Offers a rereading of the Russian realist novel and proposes a hybrid genre, grotesque realism, to describe changes during the post-Reform era.

"A rereading of the Russian realist novel that proposes a hybrid genre, grotesque realism, to describe changes during the postreform era"--

This classic work by the Russian philosopher and literary theorist Mikhail Bakhtin (1895-1975) examines popular humor and folk culture in the Middle Ages and the Renaissance. One of the essential texts of a theorist who is rapidly becoming a major reference in contemporary thought, Rabelais and His World is essential reading for anyone interested in problems of language and text and in cultural interpretation.

The remarkable meshing of these two diametrically opposed yet inextricably intertwined facets of literature (and of life) makes for an intriguing sphere of investigation, for the carnival spirit is animated by a human need to dissolve borders and eliminate boundaries - including, symbolically, those between life and death - in an ongoing effort to merge opposing forces into new configurations of truth and meaning.

The destructive power of obsessive love was a defining subject of eighteenth- and nineteenth-century Russian literature. In Febris Erotica, Sobol argues that Russian writers were deeply preoccupied with the nature of romantic relationships and were persistent in their use of lovesickness not simply as a traditional theme but as a way to address pressing philosophical, ethical, and ideological concerns through a recognizable literary trope. Sobol examines stereotypes about the damaging effects of romantic love and offers a short history of the topos of lovesickness in Western literature and medicine. Read an interview with the author: http://www.rorotoko.com/index.php/article/valeria_sobol_interview_febris_erotica_lovesickness_russian_literary_imagin/

Russia’s Capitalist Realism examines how the literary tradition that produced the great works of Leo Tolstoy, Fyodor Dostoevsky, and Anton Chekhov responded to the dangers and possibilities posed by Russia’s industrial revolution. During Russia’s first tumultuous transition to capitalism, social problems became issues of literary form for writers trying to make sense of economic change. The new environments created by industry, such as giant factories and mills, demanded some kind of response from writers but defied all existing forms of language. This book recovers the rich and lively public discourse of this volatile historical period, which Tolstoy, Dostoevsky, and Chekhov transformed into some of the world’s greatest works of literature. Russia’s Capitalist Realism will appeal to readers interested in nineteenth‐century Russian literature and history, the relationship between capitalism and literary form, and theories of the novel.

Russian literature has a reputation for gloomy texts, especially during the late nineteenth century. This volume argues that a 'fin-de-siècle' mood informed Russian literature long before the chronological end of the nineteenth century, in ways that had significant impact on the development of Russian realism. Some chapters consider ideas more readily associated with fin-de-siècle Europe such as degeneration theory, biodeterminism, Freudian psychoanalysis or apocalypticism, alongside earlier Russian realist texts by writers such as Turgenev, Dostoevsky or Tolstoy. Other chapters explore the changes that realism underwent as modernism emerged, examining later nineteenth-century or early twentieth-century texts in the context of the earlier realist tradition or their own cultural moment. Overall, a team of emerging and established scholars of Russian literature and culture present a wide range of creative and insightful readings that shed new light on later realism in all its manifestations.

Dostoevsky and Romantic Realism is Donald Fanger's groundbreaking study of the art of Dostoevsky and the literary and historical context in which it was created. Through detailed analyses of the work of Balzac, Dickens, and Gogol, Fanger identifies romantic realism, the transformative fusion of two generic categories, as a powerful imaginary response to the great modern city. This fusion reaches its aesthetic and metaphysical climax in Dostoevsky, whose vision culminating in Crime and Punishment is seen by Fanger as the final synthesis of romantic realism.

Satan comes to Soviet Moscow in this critically acclaimed translation of one of the most important and best-loved modern classics in world literature. The Master and Margarita has been captivating readers around the world ever since its first publication in 1967. Written during Stalin’s time in power but suppressed in the Soviet Union for decades, Bulgakov’s masterpiece is an ironic parable on power and its corruption, on good and evil, and on human frailty and the strength of love. In The Master and Margarita, the Devil himself pays a visit to Soviet Moscow. Accompanied by a retinue that includes the fast-talking, vodka-drinking, giant tomcat Behemoth, he sets about creating a whirlwind of chaos that soon involves the beautiful Margarita and her beloved, a distraught writer known only as the Master, and even Jesus Christ and Pontius Pilate. The Master and Margarita combines fable, fantasy, political satire, and slapstick comedy to create a wildly entertaining and unforgettable tale that is commonly considered the greatest novel to come out of the Soviet Union. It appears in this edition in a translation by Mirra Ginsburg that was judged “brilliant” by Publishers Weekly. Praise for The Master and Margarita “A wild surrealistic romp. . . . Brilliantly flamboyant and outrageous.” —Joyce Carol Oates, The Detroit News “Fine, funny, imaginative. . . . The Master and Margarita stands squarely in the great Gogolesque tradition of satiric narrative.” —Saul Maloff, Newsweek “A rich, funny, moving and bitter novel. . . . Vast and boisterous entertainment.” —The New York Times “The book is by turns hilarious, mysterious, contemplative and poignant. . . . A great work.” —Chicago Tribune “Funny, devilish, brilliant satire. . . . It’s literature of the highest order and . . . it will deliver a full measure of enjoyment and enlightenment.” —Publishers Weekly

A young Russian woman comes into her own in the midst of revolution and civil war in this "brilliant" novel set in "a world of furious beauty" (Los Angeles Review of Books). After the loves and betrayals of The Revolution of Marina M., young poet Marina Makarova finds herself alone amid the devastation of the Russian Civil War -- pregnant and adrift, forced to rely on her own resourcefulness to find a place to wait out the birth of her child and eventually make her way back to her native city, Petrograd. After two years of revolution, the city that was once St. Petersburg is almost unrecognizable, the haunted, half-emptied, starving Capital of Once Had Been, its streets teeming with homeless children. Moved by their plight, though hardly better off herself, she takes on the challenge of caring for these orphans, until they become the tool of tragedy from an unexpected direction. Shaped by her country's ordeals and her own trials -- betrayal and privation and inconceivable loss -- Marina evolves as a poet and a woman of sensibility and substance hardly imaginable at the beginning of her transformative odyssey. Chimes of a Lost Cathedral is the culmination of one woman's s journey through some of the most dramatic events of the last century -- the epic story of an artist who discovers her full power, passion, and creativity just as her revolution reveals its true direction for the future.