Examines the thematic development of absurdity, despair, and man's quest for meaning in Russian literature.

This article deals with women-centred prose texts of the 1990s and 2000s in Russia written by women, and focuses especially on generation narratives. By this term the author means fictional texts that explore generational relations within families, from the perspective of repressed experiences, feelings and attitudes in the Soviet period. The selected texts are interpreted as narrating and conceptualizing the consequences of patriarchal ideology for relations between mothers and daughters and for reconstructing connections between Soviet and post-Soviet by revisiting and (...) remembering especially the gaps and discontinuities between (female) generations. The cases discussed are Liudmila Petrushevskaia’s ‘povest’ Vremia noch [The Time: Night] (1991), Liudmila Ulitskaia’s novel Medeia i ee deti [Medea and her Children] (1996) and Elena Chizhova’s novel Vremia zhenshchin [The Time of Women] (2009). These novels reflect on the one hand the woman-centredness and novelty of representation in women’s prose writing in the post-Soviet period. On the other hand, the author suggests that they reflect the diverse methods of representing the Soviet era and experience through generation narratives. The texts reassess the past through intimate, tactile memories and perceptions, and their narration through generational plots draws attention to the process of working through, which needs to be done in contemporary Russia. The narratives touch upon the untold stories of those who suffered in silence or hid the family secrets from the officials, in order to save the family. The narration delves into the different layers of experience and memory, conceptualizing them in the form of multiple narrative perspectives constructing different generations and traditions. In this way they convey the ‘secrets’ hidden in the midst of everyday life routines and give voice to the often silent resistance of women towards patriarchal and repressive ideology. The new women’s prose of the 1980s–90s and the subsequent trend of women-centred narratives and generation narratives employ conceptual metaphors of reassessing, revisiting and remembering the cultural, experiential, and emotional aspects of the past, Soviet lives. (shrink)

The verb 'imagine' admits of perspectival modification: we can imagine things from above, from a distant point of view, or from the point of view of a Russian. But in such cases, there need be no person, either real or imagined, who is above or distant from what is imagined, or who has the point of view of a Russian. We call this the puzzle of perspectival displacement. This paper sets out the puzzle, shows how it does not (...) just concern language, but also states of imagining themselves, and then presents a solution. The solution draws on the idea that many reports of imagining conceal a distinctive kind of question, and such concealed questions have an extra argument place for (what we will call) an experiencer from whose perspective things are imagined. This solution has a range of advantages over other proposals in the literature, and helps to advance two debates concerning perspectival engagement with fiction. (shrink)

This article explores the problems of Russian engineering in the context of the world studies in philosophy of engineering. Firstly, the author highlights the main questions and topics of the modern philosophy of engineering: what engineering is, the “magic” and “human-oriented” nature of technologies, and models of engineering ethics. Secondly, the article presents a specific mythological narrative of domestic engineers (“the theory of a missed chance”) and shows the inclusion of this “theory” in alternate historical fiction. Thirdly, the (...) article identifies the reasons for emergence of such mythology in the engineering environment. The author highlights a historical context of “missed chances” for the turning of technical inventions into innovations and claims that the country's engineering potential was not used to a full extent. For greater objectivity, the article uses the works both of foreign and domestic researchers. In addition, the author raised a question about the relatedness of the concepts of engineer and innovation. Finally, the article gives an answer to the question about the essence of the engineer; the author believes that the engineering is primarily an environment, close to the human life world, understanding and maintaining the links between science and technology, providing the necessary channels for transforming inventions into innovations, i.e. commercially realized technologies. The given definition demonstrates the prospects for the development of socio-humanitarian research in the field of engineering. (shrink)

The subject of this research is the phenomenon of mystery fiction and its evolution in the context of development of sociocultural project of modernity. The latter is viewed as a complex system, which fundamental principles permeate the entire fabrics of European culture, generating such phenomenon as a mystery fiction plot. The analysis of its varieties deepens the understanding of specificity of modernity and mature of crises that has captured it. Hermeneutic analysis allows going beyond the frames of the (...) narrow-disciplinary analysis of the corresponding texts, allowing to determine the inevident layers within the phenomenon of narration of mystery fiction. The initial methodological point is presented by the concept of V. P. Rudnev, who identified interrelation between the mystery fiction storylines and dominant gnoseological paradigm. The author determines the four levels of narration of mystery fiction: ontological, gnoseological, anthropological, and ethical-normative. The classical (analytical) mystery fiction describes reality commensurable to human reason (ontological level), investigation appears as strict analysis (gnoseological level), detective resembles a “private thinker” who is distant from the society and the crime itself (anthropological level), and a crime is interpreted as a deviation that disturbs harmony of the rational order (ethical-normative level). In this sense, a classical mystery fiction is a reflection of metanarrative of modernity, aimed at building a complete system, and excluding the Other. At the same time, the crisis of the basis of modernity is essentially reflected in metamorphoses of mystery fiction genre. In existential and pragmatic mystery fiction, reality is irrational, and boundaries between the norm and deviation are being diluted. Such situation may be describes as disappointment in metanarrative – in underlines the inability of modern culture to adequately fulfill its fundamental functions. The Other strike roots in the cultural space; however, the space itself exists in accordance with the principles of postmodern anarchy. (shrink)

The fall of the socialist system in the early 90's of the twentieth century. led to the return of the Orthodox Churches of Europe to the active social and political life of the post-Soviet countries. Therefore, the adoption in August 2000 by the Jubilee Bishops' Council of the Russian Orthodox Church of the social doctrine became a necessary stage in the development of Russian Orthodoxy, and at the same time marked the beginning of a new time of not (...) only this Church, but the whole Ecumenical Orthodoxy. However, this serious doctrine did not cause any serious attention, except for one or two colloquiums organized by the UOC of the Moscow Patriarchate. The wave of theological and non-fiction works on the hot topics raised in the Doctrine also did not happen to the experts. (shrink)

He work of the Russian nationwide conference ‘National identity through language and literature. Characteristics of conceptoshere of national culture‘ is analyzed in the article. Previous theoretical sources on the issue in question are summarized. The matters represented in the considered scientific forum are generalized. Diachronic analysis of national cultural consciousness as well as complex cognitive-based approach are used to investigate the issue. Special attention is paid to the study of linguistic world-image as exemplified in fiction, folklore, religious texts, (...) business papers, scholarly works and media texts, as well as to the research of intercultural communication in the era of multiculturalism and globalization. As long as terms ‘cultural code‘, ‘national code‘, and ‘fictional code‘ are not precisely defined, the problem of terminological field was noted, as well as the issue of linguo-cognitive interpretation of methods for representing country image in linguistic consciousness. The attention was paid to Russian as a foreign language, to perception and transforming of European cultural codes by American and western European writers in synchronous and diachronic ways. Geopolitical factor of North and South that matters both in global and local context was noted, particularly the issue of German distinction of the modern European mindset was reviewed. Lots of speaker papers mirrored interdisciplinary links that is of importance for contemporary scholarship in the context of globalization and multicultural society. Up-to-date schools of thought in the field of linguistics, literary studies and journalism were represented. (shrink)

The article provides a summary of “Fyodor Mikhailovich Dostoevsky and European Culture” International Scientific Online Conference, held by the International Laboratory for the Study of Russian-European Intellectual Dialogue of the National Research University Higher School of Economics in cooperation with the Dostoevsky’s Moscow House Museum Center. At the conference, leading experts in various fields of the humanities presented various reports on the mutual influence of Dostoevsky and European culture. Research attention was paid to the problem of the influence of (...) the Russian writer on the creative development of European philosophical and artistic thought. The speakers demonstrated the history of translations of Dostoevsky’s novels into foreign languages. The participants of the conference also reflected the influence of the concepts of Western European philosophy, literature, and culture on the fiction and religious thought of the writer. A number of conference reports were devoted to the cultural and philosophical problems of Dostoevsky’s works. The researchers examined the religious and philosophical dialogues of the novel Demons, paying special attention to the controversial image of the protagonist of the novel – Nikolai Stavrogin. Leading Dostoyevsky specialists turned to the littlestudied aspects of his journalism, defining the role of the “Jewish question.” The conference presented literary critics’ interpretations of Dostoevsky’s novels, the history of screen and musical adaptations of his works in European and Russian art. (shrink)

The article discusses a relatively obscure but significant aspect of work of the Russian and Soviet thinker Alexander Bogdanov—his science fiction novels. The author points out that, using the form...

