Titlebook: Russian Montparnasse; Transnational Writin Maria Rubins Book 2015 Maria Rubins 2015 Russian Montparnasse.interwar literature.modern Europea

桉树

OATH

“A Shared Homeland for All Foreigners”: The Paris Myther percentage of foreigners to total population than any other major European center. Distinguished by unprecedented cosmopolitanism and diversity, Paris became one of the major sites of transnational exchanges.

Orchiectomy

“A ‘Third-Rate Rhymer’ … but a Poet of Genius”: Lermontov and Russian Montparnasse pantheon was certainly no rejection of Pushkin’s poetry as such. Rather, the young generation sought to assert its independent identity by deconstructing the Pushkin-centered discourse of the mainstream diaspora and establishing an alternative aesthetic and spiritual genealogy.

臭了生气

全等

Human Document or ,?ted, the debate was propelled by the clash between their diametrically opposed normative evaluations of this type of writing and its viability as an autonomous genre, while bracketing any inquiry into the actual status of such texts as veritable “documents.”

Panther

Anthologizing the Jazz Age: Gaïto Gazdanov’s , decade, as evidenced by several archival versions of the manuscript and a few offshoot texts . (1930) and “A Great Musician” (“Velikii muzykant,” 1931)). The evolution of the novel traced through its successive drafts demonstrates how it gradually became an “anthology” of pre-war transnational culture.

Directed

进取心

Dialogue with Tolstoystoy was distinguished by a certain ambivalence: hailed as a source of spiritual force for exiles, the writer also acquired a “revolutionary image,” as many believed that his moral teaching and social theory had inadvertently precipitated the destruction of the old system in Russia..

Metamorphosis

Introduction: Russian Montparnasse as a Transnational Community for foreign migrants, including thousands of artists, writers, and musicians. During . (as the Jazz Age is known in France), the city rapidly gained a reputation as the cultural capital of the world, becoming a site of rich artistic production and the birthplace of a number of transnational aesthet

BILK

Who Needs Art? The Human Document and Strategies of Self-Representationto its direct antecedents. The human document did not appear on the European literary scene .. In France, it already had a long history tracing back at least to the middle of the nineteenth century.. The invention of the term “human document” (if not of the genre itself) was contested between Emile