Тема «Зощенко и Пушкин» в исследовательской литературе традиционно ограничивалась лишь одним сюжетом: анализом «Шестой повести Белкина», созданной в преддверие пушкинского юбилея 1937 г. Между тем пушкинские мотивы в творчестве Зощенко возникали неоднократно—имеет смысл проследить их развитие и вариации и попытаться в этом контексте осмыслить его повесть «Талисман».
Впервые печатно о Пушкине Зощенко высказался в 1924 г., отвечая на анкету в связи со 125-летием со дня рождения поэта:
Пушкин для меня замечательнейший писатель и умнейший человек. Для современности Пушкин явление не ахти какое: гражданин он плохой и доблестных заслуг перед Революцией у него нету.
В современном плане
Bella Akhmadulina (b. 1937) refrains from reflecting on ancestors or family with rare exceptions, in some poems mentioning her daughters, Anna and Elizaveta, and her husband of many years, Boris Messerer.  Her autobiographical prose piece "Grandmother" ( Babushka ) marginally complements her sole genealogical narrative poem My Genealgy ( Moia rodoslovnaia , 1962). By titling her poem My Genealogy , Bella Akhmadulina immediately signals a dialogue with Pushkin's famous poem bearing this title.  Indeed, Akhmadulina follows Pushkin in using genealogy to engage in literary and political polemic with her times, and she employs the more familiar context of her illustrious
Cultural Mythologies of Russian Modernism: From the Golden Age to the Silver Age . Edited by Boris Gasparov, Robert P. Hughes, and Irina Paperno. California Slavic Studies , vol. 15. Berkeley: University of California Press, 1992. 494 pp.
The twenty-three essays in this volume are the product of a conference held at the University of California, Berkeley in May of 1987 to commemorate the one hundred fiftieth anniversary of Pushkin's death. The focus and underlying assumptions of this conference, however, were quite different than those of other conferences held to commemorate the Pushkin jubilee, and consequently the papers themselves are quite different.… Read More
Sam Driver. Puškin: Literature and Social Ideals . New York: Columbia University Press, 1989. xii, 143 pp.
Sam Driver worked many years on this subject, publishing selected parts as articles along the way; now we have the fine result in book form. The word "politics" is not in the title, but this is a study of Pushkin's development as a political, as well as social, thinker. Driver concentrates on the poet's thought after 1828 without neglecting teh earlier, more liberal, sometimes radical political position. Central to his approach is a carefully defined notion of Pushkin's leadership of the "aristocratic party," understood… Read More
Given that the two books here under review both carry forms of the words "Pushkin" and "elegy" in their titles, it is not surprising that they have similar aims: to trace the development of the Russian elegy from the middle of the eighteenth century through the first third or so of the nineteenth. In addition, both books, as products of the newly open cultural climate after glasnost´ and the fall of Soviet communism,… Read More
Efim Kurganov's monograph on the role of the anecdote in Russian literary culture at the end of the eighteenth and beginning of the nineteenth centuries is a welcome addition to Pushkin studies and to the study of Russian literature and culture in general.
The book—a dissertation for the degree of doktor filosofii —consists of an introduction, five chapters, a conclusion, appendix, and bibliography. In the introduction Mr. Kurganov tackles the problem of "legitimizing" the anecdote as an object of literary and cultural study. His argument here is
The task that the author sets himself here is a doubly difficult if altogether intriguing one. Not only are the literary texts under study in some sense encoded, but they depend for their decoding on sources and traditions which can themselves be arcane, obscure, hermetic. The decoding here ranges over Masonic signs and rituals through calendarology, numerology, cardiology, the Cabala, etc. The whole area of research is a daunting one, especially for those researchers of… Read More
Musatov's book is a sequel to his earlier study, Pushkinskaia traditsiia v russkoi poezii pervoi poloviny XX veka: Aleksandr Blok, Sergei Esenin, Vladimir Maiakovsky (Moscow: Prometei, 1991), in which the author examined the Symbolist conception of myth- and life-creating potential of poetry. In his new book, Musatov investigates another trend in Russian twentieth-century lyric poetry, first manifested in Annesnky's verse at teh time of the Symbolist crisis and further developed by Mandel´shtam, Akhmatova, and Pasternak. These poets also shared a… Read More
In this volume, Sona Hoisington has gathered together and carefully translated critical essays written by prominent critics and scholars beginning with Belinsky and concluding with Yury Lotman and Sergey Bocharov. With only one exception (an excerpt from Bakhtin's The Dialogic Imagination ), each essay appears for the first time in English translation. In adition to a Foreword by Caryl Emerson and Hoisington's Preface, the colection includes: Vissarion Belinsky, " Eugene Onegin : An Encyclopedia of Russian Life"; Dmitry Pisarev, "Pushkin… Read More