This article reviews a new book by a Russian scholar, Anastasiya Grigorovskaya, which places Ayn Rand's fiction into its Russian context. Grigorovskaya comes to the conclusion that Ayn Rand's imagery and fiction was heavily influenced by Russian philosophy and literature. Paradoxical it may seem, but written in America in the English language, her novels and plays contain hidden references to ideas and tendencies that preoccupied the minds of many Russian thinkers and writers in the (...) nineteenth and early twentieth century. (shrink)

Through Aristotle's theory of catharsis and his concept of complex tragedy, Ben La Farge provides an original examination of genre. Moving effortlessly from Greek to Shakespearean tragedies, to nineteenth and twentieth-century British, American and Russian drama, and fiction and contemporary television, this study sheds new light on the art of comedy.

This article, written by a Russian cultural historian, analyzes the concept of "ideology" in the work of Clifford Geertz. and his role in understanding the figurative nature of ideology as a cultural system. The author compares Geertz's semiotic approach to culture with thesemiotics of culture developed by Russian theorists, particularly Yuri Lotman, showing the convergence and divergence of the two differentnational traditions. This understanding of the nature and functions of ideology opens new possibilities for discussing the tortured relations (...) of ideology and literature, showing the way fiction can affect the formation of ideological systems and influence practical politics. The analysis is illustrated by examples from Russian political life of the 1990s, when revolutionary changes demanded new sets of ideological metaphors that in their turn shaped the direction of events. (shrink)

This article examines Russian engineers’ social imagination about the future through the professional discussions held at the electrotechnical congresses in the nineteenth century. Formulating the prospective future of the industry, the state and society was a collective endeavor, a process in which the identity and mission of engineers were crystallized. Through envisioning the future of technology and its role in the society, engineers revealed their cultural role as mediators between technological innovation, and both the wider public and the state. (...) In order to better understand the manifestations of the shared cultural understandings of a desirable future and social order, the article resorts to Sheila Jasanoff’s concept of sociotechnical imaginaries. The engineering community’s sociotechnical imagination about electricity was shaped around the transformative possibilities of this technology. It was believed that electrical engineering was able not only to accelerate industrial production, but also to solve social, medical and cultural problems, thereby uniting the Russian Empire. Descriptions of the rational, comfortable and beautiful world of the electrified future overlapped in engineering discussions, journalism and science fiction. Positive scenarios emphasized the advantages of electrical engineering and bypassed the problems associated with electrification, constructing an idea of its inevitability. The electrical engineer became a kind of a new cultural hero, who knew how to make a working device or system, and also filled the task of linking the development of technology to the development of society. (shrink)

The autocratic rule of both tsar and church in imperial Russia gave rise not only to a revolutionary movement in the nineteenth century but also to a crisis of meaning among members of the intelligentsia. Personal faith became the subject of intense scrutiny as individuals debated the existence of God and the immortality of the soul, debates reflected in the best-known novels of the day. Friendships were formed and broken in exchanges over the status of the eternal. The salvation of (...) the entire country, not just of each individual, seemed to depend on the answers to questions about belief. Victoria Frede looks at how and why atheism took on such importance among several generations of Russian intellectuals from the 1820s to the 1860s, drawing on meticulous and extensive research of both published and archival documents, including letters, poetry, philosophical tracts, police files, fiction, and literary criticism. She argues that young Russians were less concerned about theology and the Bible than they were about the moral, political, and social status of the individual person. They sought to maintain their integrity against the pressures exerted by an autocratic state and rigidly hierarchical society. As individuals sought to shape their own destinies and searched for truths that would give meaning to their lives, they came to question the legitimacy both of the tsar and of Russia’s highest authority, God. (shrink)

Mikhail Epstein (b. 1950) and Vladimir Sharov (1952–2018) became close friends in Moscow in 1980. Epstein emigrated in 1990 to become a professor of cultural studies at Emory University; in 1991 Sharov, trained as a historian of medieval Rus’, published the first of his nine novels. With increasing urgency, both writers explored the myth, now backed by military force, that Russia is called to an apocalyptic, salvational global mission. This essay juxtaposes Epstein’s quasi-novel The New Sectarianism (1993), with its plea (...) for poor faith or “minimal religion,” with the maximalist plots of Sharov’s novels, peopled by NKVD informers, homespun visionaries, seekers and priests. When a philosopher writes a novel, or when an historian-turned-novelist formulates a political philosophy, how are we to balance the claims of these competing genres? The final segment discusses a highly antagonistic reading by the sociologist Dina Khapaeva of Sharov’s final novel, which suggests that Sharov was emotionally complicit in the horrific events of the Stalinist era. An attempt is made to rebut this reading, and also to locate a way out for all parties that permits novelistic and philosophical art to be moral—but remain art. The essay originated as a paper presented at the 2023 ASEEES Convention, on a panel titled “Contemporary Russian Philosophy: Four Thinkers on Consciousness, Imagination, and Civilizational Crisis.” The argument has been filled in but not updated, and its oral intonation retained. (shrink)

The article reviews the regular international scientific conference on science fiction – Stanisław Lem Readings. The conference is held since 2007 by the Department of Philosophy in collaboration with the Department of Russian and Foreign Literature and Public Relations of the Samara National Research University. The summary shows the history of the conference, formulates the main definitions of the category of science fiction, proposed by its participants, demonstrates the topics, genres, and key approaches that make up the (...) problem field, lists its most eminent speakers. Lem Readings are currently an international platform for a regular interdisciplinary dialogue between philosophers of technology and futurologists, active engineers and scientists, anthropologists and sociologists. The basic principles of the conference – freedom of expression, professionalism, striving for the synthesis of heterogeneous systems – remain unchanged during the years, and they correspond to the idea of the science fictional as a possibility that can be realized. (shrink)

Roman Jakobson, who had left Russia in 1920 and in 1941 took refuge in the USA from the Nazis, was one of the main figures in post war linguistics and structuralism. Two aspects of his work are examined in this article. Firstly, Jakobson purifies his linguistic theory of pragmatic references. Secondly, he develops his own diplomatic mission of mediating between East and West. In this article, I argue that these two aspects did not develop independently from one another. Instead I (...) claim that his theory is designed to slip through the Iron Curtain, while at the same time providing the means to analyse ways of acting politically by using language. This argument is unfolded in two steps, each consisting of two parts. First, I compare the theory of pronominal expressions as developed by Emil Benveniste to Jakobson’s theory of shifters. While Benveniste focuses on the relation of language and its subject using language, Jakobson introduces a model of communication to allow maximal formalisation of language. According to this even the category of person can be freed from its reference to a subject which would be understood as having a place in space and time. Then, Jakobson’s theory of shifters is studied in relation to his analyses of poetry. For this, two examples are chosen: Jakobson’s text on two poems by Russian poet Alexandr Blok, and his text on a poem by Bertold Brecht. In both texts, the theory of shifters—and the alleged purification from pragmatic aspects of language use ensuing from this theory—is challenged by the simple fact that they focus on the pronoun of the first person plural. According to Jakobson, the category of number does not belong to the shifters. Rather, number quantifies participants of the related event. The pronoun ‘we’ is at the same time a shifter and a non-shifter, as it refers to the speech event and the related event. Thus the pronoun ‘we’ opens up the possibility to include or exclude the participants of a communicative situation, and thereby enables the speaker to act socially or even politically by using language. The article concludes by coming back to the historical situation in which Jakobson developed his analyses of poetry. Analysing poetry seems to have been a passe-partout for him, a seemingly harmless subject that allowed him to get a foot in the door of remote and secluded lecture halls. (shrink)

