Vol. 01 Articles / Статьи

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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».
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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.

Vol. 01 From the Heritage of Pushkin Scholarship / Классики

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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.
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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.
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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.

Vol. 01 New Translation / Новый перевод

  • César Cui's Opera «Feast in Time of Plague»: Драматические сцены А.С. Пушкина

    Музыка Ц. Кюи

    Lyle Neff, Translator

     

    Prefatory Note [1]

    César Antonovich Cui [2] (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,

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Vol. 01 Book Reviews / Рецензии

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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...

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K.N. Grigor´ian. Pushkinskaia elegiia (natsional´nye istoki, predshestveniki, evoliutsiia). Leningrad: Nauka, 1990. 256 pp. Indexes.

V.E. Vatsuro. Lirika pushkinskoi pory: "Elegicheskaia shkola." Sankt-Peterburg: Nauka, 1994. 239 pp. Index.

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...

Vol. 01 Bibliography / Библиография

  • Pushkin in the West: A Bibliography of Recent Works Published Outside of the Former Soviet Union

    Allan Urbanic

    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

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Vol. 01 News of the Profession / Хроника

  • The Pushkin Club in London

    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.

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  • Pushkin Project in Omaha, Nebraska

    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

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Efim Kurganov. Literaturnyi anekdot pushkinskoi epokhi. Helsinki: Helsinki University Press, 1995. 278 pp.

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...

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Lauren G. Leighton. The Esoteric Tradition in Russian Romantic Literature: Decembrism and Freemasonry. University Park: Pennsylvania State University Press, 1994. viii, 224 pp. $39.50 (cloth).

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...

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V.V. Musatov. Pushkinskaia traditsiia v russkoi poezii pervoi poloviny XX veka: Ot Annenskogo do Pasternaka.  Moscow: Prometei, 1992. 220 pp.

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 the time of the Symbolist crisis and further developed by Mandel´shtam, Akhmatova, and Pasternak...

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Russian Views of Pushkin's Eugene Onegin. Translated, with an Introduction and Notes by Sona Stephan Hoisington. Bloomington: Indiana University Press, 1988. 199 pp.

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...

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J. Thomas Shaw. Pushkin's Poetics of the Unexpected: The Nonrhymed Lines in the Rhymed Poetry and the Rhymed Lines in the Nonrhymed Poetry. Columbus, Ohio: Slavica, 1994. 369 pp.

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.

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E.I. Vysochina. Obraz, berezhno khranimyi: Zhizn´ Pushkina v pamiati pokolenii. Moscow: Prosveshchenie, 1989. 238 pp.

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 a cultural semiotic approach they demonstrate how Silver Age poets and writers modeled their careers on Pushkin's example.