Relevant bibliographies by topics / Russian prose literature – 21st century

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Russian prose literature – 21st century'

Author: Grafiati
Published: 25 July 2024
Last updated: 31 July 2024

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Journal articles on the topic "Russian prose literature – 21st century"

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Chernikova, Natalia. "THE WAYS OF PRESENTING RUSSIAN LITERATURE IN THE 21ST-CENTURY BULGARIA." Lomonosov Journal of Philology, no. 4, 2023 (August 23, 2023): 185–93. http://dx.doi.org/10.55959/msu0130-0075-9-2023-47-04-16.

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The article examines the translation of Russian literary works in 21stcentury Bulgaria. The reasons for the decline of the process at the beginning of the century are discussed. Reference is made to the editions of new works by authors who are already popular among Bulgarian readers (V. Pelevin, S. Lukyanenko, B. Akunin, S. Minayev, A. Bushkov), as well as writers who are relatively new to the Bulgarian public (E. Vodolazkin, S. Lebedev, A. Salnikov, D. Rubina) and recent translations of the works of authors who started their literary activity back in the 20th century but who have not been published in Bulgaria until recently. Although modern Bulgarian publishers and translators are mainly interested in Russian prose, we also mention some trends in the reception of poetry and drama and the presence of Russian literature on Bulgarian theatrical stage. Bulgarian publishers, scholars and translators who popularize contemporary Russian prose are named, as well as the events (such as the annual national award of the Bulgarian Translators’ Union), the main objective of which is cultural cooperation of the two countries. Translations of Russian literary work in Bulgaria during the politically unstable situation (from February 2022 up to present) are considered, as well as the possibility of publishing such translations in our time.
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Tatarinov, Alexey, and Marina Bezrukavaya. "The human concept in Russian Neomodernist prose of the 21st Century." Revista Amazonia Investiga 10, no. 43 (August 31, 2021): 9–19. http://dx.doi.org/10.34069/ai/2021.43.07.1.

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Research subject is grounding efficiency and topicality of Russian literature (and its studies) as a cultural project, that could be apologia of a traditional individual. Methodological basis is anthropocentric literature of Erich Auerbach, Dmitry Likhachev, Sergey Averintsev, Harold Bloom, in which literary text analysis, assessment of genre structures lead to the conclusions on the individual’s state under the established cultural tradition. Analysis of contemporary Russian novels outlines authors’ worlds. Reading them evokes various images: of a passionate individual, often with certain intent, but always affected by the interaction with crises and voids (Yury Buida), an individual characterized by various anti-totalitarian acts, by aspiration to exercise the freedom of thought in everyday life (Ludmila Ulitskaya), an egocentric individual, believing that the most significant victories come in the representation of the own self (Edward Limonov), an individual prone to interaction with totalitarian principles, synthesizing non-canonic metaphysical forms and attributes of strong state under ambivalent relations of utopia and anti-utopia (Vladimir Sorokin), an individual actively exploring modern world and general existence in motions, related by the author to Oriental cognition principles and spiritual practices (Victor Pelevin). Our focused literary analysis aims at combining all text moves in plot and language that represent evolvement of a person as one of the central problems of any novel.
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Murzakhmedova, Gulnara. "GENDER ISSUES IN LITERATURE (ON THE EXAMPLE OF RUSSIA’S “WOMEN’S PROSE”)." Alatoo Academic Studies 22, no. 3 (September 30, 2022): 319–26. http://dx.doi.org/10.17015/aas.2022.223.39.

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In this article, the author focuses on the issue of gender in modern Russian literature on the example of “women’s prose”. The article discusses the reasons for the emergence of such a literary phenomenon as “women’s prose”, its distinctive features and originality of the genre. Within the framework of the article, the main themes, poetics, development prospects in modern fiction are also considered. The author examines the factors that led to the selection of “women’s prose” in the context of modern prose and the reasons that led to its flourishing in the literature of the 21st century.
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Shirokova, Lyudmila F. "Variations on Russian motifs in Slovak prose of the 21th century." Slavic Almanac, no. 1-2 (2020): 434–45. http://dx.doi.org/10.31168/2073-5731.2020.1-2.4.02.

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The historical and cultural ties between Slovakia and Russia have a long tradition. They manifested themselves and continue to appear both directly, in the form of various kinds of contacts, and indirectly, in different versions of their artistic understanding. Russian motifs and characters found in the Slovak prose of recent years, perform certain creative tasks that the author sets for himself. In the realistic literature of the 21st century, the Russian characters represent individual, historically and psychologically determined types that include both politicians and ordinary people. The time of narration usually refers to the past, that is, to the period of socialism. Particularly, they dwell upon the topic of the Gulag, the August events of 1968 in Czechoslovakia and reproduce pictures of the subsequent years of “normalization”. Examples of such a reflection of Russian motifs and figures are the works of S. Rakus, P. Rankov, J. Banaš. The use of Russian realities and themes in the literature of postmodernism gives other possibilities for its embodiment. The authors prefer a predominantly metaphorical, allegorical form. This is illustrated by the books of P. Vilikovsky, M. Hvoretsky, D. Majling. They contain allusions to Russian images and realities, conditioned by the intertextuality inherent to postmodernism, and use techniques of pastiche, palimpsest, grotesque, and absurdity.
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Khusaenova, R. R., G. R. Gaynyllina, and E. F. Nagumanova. "A. Akhmetgalieva 's creativity in the mirror of the achievements of Russian and Tatar prose writers of the beginning of the XXI century." Philology and Culture, no. 3 (October 5, 2023): 204–8. http://dx.doi.org/10.26907/2782-4756-2023-73-3-204-208.

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This article examines Tatar and Russian modern prose characterized by transitional features. The main attention is paid to the works by the Tatar writer Aigul Akhmetgalieva whose work most vividly embodies transitional phenomena in Tatar literature at the beginning of the 21st century. In particular, the authors of the article focus on her stories “Kapka” (“The Gate”), “Tan chyklaryn җil ubu” (“The Wind Kisses the Morning Dew”) and the novel “Tutash”. The purpose of the article is to review new trends in Tatar prose and identify the common features in modern Tatar and Russian literature. The motif of search in Tatar prose correlates with the existential component of consciousness in Russian culture as a whole. Both Russian and Tatar prose follow the trend of profound philosophical subtext and the introduction of new writing techniques. The analysis of Akhmetgalieva’s works has led to the conclusion that in modern Tatar prose, classical realism and avant-garde discourse, when interacting, form new methods of personal relationship with the outside world. The characters of modern writers are most often at a crossroads, in a borderline state, the latest prose reflecting the problem of the total ill-being of modern society.
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Ivanova, Irina. "Classic Forced Labor Camp Prose in Contemporary Russian Literature: The Transformation Revisited." Бюллетень Калмыцкого научного центра Российской академии наук 3, no. 23 (November 3, 2022): 120–43. http://dx.doi.org/10.22162/2587-6503-2022-3-23-120-143.

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Introduction. In the classic sense, forced labor camp prose includes fiction and documentary texts created by immediate participants of the events described (Stalin’s purges of the 1920s–1950s), and thus being usually autobiographical by nature. The bulk of such prose works were created in the 1950s–1970s by such writers as A. Solzhenitsyn, V. Shalamov, E. Ginsburg, Yu. Dombrovsky, A. Zhigulin, etc. Goals. The paper attempts an analysis of features inherent to manifestations of the forced labor camp theme in contemporary Russian fiction, and relates such texts to existing visions of such prose. Results. As is evident, there can be no camp prose — in the mentioned sense — in 21st-century Russian literature but the sociocultural trauma experienced by individuals (and communities) proves so deep and fundamental for their consciousness and subconsciousness that it persists in Russian literary discourse to date. Family memories, archival documents, search for identity, keen interest in national and regional history, official and social mythology give birth to various author’s strategies of addressing this sensitive issue and working with it. These yield narratives that greatly vary in authors’ ideological and aesthetic viewpoints and give rise to enormous — and sometimes violent — controversy in contemporary cultural environment.
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Yang, Zhao. "Translations and studies of V. Rasputin and Russian rural prose in China." World of Russian-speaking countries 1, no. 11 (2022): 46–59. http://dx.doi.org/10.20323/2658-7866-2022-1-11-46-59.

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The article presents an analytical review of translations and researches of V. Rasputin's works and Russian rural prose in China. The author notes that Russian “rural prose” and the work of the major writer of this genre, Rasputin, have outstanding artistic characteristics and have an important influence on Chinese modern and contemporary literature. This article discusses in detail the main stages of studying Rasputin's work and “rural prose” in Chinese literary criticism, as well as outlines and comments on the various scientific points of view of Chinese scholars. The article identifies three stages in studying this phenomenon of Russian literature: the first stage - 1980s-1990s, when Chinese literary scholars focused on ethical issues and issues of national character, seeing in the rural prose an attempt at spiritual salvation and the revival of national consciousness. The second stage is from the 1990s to the first decade of XXI century, in the period of “reform and opening up” in China when contradictions between urban and rural areas were intensified, and many modern Chinese writers expressed in their works a call to protect national culture, which caused their natural interest in V. Rasputin's works, depicting the fierce clash of national culture and Western civilization in the period of social transformations. Finally, the third stage is the beginning of the 21st century, when Chinese studies of Russian rural prose gain many new directions and perspectives (comparativist and narratological studies).
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Tsvetova, N. S. "BOOK REVIEW: GOLUBKOV M.M. WHY DO WE NEED RUSSIAN LITERATURE?" Siberian Philological Forum 20, no. 3 (September 30, 2022): 126–29. http://dx.doi.org/10.25146/2587-7844-2022-20-3-129.

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The author of the review analyzes the monograph by M.M. Golubkov, a well-known expert in Russian literature of the 20th century, Professor, Head of the Department of the Lomonosov Moscow State University. This book falls into three parts. The first deals with the relevance of Russian classics of the 20th century, the reasons for its “expulsion” from university and school literature programs, and the didactic potential that is ignored in the era of the Unified State Examination. The second part is devoted to one of the most urgent problems of modern historical and literary science – the problem of periodization. The third chapter of the monograph is a purely analytical one, which presents rather unexpected “rapprochements” of some key people in the latest Russian prose: Gorky and Solzhenitsyn, Solzhenitsyn and Polyakov, etc. From the point of view of the author of the review, the new book by M.M. Golubkov may be of interest not only to university teachers, but also to school teachers of Russian literature of the 20th and early 21st centuries.
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Shafranskaya, Eleonora F. "Armenian text: Poetry and prose." Philological Sciences. Scientific Essays of Higher Education, no. 6s (November 2022): 135–43. http://dx.doi.org/10.20339/phs.6s-22.135.

