Do "Minor Literatures" Still Exist?
My paper addresses both Bulgarian (more widely, East-European) literature (especially in the first two parts) and developments that bear on the larger framework in which literary history operates today. I revisit the notion of "minor literatures" and show it to be an historical construct with a specific lifespan. I also examine the ambiguity of the project of "minor literatures," poised as it has lately been between an understanding of "minor" as a potential social and political energy that originates in the writing of a minority within a dominant majority ("minoritare Literatur"), and an evaluative notion that sees " minor literatures" as small ("kleine Literatur"), derivative, deprived of originality when measured by the yardstick of " mainstream literatures." The first of these two perspectives is sustained in Deleuze and Guattari's classic book Kafka: Towards a Minor Literature; the second one has a longer pedigree that goes back to the intricate history of Eurocentrism since the 18thcentury.
The article reconstructs the history of the creation of Russia’s literary canon in the second half of the nineteenth century, and more speci cally – the phenomenon of Russian classic literature as codi ed in the high school curriculum of the time. The fact that teaching Russian literature was not abandoned in schools in the 1870s and that the writings published before about 1842 had acquired the status of “classics” owed to a very speci c political constellation. The author argues that the turn toward classicism in education in the early 1870s by the newly appointed minister of public education, Dmitry Tolstoy, re ected the regime’s determination to embrace and promote Russian nationalism while curtailing its democratic potential. This both opened up an opportunity for Russian literature to be included in the school curriculum and mandated the format of this inclusion as rigid lists of compulsory reading.
The article is devoted to the article "Code Velimir" and the eponymous poem by poet Sergei Biryukov, who claims the artistic heritage of Velimir Khlebnikov as fundamental to he developed the concept of "freestories avant-garde".
The Cambridge Companion to World Literature introduces the significant ideas and practices of world literary studies. It provides a lucid and accessible account of the fundamental issues and concepts in world literature, including the problems of imagining the totality of literature; comparing literary works across histories, cultures and languages; and understanding how literary production is affected by forces such as imperialism and globalization. The essays demonstrate how detailed critical engagements with particular literary texts call forth differing conceptions of world literature, and, conversely, how theories of world literature shape our practices of readings. Subjects covered include cosmopolitanism, transnationalism, internationalism, scale and systems, sociological criticism, translation, scripts, and orality. This book also includes original analyses of genres and forms, ranging from tragedy to the novel and graphic fiction, lyric poetry to the short story and world cinema.
The collection of studies is intended for teaching staff, post-graduate students and undergraduates.
The book has four main sections. The first section contains articles on topical linguistic issues and cross-cultural communication. The second and third sections are devoted to translation studies and methodology of teaching foreign languages. The fourth section investigates the problems of literature and linguistic cultural studies.
The paper outlines the history of poetic translations of W.H. Auden into Russian, from those included in M. Gutner’s Anthology Of The New English Poetry (1937) to anthology and magazine publications of the 1970s, to two monographic collections of verse printed within a short interval of time at the turn of the 21st (Auden, W.H. Collection of Verse, trans. V. Toporov, 1997; Auden, W.H. Labyrinth, trans. V.P.Shestakov, 2003) and discusses them in the context of the canon. The issue of writing poetic translation into the canon is addressed in both historical and translation study perspectives along the lines introduced by Andre Lefevere in his works Translation, Rewriting, and the Manipulation of Literary Fame (1992) and Translating Literature: Practice and Theory in a Comparative Literature Framework (1992). Historically, the key publications are considered in the international context of both Auden and canon-formation. In this respect the 1930s deserve a special attention as the time of constructing of the canon of modern poetry, i.e. time of anthologies, both internationally (Faber Book of Modern Verse (1936) and Oxford Book of Modern Verse, 1892-1935 (1936)) and in the USSR (apart from Gutner’s anthology the paper discusses the approach to forming the canon of the International Literature magazine and their correspondence with Auden concerning translation of his verse in 1938). The popularity of the British-American poet in the late Soviet time and the first post-Soviet decade is also considered against the canon-forming processes in the West and the concept of world literature.
This book is the second volume of the international book series New Perspectives in Reading 19th-Century Russian Literature. The series in 2008 set for purpose to investigate into the historical, theoretical and methodological aspects of the possibilities for new approaches to reading 19th-century Russian literature in various contexts of world literature, literary theory and semiotics of culture. The essays of the first volume were dedicated to the theme Russian Text of the 19th Century and Antiquity. The authors of the present collection of essays – from Austria, Estonia, Hungary, the Netherlands, Russia, and the USA – put in center stage important issues of cultural dynamics, seen in various contexts of intertextuality, intermediality and the interdiscoursive practice of aesthetic communication. Special attention is made to the poetics and semiotics of textual, medial and cultural frontiers involving both conceptual reelaboration of relevant theoretical issues and concrete literary and cultural case studies.
The article is a critical review of the current condition of canon formation studies in Russia in its connection to Pushkin epoch and ‘golden age’ of Russian Literature. Besides, article reviews Pushkin reading which took place at the University of Tartu
The paper is focused on the study of reaction of italian literature critics on the publication of the Boris Pasternak's novel "Doctor Jivago". The analysys of the book ""Doctor Jivago", Pasternak, 1958, Italy" (published in Russian language in "Reka vremen", 2012, in Moscow) is given. The papers of italian writers, critics and historians of literature, who reacted immediately upon the publication of the novel (A. Moravia, I. Calvino, F.Fortini, C. Cassola, C. Salinari ecc.) are studied and analised.
In the article the patterns of the realization of emotional utterances in dialogic and monologic speech are described. The author pays special attention to the characteristic features of the speech of a speaker feeling psychic tension and to the compositional-pragmatic peculiarities of dialogic and monologic text.