Brown (Oxford: Oxford University Press, 1973), pp. 202-08. Gregg makes the point about Cyrillic and Latin alphabets in n. 21, p. 421.
Yevgeny Zamyatin, We, trans. Clarence Brown (New York: Penguin Books, 1993), Record 9, p. 45. All further references in the text are to this translation.
For a good discussion of parallels, see Robert Louis Jackson, “E. Zamyatin’s We,” Dostoevsky’s Underground Man in Russian Literature (The Hague: Mouton, 1958), pp. 150-57.
Translation by Mirra Ginsburg in A Soviet Heretic, pp. 21-33, quote on pp. 21-22. See also Stefa Hoffman, “Scythian Theory and Literature, 1917-1924,” in Art, Society, Revolution. Russia, 1917-1921, ed. Nils Ake Nilsson (Stockholm: Almqvist and Wiksell, 1979), pp. 138-64.
Mikhail Bulgakov, The Master and Margarita, trans. Diana Burgin and Katherine Tiernan O’Connor (New York: Vintage, 1996), p. 12. All further references in the text are to this translation.
Ellendea Proffer, Bulgakov (Ann Arbor, MI: Ardis, 1984), p. 526.
Dostoevsky, “The Devil. Ivan Fyodorovich’s Nightmare,” The Brothers Karamazov, Book Eleven, ch. 9, p. 642.
The two most important essays drawn upon here were published in 1984 in the Tartu school publication Trudypo znakovym sistemam 18: Vladimir Toporov, “Peter-burg i peterburgskii tektst russkoi kul’tury,” repr. in Toporov, Mif. Ritual. Simvol: Issledovaniia v oblasti mifopoeticheskogo: Izbrannoe (Moscow: Izdatel'skaia gruppa Progress, Kul'tura, 1995), pp. 259-367 and Yurii Lotman, “Simvolika Peterburga i problemy semiotiki goroda,” repr. in Lotman, Izbrannye stati v trekh tomax, vol. II (Talinn: Alexandra, 1992), pp. 9-21. An English variant of the Lotman essay can be found in Yuri M. Lotman, “The Symbolism of St. Petersburg,” Universe of the
Notes to pages 180–90 263
Mind: A Semiotic Theory of Culture, trans. Ann Shukman (Bloomington: Indiana University Press, 1990), pp. 191–202.
See Sidney Monas, “St. Petersburg and Moscow as Cultural Symbols,” in Art and Culture in Nineteenth-Century Russia, ed. Theofanis George Stavrou (Bloomington: Indiana University Press, 1983), pp. 26–39. I am indebted to this article also for details of the Moscow Myth.
Andrei Bely, Petersburg, trans. Robert A. Maguire and John E. Malmsted (Bloom- ington: Indiana University Press, 1978), p. 10. All further references in the text are to this translation.
M. M. Bakhtin, “Zapisi kursa lektsii po istorii russkoi literatury” R. M. Mirkinoi, “Blok,” Sobranie sochinenii, vol. II (Moscow: Russkie slovari, 2000), pp. 343–55, esp. 351–52.
Alexander Blok, “Intelligentsia and Revolution” [January 1918], The Spirit of Music (Westport, CN: Hyperion Press, 1946: repr. 1973), pp. 7–19, especially 11–13. Translation adjusted.
Julie A. Buckler, Mapping St. Petersburg: Imperial Text and Cityscape (Princeton: Princeton University Press, 2005), p. 1. See also ch. 4, “Stories in Common: Urban Legends in St. Petersburg,” pp. 116–57, and “The Illegible Industrial Text,” pp. 179– 94.
Simon Karlinsky, Marina Tsvetaeva: The Woman, the World and her Poetry (Cambridge: Cambridge University Press, 1986), pp. 58–60.
Keith A. Livers, “Conquering the Underworld: The Spectacle of the Stalinist Metro,” ch. 4, Constructing the Stalinist Body: Fictional Representations of Corporeality in the Stalinist 1930s (New York: Lexington Books, 2004), pp. 189–236.
Svetlana Boym, “Moscow, the Russian Rome,” ch. 8, The Future of Nostalgia (New York: Basic Books, 2001), pp. 83–119.