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The article continues the analysis of the Armenian text — the phenomenon of Russian culture and literature, which we presented in the previous article “The Armenian text: the Children of Job” (Polylinguality and Transcultural Practices. 2022. No. 3). The algorithm for analyzing the Armenian text is presented on the basis of prose texts of the last third of the 20th century (and a dotted line of the 21st), as well as poetic texts of modern poets (Liana Shahverdyan, Maxim Amelin, Alessio Gaspari, Georgy Kubatyan). The article examines the patterns associated with the key names, attributes and space of the Armenian picture of the world — as it develops in Russian literary reception. These are such patterns as Ararat, Sevan, sea, lavash, Armenian patio. Hrant Matevosyan. We offer a new pattern of the Armenian text — the personality and creativity of G. Kubatyan. The study is an attempt to oppose the Armenian text to a simple mention of Armenian attributes in literature. The author also offers an indispensable “ingredient” for the emergence of a local text as such, in particular, an Armenian one. The hierarchy between verses and prose in the process of the birth of a local text is indicated, albeit controversial.
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Kavun, Lidiia. "The topic of memory and identity in contemporary Ukrainian prose." Synopsis: Text Context Media 29, no. 1 (2023): 1–7. http://dx.doi.org/10.28925/2311-259x.2023.1.1.

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The relevance of the study is determined by the need to highlight the issues of memory and identity in the context of globalization, decolonization, the escalation of the Russian-Ukrainian war, and the intensification of the search for national and individual identity, particularly through the means of literature. The object of the research is Ukrainian prose of the beginning of the 21st century, which records memory and raises the issues of identity and historical continuity. The epic dimension of the problem is most fully represented by such novels as “Oblivion” by Tania Maliarchuk, “Amadoka” by Sofiіa Andrukhovych, and “Beech Land” by Maria Matios. The subject of the research is individual and group memory and identity, at one time artificially displaced from the national narrative and deliberately interrupted by the dictatorial Soviet-Russian regime. The study aims to investigate the artistic reconstruction of the memory and identity of Ukrainians in national literature of the beginning of the 21st century, to find out the instrumentalization of memory meanings and the role of remembering/forgetting. As a result of the research, using the hermeneutic method, we trace the artistic interpretation of memory in the context of an intensive understanding of the place and role of Ukrainians in the unfolding of the plot of history, returning to them a sense of individuality, and simply uniqueness, integrality, and durability (that is, permanence). Tania Maliarchuk’s novel “Oblivion” tells about the memory and place of modern man in the post-colonial Ukrainian space, about his awareness of the connection and continuity of the past, present, and future. Sofiіa Andrukhovych's novel “Amadoka” deals with the history of four generations of different eras and is united by the theme of the rupture of memory, tradition, time, and space. A successful attempt at positive processing of memory and identity based on the material of the history of Bukovyna in the 18th–21st centuries was performed by Maria Matios in the novel “Beech Land”. In addition to the common goal of exposing the Soviet pseudo-memory and (re)nourishing specific Ukrainian identity, the authors raise issues of regional specificity of public perception and debunking Soviet-Russian myths about the USSR. The prospects of research on the topic of memory and identity are reproductions of the entire range of semantic resources encoded in Ukrainian literature. This can become a way to escape from the power of the myths of the Russian Empire.
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Dissertations / Theses on the topic "Russian prose literature – 21st century"

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Rousselet, Jean-François. "Victor Petrovitch Astafiev, un écrivain ruraliste ?" Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC030.

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Cette thèse présente la première monographie française sur le grand écrivain russe et sibérien Victor Astafiev. Peu traduite en français, son œuvre importante (15 volumes) est généralement considérée par la critique comme s’inscrivant dans la veine de la prose rurale qui se développa en Russie à partir des années 70. Cependant, la biographie de l’écrivain et la multiplicité des thèmes qu’il aborde (société, guerre, musique, sons et nature) impose une remise en question de cette interprétation. L’auteur de la thèse s’attache à analyser finement les textes mis en contexte, à étudier l’évolution et la spécificité linguistique de leur écriture pour situer Astafiev dans la tradition de la grande littérature russe et faire apparaitre la profondeur et l’actualité de ses écrits. Le volume II livre une série de traductions inédites, annotées et commentées, ainsi que les versions reconstituées de chansons dont les textes révèlent un trésor de la culture populaire de l’époque
This thesis presents the first French monograph on the great Russian and Siberian writer, Viktor Petrovich Astafiev. His important work (15 volumes), little-translated into French, is generally praised by critics as taking place within the same framework of the Village Prose, which started growing in Russia from the seventies onwards. However, the biography of the writer and the multiple themes which he takes up (society, war, music, sounds and nature) call into question this interpretation. The thesis author attempts to carry out a shrewd analysis of the texts placed within their context and to study the linguistic development as well as the specificity of Astafiev writings in order to situate him in the tradition of the great Russian literature and to highlight the depth and the topicality of his work. The second volume delivers a whole series of unpublished translations, duly annotated and commented as well as restored versions of songs, the texts of which reveal a treasure of the popular culture in the context of that time
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Turner, Robert Charles Grey. "Counterfeit culture : truth and authenticity in the American prose epic since 1960." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709455.

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Handa, Atsuko. "Bridging Sōseki and Murakami : the modernity of Japan through modernist and postmodern prose." Monash University, School of Languages, Cultures and Linguistics, 2004. http://arrow.monash.edu.au/hdl/1959.1/5230.

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Fasey, Rosemary J. "Writers in the service of revolution : Russia's ideological and literary impact on Spanish poetry and prose, 1925-36." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14655.

