George Gibian, Norton Critical Edition, 2nd edn. (New York: Norton, 1996), p. 1090.
Jeffrey Brooks, When Russia Learned to Read: Literacy and Popular Literature, 1861-1917 (Princeton: Princeton University Press, 1985). Between the emancipation of the serfs in 1861 and the Bolshevik Revolution in 1917, the most popular works on the market were detective serials, melodrama, and adventure thrillers.
The term “negative identity” comes from Lev Gudkov’s collection of essays (1997-2002) Negativnaiaidentichnost (Moscow: Novoeliteraturnoe obozrenie, 2004);especially pp. 282 -84.
1 Models, readers, three Russian Ideas
1 “Krome chteniya, idti bylo nekuda”; Fyodor Dostoevsky, Notes from Underground, trans. Richard Pevear and Larissa Volokhonsky (New York: Knopf, 1993), Part II, ch. 1,p. 48.
250
Notes to pages 14-28 251
In Delo 10 (October 1870), as cited in Charles A. Moser, Esthetics as Nightmare: Russian Literary Theory 1855-1870 (Princeton: Princeton University Press, 1989), p. 29.
The reference occurs in Crime and Punishment, Part IV, ch. 5, where Porfiry Petrovich mentions General Mack surrendering at Ulm (a crucial episode in War and Peace, Book One, Part II, ch. 3).
This underexplored area is currently being researched by Kathleen Parthe; see her “Civic Speech in the Absence of Civil Society,” European Association for Urban History, Stockholm Conference (2006).
Viktor Shklovsky, “Art as Device,” Theory of Prose, trans. Benjamin Sher (Normal, IL: Dalkey Archive, 2000), p. 5.
Amy Mandelker, “Lotman’s Other: Estrangement and Ethics in Culture and Explosion,” in Lotman and Cultural Studies: Encounters and Extensions, ed. Andreas Schonle (Madison: University of Wisconsin Press, 2006), p. 63.
Nicolas Berdyaev, TheRussian Idea [1947] (Boston: Beacon Press, 1962), especially ch. 10, pp. 252-55.
Wendy Helleman, ed., The Russian Idea: In Search of a New Identity (Bloomington, IN: Slavica, 2004).
Thomas Seifrid, The Word Made Self: Russian Writings on Language 1860-1930 (Ithaca: Cornell University Press, 2005), p. 3.
Kathleen F. Parthe, Russia’s Dangerous Texts (New Haven: Yale University Press, 2004), pp. 2-23.
Andrew Baruch Wachtel, Remaining Relevant after Communism: The Role of the Writer in Eastern Europe (Chicago: University of Chicago Press, 2006), p. 12.
Prince D. S. Mirsky, A History of Russian Literature, ed. Francis J. Whitfield (Evanston, IL: Northwestern University Press, 1999), p. 4.
Parthe, Russia’s Dangerous Texts, pp. 24-28.
Marshall T. Poe, The Russian Moment in World History (Princeton: Princeton University Press, 2003). Poe argues that it was not the “Mongol Yoke” that barbarized Russia, but rather her proximity to savagely aggressive European states, with their cutting-edge weaponry.
Mikhail Epstein, “Russo-Soviet Topoi,” in The Landscape of Stalinism: The Art and Ideology of Soviet Space, ed. Evgeny Dobrenko and Eric Naiman (Seattle: University of Washington Press, 2003), pp. 277-306, esp. 278.
Mikhail Vasil'evich Il'in, “Words and Meanings: On the Rule of Destiny. The Russian Idea,” in The Russian Idea, ed. Wendy Helleman, pp. 33-55, esp. 37 and 40-41.
Alexander Pushkin, A Journey to Arzrum, trans. Birgitta Ingemanson (Ann Arbor, MI: Ardis, 1974), p. 51.
Mikhail Veller, “Khochu v Parizh” [I Want to Go to Paris], as discussed in Alexei Yurchak, Everything Was Forever Until It Was No More: The Last Soviet Generation (Princeton: Princeton University Press, 2005), p. 159.
252 Notes to pages 29–40
Yuri M. Lotman, “Symbolic Spaces. 1. Geographical Space in Russian Medieval Texts,” Universe of the Mind: A Semiotic Theory of Culture, trans. Ann Shukman (Bloomington: Indiana University Press, 1990), pp. 171-77.
Ksana Blank, “The Invisible City of Kitezh as an Alternative ‘New Jerusalem’,” in New Jerusalems. The Translation of Sacred Spaces in Christian Culture. Materials from the International Symposium, ed. Alexey Lidov (Moscow: Indrik, 2006), pp. 169-71.
For more on these distinctions, see Pavel Florensky, “Spiritual Sobriety and the Iconic Face,” Iconostasis, trans. Donald Sheehan and Olga Andrejev (Crestwood, NJ: St. Vladimir’s Seminary Press, 1996), pp. 44-59. Florensky (1882-1937) was an Orthodox priest, poet, mathematician, chemist, and theorist of art.
S. G. Bocharov, “Vokrug ‘Nosa’” [1988], Siuzhety russkoi literatury (Moscow: Yazyki russkoi kul'tury, 1999), pp. 98-120. Bocharov summarizes and expands here his earlier 1985 essay “The Riddle of‘The Nose’ and the Secret of the Face.”
See Nancy Ries, Russian Talk: Culture and Conversation during Perestroika (Ithaca: Cornell University Press, 1997), and Dale Pesmen, Russia and Soul (Ithaca: Cornell University Press, 2000).
Boris Gasparov, Five Operas and a Symphony: Words and Music in Russian Culture (New Haven: Yale University Press, 2005), pp. xiii-22.
2 Heroes and their plots
Simon Franklin, “Nostalgia for Hell: Russian Literary Demonism and Orthodox Tradition,” in Russian Literature and its Demons, ed. Pamela Davidson (New York: Berghahn Books, 2000), p. 33.
Kathleen F. Parthe?, Russia’s Dangerous Texts (New Haven: Yale University Press, 2004), p. 133.
Margaret Ziolkowski, Hagiography and Modern Russian Literature (Princeton: Princeton University Press, 1988), pp. 14–17.
Marcia A. Morris, Saints and Revolutionaries: The Ascetic Hero in Russian Literature (Albany: SUNY Press, 1993).
Katerina Clark, The Soviet Novel: History as Ritual, 3rd edn. (Bloomington: Indiana University Press, 2000), p. 55.
SeeEwaM.Thompson, “TheArchetypeofthe FoolinRussianLiterature,”Canadian Slavonic Papers 15.3 (Autumn 1973): 245–73.
A. Sinyavskii, Ivan-Durak. Ocherk russkoi narodnoi very (Paris: Syntaxis, 1991), pp. 34–44.
Russell Zguta, Russian Minstrels: A History of the Skomorokhi (Philadelphia: University of Pennsylvania Press, 1978), pp. 25–31.
For this Russian connection, see J. Douglas Clayton, Pierrot in Petrograd: Commedia dell’Arte / Balagan in Twentieth-Century Russian Theatre and Drama (Montreal:
