Russian Postmodernist Fiction: Dialogue with ChaosM.E. Sharpe, 11.05.1999 Mark Lipovetsky takes the reader on a critical tour of twentieth-century Russian literature to develop a specific understanding of Russian postmodernism (Aksyonov, Bitov, Erofeev, Pietsukh, Popov, Sokolov, Tolstaya). In the process he takes on some of the central issues of the critical debate and draws on both Bakhtinian and chaos theory to develop a conception of postmodern poetics as a dialogue with chaos. Lipovetsky concludes by placing Russian literature in the context of this enriched postmodernism. An appendix with extensive bibliographical notes on contemporary Russian writers and literary theorists complements the study. --First comprehensive study of Russian postmodernism --Develops original contributions to postmodernist theory --Provides detailed analysis of the most representative texts of Russian postmodernism --Places Russian postmodernism in the context of European and North and Latin American postmodernism --Includes an appendix of biographical and bibliographic information on contemporary Russian writers. |
Inhalt
| 3 | |
| 6 | |
| 13 | |
| 18 | |
Dialogue with Chaos as a New Artistic Strategy | 26 |
II Culture as Chaos | 37 |
Sacking the Museum Andrei Bitovs Pushkin House | 39 |
From an Otherwordly Point of View Venedikt Erofeevs Moscow to the End of the Line | 66 |
Creation of the Kaleidoscopic Self | 146 |
Context Mythologies of History | 154 |
The Enigma of the Russian Soul Revisited | 156 |
An Apotheosis of Particles | 165 |
SelfPortrait on a Timeless Background | 173 |
Context Mythologies of the Absurd | 181 |
The Jesters Work | 184 |
Narrative Theater of Cruelty | 197 |
The Myth of Metamorphosis Sasha Sokolovs A School for Fools | 83 |
Active Nonbeing | 100 |
III The Poetics of Chaosmos | 105 |
Context Soviet Utopia | 107 |
Utopia as a Fantasy | 108 |
Bodies versus Ideas | 117 |
Context Mythologies of Creation | 126 |
In the Broken Mirror | 127 |
Chaos Speaks | 139 |
Famous Last Words | 220 |
IV Conclusion | 231 |
On the Nature of Russian Postmodernism | 233 |
Notes | 249 |
References | 261 |
Biographical and Bibliographical Notes | 273 |
Index | 321 |
Andere Ausgaben - Alle anzeigen
Russian Postmodernist Fiction: Dialogue with Chaos Mark Naumovich Lipovet︠s︡kiĭ Eingeschränkte Leseprobe - 1999 |
Russian Postmodernist Fiction: Dialogue with Chaos Mark Lipovetsky,Eliot Borenstein Eingeschränkte Leseprobe - 2016 |
Häufige Begriffe und Wortgruppen
absurd aesthetic Aksyonov Aleshkovsky's Andrei artistic Astrophobia author-creator avant-garde Bakhtin Barrelware becomes Bitov Brodsky carnival carnivalesque chaotic chapter characters chronotope classical concept consciousness contemporary context created creative chronotope cultural languages death deconstruction dialogue with chaos eternity everything fairy tale fairy-tale fiction freedom genre harmony hero ibid Ilya Ilya Kabakov intertextual Joseph Brodsky Kabakov literary logic Lyova meaning Menippean metafiction Mikhail Mitishatyev modernism modernist Moreover Moscow motifs myth mythological Nabokov narrative narrator novel Palisander paradoxical parody Pelevin Petushki philosophical Pietsukh play playful plot poetics postmodernist Prose protagonist Pushkin House reality ritual Rubinshtein Russian culture Russian literature Russian postmodernism samizdat Sasha Sokolov School for Fools simulacra simulation Socialist Realism Sorokin Sots-Art Soviet stories structure style stylistic Tatyana Tolstaya tion Tolstaya tradition transformation Translated turns University utopian Vasily Vasily Aksyonov Venedikt Erofeev Venichka Viktor Erofeyev Viktor Pelevin Vladimir Vladimir Sorokin words writing York
Beliebte Passagen
Seite 31 - Postmodern science — by concerning itself with such things as undecidables, the limits of precise control, conflicts characterized by incomplete information, 'fracta,' catastrophes, and pragmatic paradoxes — is theorizing its own evolution as discontinuous, catastrophic, nonrectifiable, and paradoxical.
Seite 70 - The Jews, therefore, because it was the preparation, that the bodies should not remain upon the cross on the Sabbath Day, (for that Sabbath Day was an high day,) besought Pilate that their legs might be broken, and that they might be taken away.
Seite 47 - Simulation is no longer that of a territory, a referential being or a substance. It is the generation by models of a real without origin or reality: a hyperreal. The territory no longer precedes the map, nor survives it. Henceforth, it is the map that precedes the territory - precession of simulacra - it is the map that engenders the territory...
Seite 16 - ordinary" life both as to locality and duration. This is the third main characteristic of play: its secludedness, its limitedness. It is "played out" within certain limits of time and place.
Seite 70 - Then the soldiers, when they had crucified Jesus, took His garments, and made four parts, to every soldier a part; and also His coat: now the coat was without seam, woven from the top throughout. They said therefore among themselves, Let us not rend it, but cast lots for it, whose it shall be...
Seite 9 - In providing a critique of their own methods of construction, such writings not only examine the fundamental structures of narrative fiction, they also explore the possible fictionality of the world outside the literary fictional text.
Seite 5 - The grand narrative has lost its credibility, regardless of what mode of unification it uses, regardless of whether it is a speculative narrative or a narrative of emancipation.
Seite 16 - First and foremost, then, all play is a voluntary activity. Play to order is no longer play: it could at best be but a forcible imitation of it. By this quality of freedom alone, play marks itself off from the course of the natural process.