This book is a case study in transnational modernist literature generated by exile, dislocation and cross-cultural exchanges, focusing on the younger writers of the interwar Russian Parisian diaspora, known as Russian Montparnasse. Maria Rubins argues that their hybrid, bicultural and bilingual narratives transcended the Russian national master narrative, anticipating more recent diasporic tendencies. The book sets the Russian Montparnasse corpus into trans-cultural and intertextual dialogues with key Western and Russian texts to demonstrate that their artistic response to the main challenges of urban modernity and cultural rupture resonated with broader aesthetic trends in interwar Europe. By systematically reassessing the role of Russian Montparnasse in the articulation of modernism, this study expands our knowledge of the evolution of the transnational literary canon, contributes to the academic debate about national vs. transnational analytical approaches to bicultural artistic production, and challenges the conventional status of language as the chief marker of literary affiliation.
Recenzijos
This monograph explores the transnational Modernism practiced by the younger generation, sometimes dubbed the unnoticed generation, of Russian emigre writers in interwar Paris. Scholars of comparative literature or the French and Anglo-American literature of the interwar period will benefit from this work as much as will Russian literature specialists. Nabokov scholars will also find considerable comparative context and discussion of some of the literary debates ongoing in the emigre journals. (Luke Franklin, Slavic and East European Journal, Vol. 60 (2), 2016)
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ix | |
| Acknowledgments |
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x | |
| Introduction: Russian Montparnasse as a Transnational Community |
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1 | (14) |
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Part I Narrating the Self: The Existential Code of Interwar Literature |
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1 In the "Waste Land" of Postwar Europe: Facing the Modern Condition |
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15 | (4) |
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2 Who Needs Art? The Human Document and Strategies of Self-Representation |
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19 | (20) |
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3 Human Document or Autofiction? |
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39 | (10) |
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Part II Reading and Writing the "Paris Text" |
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4 "A Shared Homeland for All Foreigners": The Paris Myth |
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49 | (6) |
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5 An Illusory City: "Denationalization" and the "Mission" of the Diaspora |
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55 | (7) |
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6 Below and Beyond: Alternative Paris |
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62 | (51) |
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Part III Challenges of the Jazz Age |
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7 Post-Traumatic Hedonism |
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113 | (8) |
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8 Art Deco Fiction: Literary Reflections on the Seventh Art |
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121 | (24) |
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9 Anthologizing the Jazz Age: Gaito Gazdanov's The Spectre of Alexander Wolf |
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145 | (20) |
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Part IV The Canon Re-Defined: Reading the Russian Classics in Paris |
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10 "A `Third-Rate Rhymer'... but a Poet of Genius": Lermontov and Russian Montparnasse |
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165 | (13) |
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11 "Backyard" Literature: Vasily Rozanov's Unlikely Posthumous Fame in Paris and Beyond |
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178 | (16) |
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194 | (37) |
| Conclusion |
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231 | (5) |
| Notes |
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236 | (41) |
| Select Bibliography |
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277 | (13) |
| Index |
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290 | |
Maria Rubins teaches Russian and Comparative literature at University College London, UK. She has published extensively on Russian literature, Franco-Russian cultural relations, exile, Russian émigré literature, bilingual and transnational writing, and contemporary Francophone fiction. She is the author of Ecphrasis in Parnasse and Acmeism: Comparative Visions of Poetry and Poetics (2000), editor of reference editions and annotated volumes of Russian émigré prose, and translator into Russian of French and English authors, including Irčne Némirovsky, Judith Gautier and Elizabeth Gaskell.
