Centro de Culturas Eslavas UGR

Apollonio Carol

When Fyodor Dostoevsky proclaims that he is a "realist in a higher sense," it is because the facts are irrelevant to his truth. And it is in this spirit that Apollonio approaches Dostoevsky’s work, reading through the facts--the text--of his canonical novels for the deeper truth that they distort, mask, and, ultimately, disclose. This sort of reading against the grain is, Apollonio suggests, precisely what these works, with their emphasis on the hidden and the private and their narrative reliance on secrecy and slander, demand. In each work Apollonio focuses on one character or theme caught in the compromising, self-serving, or distorting narrative lens. Who, she asks, really exploits whom in Poor Folk? Does ""White Nights"" ever escape the dream state? What is actually lost--and what is won--in The Gambler? Is Svidrigailov, of such ill repute in Crime and Punishment, in fact an exemplar of generosity and truth? Who, in Demons, is truly demonic? Here we see how Dostoevsky has crafted his novels to help us see these distorting filters and develop the critical skills to resist their anaesthetic effect. Apollonio's readings show how Dostoevsky's paradoxes counter and usurp our comfortable assumptions about the way the world is and offer access to a deeper, immanent essence. His works gain power when we read beyond the primitive logic of external appearances and recognize the deeper life of the text.

Lewin Moshe, Esteve Ferrán

El siglo soviético: el funcionamiento real del sistema político, desmitificar los tópicos establecidos y ofrecernos nuevas perspectivas. La guerra fría terminó hace mucho;" pero las obras que se escriben hoy sobre la Rusia soviética siguen lastradas por la misma carga de prejuicios y deformaciones que en el pasado. Moshe Lewin emprende en este gran libro la tarea de reconstruir sobre nuevas bases una historia que marcó profundamente el siglo XX, utilizando documentación de archivo, memorias y testimonios desconocidos hasta hoy, a la luz de su profundo conocimiento del país y de la época. El siglo soviético consigue con ello mostrarnos el funcionamiento real del sistema político, desmitificar los tópicos establecidos y ofrecernos nuevas perspectivas para ayudarnos a establecer un balance más objetivo de sus éxitos y sus fracasos. Como ha dicho Eric Hobsbawm, este libro representa «una contribución decisiva para emancipar la historia de la Unión Soviética de la herencia ideológica del siglo pasado y debería ser lectura obligada para cuantos aspiren a entenderla».

Толстой Алексей Николаевич

Čelebić Gojko

Nedavno objavljena nova književno-teorijska studija “Dostojevski i Zapad“ Gojka Čelebića (prethodne godine bila je to Vjetrenjače Evrope) za literaturu Crne Gore značiće, bez sumnje, veliki iskorak. Koliko i na koji način, time bi trebalo da se pozabavi književna kritika. Prema onome šta kroz svoj dubinsko-analitički kompleks nudi čitaocu, a riječ je o recepciji Dostojevskog u zapadno-evropskoj i američkoj književnosti i, u tom kontekstu, interakciji postmodernih stilova i čitanja, može se reći da se radi o knjizi koja i po svom žanru (esejističko-teorijski diskurs), kao jedinstveno ostvarenje, obogaćuje crnogorsku književnost. U svakom od četiri poglavlja – Dostojevski i moderni Zapad, Dostojevski i strukturalno mišljenje, Dostojevski u Crnoj Gori, i U zemlji Velikog inkvizitora – autor je, poznavajući i koristeći izvornu literaturu na pet svjetskih jezika, njihov kritički duh, ne samo približio crnogorskoj kulturi, već je ukazao i na rastuću aktuelnost dostojevistike u svijetu. Istina, odnos Dostojevskog prema teoriji i praksi zapadne književnosti i filozofije manje je zastupljen u odnosu na refleksiju i prijem njegovih književno -teorijskih postulata. Iako autor u uvodu navodi da njegova studija “ne pretenduje na sveobuhvatnost već na reprezentativnost“, ovo djelo, svakako, predstavlja i široki, dobro sistematizovani panoptikum stilskih razvojnih formacija (prije svega, strukturalizma) u kontekstu začetaka moderne misli i čitanja.

Sigsjö Eva

Ryan N.

Ожегов Сергей Иванович, Скворцов Лев Иванович

Satire and the fantastic, vital literary genres in the 1920s, are often thought to have fallen victim to the official adoption of socialist realism. Eric Laursen contends that these subversive genres did not just vanish or move underground. Instead, key strategies of each survive to sustain the villain of socialist realism. Laursen argues that the judgment of satire and the hesitation associated with the fantastic produce a narrative obsession with controlling the villain’s influence. In identifying a crucial connection between the questioning, subversive literature of the 1920s and the socialist realists, Laursen produces an insightful revision of Soviet literary history.

Ильина Светлана Анатольевна, Коломейцева Елена Михайловна

Merridale Catherine, Rabasseda Juan

En los primeros meses de 1917, cuando se iniciaba en Rusia la revolución, en medio de las intrigas de agentes y espías que trataban de sacar partido de la confusa situación del país, el gobierno alemán decidió ayudar a un grupo de revolucionarios exiliados en Suiza para que regresaran a Rusia, con la esperanza de que contribuyesen a apartarla de la guerra. Lenin y sus acompañantes atravesaron Alemania en un vagón sellado y, a través de Suecia y de Finlandia, consiguieron llegar a Petrogrado. Una vez allí, Lenin combatió los propósitos de quienes se contentaban con que la revolución condujese a establecer una república burguesa, y fijó como objetivo el paso inmediato al socialismo: a una sociedad sin estado y sin clases. Así comenzó un nuevo rumbo para una revolución que iba a cambiar la historia del mundo. Catherine Merridale nos ofrece una fascinante y documentada interpretación de estos acontecimientos y de sus protagonistas: una visión innovadora que nos ayudará a superar los tópicos establecidos.

Fusso Susanne

Most discussions of sexuality in the work of Dostoevsky have been framed in Freudian terms. But Dostoevsky himself wrote about sexuality from a decidedly pre-Freudian perspective. By looking at the views of human sexual development that were available in Dostoevsky's time and that he, an avid reader and observer of his own social context, absorbed and reacted to, Susanne Fusso gives us a new way of understanding a critical element in the writing of one of Russia's literary masters. Beyond discovering Dostoevsky's own views and representations of sexuality as a reflection of his culture and his time, Fusso also explores his artistic treatment of how children and adolescents discover sexuality as part of their growth. Some of the topics Fusso considers are Dostoevsky's search for an appropriate artistic language for sexuality, a young narrator's experimentation with homoerotic desire and unconventional narrative in A Raw Youth; and Dostoevsky's approach to a young man's sexual development in A Raw Youth and The Brothers Karamazov. She also explores his complex treatment of a child's secret sexuality in his account of the Kroneberg child abuse case in A Writer's Diary;" and his conception of the ideal family, a type of family that appears in his works mainly by negative example. Focusing mainly on sexual practices considered """"deviant"""" in Dostoevsky's time--both because these are the practices that his young characters confront and because they offer the most intriguing interp...