It goes without saying that Tom Shaw is the doyen of American Pushkinists. From his translation of the letters through the dictionary of Pushkin's rhymes (now available on the Internet) and innumerable articles, to this last monument of erudition and scholarship, Shaw has set the standard by which all work on pushkin must be measured, and has made Wisconsin the centre for Pushkin scholarship in America.Read More
Pushkin's role as Russia's "first love" may have become a cliché, but challenges to the truism more often than not simply intensify Pushkin's primacy, as in Maiakovskii's "Iubileinoe" or Tsvetaeva's "Stikhi k Pushkinu." Atttudes toward him have changed dramatically, perhaps even cyclically, and creating a Pushkin in one's own image marks the work of many Russian poets and some epochs as well. In Cultural Mythologies of Russian Modernism , edited by Boris Gasparov, Robert P. Hughes and Irina Paperno, several essays take this point further: using… Read More
César Antonovich Cui  (1835-1918), a Russian of French-Lithuanian descent, was by vocation a professor of fortifications in St. Petersburg's military schools, but also a prolific composer and music critic. Although much of his musical output—except for some standard songs and piano pieces—was largely forgotten after his death until recently, he is remembered in Russian musical life as spokesman in the 1860s-80s for the "mighty handful," or "new Russian school," that group of composers which was headed by Milij Balakirv, mentored by Vladimir Stasov, and included Nikolaj Rimskij-Korsakov, Modest Musorgskij,… Read More
Alfred Liudvigovich Bem was a prominent Russian literary historian, editor and critic. He was born in 1886 in Kiev to a family of German Russians and studied Russian literature at St. Petersburg University under Professor S.A. Vengerov. He later worked at the University and participated in Vengerov's famous Pushkin Seminar (1908-16) from whose ranks came a whole generation of first-rate Russian literary scholars such as Iu. Tynianov, A.S. Dolinin, V.L. Komarovich. The best studies produced in this Seminar appared in the collection Pushkinist (St. Petersburg, 1914) which opened with Bem's article summarizing the achievements of the Seminar.Read More
Образ пушкинского Германа поразил воображение Достоевского. Он пронес его через всю жизнь. «Мы пигмеи перед Пушкиным, нет уж между нами такого гения»—восклицал он, заговорив о Пушкине с М.А. Поливановой после своей пушкинской речи, 9-го июня 1880 г. «Что за красота, что за сила в его фантазии! Недавно я перечитал его ,,Пиковую даму''. Вот вантазия! Мне самому хочется написать фантастический рассказ. У меня образы готовы. Надо только кончить ,,Братьев Карамазовых''. Очень затянулись они». Точно в лихорадке, с блеском в глазах стал он говорить о «Пиковой даме» Пушкина, продолжает свою передачу этой знаменательной беседы Поливанова:
Тонким знализом проследил
Во время работы над «Анной Карениной» в марте 1874 года Л. Толстой писал П.Д. Голохвастову: «Давно ли Вы перечитывали прозу Пушкина? Сделайте мне дружбу—прочтите с начала все повести Белкина. Их надо изучать и изучать каждомы писателю. Я на днях это сделал и не могу Вам передать того благодетельного влияния, которое имело на меня это чтение».  В том же году, во время мучительного обдумывания плана своего будущего романа «Подросток», Достоевский в Эмсе перечитывает Пушкина. «После кофе утром я что-нибудь делаю, до ,,сих пор читал только Пушкина и упивался восторгом, каждый день нахожу что-нибудь новое...''», пишет он… Read More
The bibliography includes monographs and articles published either in journals or as chapters of collected essays or individual works. A broad cultural approach was taken, hence the inclusion of Pushkin's works as they relate to music. Also, a few stragglers overlooked in earlier years are now listed. Brief annotations are provided for works whose titles are not self-explanatory. Not all works could be examined first hand for various reasons. In these cases, bibliographic accuracy cannot be guaranteed and such entries are marked with an [*]. The Library of Congress scheme of transliteration was used except in cases when quoting… Read More
The Pushkin Club was established in 1953 by Maria Kullman and her brother and sister-in-law, Nicholas and Militsa Zernov, at 24 Kensington Park Gardes as a non-profit-making house for students and academics of all nationalities. In addition to providing lodgings, the house ran a program of recitals and lectures. In 1958 the Club moved to its present location at 46 Ladbroke Grove.Read More
During a visit to Russia, Mark Sconce and his wife Nancy Bounds heard so much about Pushkin’s life and were so impressed by performances of is works that on their return home they decided to arrange a program commemorating the 160th anniversary of the poet’s death. The event, held at Nancy Bounds Studios in Omaha on February 2, 1997, was attended by 32 guests. Mark Sconce opened the program by outlining Pushkin’s life; and he was joined by Joan Hennecke and Jamie Lewis in reciting some of his works. The performance aimed at presenting “the whole man,” including excerpts from… Read More