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This thesis is a comparative literary study which is conducted by placing the reception of Russian literature in Spain during the period 1918-36 within the context of the interplay of literature and the social and political situations in which it is written. It first places the boom in the publication of Russian literature in the late 1920s and 1930s within the context of the history of the reception of Russian literature in Spain, providing a comprehensive survey of that history. Next, it describes the impact of the Russian Revolution and the formative years of the Soviet Socialist state on the political situation in pre-Civil War Spain, including the ideological links between the political situations of both countries. In pre-Civil War Spain, the revolutionary atmosphere changed the mood, subject matter and style of literature, and certain writers, recognizing their civic duty, began to produce literature that had a socially critical and didactic role. During that period, given the political context and the development of politically committed literature, Spanish intellectuals and artists of a Marxist persuasion derived incentive from their Russian counterparts. Russian literature has traditionally been the forum for social criticism, and has had a profoundly revolutionary dimension. Pre-revolutionary writers such as Dostoevsky and Andreev have been perceived by outsiders as revolutionary writers, and, in that capacity, have enjoyed great popularity abroad, including Spain. In the Soviet era, Mayakovsky was often considered to be the "Poet of the Revolution", and Gorky was the chief spokesman in the promotion of socialist ideals in literature in the twenty years following the Revolution. In Spanish pre-Civil War fiction, both the social novel and poetry were instrumental in conveying overtly Marxist messages. The thesis concludes with a comprehensive study about certain Spanish writers and their works, in the domains of poetry and the novel, specifically seeking evidence of the impact of the literature and ideology which was emanating from Russia in the first third of the twentieth century.
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Sutherland, Sherman W. "Diary of the Coolville Killer: Reflections on the Bush Years, Rendered in Fictional Prose." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1209671681.

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Dennison, John. "Seamus Heaney and the adequacy of poetry : a study of his prose poetics." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3026.

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Seamus Heaney's prose poetics return repeatedly to the adequacy of poetry, its ameliorative, restorative response to the inimical reality of life in the public domain. Drawing on manuscript as well as print sources, this thesis charts the development of this central theme, demonstrating the extent to which it threads throughout the whole of Heaney's thought, from his earliest conceptual formation to his late cultural poetics. Heaney's preoccupation with this idea largely originates in his undergraduate studies where he encounters Leavis and Arnold's accounts of poetry's adequacy: its ameliorative cultural and spiritual function. He also inherits, from Romantic and modernist influences, two differing accounts of poetry's relationship to reality. That conflicted inheritance engenders a crisis within Heaney's own early theorisation of poetry's adequacy to the violence of public life. An important period of clarification ensues, out of which emerge the dualisms of his later thought, and his emphasis on poetry's capacity to encompass, and yet remain separate from, ‘history'. Accompanied by habitual appropriation of Christian doctrine and language, these conceptual structures increasingly assume a redemptive pattern. By the mid-1990s, Heaney's humanist commitment to a ‘totally adequate' poetry has assumed a thoroughly Arnoldian character. The logical strain of his conceptual constructions—particularly the emphasis on poetry's autonomy from history—becomes acutely apparent, revealing just how appropriate the ambivalent ideal ‘adequacy' is. The subsequent expansion of Heaney's poetics into a general affirmation of the arts illuminates the fiduciary character of his trust in poetry while exposing the limits of that trust: Heaney's belief in poetry's adequacy constitutes a humanist substitute for—indeed, an ‘afterimage' of—Christian belief. This, finally, is the deep significance of the idea of adequacy to Heaney's thought: it allows us to identify precisely the Arnoldian origin, the late humanist character, and the limits of his troubled trust in poetry.
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Farjado, Jéssica de Souza. "O rei Lear da estepe, de Ivan Turguêniev: uma tragédia russa." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-03052016-110236/.

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Este trabalho é composto pela tradução da novela O rei Lear da estepe, de Ivan Turguêniev, publicada em 1870, seguida de um breve comentário sobre a influência do dramaturgo inglês William Shakespeare na literatura russa. Em seguida há um estudo sobre o skaz literário presente na novela e da estilização, um recurso estilístico teorizado por Mikhail Bakhtin e Yuri Tyniánov. Assim como a paródia, a estilização é também a recriação de uma obra consagrada, mas, ao contrário daquela, não possui efeito cômico e sim concordância de sentido com o texto no qual foi inspirada. Por fim, há um apontamento sobre a existência de elementos do folclore russo no texto e comentários sobre a tradução baseados em cotejos com versões francesa, inglesa e portuguesa.
This research consist of a translation of Ivan Turgenevs novel The King Lear of the steppes, published in 1870, followed by a brief commentary on the influence of the English playwrighter William Shakespeare in Russian literature. Then there is a study of the literary skaz present in the novel and styling, a stylistic feature theorized by Mikhail Bakhtin and Yury Tynyanov. Like the parody, the styling is also a recreation of a consecrated work, but rather that it does not have comic effect, but agree with the text direction in which it was inspired. Finally, there is a note about the existence of elements of Russian folklore in the text and comments on the translation based on comparison with French, English and Portuguese versions.
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Abdulmassih, Fabio Brazolin. "Aulas de literatura russa - F.M. Dostoiévski por N. Nabókov: por que tirar Doistoiévski do pedestal?" Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-29092010-112244/.

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Este trabalho é composto pela tradução anotada do texto original em inglês Fyodor Dostoevski (1821 1881), que faz parte das aulas de literatura russa que o autor russo Vladímir Nabókov ministrou em universidades americanas de 1941 a 1959, bem como por uma introdução biobibliográfica e crítica sobre o autor, de um modo geral, e de um ensaio crítico sobre suas opiniões a respeito das principais obras de Fiódor Dostoiévski, em particular. Para tanto, serão comentadas as principais opiniões críticas de Nabókov sobre os romances Crime e Castigo, Memórias do Subsolo, O Idiota, Os Demônios e os Irmãos Karámazov de Dostoiévski à luz das concepções de Mikhail Bakhtin, Leonid Grossman, Joseph Frank, entre outros.
This research is composed of the annotated translation of the original text in English Fyodor Dostoevski (1821 - 1881), which is part of the lectures on Russian literature that the Russian author Vladimir Nabokov gave in American universities from 1941 to 1959, as well as by a biobibliographical and critical introduction about the author, in a general way, and a critical essay about his opinions concerning the major works of Fyodor Dostoevski, in particular. To accomplish this task, Nabokovs opinions about the novels Crime and Punishment, Memories from the Underground, The Possessed, The Idiot and The Brothers Karamazov have been studied in the light of Mikhail Bakhtin, Leonid Grossman, Joseph Frank, among others.
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Dreyer, Nicolas D. "'Post-Soviet neo-modernism' : an approach to 'postmodernism' and humour in the post-Soviet Russian fiction of Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1917.

