The Russian Twentieth Century Short Story : : A Critical Companion /

The Russian Twentieth Century Short Story : : A Critical Companion / / ed. by Lyudmila Parts.

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The Twentieth Century Russian Short Story: A Critical Companion is a collection of the most informative critical articles on some of the best twentieth-century Russian short stories from Chekhov and Bunin to Tolstaya and Pelevin. While each article focuses on a particular short story, collectively t...

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Bibliographic Details
Superior document:Title is part of eBook package: De Gruyter Academic Studies Press Backlist eBook-Package 2008-2013
MitwirkendeR:
Barratt, Andrew,
Björling, Fiona,
Bogdanova, O.V.,
Evdokimova, Svetlana,
Foster, John Burt,
Greber, Erika,
Ignashev, Diane Nemec,
Lipovetsky, Mark,
Maguire, Robert A.,
Milner-Gulland, Robin,
Naiman, Eric,
Nepomnyashchy, Catharine Theimer,
Parts, Lyudmila,
Petrushevskaya, Lyudmila,
Spieker, Sven,
Toker, Leona,
Vygotsky, Lev Semenovich,
Zholkovsky, Alexander,
HerausgeberIn:
Parts, Lyudmila,
Place / Publishing House:Boston, MA : : Academic Studies Press, , [2009]
©2009
Year of Publication:2009
Language:English
Series:Cultural Revolutions: Russia in the Twentieth Century
Online Access:
Physical Description:1 online resource (400 p.)
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Table of Contents:
  • Frontmatter
  • Table of Contents
  • Contributors
  • Acknowledgments
  • Introduction: The Short Story as the Genre of Cultural Transition
  • I. “The Darling”: Femininity Scorned and Desired
  • II. Bunin’s “Gentle Breath”
  • III. Ekphrasis in Isaak Babel
  • IV. Zoshchenko’s “Electrician,” or the Complex Theatrical Mechanism
  • V. Yury Olesha’s Three Ages of Man: a Close Reading of “Liompa.”
  • VI. Nabokov’s Art of Memory: Recollected Emotion in “Spring in Fialta” (1936-1947)
  • VII. Child Perspective: Tradition and Experiment. An Analysis of “The Childhood of Luvers” by Boris Pasternak
  • VIII. Andrei Platonov and the Inadmissibility of Desire
  • IX. “This Could Have Been Foreseen”: Kharms’s The Old Woman (Starukha) Revisited. A Collective Analysis
  • X. Testimony as Art: Varlam Shalamov’s “Condensed Milk.”
  • XI. The Writer as Criminal: Abram Tertz’s “Pkhents.”
  • XII. Vasilii Shukshin’s “Cut Down to Size” (Srezal) and the Question of Transition
  • XIII. Carnivalization of the Short Story Genre and the Künstlernovelle: Tatiana Tolstaia’s “The Poet and the Muse.”
  • XIV. Down the Intertextual Lane: Petrushevskaia, Chekhov, Tolstoy
  • XV. The Lady with the Dogs
  • XVI. Russian Postmodernist Fiction and Mythologies of History: Viacheslav Pietsukh’s “The Central-Ermolaevo War” and Viktor Erofeev’s “Parakeet.”
  • XVII. Psychosis and Photography: Andrei Bitov’s “Pushkin’s Photograph.”
  • XVIII. The “Traditional Postmodernism” of Viktor Pelevin’s Short Story “Nika”
  • WORKS CITED

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