This book focuses on the cultural processes by which the idea of a Yugoslav nation was developed and on the reasons that this idea ultimately failed to bind the South Slavs into a viable nation and state. The author argues that the collapse of multinational Yugoslavia and the establishment of separate uninational states did not result from the breakdown of the political or economic fabric of the Yugoslav state; rather, that breakdown itself sprang from the destruction of the concept of a Yugoslav nation. Had such a concept been retained, a collapse of political authority would have been followed by the eventual reconstitution of a Yugoslav state, as happened after World War II, rather than the creation of separate nation-states. Because the author emphasizes nation building rather than state building, the causes and evidence he cites for Yugoslavia’s collapse differ markedly from those that have previously been put forward. He concentrates on culture and cultural politics in the South Slavic lands from the mid-nineteenth century to the present in order to delineate those ideological mechanisms that helped lay the foundation for the formation of a Yugoslav nation in the first place, sustained the nation during its approximately seventy-year existence, and led to its dissolution. The book describes the evolution of the idea of Yugoslav national unity in four major areas: linguistic policies geared to creating a shared national language, the promulgation of a Yugoslav literary and artistic canon, an educational policy that emphasized the teaching of literature and history in schools, and the production of new literary and artistic works incorporating a Yugoslav view. In the book’s conclusion, the author discusses the relevance of the Yugoslav case for other parts of the world, considering whether the triumph of particularist nationalism is inevitable in multinational states.
More than any other art form, literature defined Eastern Europe as a cultural and political entity in the second half of the twentieth century. Although often persecuted by the state, East European writers formed what was frequently recognized to be a "second government," and their voices were heard and revered inside and outside the borders of their countries. This study by one of our most influential specialists on Eastern Europe considers the effects of the end of communism on such writers. According to Andrew Baruch Wachtel, the fall of the Berlin Wall and the creation of fledgling societies in Eastern Europe brought an end to the conditions that put the region's writers on a pedestal. In the euphoria that accompanied democracy and free markets, writers were liberated from the burden of grandiose political expectations. But no group is happy to lose its influence: despite recognizing that their exalted social position was related to their reputation for challenging political oppression, such writers have worked hard to retain their status, inventing a series of new strategies for this purpose. Remaining Relevant after Communism considers these strategies—from pulp fiction to public service—documenting what has happened on the East European scene since 1989.
For most English-speaking readers, Russian literature consists of a small number of individual writers - nineteenth-century masters such as Dostoevsky, Tolstoy and Turgenev - or a few well-known works - Chekhov's plays, Brodsky's poems, and perhaps Master and Margarita and Doctor Zhivago from the twentieth century. The medieval period, as well as the brilliant tradition of Russian lyric poetry from the eighteenth century to the present, are almost completely terra incognita, as are the complex prose experiments of Nikolai Gogol, Nikolai Leskov, Andrei Belyi, and Andrei Platonov. Furthermore, those writers who have made an impact are generally known outside of the contexts in which they wrote and in which their work has been received. In this engaging book, Andrew Baruch Wachtel and Ilya Vinitsky provide a comprehensive, conceptually challenging history of Russian literature, including prose, poetry and drama. Each of the ten chapters deals with a bounded time period from medieval Russia to the present. In a number of cases, chapters overlap chronologically, thereby allowing a given period to be seen in more than one context. To tell the story of each period, the authors provide an introductory essay touching on the highpoints of its development and then concentrate on one biography, one literary or cultural event, and one literary work, which serve as prisms through which the main outlines of a given period?s development can be discerned. Although the focus is on literature, individual works, lives and events are placed in broad historical context as well as in the framework of parallel developments in Russian art and music.
In the historical and literary imagination, the Balkans loom large as a somewhat frightening and ill-defined space, often seen negatively as a region of small and spiteful peoples, racked by racial and ethnic hatred, always ready to burst into violent conflict. The Balkans in World History re-defines this space in positive terms, taking as a starting point the cultural, historical, and social threads that allow us to see this region as a coherent if complex whole. Eminent historian Andrew Wachtel here depicts the Balkans as that borderland geographical space in which four of the world's greatest civilizations have overlapped in a sustained and meaningful way to produce a complex, dynamic, sometimes combustible, multi-layered local civilization. It is the space in which the cultures of ancient Greece and Rome, of Byzantium, of Ottoman Turkey, and of Roman Catholic Europe met, clashed and sometimes combined. The history of the Balkans is thus a history of creative borrowing by local people of the various civilizations that have nominally conquered the region. Encompassing Bulgaria, Croatia, Bosnia and Herzegovina, Serbia, Montenegro, Albania, Macedonia, Greece, and European Turkey, the Balkans have absorbed many voices and traditions, resulting in one of the most complex and interesting regions on earth.