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The present work analyses the fiction of the post-Soviet Russian writers, Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin against the background of the notion of post-Soviet Russian postmodernism. In doing so, it investigates the usefulness and accuracy of this very notion, proposing that of ‘post-Soviet neo-modernism’ instead. Common critical approaches to post-Soviet Russian literature as being postmodern are questioned through an examination of the concept of postmodernism in its interrelated historical, social, and philosophical dimensions, and of its utility and adequacy in the Russian cultural context. In addition, it is proposed that the humorous and grotesque nature of certain post-Soviet works can be viewed as a creatively critical engagement with both the past, i.e. Soviet ideology, and the present, the socially tumultuous post-Soviet years. Russian modernism, while sharing typologically and literary-historically a number of key characteristics with Western modernism, was particularly motivated by a turning to the cultural repository of Russia’s past, and a metaphysical yearning for universal meaning transcending the perceived fragmentation of the tangible modern world. Continuing the older Russian tradition of resisting rationalism, and impressed by the sense of realist aesthetics failing the writer in the task of representing a world that eluded rational comprehension, modernists tended to subordinate artistic concerns to their esoteric convictions. Without appreciation of this spiritual dimension, semantic intention in Russian modernist fiction may escape a reader used to the conventions of realist fiction. It is suggested that contemporary Russian fiction as embodied in certain works by Sorokin, Tuchkov and Khurgin, while stylistically exhibiting a number of features commonly regarded as postmodern, such as parody, pastiche, playfulness, carnivalisation, the grotesque, intertextuality and self-consciousness, seems to resume modernism’s tendency to seek meaning and value for human existence in the transcendent realm, as well as in the cultural, in particular literary, treasures of the past. The closeness of such segments of post-Soviet fiction and modernism in this regard is, it is argued, ultimately contrary to the spirit of postmodernism and its relativistic and particularistic worldview. Hence the suggested conceptualisation of post-Soviet Russian fiction as ‘neo-modernist’.
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Safarik, Amy Kathleen. "A Literature of Conscience: Yevtushenko's Post-Stalin Poetry." Thesis, 2008. http://hdl.handle.net/10012/3604.

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The tradition of civic poetry occupies a unique place in the history of Russian literature. The civic poet (grazhdanskii poet) characteristically addresses socio-political issues and injustices relevant to the era in opposition to the established authority. This often comes out of a sense of responsibility to the nation. During the Thaw period (1953-63), an interval of relative artistic freedom that followed decades of severe artistic control, Y. Yevtushenko (1932- ) was among the first poets who dared to speak critically about the social and political injustices that occurred during Stalin’s dictatorship. At that time, his civic-oriented poetry focused primarily on the reassessment of historical, social, and political values in the post-Stalin era. The aim of the present study is to evaluate Yevtushenko’s position within the tradition of civic poets and to illustrate his stylistic ability to combine lyrical intimacy and autobiographic experiences with national and international issues in the genre of civic poetry. I approach the subject using a methodology of close examination: a formal and structural analysis of select poems in the original Russian. In addition, relevant social, political, and historical conditions are taken into account, as well as Mayakovsky’s influence on Yevtushenko’s poetry. This research offers a definition of the term “civic poet” and supplies a historical survey of civic poetry that dates back to the satires of the eighteenth century. I specifically refer to the Russian icons of this genre: G. Derzhavin, A. Pushkin, K. Ryleev, M. Lermontov, N. Nekrasov, and V. Mayakovsky. I start my evaluation of Yevtushenko as a civic poet by examining his narrative poem, Stantsiia Zima (1956), and proceed with a detailed analysis of his most important political poems of the Thaw period: “Babii Yar” (1961) and “Nasledniki Stalina” (Heirs of Stalin, 1962). In addition, I assess Yevtushenko’s political and cultural acts throughout his career. Finally, I further analyze select poems by Yevtushenko that were published from 1990 to 2005, to offer a new and more complete view of Yevtushenko’s place in the canon of Russian civic poets.
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Books on the topic "Russian prose literature – 21st century"

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Pavel, Krusanov, ed. Novye peterburgskie povesti. Sankt-Peterburg: Amfora, 2006.

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Akhmatova, Anna Andreevna. My half century: Selected prose. Ann Arbor: Ardis, 1992.

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Adjoubei, Svetlana A., and Hugh A. Aplin. Red pyramid: Russian literature from the 21st century. London: Academia Rossica, 2009.

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Heier, Edmund. Literary portraiture in nineteenth-century Russian prose. Köln: Böhlau Verlag, 1993.

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Akhmatova, Anna Andreevna. My Half Century: Selected Prose. Evanston, USA: Northwestern University Press, 1997.

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Dave, Eggers, ed. The best American nonrequired reading, 2005. Boston: Houghton Mifflin Company, 2005.

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D, Akella R., Central Institute of English and Foreign Languages. Dept. of Russian., and National Seminar on the Role, Status, and Prospects of Russian Language in the 21st century (1998 : Central Institute of English and Foreign Languages)., eds. Role, status, and prospects of Russian language in the 21st century: Seminar papers. Hyderabad: Dept. of Russian, CIEFL and Ajanta Books International, Delhi, 1999.

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Lalo, Alexei. The birth of the body: Russian erotic prose of the first half of the twentieth century : a reader. Leiden: Brill, 2013.

