳博夫显然将文学工具化的厌恶之间。多布罗留波夫的职业生涯很短，而且给人的印象是，他只是车尔尼雪夫斯基的初级版本，这也导致了他的作品没有得到太多持续的批评关注。然而，多布罗柳波夫值得我们关注，不仅因为他的作品具有智力活力和历史意义，还因为他比同时代的任何人都更能直接解决19世纪中期俄罗斯民间批评的核心美学难题。一方面，“激进”批评家宣称自己是毫不妥协的现实主义者，致力于再现当代生活的文学。然而，他们也以一种理想主义的热情呼吁社会转型，这种热情几乎与他们所鄙视的“浪漫”一代相媲美。因此，他们的文学学说是由现在和未来取向之间的冲突，清醒的经验主义和进步的愿景之间的冲突所形成的，这种冲突在一个世纪前困扰了德国的启蒙运动作家，并在俄罗斯改革时期的文化环境中重新爆发。我的演讲阐明了Dobroliubov在试图规避这些问题时的批判性敏捷性，特别是在他职业生涯巅峰时期的两篇著名文章中，“Chto take oblomovshchina?”(1859年)和《午餐和午餐》(1860年)。我将分析他在拼命寻找一个正面英雄的迹象的同时，努力保持对现实主义美学的忠诚所产生的紧张而又偶尔出色的策略。我将展示，车尔尼雪夫斯基成功建立的现实主义积极英雄模型，一旦多布罗留波夫开始对实际的文学文本进行实际的批评，是如何瓦解的。
{"title":"Realist Convictions and Revolutionary Impatience in the Criticism of N. A. Dobroliubov","authors":"S. Lorenz","doi":"10.30851/57.1.004","DOIUrl":"https://doi.org/10.30851/57.1.004","url":null,"abstract":"The work of the “radical” critic N.A. Dobroliubov has gotten lost between the distorting adulation of Soviet scholarship and the Western distaste for Dobroliubov’s apparent instrumentalization of literature. Dobroliubov’s very short career and the impression that he is just a junior version of N.G. Chernyshevsky also contribute to the fact that his writings have not received much sustained critical attention. Yet Dobroliubov deserves our interest, not only for the intellectual vitality and historical significance of his work, but also because he, more than any of his contemporaries, grapples immediately with the core aesthetic conundrums of the civic-minded criticism of mid-19th-century Russia. On the one hand, the “radical” critics proclaimed themselves to be uncompromising realists, committed to a literature that reproduces contemporary life. Yet they also called for social transformation with an idealistic fervor that nearly matched that of the “Romantic” generation they despised. Thus their literary doctrine is shaped by the clash between a present and a future orientation, between sober empiricism and progressive vision—a conflict that had troubled Enlightenment writers in Germany a century earlier, and that flared up anew in the cultural milieu of the reform period in Russia. My talk illuminates Dobroliubov’s critical agility as he attempts to circumvent these problems, particularly in two famous articles from the high point of his career, “Chto takoe oblomovshchina?” (1859) and “Luch sveta v temnom tsarstve” (1860). I will analyze the strained yet occasionally brilliant maneuvers that result from his struggle to remain true to his realist aesthetic even as he desperately searches for signs of a positive hero. And I will show how the model of the realist-positive hero that was successfully theorized by Chernyshevsky falls apart once Dobroliubov engages in practical criticism of actual literary texts.","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":"57 1","pages":"67-88"},"PeriodicalIF":0.1,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69704247","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":"Voroshylovhrad Lost: Memory and Identity in a Novel by Serhiy Zhadan","authors":"Pavlo Shopin","doi":"10.30851/57.3.002","DOIUrl":"https://doi.org/10.30851/57.3.002","url":null,"abstract":"","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":"57 1","pages":"372-387"},"PeriodicalIF":0.1,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69704362","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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