Titlebook: Discontinuous Discourses in Modern Russian Literature; Catriona Kelly,Michael Makin (Professor of Slavic Book 1989 Catriona Helen Moncrie

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Overview: 978-1-349-19851-1978-1-349-19849-8

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https://doi.org/10.1007/978-1-349-19849-8aesthetics; Autorschaft; coherence; critique; history of literature; Jacques Derrida; literary criticism; N

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https://doi.org/10.1007/978-3-7091-9111-8quare. From his window, the intellectual witnesses ‘a ballet that … couldn’t even be seen in the Châteaux of Louis II of Bavaria’. The scene here is that of ‘la vie quotidienne’, the everyday world of the market as energetic activity of economic interaction: ‘Towards nine o’clock, when I got up, it

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https://doi.org/10.1007/978-3-7091-9111-8le attention from its literary critics — and predictably less from those elsewhere. To British and American Slavists she is probably best known as the author of . (1924), recently analysed as an example of ‘Red Pinkertonism’,. and the ‘production’ novel . (1930–31). The designation ‘production’ or ‘

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https://doi.org/10.1007/978-3-7091-9111-8leading member of the group of writers who called themselves the . group, and like many off-beat writers of the 1920s and early 1930s found employment as a children’s writer in Samuil Marshak’s ‘academy’, the publishing house, .. He was arrested and exiled briefly in 1931, but returned to Leningrad

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https://doi.org/10.1007/978-3-7091-9111-8leted and published by the poet; it was written at the height of her powers; and it displays some of the most important features of her poetics and her relations to traditions and genres. Commentators who have paused over it have described those features only in general terms, concluding that . is a