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Gheith, Jehanne M. Finding the middle ground: Krestovskii, Tur, and the power of ambivalence in nineteenth-century Russian women's prose. Evanston, Ill: Northwestern University Press, 2004.

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Dave, Eggers, ed. The best American nonrequired reading, 2004. Boston: Houghton Mifflin, 2004.

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Book chapters on the topic "Russian prose literature – 21st century"

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Ó Fionnáin, Mark. "Alastar Sergedhebhít Púiscín, the Séacspír of Russia." In Translating Russian Literature in the Global Context, 171–80. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0340.10.

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This essay briefly examines the various translations into Irish of Aleksandr Pushkin’s writings, from the early twentieth century to modern renditions. One of the aims of Ireland’s Gaelic Revival (which started in the 1890s) was to produce a new literature in Irish, a language which had been reduced to that of the poor and uneducated and whose extant literature largely consisted of folk songs and poetry. The quickest way to produce such new works of poetry, plays and prose was thus to translate existing texts by international authors. As a result of this approach, Pushkin was rendered into Irish. However, these translations of Pushkin were few and far between, with the prose texts themselves occasionally being shortened, or else, in the case of his poetry, only a small selection of verses being chosen. Indeed, in one case, the same text––The Queen of Spades––resulted in three translations of various and varying quality. Despite this, a look at the Irish-language renditions of Pushkin helps illustrate some of the cultural and linguistic issues that were current, including questions of orthography, loanwords and sources of inspiration, and how Irish-language writers faced up to the task of creating a literary language where none existed.
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Lange, Anne, and Aile Möldre. "Russian Literature in Estonia between 1918 and 1940 with Special Reference to Dostoevsky." In Translating Russian Literature in the Global Context, 45–66. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0340.03.

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This chapter gives a survey of translations from Russian literature made in Estonia in 1918–40 against the backdrop of the latter nation’s cultural development. Translation is understood as a practice affected by social contingencies and cultural exchanges. As former citizens of Tsarist Russia, the older generation of Estonian intellectuals for who shaped the cultural repertoire of Estonia after independence in 1918 drew on their knowledge of Russian. The initial need for drama translations for amateur theatre groups was paralleled by interest in new developments of Russian fiction (reflecting the influence of Soviet Communism) and in translations of classic Russian authors, now part of the global literary canon. To support our argument that cultural exchange is relatively autonomous from political factors, we analyse how Dostoevsky influenced Anton Hansen Tammsaare (1878-1940), a major Estonian prose author and a translator of Dostoevsky. Tammsaare openly acknowledged Dostoevsky’s influence on the poetics of his prose. Through transculturation, the polyphonic composition of Dostoevsky’s novels resonates with aspects of Tammsaare’s pentalogy Truth and Justice. The latter’s translation of Crime and Punishment is the only Estonian version of this novel; it has been reissued repeatedly and never retranslated. The freedom of the world republic of letters, which ignore political and linguistic boundaries of nations, is manifest in Tammsaare’s decision to translate Crime and Punishment and the fact that his century-old version is still current in Estonia.
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Zampouka, Niovi. "The Reception of Russian and Soviet Literature in Interwar and Postwar Greece." In Translating Russian Literature in the Global Context, 131–46. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0340.08.

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Twentieth-century Greek reception of Russian and Soviet literature was largely shaped by the polarized political conditions historically prevailing in Greece; they can be most effectively examined within the comparative context of Greek-Soviet literary relations. This chapter offers a historical overview of the main stages, aspects and tendencies of the dissemination and reception of Russian and Soviet literature in this context, focusing on the period from its peak (following the October Revolution), to the approximate end of the Greek military junta in the mid-1970s. I also discuss the Greek appropriation of Socialist Realism. In this context, mediation by the exiled Greek Communist Party, which channelled in various ways the transmission of both Russian literature in Greece and Greek literature in the Soviet Union, is significant. Almost wholly monopolized by left-leaning intelligentsia, who promoted official Soviet literature, the Greek canon of twentieth-century Russian prose failed to introduce seminal Russian avant-garde and modernist poetics.
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Siedina, Giovanna. "Le traduzioni ucraine della Divina Commedia nei secoli XX-XXI: Karmans’kyj/Ryl’s’kyj, Drob’jazko, Stricha." In Biblioteca di Studi di Filologia Moderna, 225–43. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/979-12-2150-003-5.14.

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In the present article, the author briefly retraces the stages of Dante’s reception in Ukraine, then analyzes the main Ukrainian translations of Dante’s Divine Comedy in the 20th-21st century, namely those by Petro Karmans’kyj, Jevhen Drob’jazko and Maksym Stricha. The author briefly dwells on Karmans’kyj’s translation, highlighting the flaws already noted by H. Kočur and M. Stricha. Then the author analyzes Drob’jazko’s and Stricha’s translations, the only two complete Ukrainian translations of the Divine Comedy published so far. The author particularly compares the translators’ approaches to potential difficulties (e.g., the rendering of verse lines or single words in Latin, the verse lines in Provencal in Purgatory, song XXVI, ll. 141-147; the translations of some characters’ names, especially speaking names), and highlights the merits of their long and accurate work, which finally allowed Ukrainian readers to truly experience the Italian national poet, on one side, and filled the gap that divided Ukrainian literature from the neighboring Polish and Russian literature, on the other.
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Seifert, Elena I. "Prose of the Russian Germans in the Second Half of the 20th and the Beginning of the 21st Century." In Russia – Germany: Literary Encounters (after 1945), 343–62. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0683-3-343-362.