Both stories are availableinEnglishinMikhail Bulgakov,Diaboliad and Other Stories, trans. Carl R. Proffer (Bloomington: Indiana University Press, 1972): pp. 3–47 and 159–74.
See Sabine I. Go?lz, “Moscow for Flaneurs: Pedestrian Bridges, Europe Square, and Moskva-City,” Popular Culture 18.3 (2006): 573–605.
Nicolai Ouroussoff, “The Malling of Moscow: Imperial in Size and a View of the Kremlin,” New York Times (March 15, 2007). The architect-urban designer is British Modernist Norman Foster.
See Irina Gutman, “The Legacy of the Symbolist Aesthetic Utopia: From Futurism to Socialist Realism,” in Creating Life: The Aesthetic Utopia of Russian Modernism, ed. Irina Paperno and Joan Delaney Grossman (Palo Alto: Stanford University Press, 1994), pp. 167–96.
For debate over “Taylorism” and industrial futures, see Patricia Carden, “Utopia and Anti-Utopia: Aleksei Gastev and Evgeny Zamyatin,” Russian Review 46.1 (January 1987): 1–18.
Leon Trotsky, Literature and Revolution, trans. Rose Strunsky (Ann Arbor: University of Michigan Press, 1971), p. 132.
264 Notes to pages 193–205
8 The Stalin years
Jochen Hellbeck, Revolution on My Mind: Writing a Diary under Stalin (Cambridge, MA: Harvard University Press, 2006), pp. 282-83.
See Eric Naiman, Sex in Public: The Incarnation of Early Soviet Ideology (Princeton: Princeton University Press, 1997), pp. 135-36. For the debates over Meyerhold’s production of Tretyakov’s I Want a Child, see pp. 109-14.
See David L. Hoffmann, Stalinist Values: The Cultural Norms of Soviet Modernity [1917-1941] (Ithaca: Cornell University Press, 2003), p. 31.
Rufus W. Mathewson, Jr. was the pioneering Western scholar to take these doctrines and their effect on literature seriously; see his The Positive Hero in Russian Literature [1958], 2nd edn. (Palo Alto: Stanford University Press, 1975), especially ch. 8, “Marxism, Realism, and the Hero.”
Abram Tertz [Andrei Sinyavsky], “On Socialist Realism,” trans. George Dennis [1960], in Abram Tertz, The Trial Begins and On Socialist Realism (Berkeley: University of California Press, 1982), pp. 147-93, esp. 150. Further quoted phrases on pp. 181 and 182. The Russian word translated as Purpose, tsel', also means aim or goal, and resonates with words for wholeness and integrity [tsel'nost1].
“Soviet Literature. Address Delivered to the First All-Union Congress of Soviet Writers, August 17, 1934,” in Maxim Gorky, On Literature (Seattle: University of Washington Press, 1973), pp. 228- 68.
Mathewson, The Positive Hero in Russian Literature, p. 122.
Petre Petrov, entry on “Socialist realism,” in Encyclopedia of Contemporary Russian Culture, ed. Tatiana Smorodinskaya, Karen Evans-Romaine and Helena Goscilo (London: Routledge, 2006), pp. 575-77.
See the comprehensive discussion in Keith Livers, “Mikhail Zoshchenko: Engineering the Stalinist Body and Soul,” ch. 2, Constructing the Stalinist Body (Lanham, MD: Lexington Books, 2004), pp. 91-152.
For an excellent overview of the functions filled by this hero, see Sheila Fitzpatrick, “The World of Ostap Bender,” ch. 13, Tear off the Masks! Identity and Imposture in Twentieth-Century Russia (Princeton: Princeton University Press, 2005), pp. 575-77.
Fyodor Vasilievich Gladkov, Cement, trans. A. S. Arthur and C. Ashleigh (Evanston, IL: Northwestern University Press, 1994), “Autobiographical Note” [undated]. All references are to this edition.
Katerina Clark analyzes Gleb Chumalov as a mythical bogatyr (although not as a pravednik) in The Soviet Novel: History as Ritual (Bloomington: Indiana University Press, [1981] 2000), pp. 69-82.