Providing a theoretical paradigm for understanding the relationship of history and literature in Russia, this book traces how major Russian writers of the past 200 years defined the nation's past through creating fictional and non-fictional works on historical themes.
In the historical and literary imagination, the Balkans loom large as a somewhat frightening and ill-defined space, often seen negatively as a region of small and spiteful peoples, racked by racial and ethnic hatred, always ready to burst into violent conflict. The Balkans in World History re-defines this space in positive terms, taking as a starting point the cultural, historical, and social threads that allow us to see this region as a coherent if complex whole. Eminent historian Andrew Wachtel here depicts the Balkans as that borderland geographical space in which four of the world's greatest civilizations have overlapped in a sustained and meaningful way to produce a complex, dynamic, sometimes combustible, multi-layered local civilization. It is the space in which the cultures of ancient Greece and Rome, of Byzantium, of Ottoman Turkey, and of Roman Catholic Europe met, clashed and sometimes combined. The history of the Balkans is thus a history of creative borrowing by local people of the various civilizations that have nominally conquered the region. Encompassing Bulgaria, Croatia, Bosnia and Herzegovina, Serbia, Montenegro, Albania, Macedonia, Greece, and European Turkey, the Balkans have absorbed many voices and traditions, resulting in one of the most complex and interesting regions on earth.
For most English-speaking readers, Russian literature consists of a small number of individual writers - nineteenth-century masters such as Dostoevsky, Tolstoy and Turgenev - or a few well-known works - Chekhov's plays, Brodsky's poems, and perhaps Master and Margarita and Doctor Zhivago from the twentieth century. The medieval period, as well as the brilliant tradition of Russian lyric poetry from the eighteenth century to the present, are almost completely terra incognita, as are the complex prose experiments of Nikolai Gogol, Nikolai Leskov, Andrei Belyi, and Andrei Platonov. Furthermore, those writers who have made an impact are generally known outside of the contexts in which they wrote and in which their work has been received. In this engaging book, Andrew Baruch Wachtel and Ilya Vinitsky provide a comprehensive, conceptually challenging history of Russian literature, including prose, poetry and drama. Each of the ten chapters deals with a bounded time period from medieval Russia to the present. In a number of cases, chapters overlap chronologically, thereby allowing a given period to be seen in more than one context. To tell the story of each period, the authors provide an introductory essay touching on the highpoints of its development and then concentrate on one biography, one literary or cultural event, and one literary work, which serve as prisms through which the main outlines of a given period?s development can be discerned. Although the focus is on literature, individual works, lives and events are placed in broad historical context as well as in the framework of parallel developments in Russian art and music.
Providing a theoretical paradigm for understanding the relationship of history and literature in Russia, this book traces how major Russian writers of the past 200 years defined the nation's past through creating fictional and non-fictional works on historical themes.