The writer and activist Naomi Mitchison (1897–1999) came from a prominent establishment family but was a member of the Labour Party and the wife of a Labour MP. Her work was explicitly marked by the Russian Revolution, even when she wrote about antiquity. In the 1920s and 1930s, she produced a number of works of historical fiction set in ancient Greece and Rome, which were highly regarded at the time. The works use the canvas of antiquity to experiment (...) with many forms of political and social radicalism, with a challenging focus on female sexuality. The article discusses four specific representations of revolution which mobilize female agency in ways that are themselves highly unconventional. However, these representations also invoke the Fraserian figure of the dying king who leads the revolution to disaster, compromising the revolutionary energy. This tension speaks to Mitchison’s own contradictory social positioning as a patrician radical. In 1972, however, the novel Cleopatra’s People revisits the theme and stages a more successful uprising. This novel is centered on the sacrificial queen instead of a king, it enlists a mass of people, and saves the revolution by hiding its key figures in Africa. During her final excursion into antiquity, Mitchison thus found a way to press history into useful service. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Exile: The Sense of Alienation in Modern Russian Letters,John GoodliffeExile: The Sense of Alienation in Modern Russian Letters, by David Patterson; xii & 204 pp. University Press of Kentucky, 1994, $29.95.From the title of this book one might expect its principal focus to be on geographical and/or political exile, exile as punishment, of which there have been many examples in Russian life and letters, both (...) before and after the 1917 Revolution. But David Patterson prefers to interpret the word “exile” in a wider metaphysical and existential sense, so connecting it with the problem of alienation and the question of human identity. His purpose is to demonstrate that “the fundamental problem of meaning in human life is a problem of homelessness; that the effort to emerge from exile is an effort to return meaning to the word and thus the self to the other; and that the exile of the word is an exile of human being” (p. xi). (Incidentally this quotation anticipates the rather curious style of English which the author will adopt, regrettably typical of many academics.) The neurosis engendered by this problem of homelessness is one to which Russians have always been particularly prone, perhaps because their geographical situation on a vast inhospitable plain, stretching uneasily between Europe and Asia, has always generated a feeling of insecurity. So it is not at all difficult to find abundant examples of it in Russian literature. As Patterson makes clear in his preface, there are many Russian writers other than the ones he has chosen who well demonstrate estrangement and alienation. Indeed, one is tempted to suggest that a Russian writer who does not suffer from the neurosis is the exception to the general rule. And, pursuing the idea further, it might be possible to show that any novel, any poem, any piece of writing in any language, contains elements of the problem, since it derives almost inevitably from the very occupation of a creative writer.Thus, from the outset, Patterson runs the risk of making his “exile” definition so wide that the term becomes almost meaningless. It may well be [End Page 514] that his book would have been less diffuse had he kept his definition rather narrower. And since he professes that his aim is “not only to make a point about Russian letters but to draw on these Russian texts in an effort to arrive at a deeper understanding of a much larger, more pervasive problem” (p. xi), Patterson runs the further risk of allowing the texts he uses for his demonstration simply to turn into pretexts for uncontrolled and unstructured digression. It has to be said at once that these risks he proves unable or unwilling to guard against.From the nineteenth century Patterson begins, inevitably, with the well-worn theme of the “superfluous man.” Nothing very original here, as this particular label has been applied so often and so indiscriminately to Russian literature that it has turned into a kind of critical rubber stamp. But at least Patterson does not go over the well-worn ground of the realist novel, preferring to concentrate on Dostoevsky’s non-fictional Winter Notes on Summer Impressions, as embodying its author’s post-Siberian sense of estrangement from Russia and his search for a new identity, brought into focus by his trip to Europe. However, in the case of Tolstoy, Patterson reverts to fiction, concentrating on The Death of Ivan Ilich and Resurrection. In this connection he is perhaps rather less scrupulous than he ought to have been over the distinction between fiction and non-fiction.Noting the comments on Tolstoy, the reader becomes increasingly aware that the book is in many respects a more extended sermon than scholarly analysis. This is confirmed by Patterson’s decision in Part Three to include two early twentieth-century religious thinkers, Florensky and Shestov. Here we are guided through comparatively uncharted territory, but with the uncomfortable feeling that we are plunging into an ever darkening and more oppressive jungle of ideas. The feeling of oppression is not greatly relieved by the author’s somewhat heavy-handed style.The remaining four writers covered are from the “Soviet Period... (shrink)

To refute the pathological reactions typical of American political thought about communism, Fromm shows Russian communism to be a conservative state managerialism, and argues against the premiss that world domination is its supreme goal. His argument is given urgency by his conclusions that only genuine disarmament and the coming to terms with revolution, socialism, and neutralism will save the United States from nuclear destruction or the internal degradation of its democracy.--E. W.

The problem of the creation of artificial man and the creation of artificial intelligence are issues that have now become not just potential, but also actual scientific tasks. The original genetic kinship of philosophy and literature as forms of human culture and meaning formation made it possible to comprehend the most important problems in works rich in ideological content and beautiful in form. The subject of the research is the philosophical aspects of the problem of the creation of artificial man (...) in the classic works of fantasy literature of the XIX-XX centuries. This goal is achieved by consistent consideration and comparison of philosophical and anthropological ideas that can be isolated from the works of Johann Wolfgang Goethe, Mary Shelley, Herbert George Wells and M.A. Bulgakov. Hermeneutical method as interpretation and reconstruction of meanings, comparative historical analysis, philosophical comparative studies are used as the methodological basis of this historical and philosophical research. The novelty of the research lies in the historical and philosophical reconstruction of the problem of creating an artificial person, posed for the first time on the pages of the world art classics. The very idea of creating an artificial man was a continuation of the God-fighting aspirations of the Renaissance and the embodiment of the ardent desire to become not only on a par with the Creator, but also to surpass Him. When creating the image of the homunculus, Goethe also had in mind the contrivance, artificiality and fruitlessness of many enlightenment ideas, because the enlighteners questioned the very existence of God, putting a scientist-creator in His place. Goethe's idea of the futility and danger of experimenting with human nature was later developed by Mary Shelley, H. G. Wells and Mikhail Bulgakov. Wagner's homunculus and the creation of Dr. Frankenstein are the closest to the idea of man that prevailed in the philosophy of Modern times and educational pedagogy. Powerful notes of philosophical foresight of many plot moves of the coming history of mankind sound in the novel by Wells (the creation of Dr. Moreau) and the story of Bulgakov (Sharikov). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 30.1 (2006) 102-117 [Access article in PDF] Gossip and Literary Narrative Blakey Vermeule Northwestern University Since its murky origins in Grub Street, a specter has haunted the novel—the specter of gossip. In its higher-minded mood, literary narratives have been very snobbish about gossip and the snobbishness is unfair. Even the most casual reader of social fiction will recognize that gossiping is what characters do most (...) passionately. However, they can neither admit nor be aware of it. Only minor or morally compromised characters are allowed to indulge in its pleasures. Matronly middle-aged women, chatty maids, little girls, and effeminate fops are the ones who gossip; their more reflective counterparts—the men and women designated as heroes and heroines—only briefly tolerate such idle chatter. Gossip is derided, decried, condemned, and maligned. It is womanish, low, slavish, servantish, silly, pert, loose, wanton, jiggetty, mean. It is the "tittle-tattle of Highbury" in Austen's Emma, an activity for the old maid Miss Bates and her even older, blind, and senile mother. In Middlemarch, although the world is "apparently a huge whispering-gallery," the greatest gossip of all is Mrs. Cadwallader, a matron with a mind like "phosphorous, biting at everything" (Spacks, p. 194). In Richardson's Clarissa, Lovelace—a man not known for his indifference to social information—airily dismisses gossip as "the female go-round." (In novels, the male equivalents of the "female go-round" tend to be such despised modes of exchange as business letters, gambling, chess, and games of chance.) Gossip has always been a part of charivari with the power to turn the world upside down. It also has the power to destroy lives (Les Liasons Dangereuses) and to derail love (when it becomes the "prejudice" of Pride and Prejudice). If it ever innocent, it is only because it is meaningless.Gossip is all of these things even—especially—when it powers the [End Page 102] whole narrative. This paradox is evident almost anywhere we choose to look. Social novelists view the stuff of direct, unmediated social information as so intense that it requires special handling—even disavowal. I will briefly survey examples from French, English, and Russian fiction. The first is a lurid and overheated speech by Henri de Marsay, the peculiar hero of Balzac's short novel, The Girl with the Golden Eyes (1815). De Marsay is a dissipated aristocrat in love with a mysterious young girl who, he finds out much later, is the sexual slave of de Marsay's long-lost sister. But first, after a night of passion that "had begun with a slow trickle of pleasures and ended in overflowing torrents," de Marsay realizes, when his lover accidentally lets slip the name of his rival, that the person he is competing with is female. The next day he becomes consumed with a bitter plan to kill his faithless lover. He reflects to his friend Paul "Upon my honor, man is a clown dancing on the edge of a cliff. We're told about the immorality of Les Liaisons dangereuses, and some book with the name of a chambermaid. But there is one ghastly, dirty, dreadful, corrupting book that is always open and never closed, the great book of the world—not to mention another book, a thousand times more dangerous, that consists of everything passed on by word of mouth between men or women behind their fans at the ball."1 Even though de Marsay is a corrupt aristocrat, his sentiments are little different from those the narrator expresses in the book's opening chapter, a panoptic survey of Parisian life as a glorious mosaic of infection, rot, and moral disease.In Emily Bronte's Wuthering Heights, Heathcliff's new tenant Lockwood breaks his self-imposed exile from social life by pressing the housekeeper Nellie Dean to do what housekeepers do best and launch into an aggrieved saga about her master's family. He wants her to serve up the gossip hot. "I ate..., hoping sincerely she would prove a regular gossip, and either rouse me to animation, or lull me to sleep... (shrink)