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This article examines novels and short stories written by the Russian Germans of the second half of the 20th and the beginning of the 21th century, such as V. Klein, G. Belger, I. Gergenroeder, G. Wormsbacher, O. Kling, N. Kosco, E. Hummel and other authors. The prose of the Russian Germans expresses a complex attitude that occurs due to elaborating the themes of deportation, labor army, war, emigration. Most of the novels were written in the period from 1957 till the present time, as writing such prose, especially of large and medium size, was difficult during the war and post-war period. Despite its adventurous history, the literature of the Russian Germans has now returned to its natural course and is actively restoring itself, moving from purely national problems to universal ones.
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Nenarokova, Maria R. "The Literary History Genre: from the Past to the Future." In “The History of Literature”: Non-scientific sources of a scientific genre, 753–60. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0684-0-753-760.

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The article opens with an overview of the current state of the problem, which shows that, while there are many separate literary histories, to date there are no works exploring the origin and development of literary history as a genre of scientific and fictional prose, inscribing the genre of literary history in the world literary process. It is indicated that the 32 articles included in the book are divided into six sections. The book answers the questions: the emergence of the form and word envelope of the genre of “history of literature”, sources of information on the history of literature before the appearance of works of this genre; peculiarities of the author’s “literary histories”; the subject of the history of literature in education; publication of translations and newly discovered documents. The history of the genre covers a time period from the 2nd century AD. before the beginning of the 21st century. The geography of research covers the countries of Western Europe, Russia, Japan.
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Nenarokova, Maria R. "The Literary History Genre: From the Past to the Future." In “The History of Literature”: Non-scientific sources of a scientific genre, 9–17. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0684-0-9-17.

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The article opens with an overview of the current state of the problem, which shows that, while there are many separate literary histories, to date there are no works exploring the origin and development of literary history as a genre of scientific and fictional prose, inscribing the genre of literary history in the world literary process. It is indicated that the 32 articles included in the book are divided into six sections. The book answers the questions: the emergence of the form and word envelope of the genre of “history of literature”, sources of information on the history of literature before the appearance of works of this genre; peculiarities of the author’s “literary histories”; the subject of the history of literature in education; publication of translations and newly discovered documents. The history of the genre covers a time period from the 2 nd century AD. to the beginning of the 21st century. The geography of research covers the countries of Western Europe, Russia, Japan.
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Balina, Marina. "Prose after Stalin." In The Cambridge Companion to Twentieth-Century Russian Literature, 153–74. Cambridge University Press, 2011. http://dx.doi.org/10.1017/ccol9780521875356.009.

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Wolfson, Boris. "Prose of the Revolution." In The Cambridge Companion to Twentieth-Century Russian Literature, 59–78. Cambridge University Press, 2011. http://dx.doi.org/10.1017/ccol9780521875356.004.

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Bogomolov, Nikolai. "Prose between Symbolism and Realism." In The Cambridge Companion to Twentieth-Century Russian Literature, 21–40. Cambridge University Press, 2011. http://dx.doi.org/10.1017/ccol9780521875356.002.

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Conference papers on the topic "Russian prose literature – 21st century"

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Kirzhaeva, V., and S. Vladimirova. "THE SYRIAN VILLAGE THROUGH THE EYES OF A RUSSIAN WRITER (ON THE MATERIAL OF MIDDLE EASTERN PROSE BY S.S. KONDURUSHKIN)." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3752.rus_lit_20-21/316-319.

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The theme of the village is an important part of the work of the writer and journalist S.S. Kondurushkin (1874/75-1919). The article shows how the “village layer” is formed in his prose, and how important the Middle Eastern experience is for the author. The everyday life of the Syrian countryside of the early twentieth century, well known to the writer, is at the center of his Middle Eastern prose of the 1900s, particularly in Syrian Stories (1908).
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Oktyabrskaya, O. "THE THEME OF HISTORY IN CHILDREN'S LITERATURE OF THE TWENTIETH CENTURY: THE PRINCIPLES OF THE EMBODIMENT OF ARTISTIC MATERIAL." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3744.rus_lit_20-21/278-281.

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The article traces the ways of development and realization of historical prose in Russian children's literature from its very origins in the XIX century to modern literature of the XXI century. The types of narrative, genre diversity and thematic and problematic variability of works on a historical theme are analyzed. In addition, the author's strategies of writers who turn to the narrative of the past are investigated.
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Bolshakova, A. "THE MISCONCEPTIONS OF ANTIPOETICS: VILLAGE PROSE OF THE TWENTIETH CENTURY IN A PHILOSOPHICAL CONTEXT." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3737.rus_lit_20-21/244-247.

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The article is devoted to the verification of research criteria in the analysis of the leading literary direction of the second half of the twentieth century. The author considers an example of a research misapprehension that occurs both from a distorted interpretation of philosophical foundations (conservatism, as well as traditionalism and soil science), and an underestimation of the poetics of literature, i.e. those artistic means that participate in the creation of a work. As a result, such misconceptions lead to discreditation of the Russian classics.
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Perevalova, S. "TRADITIONS OF THE NOVEL “IN THE TRENCHES OF STALINGRAD” BY V.P. NEKRASOV IN THE RUSSIAN “LIEUTENANT’S” PROSE OF THE LAST THIRD OF THE XX CENTURY." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3740.rus_lit_20-21/257-260.

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The article is devoted to the influence of the novel “In the trenches of Stalingrad” by V.P. Nekrasov on the Russian “lieutenant” prose of the last third of the XX century, authors of which during the great Patriotic war fought on the front line as soldiers or young commanders of the Red Army. Because autobiographical heroes of analyzed artworks are young as their authors in their front youth, today books of veterans of the Great Patriotic war and talented authors, including in educational literary programs at school and at universities, have the big value in patriotic education of the young, clearly disclose the process of the spiritual growth of defenders of their motherland.
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Кривенькая, М. А. ""Almost Russian at heart, but not by look": images of migrants in the heroes’ speech in modern prose." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.79.10.085.

