{"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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}
This article explores how questions of collective memory, more specifically those connected to the traumatic legacy of the 1990s in Yugoslavia, are addressed in Sasa Ilic’s novel Berlinsko okno (The Berlin Window, 2005). At the heart of Berlinsko okno is the idea that, not unlike post-1989 Germany, Serbia should confront its recent past, especially its role in the wars of Yugoslav succession. This article argues that Ilic’s novel not merely attempts to give a voice to the nameless victims of the recent Yugoslav wars, to those who Shoshana Felman calls ‘the expressionless’. Calling attention to the politics of forgetting in Serbia, Berlinsko okno also urges the reader to think what Jean-Francois Lyotard has called ‘the immemorial’, that which can be neither remembered, nor forgotten. An analysis of the Brechtian intertext of the novel, then, reveals how Ilic’s novel connects the ethics of remembering with the politics of representation. Emphasizing the task of not forgetting the victims of the violence of the 1990s, the novel provocatively engages in the current debate among Serbian writers and literary critics about the social role and political relevance of literature today.
本文探讨了萨沙·伊利奇的小说《柏林之窗》(the Berlin Window, 2005)是如何解决集体记忆的问题的，更具体地说，是那些与20世纪90年代南斯拉夫创伤性遗产有关的问题。柏林的核心观点是，与1989年后的德国不同，塞尔维亚应该正视它最近的过去，尤其是它在南斯拉夫继承战争中的角色。这篇文章认为，伊利克的小说不仅试图为最近南斯拉夫战争中无名的受害者发声，为那些被肖莎娜·费尔曼称为“无表情”的人发声。柏林斯科·奥克诺呼吁人们关注塞尔维亚的遗忘政治，他还敦促读者思考让-弗朗索瓦·利奥塔所说的“古老的”，既不能被记住，也不能被遗忘。对小说布莱希特式互文的分析揭示了伊利克的小说是如何将记忆的伦理与再现的政治联系起来的。这部小说强调了不要忘记20世纪90年代暴力事件受害者的任务，引发了塞尔维亚作家和文学评论家关于当今文学的社会角色和政治相关性的争论。
{"title":"Facing the Legacy of the 1990s: Saša Ilić's Berlinsko okno","authors":"S. Vervaet","doi":"10.30851/57.1.001","DOIUrl":"https://doi.org/10.30851/57.1.001","url":null,"abstract":"This article explores how questions of collective memory, more specifically those connected to the traumatic legacy of the 1990s in Yugoslavia, are addressed in Sasa Ilic’s novel Berlinsko okno (The Berlin Window, 2005). At the heart of Berlinsko okno is the idea that, not unlike post-1989 Germany, Serbia should confront its recent past, especially its role in the wars of Yugoslav succession. This article argues that Ilic’s novel not merely attempts to give a voice to the nameless victims of the recent Yugoslav wars, to those who Shoshana Felman calls ‘the expressionless’. Calling attention to the politics of forgetting in Serbia, Berlinsko okno also urges the reader to think what Jean-Francois Lyotard has called ‘the immemorial’, that which can be neither remembered, nor forgotten. An analysis of the Brechtian intertext of the novel, then, reveals how Ilic’s novel connects the ethics of remembering with the politics of representation. Emphasizing the task of not forgetting the victims of the violence of the 1990s, the novel provocatively engages in the current debate among Serbian writers and literary critics about the social role and political relevance of literature today.","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69703883","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":"Rozanov's Prosopopeia: Voices from Beyond the Grave of Autobiography","authors":"K. Toland","doi":"10.30851/57.2.005","DOIUrl":"https://doi.org/10.30851/57.2.005","url":null,"abstract":"","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69704108","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 Poetic Voice of Cherubina De Gabriak in Russian Symbolism","authors":"Marianna S. Landa","doi":"10.30851/57.1.003","DOIUrl":"https://doi.org/10.30851/57.1.003","url":null,"abstract":"","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69704166","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 Many Faces of Raskolnikov: \"Prestuplenie I Nakazanie\" as 1950s \"Popaganda\"","authors":"Katy Sosnak","doi":"10.30851/57.2.002","DOIUrl":"https://doi.org/10.30851/57.2.002","url":null,"abstract":"","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69703910","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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