Money and gossip in nineteenth-century Russian fiction act as combined forces that disrupt the narrative and the relationships between the main characters. The motifs of money are prominent in the novels of both major and minor Russian writers and when seen side by side, the function of the motifs of money becomes clear as a genre marker. The two writers discussed in this paper are Fyodor Dostoevsky and Yevdokia Rostopchina. By placing their works side by side, it (...) becomes evident that their treatment of money represents a similar artistic response to the changing world of Russian social relations in the nineteenth century and the emergence of a new value system replacing that of the old estate culture. More than that, the treatment of money in combination with the prominence of gossip as a structuring device, which moves the plots in Rostopchina’s and Dostoevsky’s novels, reflects the development of the novel as a genre. Rostopchina’s seemingly compliant demeanor conceals a more intricate and subversive agenda. Through her strategic use of feminine masquerade, Rostopchina not only anticipated modern theories of gender as a social construct but also employed a timeless tactic of encoding subversive messages within seemingly conventional works. What is of particular interest in this paper is the incorporation of the society tale into the novel and how this reflects the transformation of value in the nineteenth-century Russian novel. (shrink)

The collective historical amnesia that reigns in contemporary Russia demands an explanation. In the first part of my article I will analyze the mechanisms that suppress historical memory. I will focus my attention on two historical representations of critical relevance for this matter. First, I will discuss the Western-oriented ideology of the post-Soviet intelligentsia. Second, I will analyze the functioning of the myth of the "Great Patriotic War." In the second part of my paper I will address the influence of (...) historical amnesia on contemporary Russian society. Deep distortions in moral judgments and social relations resulting from suppressed memory will be studied through an analysis of contemporary Russian fiction, especially fantasy. Finally, I will consider Russian Gothic society, which originates in historical amnesia. (shrink)

Troubling Reason: Notes from Underground Revisited -- Love, Attention and Teaching: The Brothers Karamazov -- Passion as a Quality of Education: The Death of Ivan Ilyich -- Education, Rationality and the Meaning of Life: Tolstoy's Confession -- Pedagogy of the Gaze: An Educational Reading of Lolita -- Education Arrayed in Time: Nabokov and the Problem of Time and Space -- Conclusion: Literature, Philosophy and Education.

In the 1972 science-fiction novel, Roadside Picnic, by the Russian brothers Arkady and Boris Strugatsky, aliens have used Earth as a rest stop on the way to another, presumably grander, destination...

I have enjoyed reading fiction since I was young, and until I was twenty-eight I believed that I could write it myself. Then I read a novel by [Michel] Tournier and changed my mind. Imperceptibly, great changes have taken place in fiction. The difference between modern fiction and classical fiction is as great as the difference between the car and the horse-drawn cart. The finest of the modern novels cannot be read ten lines at a glance. (...) Let me cite an example, so that my readers can come to share my point of view. The first sentence of Marguerite Duras's novel The Lover is "I was already old." Innumerable vicissitudes are contained in that phrase. If you read on carefully, you will discover that more or less every sentence is written like that, and my views on modem novels were formulated by reference to The Lover. The great modern novels always contain a lot of information and are extremely elegantly written, delighting those who read them and scaring those who would like to write fiction. Of the classic writers, only the Russian Chekhov occasionally writes in this way, but by no means all his works command reverence. I have to confess that modern novelists used to shock me greatly. The novel by Tournier that I read, called Death and the Maiden, was only the first of a series of shocks. (shrink)

Translated by Anthony Bower With an Introduction by Oliver Todd 'A conscience with style' V.S. Pritchett The Rebel (1951) is Camus's 'attempt to understand the time I live in' and a brilliant essay on the nature of human revolt. Here he makes a daring critique of communism - how it had gone wrong behind the Iron Curtain and the resulting totalitarian regimes. And he questions two events held sacred by the left wing - the French Revolution of 1789 and the (...) Russian Revolution of 1917 - that had resulted, he believed, in the use of terrorism as a political instrument. In this towering intellectual document, Camus argues that hope for the future lies in revolt with revolution - a chance to achieve change without losing our freedom. 'The last French intellectual to take the side of humanity and talk its language... a figure of immense moral stature' Sunday Times Winner of the Nobel Prize for Literature. (shrink)

This article is devoted not only to Losev''sphilosophical works, but also to his fiction,which he created during 1930s and 1940s.Losev''s eight books of the 1920s (his``octateuch'''') combine into a single whole thatamounts to his philosophy of life and historydepicted in expressive images. At the same timeLosev''s ``octateuch'''' strikes one as having beenwritten at a single sitting and in a singlestyle, in a genre that can be identified as the``philosophical novel'''' having as much right asSpengler''s opus to be called an (...) ``intellectualnovel.'''' In his prose of the 1930s and 1940sLosev tries with artistic methods to resolvethe philosophical problems which he raised inhis works of the 1920s. Losev''s ``octateuch'''' andhis fiction are directed against thosecontemporary materialists who seek to embodyPlato''s Republic, whom he christens``soil-less nihilist idealist utopians.'''' All ofthis leads to the conclusion that Losev''sintellectual novel belongs to a definite andmore specific subgenre. It is undoubtedly ananti-utopia, full of the grotesque. In additionto its scientific and social orientation,Losev''s anti-utopia is also religious innature. Thus Losev not only depicts the realconsequences of utopian dreams, but also turnsto the ``life of the artist,'''' which is far fromany technological or social utopias but isfilled with another, no less terrifying ornihilistic utopia: that of the non-religiousexistence of the human person. Losev preservedhis anti-utopian and anti-nihilist viewsthrough his late period (1950s–1980s), despitethe care he took not to cross Sovietcensorship. Losev''s anti-utopia is the kind ofChristian realism to which he appealedthroughout his life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“We all love with the same part of the body, don’t we?”Iuliia Voznesenskaia’s Zhenskii Dekameron, New Women’s Prose, and French Feminist TheoryYelena Furman (bio)Starting out as a poet who eventually turned to fiction, Iuliia Voznesenskaia was also one of the main figures of the Soviet feminist movement, a fact that makes her biography both unusual and courageous. In the 1970s, Voznesenskaia’s involvement with the dissident movement in Leningrad (...) resulted in several arrests, imprisonment, and time in the camps.1 Although she was not initially interested in women’s issues, her incarceration in all-women’s camps and prisons convinced her that “the situation of women in our country demands special attention” (“Zhenskoe dvizhenie v Rossii” [“The Women’s Movement in Russia”] 41). Along with several other women dissidents, she founded the Soviet feminist movement, putting out the samizdat women’s journal Zhenshchina i Rossiia (Woman and Russia), which precipitated immediate reprisals from the KGB. A women’s club, Mariia, and a journal by the same name followed, as did more KGB reprisals. For her feminist activity, Voznesenskaia was expelled from the Soviet Union in 1980, settling in West Germany.2In 1985, in West Germany, Voznesenskaia wrote her first and best-known novel, Zhenskii Dekameron (The Women’s Decameron). The novel is set in a Leningrad maternity ward containing ten new mothers from different backgrounds with different life experiences: Larisa, Emma, Natasha, Nelia, Galina, and Valentina are educated and all have careers except Galina, whose occupation, admittedly strange for a feminist novel, seems to be a dissident’s wife; Ol’ga works in a shipyard; Irishka is a secretary; Al’bina is an Aeroflot flight attendant doubling as an escort on the KGB’s payroll; Zina is homeless and has served time in the camps; Valentina is a Party worker, whereas Galina is part of the dissident community. Quarantined together for ten days because of a spreading infection and inspired by Emma’s reading of Boccaccio’s Decameron, the women begin to tell each other stories to pass the time. As its title makes clear, Voznesenskaia’s novel is heavily indebted to Boccaccio’s, borrowing its structure and many of its themes, such as an emphasis on storytelling and sexual explicitness. The humor and poignancy of the women’s stories make it a highly enjoyable read, and the focus on female sexuality and the author’s play with the narrative set this novel apart from other Soviet writers’ works.3 The novel also features what is surely a unique occurrence in Russian and Soviet literature: an openly feminist character (Larisa), referred to by the authornarrator as “zhenshchinoi vpolne emansipirovannoi, mogushchei ukrasit’ soboi liuboe zapadnoe feministicheskoe obshchestvo” [“a completely emancipated woman, capable [End Page 95] of adorning any Western feminist group”] (13), who is moreover depicted in a wholly positive light.4Yet despite enjoying a modicum of success, including being translated into several languages and staged as a play, Zhenskii Dekameron remains an under-read and underrated work.5 The reasons for its relative obscurity are closely allied with Voznesenskaia’s political activities in the 1980s. Exiled abroad for being politically undesirable to Soviet authorities, she could not have her work published in the Soviet Union; rather, the novel came out in Russian in Israel in 1987 (Curtis 186n2).6 The lack of visibility from which she suffered in her native country changed only in the (post)glasnost’ period: in 1991, the novel was published in Russian in Tallinn, and in 1992, in Moscow.7 Despite being able to be published, however, Zhenskii Dekameron seems not to have made a strong impact on either readers or critics, and there does not appear to be any discussion of it in Soviet/ Russian literary journals.The novel likewise suffers from a lack of familiarity in the West. The interest Voznesenskaia generated among Western European and American feminists in the early 1980s was for her feminist activism in the Soviet Union, which preceded her novel writing. Zhenskii Dekameron seems to have made a modest impact on readers; scholars, too, discuss it only occasionally. The most comprehensive treatment of the work to date has been Jerzy Kolodziej... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Faulkner's Novels Past and PresentAndrew J. McKenna (bio)This article contains instances of the N-word. The Editor, Michigan State University Press, and Michigan State University do not condone the use of this word and only after careful consideration have we reprinted it. In this case, the word appears in the context of works by Faulkner.When I first came East I kept thinking You've got to remember to think of some (...) of them as coloured people not niggers, … I learned that the best way to take all people, black or white, is to take them for what they think they are, and leave them alone. That was when I realized that a nigger is not a person so much as a form of behavior; a sort of obverse reflection of the white people he lives among.—Faulkner, The Sound and the Fury ([1929] 2019, 45)A black man is a person who must ride Jim Crow in Georgia.—W. E. B. Du Bois ([1940] 1992, 153)When William Faulkner memorably stated, "the past is not dead, it's not even past," he was not reaching out for a place in the world-historical pantheon of aphoristic wisdom; he wasn't thinking about culture and history in general. A person of his own time and place, he was thinking about his experience in his own homeland, the deep South of his native [End Page 39] Mississippi, with its cherished myth of a Lost Cause that ennobled the effort to tear our country apart over slavery, and that subsequently enabled Jim Crow legislation, spawned the KKK, and sanctioned a century of lynching and burning. There has been an uptick of attention to Faulkner owing to Carl Rollyson's recent two-volume biography (2020) and, especially for my purposes, Michael Gorra's The Saddest Words: William Faulkner's Civil War (2020), which focuses on the centrality of that cataclysm in his creative imagination and his historical vision.On more than one occasion Faulkner himself was emphatic in his own ambivalence toward "his native land," as in this self-description: "He was born of it and his bones will sleep in it; loving it even while hating some of it … the intolerance and injustice; the lynching of negroes not for the crimes they committed but because their skins were black" (in Blotner 2005, 354). Gorra (2020) argues that this very ambivalence is a generative resource for the author's greatest achievements, quoting Yeats's notorious dictum, "We make out of the quarrel with others, rhetoric, but of the quarrel with ourselves, poetry" (346). This can remind us of the notorious "crucible of doubt" out of which Dostoevsky allegedly forged his fiction. The Russian novelist is named (Blotner 2005, 718) as among seven of Faulkner's "masters" in the literary education of this omnivorous autodidact, with the others being Melville, Conrad, Balzac, Flaubert, Dickens, and Cervantes. With Dostoevsky especially he shares an admixture of horror and benign good humor. On occasion Faulkner was classed as an author of Southern Gothic, a label also applied to Flannery O'Connor, who, with Toni Morrison and Cormac McCarthy, counts among his greatest literary progeny. A more capacious designation might rank him with masters of the grotesque, as Mikhail Bakhtin has explored this anomalous category in his writings on Rabelais and Dostoevsky.Light in August (Faulkner, 1932) begins and ends on a humorous note, as we follow the quest of the guileless Lena Grove for the father of her unborn child. She has concluded from her "endless care of other children" in her brother's household, "'I reckon that's why I got one so quick myself'" (3); the novel closes with her newborn infant in her arms in her now aimless trek, marveling, "My, my. A body does get around: here we aint been coming from Alabama but two months, and now it's already Tennessee" (480).Lena's peregrinations bookend the story of Joe Christmas, so named because he was born on that day and who, we find later in the narrative, was snatched away by his religiously fanatical grandfather to be placed in an orphanage, then snatched away again to be placed... (shrink)

