Dialogics and dialectics - Bakhtin, young Hegelians and dramatic theory, David Krasner Bakhtin's ethics and an iconographc standard in "Crime and Punishment", Jacqueline A. Zubeck let us say that there is a human being before me who is suffering - empathy, exotopy and ethics in the reception of Latin American collaborative "Testimonio", Kimberly A. Nance toward a philosophy of the art - Russia as a chronotope in ruralist writing, Valerie Z. Nollan.
{"title":"Bakhtin : ethics and mechanics","authors":"Michael A. Denner, Valerie Z. Nollan","doi":"10.2307/20459596","DOIUrl":"https://doi.org/10.2307/20459596","url":null,"abstract":"Dialogics and dialectics - Bakhtin, young Hegelians and dramatic theory, David Krasner Bakhtin's ethics and an iconographc standard in \"Crime and Punishment\", Jacqueline A. Zubeck let us say that there is a human being before me who is suffering - empathy, exotopy and ethics in the reception of Latin American collaborative \"Testimonio\", Kimberly A. Nance toward a philosophy of the art - Russia as a chronotope in ruralist writing, Valerie Z. Nollan.","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2007-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20459596","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69230947","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":"Essays in Poetics: The Journal of the British Neo-Formalist Circle","authors":"Michael R. Finke, J. Andrew, R. Reid","doi":"10.2307/20459575","DOIUrl":"https://doi.org/10.2307/20459575","url":null,"abstract":"","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2007-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20459575","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69230621","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}
Boris Groys, Aage A. Hansen-Love, A. Heiden, G. Leupold, A. Nitschke, Olga Radetzkaja
{"title":"Am Nullpunkt : Positionen der russischen Avantgarde","authors":"Boris Groys, Aage A. Hansen-Love, A. Heiden, G. Leupold, A. Nitschke, Olga Radetzkaja","doi":"10.2307/20459595","DOIUrl":"https://doi.org/10.2307/20459595","url":null,"abstract":"","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2007-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20459595","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69230864","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":"War and Peace: New Russian Prose","authors":"B. Sutcliffe, N. Perova, J. Turnbull","doi":"10.2307/20459589","DOIUrl":"https://doi.org/10.2307/20459589","url":null,"abstract":"","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2007-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20459589","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69230903","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":"Russkii neorealizm: Ideologiia, poètika, tvorcheskaia èvoliutsiia: E. Zamiatin, I. Shmelev, M. Prishvin, A. Platonov, M. Bulgakov i drugie. Uchebnoe posobie","authors":"Anna Yatsenko, Tatiana T. Davydova","doi":"10.2307/20459586","DOIUrl":"https://doi.org/10.2307/20459586","url":null,"abstract":"","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2007-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20459586","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69230456","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":"Dostoevskii: Ia zanimaius' etoi tainoi","authors":"M. Fedorova, Galina Ponomareva","doi":"10.2307/20459580","DOIUrl":"https://doi.org/10.2307/20459580","url":null,"abstract":"","PeriodicalId":44070,"journal":{"name":"SLAVIC AND EAST EUROPEAN JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2007-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20459580","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69230676","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}
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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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}
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