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статья представляет собой дискурсивный анализ реплик героев современной художественной прозы, семантически соотнесенных с образом мигрантов. Автор прослеживает, как исторически сложившиеся представления о совокупности качеств, присущих определенному лингвокультурному сообществу, преломляются в диалогах литературных героев XXI века. И, наоборот, как художественные образы, созданные авторами современной прозы, отражают позицию общества по отношению к миграционному процессу и его проявлениям. the article presents a discursive analysis of the replicas of the modern fiction heroes, semantically correlated with the image of migrants. The author traces how the historically formed ideas about the qualities inherent in a certain linguistic and cultural community are refracted in the dialogues of literary heroes of the 21st century. And, conversely, how artistic images created by authors of modern literature reflect the position of society in relation to the migration process and its manifestations.
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Koltsova, N. "ON THE QUESTION OF THE SYMBOLISM OF THE VELD IN RUSSIAN PROSE OF THE FIRST THIRD OF THE TWENTIETH CENTURY (USING THE EXAMPLE OF THE STORIES OF PLATONOV AND PRISHVIN)." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3707.rus_lit_20-21/122-125.

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The article is devoted to the study the features of “spatial form” in the stories of M. Prishvin and A. Platonov. The space itself acts as a hero in them, while the central character (or characters) are interesting to the author rather as a focus of perception. The shift of emphasis from a person to “thinking matter”, or “the substance of existence” (Platonov), predetermines a change in all levels of artistic structure - from the organization of the plot, which is relegated to the background or is completely absent, to types of psychologism, often taking the form of “anti-psychologism”. The “floating point of view” of Platonov’s later stories evokes associations with the cinematic technique of the wandering camera, or “subjective camera.” In Prishvin’s story, the effect of “depersonalization” is achieved by updating the traditional technique of duality: the black Arab is the shadow of the hero, declaring itself before the latter appears and remaining in the story (and in the desert world) after him. Despite the fact that national exoticism predominates in Prishvin’s story, it, introducing the reader to the world of oriental legends and culture in general, does not cancel the Russian “prehistory” of Prishvin’s method, prepared both by the traditions of Russian classical literature of the 19-th century and by the discoveries of neorealism of the 20-th century.
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Khlebus, M. "IMAGE OF THE WORD IN PROSE BY S.A. KLYCHKOV." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3768.rus_lit_20-21/401-407.

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The article deals with the image of the word in the novels of S.A. Klychkov “Sakharny Nemets” (1925), “Chertukhinsky Balakir” (1926) and “Knyaz Mira” (1927). It is installed that the writer’s mythopoetics is characterized by a special attitude to a word as a philosophem accommodated a complex of ideas and views. The author’s Christian ideas, the mythologization of nature are reflected in the language, in the image of the word. Addressing the nature of the word determines Klychkov's spiritual system and creative priorities. The specifics of the author's narrative are noted: the lyrical beginning of the prose, organized on the principle of verse and idio-style features.
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Kovalenko, A., and Jiarui Hu. "DYSTOPIANISM IN THE PROSE OF POSTMODERN WRITERS (V. PELEVIN)." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3686.rus_lit_20-21/23-26.

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The article explores the role and the place of Utopia and Dystopia in Victor Pelevin's novels. Traditions of “classical dystopia” in his novels disclosed, at the same time the presence of a Meta-genre modification observed. The novels may hardly attributed either to Utopia or to Dystopia in “pure form”. Actually, they are balancing in a space where a parody of Soviet Utopia coexists with a satirical depiction of bourgeois consumer Utopianism. The creative method of the writer reveals a special ideological complex of Distopianism in the absence of “canonical” samples of the Meta-genre. Principles of postmodern aesthetics bring new features to the concept of the Meta-genre. Pelevin's work exists in the range between private Dystopias (like alchemical marriage of the West and the East) and total Dystopianism, which perceives the world as a universal illusion. Illusion is not only possible (or impossible) social harmony, but the World in general as well. From this point of view, the image of Emptiness is interpreted because of mutual annihilation of two ideological vectors of the novel.
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Amineva, V. "TRANCSULTURAL MODEL OF ARTISTIC DEVELOPMENT IN MODERN RUSSIAN LITERATURE: FEATURES OF THE ARTISTIC WOLRD." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3731.rus_lit_20-21/217-220.

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The object of the research is the poetic and prose works of writers who are ethnic Tatars, write in Russian, and are related to their native literature and culture. It is stated that the probable, indefinite, and multiple models of the world, subject status, and fate derived from their works can be defined by the concepts that assert the notion of continuous fluidity, dynamism, and transformations of meaning. The authors come to the conclusion that transitive meanings in literature implementing the phenomenon of cultural boundaries are generated by the growing plasticity of the hero-subject, who is in constant process of recreating himself.
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Krupchanov, A. "LIEUTENANT PROSE: ON THE QUESTION OF INTEGRAL AND DIFFERENTIAL FEATURES." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3699.rus_lit_20-21/83-89.

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The article is devoted to the phenomenon of the so-called "lieutenant's prose" in Russian literature. The integral features of "lieutenant's prose" are the direct participation of its representatives in the Great Patriotic War, which gives the works their unique factual accuracy, anti-war pathos, the dominance of small genre forms, psychological realism as the principle of image, limited space, slowing down or accelerating time, marked front-line vocabulary. It is proposed to consider a double conflict as a differential feature, unfolding both along the line of "friends against enemies" and along the line of confrontation between "brothers in arms". Moreover, the 2nd conflict, the conflict between soviet soldiers & officers, in which the "trench truth" is opposed with special force to the "staff truth", becomes the key, and the author's position is manifested in defending the importance of the "trench truth" as the truth of a person who has borne the brunt of the war on his shoulders.
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