If Milton is the grand expositor of human culture as a middle realm, Williams can be seen as in many respects his secular heir, an heir careful to work out how the poetic imagination serves to make man's expulsion from Edenic origins bearable and even invigorating. Williams' poetics begins, as Riddel makes clear, in the awareness that there is no inherent or even recoverable correspondence between words and facts in the world, but Williams then devotes most of his energies to (...) denying the metaphysical alternative to that position—the claim that all language can do is reflect on and play with the emptiness or fictiveness of its signifiers. If words do not copy but produce meanings, then they can be used significantly to focus our attention on the activities of the artist and his constructed characters as they engage in that process of production. The act of producing meanings can be the process by which to achieve another kind of reference, for the act of expression can itself become the focus generating a poem's significance by calling attention to the various ways authors and characters station themselves in relation to specific situations. Fiction then is not so much a term describing the ontological status of certain kinds of language but a term characterizing a particular way of using language to reflect upon forms of behavior in which we are not fully conscious of the quality of our activities. Williams' position on the artist's language is clearest in his frequent metaphor of the artist as farmer. The initial activity of both men is a kind of violence, an assertion of the difference between human desires and indifferent "blank fields." But what begins as antagonism does not result in the creation of self-referential fictive structures or the gay wisdom of maintaining and disseminating differences. Rather antagonism is the precondition for what Williams richly labels "composition": the farmer-poet organizes the blank field into a fertile, life-sustaining set of relationships which are not simply linguistic.1 · 1. Williams, Imaginations, ed. Webster Schott , pp. 98-99. Williams' image of arts as antagonistic composing has important parallels with the Russian Formalist concept of "defamiliarization," but for Williams it is not simply a scene but a total human act that is revealed by this process. Charles Altieri teaches modern literature and literary theory in the English department at the University of Washington. The author of Enlarging the Temple: New Directions in American Poetry of the 1960s, he has just completed a study of literary meaning. "Culture and Skepticism: A Response to Michael Fischer" was contributed to Critical Inquiry in the Winter 1979 issue. (shrink)

Antoine de Baecque proposes a new historiography of cinema, exploring film as a visual archive of the twentieth century, as well as history's imprint on the cinematic image. Whether portraying events that occurred in the past or stories unfolding before their eyes, certain twentieth-century filmmakers used a particular mise-en-scène to give form to history, becoming in the process historians themselves. Historical events, in turn, irrupted into cinema. This double movement, which de Baecque terms the "cinematographic form of history," disrupts the (...) very material of film, much like historical events disturb the narrative of human progress. De Baecque defines, locates, and interprets cinematographic forms in seven distinct bodies of cinema: 1950s modern cinema and its conjuring of the morbid trauma of war; French New Wave and its style, which became the negative imprint of the malaise felt by young contemporaries of the Algerian War; post-Communist Russian films, or the "de-modern" works of _catastroika_; contemporary Hollywood films that attach themselves to the master fiction of 9/11; the characteristic _mise en forme_ of filmmaker Sacha Guitry, who, in _Si_ _Versailles m'était conté, filmed French history from inside its chateau; the work of Jean-Luc Godard, who evoked history through his own museum memory of the twentieth century; and the achievements of Peter Watkins, the British filmmaker who reported on history like a war correspondent. De Baecque's introduction clearly lays out his theoretical framework, a profoundly brilliant conceptualization of the many ways cinema and history relate._. (shrink)

Amongst the most treated questions in Western research on the works of Svetlana Aleksievich is the question of the genre of Aleksievich’s prose works, followed closely by the question of the historical authenticity of her method of collecting oral information about the Soviet period of history from witnesses of that history. The questions treated, such as the problem of genre, aesthetic authenticity and the relationship of history and fiction, can be distilled into the question of the authority of the (...) literary text. If the Nobel Prize for literature is awarded on the assumption that Aleksievich’s work is literature—and no one, including the author, has questioned that assumption—then it is justifiable to pose the question of the authority of the literary text as an aesthetic message—as literary truth—using the tools of literary analysis, not of historiography or sociology. In this essay, the claim that Secondhand Time [Vremia second hend] is a novel will be examined in the context of the narratological model of the literary text of Russian Formalism and Prague Structuralism and by applying the test of “artistic quality” (khudozhestvennost’), which validates the aesthetic value of texts of the literary canon. This examination will allow us to answer the question about what kind of text has been created using oral testimonies as material for a work of fiction. (shrink)

"This volume contains two brief works by Isaiah Berlin, an acclaimed philosopher and thinker of the 20th century. "The first" is a short fictional piece he wrote when he was twelve reflecting his belief that the idea of a perfect society cannot justify the cruelties he saw in the Russian Revolution. "The last" is an essay he wrote the year before he died synthesizing his thoughts on topics such as freedom, determinism, and pluralism. Also included are several tributes to (...) Berlin's friendship, conversation, and thought."--Provided by publisher. (shrink)

