About this product

Product Identifiers

PublisherAcademic Studies Press

ISBN-101936235536

ISBN-139781936235537

eBay Product ID (ePID)99508042

Product Key Features

Number of Pages240 Pages

LanguageEnglish

Publication NameEpic and the Russian Novel from Gogol to Pasternak

Publication Year2011

SubjectGeneral, European / Eastern (See Also Russian & Former Soviet Union), Semiotics & Theory, Russian & Former Soviet Union

TypeTextbook

Subject AreaLiterary Criticism, Literary Collections

AuthorStanley J. Rabinowitz, Frederick T. Griffiths

SeriesStudies in Russian and Slavic Literatures, Cultures, and History Ser.

FormatHardcover

Dimensions

Item Weight27.1 Oz

Item Length9.2 in

Item Width6.1 in

Additional Product Features

Intended AudienceScholarly & Professional

LCCN2011-006283

Reviews"Griffiths and Rabinowitz reveal the genre's liveliness, fluidity, and seemingly limitless ability to assert itself in modern letters. Newarly every sentence rewards, and will provoke serious readers to pause and think. The impressive erudition and critical imagination which Griffiths/Rabinowitz combine make one hope that this ancient/modern pair of critical bogatyri will sally forth again."-John M. Kopper, Dartmouth College, "Felicitous phrasing throughout (the Odyssey as "the grandfather of all Baedekers," 155) renders this erudite volume a pleasure to read and ponder. Griffiths and Rabinowitz have created an exemplary and inspirational work of interdisciplinary scholarship. Any scholar of Slavic studies, classics, Russian intellectual history, or the classical heritage should gladly welcome this book."-Judith E. Kalb, University of South Carolina, "Griffiths and Rabinowitz reveal the genre's liveliness, fluidity, and seemingly limitless ability to assert itself in modern letters. Newarly every sentence rewards, and will provoke serious readers to pause and think. The impressive erudition and critical imagination which Griffiths/Rabinowitz combine make one hope that this ancient/modern pair of critical bogatyri will sally forth again."-John John M. Kopper, Dartmouth College

Dewey Edition22

Dewey Decimal891.73/309

SynopsisThe authors read some of the classics in the Russian novelistic tradition against a critique of the Lukacs-Bakhtin view of epic, all the while demonstrating the modernity of epic as a literary mode and arguing how some key Russian novels challenge or outgrow their generic form to re-imagine or re-invent a new, monumental one., Epic and the Russian Novel from Gogol to Pasternak examines the origin of the nineteen- century Russian novel and challenges the Lukács-Bakhtin theory of epic. By removing the Russian novel from its European context, the authors reveal that it developed as a means of reconnecting the narrative form with its origins in classical and Christian epic in a way that expressed the Russian desire to renew and restore ancient spirituality. Through this methodology, Griffiths and Rabinowitz dispute Bakhtin's classification of epic as a monophonic and dead genre whose time has passed. Due to its grand themes and cultural centrality, the epic is the form most suited to newcomers or cultural outsiders seeking legitimacy through appropriation of the past. Through readings of Gogol's Dead Souls--a uniquely problematic work, and one which Bakhtin argued was novelistic rather than epic--Dostoevsky's Brothers Karamazov, Pasternak's Dr. Zhivago, and Tolstoy's War and Peace, this book redefines "epic" and how we understand the sweep of Russian literature as a whole., Epic and the Russian Novel from Gogol to Pasternak examines the origin of the nineteen- century Russian novel and challenges the Luk cs-Bakhtin theory of epic. By removing the Russian novel from its European context, the authors reveal that it developed as a means of reconnecting the narrative form with its origins in classical and Christian epic in a way that expressed the Russian desire to renew and restore ancient spirituality. Through this methodology, Griffiths and Rabinowitz dispute Bakhtin's classification of epic as a monophonic and dead genre whose time has passed. Due to its grand themes and cultural centrality, the epic is the form most suited to newcomers or cultural outsiders seeking legitimacy through appropriation of the past. Through readings of Gogol's Dead Souls--a uniquely problematic work, and one which Bakhtin argued was novelistic rather than epic--Dostoevsky's Brothers Karamazov, Pasternak's Dr. Zhivago, and Tolstoy's War and Peace, this book redefines "epic" and how we understand the sweep of Russian literature as a whole., Epic and the Russian Novel from Gogol to Pasternak examines the origin of the nineteen- century Russian novel and challenges the Lukács-Bakhtin theory of epic. By removing the Russian novel from its European context, the authors reveal that it developed as a means of reconnecting the narrative form with its origins in classical and Christian epic in a way that expressed the Russian desire to renew and restore ancient spirituality. Through this methodology, Griffiths and Rabinowitz dispute Bakhtin's classification of epic as a monophonic and dead genre whose time has passed. Due to its grand themes and cultural centrality, the epic is the form most suited to newcomers or cultural outsiders seeking legitimacy through appropriation of the past. Through readings of Gogol's Dead Souls-a uniquely problematic work, and one which Bakhtin argued was novelistic rather than epic-Dostoevsky's Brothers Karamazov, Pasternak's Dr. Zhivago, and Tolstoy's War and Peace, this book redefines "epic" and how we understand the sweep of Russian literature as a whole., Epic and the Russian Novel from Gogol to Pasternak examines the origin of the nineteen- century Russian novel and challenges the Lukacs-Bakhtin theory of epic. By removing the Russian novel from its European context, the authors reveal that it developed as a means of reconnecting the narrative form with its origins in classical and Christian epic in a way that expressed the Russian desire to renew and restore ancient spirituality. Through this methodology, Griffiths and Rabinowitz dispute Bakhtin's classification of epic as a monophonic and dead genre whose time has passed. Due to its grand themes and cultural centrality, the epic is the form most suited to newcomers or cultural outsiders seeking legitimacy through appropriation of the past. Through readings of Gogol's Dead Souls--a uniquely problematic work, and one which Bakhtin argued was novelistic rather than epic--Dostoevsky's Brothers Karamazov, Pasternak's Dr. Zhivago, and Tolstoy's War and Peace, this book redefines "epic" and how we understand the sweep of Russian literature as a whole.

LC Classification NumberPG3098.3