FINALIST FOR THE PEN JACQUELINE BOGRAD WELD AWARD FOR BIOGRAPHY “Feminism, history, literature, politics—this tale has all of that, and a heroine worthy of her own turn in the spotlight.” —Therese Anne Fowler, bestselling author of Z: A Novel of Zelda Fitzgerald A revelatory new portrait of the courageous woman who saved Dostoyevsky’s life—and became a pioneer in Russian literary history In the fall of 1866, a twenty-year-old stenographer named Anna Snitkina applied for a position with a writer she idolized: Fyodor Dostoyevsky. A self-described “girl of the sixties,” Snitkina had come of age during Russia’s first feminist movement, and Dostoyevsky—a notorious radical turned acclaimed novelist—had impressed the young woman with his enlightened and visionary fiction. Yet in person she found the writer “terribly unhappy, broken, tormented,” weakened by epilepsy, and yoked to a ruinous gambling addiction. Alarmed by his condition, Anna became his trusted first reader and confidante, then his wife, and finally his business manager—launching one of literature’s most turbulent and fascinating marriages. The Gambler Wife offers a fresh and captivating portrait of Anna Dostoyevskaya, who reversed the novelist’s freefall and cleared the way for two of the most notable careers in Russian letters—her husband’s and her own. Drawing on diaries, letters, and other little-known archival sources, Andrew Kaufman reveals how Anna protected her family from creditors, demanding in-laws, and her greatest romantic rival, through years of penury and exile. We watch as she navigates the writer’s self-destructive binges in the casinos of Europe—even hazarding an audacious turn at roulette herself—until his addiction is conquered. And, finally, we watch as Anna frees her husband from predatory contracts by founding her own publishing house, making Anna the first solo female publisher in Russian history. The result is a story that challenges ideas of empowerment, sacrifice, and female agency in nineteenth-century Russia—and a welcome new appraisal of an indomitable woman whose legacy has been nearly lost to literary history.
This book is the first comprehensive study of mainstream British dystopian fiction and the Cold War. Drawing on over 200 novels and collections of short stories, the monograph explores the ways in which dystopian texts charted the lived experiences of the period, offering an extended analysis of authors’ concerns about the geopolitical present and anxieties about the national future. Amongst the topics addressed are the processes of Cold War (autocracy, militarism, propaganda, intelligence, nuclear technologies), the decline of Britain’s standing in global politics and the reduced status of intellectual culture in Cold War Britain. Although the focus is on dystopianism in the work of mainstream authors, including George Orwell, Doris Lessing, J.G. Ballard, Angela Carter and Anthony Burgess, a number of science-fiction novels are also discussed, making the book relevant to a wide range of researchers and students of twentieth-century British literature.
The first history ever of violence against architecture as political violence, this book examines the case of the former Yugoslavia and the ways in which architecture is a site where power, agency, and ethnicity are constituted.
This book focuses on the cultural processes by which the idea of a Yugoslav nation was developed and on the reasons that this idea ultimately failed to bind the South Slavs into a viable nation and state. The author argues that the collapse of multinational Yugoslavia and the establishment of separate uninational states did not result from the breakdown of the political or economic fabric of the Yugoslav state; rather, that breakdown itself sprang from the destruction of the concept of a Yugoslav nation. Had such a concept been retained, a collapse of political authority would have been followed by the eventual reconstitution of a Yugoslav state, as happened after World War II, rather than the creation of separate nation-states. Because the author emphasizes nation building rather than state building, the causes and evidence he cites for Yugoslavia’s collapse differ markedly from those that have previously been put forward. He concentrates on culture and cultural politics in the South Slavic lands from the mid-nineteenth century to the present in order to delineate those ideological mechanisms that helped lay the foundation for the formation of a Yugoslav nation in the first place, sustained the nation during its approximately seventy-year existence, and led to its dissolution. The book describes the evolution of the idea of Yugoslav national unity in four major areas: linguistic policies geared to creating a shared national language, the promulgation of a Yugoslav literary and artistic canon, an educational policy that emphasized the teaching of literature and history in schools, and the production of new literary and artistic works incorporating a Yugoslav view. In the book’s conclusion, the author discusses the relevance of the Yugoslav case for other parts of the world, considering whether the triumph of particularist nationalism is inevitable in multinational states.
More than any other art form, literature defined Eastern Europe as a cultural and political entity in the second half of the twentieth century. Although often persecuted by the state, East European writers formed what was frequently recognized to be a "second government," and their voices were heard and revered inside and outside the borders of their countries. This study by one of our most influential specialists on Eastern Europe considers the effects of the end of communism on such writers. According to Andrew Baruch Wachtel, the fall of the Berlin Wall and the creation of fledgling societies in Eastern Europe brought an end to the conditions that put the region's writers on a pedestal. In the euphoria that accompanied democracy and free markets, writers were liberated from the burden of grandiose political expectations. But no group is happy to lose its influence: despite recognizing that their exalted social position was related to their reputation for challenging political oppression, such writers have worked hard to retain their status, inventing a series of new strategies for this purpose. Remaining Relevant after Communism considers these strategies—from pulp fiction to public service—documenting what has happened on the East European scene since 1989.
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