Sophisticated Marxists have always been aware of the important contributions to literary criticism of Marx, Engels, Trotsky and Gramsci. Yet, except for Lukács, there has been almost no discussion of Lenin's great interest in literature. This paper glances at some of the contemporary evidence of Lenin's concern with the classic Russian novelists — especially Tolstoy, to whom he devoted four essays (his only works of formal literary criticism). Lenin placed great emphasis from the earliest days of the revolution on (...) building a popular library system and on publishing good fiction cheaply. He also had an informed interest in language and was a life-long opponent of literary censorship. In this connection, his struggle against the sectarianism of the Proletkult movement is recorded. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Case against Rational Egoism in Dostoevsky’s Notes from Underground*James P. ScanlanWriting in his own voice, in letters, notebooks, and diaries, Fyodor Dostoevsky frequently attacked the philosophy of the Russian “nihilists,” as he typically called them—Nikolay Chernyshevsky, Dmitry Pisarev, and other representatives of the radical Russian intelligentsia in the third quarter of the nineteenth century. But because Dostoevsky also used fiction to argue against them, if (...) we wish to discern the full contours of his opposition, we must turn to his stories and novels; and there we face the problem of determining to what extent, if any, the statements of his narrators and characters express his own views.This problem is particularly challenging in regard to the radicals’ “Rational Egoism,” to use the label by which the Russian variant of the theory of enlightened egoism came to be known. 1 Dostoevsky’s most sustained and spirited attack on that aspect of “nihilist” philosophy is found in Part One of Notes from Underground (1864), but it is voiced by one of the darkest, least sympathetic of all his characters—the nameless narrator and protagonist known as the Underground Man. Was this repellent creature speaking for Dostoevsky? The Underground Man, moreover, can easily be viewed as a sheer irrationalist whose rejection of Rational Egoism is a tortured emotional outburst with no logical credentials. Robert L. Jackson, in his groundbreaking study of 1958, describes the Underground Man’s thinking at one point as follows: “It is impossible to argue [End Page 549] with the rationalists: reason is on their side. All that remains is irrationally to negate reason.” 2 If those words were to be taken not simply as a moment in Jackson’s rich analysis but as a comprehensive description of the Underground Man’s attitude, it would be senseless to expect philosophically nuanced arguments from him. And we would have no grounds for thinking that Dostoevsky’s own treatment of Rational Egoism went beyond emotional rejection.Critics from Vasily Rozanov to Joseph Frank have debated the Underground Man’s stance toward Rational Egoism and its relation to Dostoevsky’s, with no sign yet of a definitive resolution. Frank’s recent treatment, presented in the third volume of his monumental literary biography of Dostoevsky, offers a helpful history of the dispute as well as his own finely elaborated interpretation of the Underground Man as an irrational opponent of Rational Egoism. 3 Frank reads Notes from Underground as satire, and he contends that the Underground Man is caught in an agonizing self-contradiction: intellectually, he accepts the basic premises of the Rational Egoists’ outlook, such as the denial of free will; but he finds that, “despite the convictions of his reason,” he cannot live with the amoral and dehumanizing implications of those premises, which strip human beings of moral responsibility. 4 From a rational point of view, of course, rejection of the implications should force the Underground Man to reject the premises as well (by the hoary logical law of modus tollendo tolens), and indeed he does at times passionately condemn them. But according to Frank, these condemnations simply show the depth of his predicament: his “intellectual acceptance” of Chernyshevsky’s determinism is conjoined with “simultaneous rejection of it with the entire intuitive-emotional level of personality identified with moral conscience,” causing him to respond irrationally in a multitude of instances. 5 Frank’s Underground Man, then, is an intellectual disciple but an emotional critic of Rational Egoism; and he is triply an irrationalist: his thinking is mired in self-contradiction, he acts irrationally as a result, and his opposition to Rational Egoism has not a rational but an “intuitive-emotional” basis.But where does this leave Dostoevsky? Must we conclude that he, too, is somehow suspended between acceptance and rejection of Rational Egoism and for that reason has created in Notes from Underground a Bakhtinian equilibrium in which neither position is clearly privileged? For Frank, certainly not. It follows from Frank’s analysis that Dostoevsky himself, unlike the Underground [End Page 550] Man, is a fully consistent opponent of Rational Egoism, for that theory is the target of the inverted irony at the core of his satire; “the... (shrink)

Various writings of mixed genres, drifting between scientific treatises, mystical epiphanies, and prose fiction related to the school of “cosmism,” have been explored for more than fifty years, and the interpretations range from (religious) utopia to theories of sustainable development. The author discusses the question of whether “cosmism” is exclusively “Russian,” compares its general postulates with the techno-Cosmist approaches of the last ten years (including those involving fiction, such as by Eugene Thacker, and the more philosophical approaches, (...) like that applied by Yuk Hui), and proposes clarifying how the Cosmists literally viewed the structure of the world and how they conceptualized its elements as contrasted with the interest of contemporary theorists in openness to planetary and cosmic horizons. The latter, often oriented to nuclear physics and fragmenting “reality” into stochastic agencies whose temporary couplings are formed by cutting and assembling procedures, can be reformulated from the “cosmist” perspective as gleaned in this case from the works of Valerian Murav’ev and Vladimir Vernadsky, with the aid of the categories of expansion and accomplishment. (shrink)

Vladimir Putin's image functions as a political talisman far outside of the borders of his own country. By studying material objects, fan fiction and digital media, this book traces the satirical uses of Putin's public persona, notably how he stands as a foil for other world leaders. It argues that the internet is crucial to the creation of contemporary Putin memorabilia and that these items show a continued political engagement by young people, even as some political scientists and media (...) experts decry what they see as the opposite. The book further addresses the ways in which explicit sexual references about government officials are being used as everyday political commentary in the United States. Turning a critical eye to Putin kitsch shows how the number of such references skyrocketed during the 2016 US Presidential election campaign, and suggests that the phenomenon is likely to still be important when Americans next return to the polls. Finally, the internet makes possible a totally new kind of kitsch--the virtual kind. An examination of how the Russian president's image circulates via memes and parodies, as well as through apps and games, suggests that political culture has become increasingly participatory in the last decade. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Evgeny Zamiatin's "The Cave"Timothy LangenEvgeny Zamiatin's short story "The Cave," like Fyodor Dosto- evsky's novel Crime and Punishment, has at its dramatic center a single criminal act, and as its philosophical preoccupation the reasons for and the results of that act. The act in "The Cave" is not murder but theft, the theft of scarce firewood from a downstairs neighbor. The result, unlike Dostoevsky's, is rapid detection, confrontation, and (...) then suicide. The reasons, however, are somewhat more complex, and as with Dostoevsky they reach beyond merely topical sensation to touch a paradox that lies close to the heart of human civilization.The immediate reasons are topical and simple enough. Martin Martinych and Masha live together on the brink of hypothermic death during the predictable cruelty of a Petrograd winter and the exceptional horror of the Russian Civil War. Nearly everyone in the city is freezing and starving, and the precariousness of existence has led people to trade the luxuries of civilized life for the barest essentials of physical survival. Books and sheet music shift imperceptibly from repositories of memory and culture into combustible objects good for a few more minutes of life-saving warmth. Favorite rooms are abandoned as not worth the cost of heating, and Martin Martinych sacrifices his conscience for a few scraps of wood. Indeed, Zamiatin prepares the crime at least as sympathetically as does Dostoevsky: the victim, Obertyshev, is every bit as dislikable as Dostoevsky's pawnbroker; he hoards his considerable supply of wood in total indifference to the suffering of his neighbors. Moreover, Mart's crime, unlike Raskolnikov's [End Page 209] in Crime and Punishment, hardly injures the victim, who seems to suffer a purely mental affront when some of his stash has been stolen. We would like to think that in Raskolnikov's place we would not commit his crime; in Mart's place, however, we might well be excused for following his example and filching a few sticks of wood from a man who doesn't need them.However, it is not an easy decision for Mart, and Zamiatin describes it as a battle between two Marts, bifurcated by the extreme deprivation of his circumstances into a purely animal Mart, a "caveman" who says only "I must," and another Mart clinging tenaciously in memory, a Mart who used to love the music of Scriabin and who now, standing before Obertyshev's ample woodpile, says "I may not." The caveman prevails, Mart brings the wood upstairs, and he and Masha enjoy a day of warmth. At the end of the day, the chairman of the housing committee confronts Mart, assuring him that he too detests Obertyshev, but advising Mart to return the wood or else face legal consequences. Alas, there is none to return. In despair Mart reaches for a vial of poison that he has apparently reserved for that moment when the suffering of life outweighs the hope—but Masha, who is further gone than he, insists on taking the single portion herself. She instructs Mart to go outside for a little walk while she does the deed. He does so, and here the story ends.Zamiatin was trained as an engineer and early in his career he worked both as a technical writer and as a writer of fiction, and so it is tempting see behind this story a mechanical vision of human existence that is something like a physical structure. The structure of human civilization, according to this view, is built on an essential framework without which the entire thing would collapse, and to which every other part of the structure must be sacrificed if need be. Physical existence is part of this framework: it is the precondition of any human civilization, and the ornaments of that civilization must when necessary be devoured to ensure the continued survival of human beings. The burning thirst of physical necessity must be slaked before we can irrigate the lush fields of beauty, kindness, and imagination. Books are for reading, but in some circumstances they are more valuable as kindling.In the writing of some psychologists—most notably Abraham Maslow—there appears a "hierarchy of human needs" that... (shrink)

