“One of the earliest . . . attempts to create a paradigm of ‘the new prose’ about the [Russian] Revolution . . . self-consciously experimental, openly modernist.” —The Cambridge Companion to Twentieth-Century Russian Literature The Naked Year, a flinchingly honest portrayal of life in post-Revolutionary Russia, catapulted author Boris Pilnyak into notoriety. The Naked Year follows the provincial town of Ordinin through 1919, a year of war, illness, and tumultuous change. The village and its inhabitants—merchants, nobles, peasants, and communists alike—experience firsthand the impact of the violent revolutionary struggle of the Reds, Whites, Blacks, and Greens, until their world eventually dissolves into chaos. So lyrical and surreal that it has been called the “anti-novel,” The Naked Year captures the emotional heart of a land trapped in the horrific gap year between frenzied Revolution and rigid Soviet control.
Boris Pilnyak, an important stylistic force in twentieth-century Russian literature, never shied from controversy. It was his novel "The Naked Year," a flinchingly honest portrayal of life in post-Revolutionary Russia, that catapulted Pilnyak into notoriety. "The Naked Year" follows the provincial town of Ordinin through 1919, a year of war, illness, and tumultuous change. The village and its inhabitants--merchants, nobles, peasants, and communists alike--experience firsthand the impact of the violent revolutionary struggle of the Reds, Whites, Blacks, and Greens, until their world eventually dissolves into chaos. So lyrical and surreal that it has been called the "anti-novel," "The Naked Year" captures the emotional heart of a land trapped in the horrific gap year between frenzied Revolution and rigid Soviet control
“One of the earliest . . . attempts to create a paradigm of ‘the new prose’ about the [Russian] Revolution . . . self-consciously experimental, openly modernist.” —The Cambridge Companion to Twentieth-Century Russian Literature The Naked Year, a flinchingly honest portrayal of life in post-Revolutionary Russia, catapulted author Boris Pilnyak into notoriety. The Naked Year follows the provincial town of Ordinin through 1919, a year of war, illness, and tumultuous change. The village and its inhabitants—merchants, nobles, peasants, and communists alike—experience firsthand the impact of the violent revolutionary struggle of the Reds, Whites, Blacks, and Greens, until their world eventually dissolves into chaos. So lyrical and surreal that it has been called the “anti-novel,” The Naked Year captures the emotional heart of a land trapped in the horrific gap year between frenzied Revolution and rigid Soviet control.
Although the Russian novelist and playwright Leonid Leonov had published extensively before 1917 he considered that his literary career began only in 1922 with the short story Buryga. His talent developed rapidly in the comparatively free cultural climate of the first decade of the Revolution and by 1927 his characteristic style and themes were already formed. It was in this year, however, that the Communist Party began to impose its demands on the artists and intellectuals. Leonov's beliefs and values were incompatible with the Soviet version of Marxism but he tried to affirm them indirectly in his work through structure, imagery and allusion, while outwardly conforming to official demands. This manoeuvring inevitably led him into some questionable compromises which in turn damaged his reputation, both at home and abroad. Leonov himself was painfully conscious of the moral dilemmas involved and his later works return again and again to the question: is it possible to compromise without being compromised? There are fourteen chapters in the volume, each devoted to one or more of Leonov's works, setting the successive stages of his evolution against a background of changing cultural and political policies.
Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.
First published in Italy in 1957 amid international controversy, Doctor Zhivago is the story of the life and loves of a poet/physician during the turmoil of the Russian Revolution. Taking his family from Moscow to what he hopes will be shelter in the Ural Mountains, Zhivago finds himself instead embroiled in the battle between the Whites and the Reds. Set against this backdrop of cruelty and strife is Zhivago's love for the tender and beautiful Lara, the very embodiment of the pain and chaos of those cataclysmic times. Pevear and Volokhonsky masterfully restore the spirit of Pasternak's original—his style, rhythms, voicings, and tone—in this beautiful translation of a classic of world literature.
This authoritative new biography of the Russian poet and prose writer Boris Pasternak is the first part of a two-volume set, covering the period 1890-1928. Drawing on archives and many eyewitness accounts, Barnes' study sheds light on currently unexplored aspects of Pasternak's character and family background, and his artistic, social and historical environment. He combines biographical investigation with detailed textual analysis of translated quotations in verse and prose to reveal the source of Pasternak's extraordinary writings. The book examines a wide range of topics that include his musical enthusiasm and relations with Scriabin, his philosophical studies, his activities in World War I and his response to the 1917 revolutions, and his stance as a liberal artistic intellectual in the 1920s.
A TLS Book of the Year 2017 In this, the first anthology of Russian contemporary art writing to be published outside Russia, many of the country's most prominent contemporary artists, writers, philosophers, curators and historians come together to examine the region's contemporary art, culture and and theory. With contributions from Ilya and Emilia Kabakov, Boris Groys, Dmitri Prigov, Anton Vidokle, Keti Chukhrov, Oxana Timofeeva, Pavel Pepperstein, Arseny Zhilyaev and Masha Sumnina amongst many others, this definitive collection reveals a compelling portrait of a vibrant and complex culture: one built on a contradicting dialectic between the material and the ideal, and battling its own histories and ideologies.
Professor Thompson's subject is the uneasy position of art within Marxist ideology: what part can the arts of the past play in the new society? On the one hand there was the sense of a continuing cultural tradition, more or less independent of ideological change symbolized in the image of the Venus of Milo, and on the other, the iconoclastic demands for a complete break with the past in all its forms made by revolutionary artists, who found in the myth of Lot's wife a symbol of the attractions of the past. Originally published in 1978, the book discusses the problems and paradoxes involved from a general theoretical point of view and in the work of individual artists. Professor Thompson suggests that the power inherent in art to resist social and ideological changes undermines all rationalistic theories of art, those of the Marxists and those fashionable in the West.
The struggles and upheavals in Russia over the last few years seen from the top - Boris Yeltsin was the President of Russia for a decade. He overcame the coup of 1991, he developed good relationships with world leaders from Clinton to Helmut Kohl. What was the chemistry of his meetings with Jacques Chirac, Tony Blair and Ziang Zhao Min? How did he get on when the Queen visited Moscow, the first British monarch to step onto Russian soil since before the first world war. Yeltsin gives his account of the revolution in Chechnya; he explains his feelings on the former Yugoslavia imbroglio and why Russia couldn't intervene more effectively. Here is Yeltsin on his own often unreliable health, his quintuple bypass surgery, his depression (like Churchill's 'Black Dog'periods) and how he survived to retire on the eve of the new millennium. Yeltsin gives his views on a non Communist Russia, democracy, the struggling economy, the mafia - and his own determination to give the citizens of his country a better future than its glorious but authoritarian past.
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