The Cambridge Introduction to Russian Literature

Yuri M. Lotman, “Symbolic Spaces. 1. Geographical Space in Russian Medieval Texts,” Universe of the Mind: A Semiotic Theory of Culture, trans. Ann Shukman (Bloomington: Indiana University Press, 1990), pp. 171-77.

Ksana Blank, “The Invisible City of Kitezh as an Alternative ‘New Jerusalem’,” in New Jerusalems. The Translation of Sacred Spaces in Christian Culture. Materials from the International Symposium, ed. Alexey Lidov (Moscow: Indrik, 2006), pp. 169-71.

For more on these distinctions, see Pavel Florensky, “Spiritual Sobriety and the Iconic Face,” Iconostasis, trans. Donald Sheehan and Olga Andrejev (Crestwood, NJ: St. Vladimir’s Seminary Press, 1996), pp. 44-59. Florensky (1882-1937) was an Orthodox priest, poet, mathematician, chemist, and theorist of art.

S. G. Bocharov, “Vokrug ‘Nosa’” [1988], Siuzhety russkoi literatury (Moscow: Yazyki russkoi kul'tury, 1999), pp. 98-120. Bocharov summarizes and expands here his earlier 1985 essay “The Riddle of‘The Nose’ and the Secret of the Face.”

See Nancy Ries, Russian Talk: Culture and Conversation during Perestroika (Ithaca: Cornell University Press, 1997), and Dale Pesmen, Russia and Soul (Ithaca: Cornell University Press, 2000).

Boris Gasparov, Five Operas and a Symphony: Words and Music in Russian Culture (New Haven: Yale University Press, 2005), pp. xiii-22.

2 Heroes and their plots

Simon Franklin, “Nostalgia for Hell: Russian Literary Demonism and Orthodox Tradition,” in Russian Literature and its Demons, ed. Pamela Davidson (New York: Berghahn Books, 2000), p. 33.

Kathleen F. Parthe´, Russia’s Dangerous Texts (New Haven: Yale University Press, 2004), p. 133.

Margaret Ziolkowski, Hagiography and Modern Russian Literature (Princeton: Princeton University Press, 1988), pp. 14–17.

Marcia A. Morris, Saints and Revolutionaries: The Ascetic Hero in Russian Literature (Albany: SUNY Press, 1993).

Katerina Clark, The Soviet Novel: History as Ritual, 3rd edn. (Bloomington: Indiana University Press, 2000), p. 55.

SeeEwaM.Thompson, “TheArchetypeofthe FoolinRussianLiterature,”Canadian Slavonic Papers 15.3 (Autumn 1973): 245–73.

A. Sinyavskii, Ivan-Durak. Ocherk russkoi narodnoi very (Paris: Syntaxis, 1991), pp. 34–44.

Russell Zguta, Russian Minstrels: A History of the Skomorokhi (Philadelphia: University of Pennsylvania Press, 1978), pp. 25–31.

For this Russian connection, see J. Douglas Clayton, Pierrot in Petrograd: Commedia dell’Arte / Balagan in Twentieth-Century Russian Theatre and Drama (Montreal:

Notes to pages 41–54 253

McGill-Queen’s University Press, 1993); and Catriona Kelly, Petrushka: The Russian Carnival Puppet Theatre (Cambridge: Cambridge University Press, 1990).

Faith Wigzell, “The Russian Folk Devil and his Literary Reflections,” in Russian Literature and its Demons, ed. Pamela Davidson (New York: Berghahn Books, 2000), pp. 59-86, esp. 68.

John Givens, Prodigal Son: Vasilii Shukshin in Soviet Russian Culture (Evanston, IL: Northwestern University Press, 2000), chs. 4 and 5, esp. p. 59.

Helena Goscilo, “Madwomen with Attics: The Crazy Creatrix and the Procreative Iurodivaia,” in Madness and the Mad in Russian Culture, ed. Angela Brintlinger and Ilya Vinitsky (University of Toronto Press, 2007), pp. 226-41, esp. 233.

Svetlana Vasilenko, “Little Fool,” trans. Elena Prokhorova, in Shamara and Other Stories, ed. Helena Goscilo (Evanston, IL: Northwestern University Press, 2000), p. 241.

See the section on mit'ki in Alexei Yurchak, “Dead Irony: Necroaesthetics, ‘Stiob,’ and the Anekdot,” ch. 7, Everything Was Forever Until It Was No More: The Late Soviet Generation (Princeton: Princeton University Press, 2005), esp. p. 239.

For a good introduction to these larger “geo-literary concerns” see ch. 1 of Paul M. Austin, The Exotic Prisoner in Russian Romanticism (New York: Peter Lang, 1997), pp. 12-51.