Although to the readers of Utopian Studies Darko Suvin remains perhaps best known for his criticism of science fiction, much of his recent writing has fallen into the category of Marxist political epistemology. Of note are In Leviathan's Belly: Essays for a Counter-Revolutionary Time (2012), his analysis of former Yugoslavia in Splendour, Misery, and Potentialities: An X-ray of Socialist Yugoslavia (2017) as well as a number of shorter works on subjects that range from the Russian Revolution to George (...) Orwell's Nineteen Eighty-Four. For decades, Suvin has also written (about) poetry: he discussed verse already in the 1979 The Metamorphoses of Science Fiction: On the Poetics and History of a Literary Genre and his... Read More. (shrink)

This essay explores the discoved place in human noosphere called as "Cosmos-not-Here," encompassing the speculative realms of science fiction, religious eschatology, and theoretical astrophysics. The content of "Cosmos-not-Here" contrasts with the same of "Cosmos-Here," representing humanity's tangible explorations and mastery of the physical universe. The text delves into how the Cosmos-not-Here operates as a mental construct, offering humanity an imaginative escape into utopian visions and hypertextual narratives, while disregarding the constraints of established physical laws. -/- The discussion emphasizes humanity's (...) innate psychological drive, metaphorically expressed as "forward and upward," linking it to a sacred yearning for cosmic harmony and expansion. This drive manifests culturally in phenomena like Russian aspirations, illustrated by the "Gagarin Smile," and the global fascination with cosmic-themed speculative fiction, games, and spiritual constructs such as astrology. -/- The essay concludes by identifying a universal "Cosmic-We" ethos, characterized by a shared attraction to the cosmos as a concept of transcendence and infinite potential, reflecting humanity's enduring pursuit of meaning beyond the utilitarian confines of terrestrial existence. The analysis reveals the philosophical resonance of this semantic cluster with ancient and medieval cosmologies, suggesting its timeless significance in human thought. (shrink)

continent. 1.2 (2011): 129-135. Introduction Vincent W.J. van Gerven Oei Successions of words are so agreeable. It is about this. —Gertrude Stein Nachoem Wijnberg (1961) is a Dutch poet and novelist. He also a professor of cultural entrepreneurship and management at the Business School of the University of Amsterdam. Since 1989, he has published thirteen volumes of poetry and four novels, which, in my opinion mark a high point in Dutch contemporary literature. His novels even more than his poetry are (...) criticized for being inaccessible, which I generally take to be a compliment. It would be like saying that Fernando Pessoa is inaccessible, which he is not. Neither is Wijnberg. When we think of the combination economist-poet we are immediately reminded of the American poet Wallace Stevens, who, as the story goes, had two stacks of paper on his desk, one for contracts, one for poems. We also know that Stevens wrote on the economy and that questions of economy and insurance surface at multiple points in his poems. The following text is a very preliminary attempt to point at the intersections between poems, novels, business, and poetry in Wijnberg’s work. On the back cover of his novel De opvolging ( The Succession , 2005), Wijnberg states the following: “[This is] a novel for whomever is interested in the workings of a company as much as in the workings of a poem.” Wijnberg thus claims that the way in which a company “works” may be similar to the way in which a poem “works.” The question is the obvious one, what does this similarity consist in? De opvolging tells the story of company in which bosses and company doctors, secretaries, children, clowns, and beggars have tons of meetings, recite poems, perform plays, tell jokes, and succeed each other, climbing up and down in the company’s hierarchy. De opvolging is a novel in which the career of people follows the career of words. It resonates with Gertrude Stein's sentences, "Grammar. What is it. Who was it" (1975, 50). The words in Wijnberg's poems are like he characters in his novel. And if we keep in mind this allegorical reading of De opvolging , which is obviously only one of the possible readings, we may be able to understand some aspects of Wijnberg’s poetry. A repetition is already a pun. Look, that word is trying it again, as if it is afraid that by not doing it it would give up the hope that it will ever be able to do something. A pun is the opposite of the first word coming to the mind of someone who shouts it when he suddenly discovers something. (104) The repetition, the succession of the same word, is already a pun, a joke. The succession of the father by the son after the revolution is a joke. "Look he's trying it again!" The essence of a joke is a repetition. Archimedes’ “Eureka!” is its opposite. Poems can easily become jokes, depending on the way the words follow and repeat each other. In De opvolging , the careers of the bosses, good and bad secretaries, and company doctors easily become jokes, as they are “afraid that by not doing it [they] would give up the hope that [they] will ever be able to do something.” Not only the repetition, but also the distance and difference between the words in a poem, their cause and effect relations can be read as company relations. This becomes clear when we, for example, read the first lines of the poem “Cause, sign” from Het leven van ( The Life Of , 2009). A sign lets know what is going to happen, a cause lets it happen. If the sign also lets happen there is no reason to isolate it, because then I would isolate some- thing only because it’s different for me. If I didn’t have to write this myself, but would have secretaries to whom I could dictate it, I would be able to say more about it. (49) Upon reading the first two lines we can already conclude that any word may be cause or sign or both. If a sign is also a cause there is no reason to discriminate it, yet to the poet they are still different. This difference only becomes expressible the moment he would have a secretary. Just like in De opvolging , the secretary introduces a distance; not in a company but in a poem. Hence the difference between “good” and “bad” secretaries in a company, where the good secretary of one boss may be the bad secretary of another one. The more we can say about the bosses of the company, or signifiers of the poem, the greater the distance we introduce between them and us. We should take serious the relation between Wijnberg’s novels and poems. Although they operate on different scales, they explain and converse with each other. Another example may be the novel Politiek en liefde ( Politics and Love , 2002), which deals with the relation, precisely, between politics and love. In the novel, Nicolai, a lieutenant in the Dutch army, is sent to Africa on a military mission. Upon leaving a receives a letter from his father. Dear son, Don’t do anything stupid before your father has advised you to do so. Your mother asked me to write a wise letter. I have been looking for wisdom for half a day and haven’t found much. If you borrow a small amount from a bank you become the bank’s slave, but if you borrow a couple of millions and spend them as quickly as possible the bank becomes your slave. What I want to say is that you have to return from Africa in good health, and before you know it the world will be your slave [....] Signed with a kiss from your father. (88) The line, “If you borrow a small amount from a bank you become the bank’s slave, but if you borrow a couple of millions and spend them as quickly as possible the bank becomes your slave,” returns as the title of poem in Het leven van: “If I borrow enough money the bank becomes my slave” (12-3), which elaborates this theme. So both in the way that these poems are structured and in their subject matter, they refer to the structures of our economy, to the ever-continuing line of CEOs succeeding each other like words, to the distance between them introduced by bureaucracy, and giving and receiving as economical and poetical acts. Poem and economy map onto each other, as in another episode from De opvolging : Edward reads two of the beggar’s poems about presents. Of a holiday nothing remains, except for memories, and if some of them are bad I’d rather forget them all; if I get a present I’d rather get something that’s useful to me for a long time. If I may choose, I choose what I can use longest, long enough to partially forget that this was the present, because it feels bad when nothing is left of it. […] Giving away becomes destruction in the stock destruction economy [ voorraadvernie -tigings-economie ], that is a gift economy [ geschenkeneconomie ], encountering for the first time an economy in which there’s selling and buying on markets. Instead of destroying supplies someone can also quickly say that they aren’t worth anything anymore; if someone wants to take them I’d gladly give him something extra. In a stock destruction economy he is someone who each day wants to work more hours than his colleagues. If around a company there is a gift economy in which someone’s rank is determined and made visible by the gifts someone can give someone else, a company will be more often character- ized by an invisible or unclear system of ranks. (152) Two poems about gifts present two different economical models, described by Wijnberg with the terms “stock destruction economy” and “gift economy.” Here we immediately recall the opposition introduced by George Bataille’s work on the concept of expenditure in The Accursed Share , where a “general economy” would surpass the stock destruction economy based on scarcity (capitalism) and become a gift economy (potlatch) and an egalitarian (communist) society. These claims are made both on the level of the poems and in their discursive explanation. They follow each other and on each other. I would like to finish this introduction to Wijnberg’s writing with a translation from his novel De joden ( The Jews , 1999), which develops the story of Hitler abdicating as chancellor of the Third Reich, appointing philosopher Martin Heidegger as his successor. In a conversation with two Russian actor-spies, sent by Stalin to figure out the situation, philosopher Walter Benjamin describes the abdication scene. Maimon: You were there when Hitler resigned? Benjamin: In the room we’re right now. The desk and the chairs are new. After his resignation Hitler would like to take his furniture to his new house. Martin naturally agrees. It is a sunny day. Martin is very nervous and complains about the heat. Martin is wearing his best dark blue suit, not his professor’s robe. Hitler is wearing his uniform. We enter the room and Hitler gets up and embraces Martin. Martin is not very good at embracing. Hitler shakes his hand. Hitler’s cap is on the desk. The cap has a metal lining. Hitler has strong neck muscles. Hitler says: A man is unclean. He takes a bath. Does he make the bath water unclean? I say: a man is unclean. He steps into a river. A little further a man steps into the river; does he become unclean? Hitler nods. I say: a man is standing in music. Another man hears the music but also sees the first man moving on the beat of the music in a way that he is certain that the music would excite different feelings in him if he wouldn’t to see the first man. Hitler says: a man is clean, listens to music, is suddenly touched and he doesn’t know by what. The conversation ends in the way you know it ends. Hitler picks up his cap from the desk and puts it on Martin’s head. (73-4) Aware of the never ending debate on the question of Heidegger’s involvement in the Nazi regime, Wijnberg has the audacity to present the arguments of complicity in the religious terminology of cleanliness and uncleanliness, while at the same time recalling overtones of Hitler’s supposed love for Wagner, suggesting a relation between Benjamin and Hitler, and so on. The space of this introduction is to small to treat a novel like De joden , a reading of which together with passages from Philippe Lacoue-Labarthe's Heidegger, Art, and Politics: The Fiction of the Political , Jacques Derrida's Of Spirit , Christopher Fynsk's Heidegger: Thought and Historicity , and Avital Ronell's The Telephone Book would be extremely elucidating and potentially open new avenues in thinking Heidegger's emphasis on poetry after the fall of the Nazi empire. But at this point we will have to curb our curiosity and follow the poet himself. The themes of the relation between business and poetry, but also Chinese landscape painting, love, Indian and Japanese poetry, and Western philosophy are analyzed and assimilated in Wijnberg’s work without ever losing the clarity of expression. It may be that, according to Alain Badiou, the “Age of the Poets” is over, but its end (Paul Celan) has exactly brought a new balance between philosophy and poetry, and it is this playful, but nonetheless serious balance that makes one hope that one day Wijnberg’s complete oeuvre might become available to readers across the planet. Tiranë, Albania February 15, 2011 English translations (all of them translated by David Colmer, who is preparing an English collection of Wijnberg’s poems entitled Advanced Payment ): Poetry International Words Without Borders Green Integer Review from Het leven van ( The Life of ) THE LIFE OF KANT, OF HEGEL As if every day he takes a decision that is as good as when he’d been able to think about it all his life. The life of Kant, of Hegel, the days of the life of, select three or four of them. Tell what he has discovered during those days as if he were the last one who knew so little. Give me something that I can cancel against then I can prepare myself for it. The reward is that I may continue with what I’m doing, it doesn’t matter how long it takes. This has nothing to do with everything remaining the same if I say that I no longer want anything else. I wouldn’t be able to say in which one and the other occur in a way that I if I knew something to cancel that one against it wouldn’t be possible now. The stars above my head and being able to say what belongs to what if I’ve let them in. FOLLOWING MY HEART WITHOUT BREAKING THE RULES Observing the rules without observing the rules by going where the rules no longer apply. I could also observe the rules there by applying them to what at great distance may resemble what the rules are about. But why would I do that, not to confuse someone who is seeing me from a great distance? Behind this morning the morning prepares itself when the rules are everything I have. IF I BORROW ENOUGH MONEY THE BANK BECOMES MY SLAVE A bank lends me money, if I don’t pay it back they tell my boss that he has to pay them my salary. But they have to leave me enough to eat and sleep and an umbrella when it’s raining. They can also empty my house, the furniture isn’t worth a lot, but every little helps. Each morning I leave for work, if I don’t start early they’ll soon get someone else, no bank will lend me money when the sun is shining. My boss has given me a cat to raise as a dog. Of course I know that it won’t work out, but I’ve asked for a week—maybe the cat gets lucky, maybe I get lucky. My hands around a cup of coffee, before I leave for work, warm-empty, cold-empty, as if hidden in the mist over a lawn. What I make when there’s no work left for me, I’m ashamed to say how little it is. Once I’m outside I check it, if they watch out of the window they can see me doing it. Suppose it is so much that I’d stay counting for hours, it’s getting dark and I’m still there. They stay watching for a while once they’ve finished their work, but have to go home, I get that, sure, I could also go home and continue counting there. If it’s too little running back immediately won’t help, because nobody’s there anymore, and if I come back tomorrow I may have spent what’s missing tonight. Going somewhere where it’s warm enough to walk around without clothes during daytime, it helps me to know that something’s more there than here. For someone like me there’s work anywhere, it shouldn’t take a week to find work for me there. Three times work and a home close to work, I may choose one and try for a week whether I want to stay there. If at the end of the week I don’t want to stay I’m back on the next day, then it was a week’s holiday. RULES If that’s against a rule, it’s yet another one that I cannot observe, or only so briefly that I cannot re- member it later. Anyways the rules are only there to help me remember what I need in order to do better what I do. In that respect there’s no difference between the rules that I find in a book and the rules that I think of early in the morning. I know that because I’ve made a rule just now nothing has yet to observe it. CAUSE, SIGN A sign lets know what is going to happen, a cause lets it happen. If the sign also lets happen there is no reason to isolate it, because then I would isolate something only because it’s different for me. If I didn’t have to write this down myself, but would have secretaries to whom I could dictate it, I could to say more about it. If something is taken away from me I consider how it would be if the opposite had been taken from me. That is what causes or signifies what is farthest away from what is caused or signified by what has been taken away from me. note: For the translations of “The life of Kant, of Hegel” and “If I borrow enough money the bank becomes my slave” I was able to consult David Colmer’s wonderful translations. (shrink)

In turning to the language of freedom, I am not automatically freed from the dangers of reduction and self-privileging. "Freedom" as a term is at least as ambiguous as "power" . When I say that for me all questions about the politics of interpretation begin with the question of freedom, I can either be saying a mouthful or saying nothing at all, depending on whether I am willing to complicate my key term, "freedom," by relating it to the language of (...) power. The best way to do that is to get power in from the beginning, by making a distinction taken for granted by many earlier thinkers and too often ignored today: freedom from as contrasted with freedom to; freedom from external restraints and the power of others to inhibit our actions, and freedom to act effectively when restraints disappear.All the freedom from in the world will not free me to make an intellectual discovery or to point a picture unless I have somehow freed myself to perform certain tasks. Such freedoms are gained only by those who surrender to disciplines and codes invented by others, giving up certain freedoms from. Nobody forbids by interpreting the original text of Confucius' Analects or the Principia Mathematica, yet I am not free to do so, lacking the disciplines—having not been disciplined—to do so. The distinction can lead to troublesome complexities, but in its simple form here it cuts through some of the problems that arise in power language.Every critical revolution tends to speak more clearly about what it is against than about what it seeks. The historicists against impressionism, the New Critics against historicism, the new new critics against intentionalism and the authority of canons, the feminists against misogynous art and criticism–clearly one could write a history of modern criticism as a glorious casting off of errors. But it is rightly a commonplace among intellectual historians that all revolutionaries depend on their past far more than they know. Revolutionary critics are enslaved by a nasty law of nature: I can say only what I can say, and that will be largely what I have learned to say from the kings I would depose.Everyone who tries to forge any kind of ideological criticism must struggle with these complexities. Nobody ever knows just what powers have been rejected and what voices heard. But at the moment it seems clear that what follows here, both in its emerging clarities and remaining confusions, results from my somewhat surprised surrender to voices previously alien to me: the "Mikhail Bakhtin" who speaks to me, muffled by my ignorance of Russian, and the feminist criticism" that in its vigor and diversity and challenge to canonic views has—belatedly, belatedly—forced me to begin listening.Wayne C. Booth's most recent work, Critical Understanding: The Powers and Limits of Pluralism, won the Laing Prize in 1982. He is working on a book about ethical and political criticism of narrative. A new edition of The Rhetoric of Fiction will appear in 1983. (shrink)