| Description |
1 online resource (xxvi, 422 pages). |
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text txt rdacontent |
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computer c rdamedia |
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online resource cr rdacarrier |
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data file rda |
| Series |
Studies in Russian and Slavic literatures, cultures and history |
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Studies in Russian and Slavic literatures, cultures and history.
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| Bibliography |
Includes bibliographical references and index. |
| Contents |
Preface / Caryl Emerson -- Great art should slow us down : zparticipative thinkingy in the world and as the world of Caryl Emerson / David Bethea -- I. On Mikhail Bakhtin : (Dialogue, Carnival, the Bakhtin Wars) -- Polyphony and the carnivalesque : introducing the terms -- The early philosophical essays -- Coming to terms with Carnival -- Gasparov and Bakhtin -- II. On the master workers : (Pushkin, Dostoevsky, Tolstoy) -- Four Pushkin biographies -- Pushkin’s Tatiana -- Pushkin’s Boris Godunov -- George Steiner on Tolstoy or Dostoevsky -- Tolstoy and Dostoevsky on evil-doing -- Kundera on not liking Dostoevsky -- Parini on Tolstoy, with a postscript on Tolstoy, Shakespeare, and the performing arts -- Chekhov and the Annas -- III. Musicalizing the literary classics : (Musorgsky, Tchaikovsky, Shostakovich, Prokofiev) -- Foreword to Richard Taruskin’s Essays on Musorgsky – From zBoris Godunovy to zKhovanshchinay -- Tumanov on Maria Olenina-D’Alheim -- Tchaikovsky’s Tatiana -- Little operas to Pushkin’s little tragedies -- Playbill to Prokofiev’s zWar and peacey at the Met – Shostakovich’s zLady Macbeth of Mtsensky – Princeton University’s Boris Godunov – yEugene Oneginy on the Stalinist stage -- In conclusion. |
| Summary |
All the Same the Words Don't Go Away brings together twenty-five years of essays and reviews, linked loosely by three themes. First is the creative potential inherent in transposing classic literary texts into other genres or media (operatic, dramatic) and the responsibilities, if any, that govern the transposer, audience, and critic. The practice of transposition, however, gives rise to a creative conflict: is there a limit to the amount of ornamentation, pressure, or dilution to which the "mediated" word can be subject? Finally, the more polemical of the essays included here are structured on the Bakhtinian notion of coexisting "plausibilities" and points of view. What a carnival approach can uncover in Pushkin that might have surprised and even pleased the poet, what a libretto or play script brings out that the "true original" hides: here the work of the creator and the critic co-exist in exhilarating ways that respect the competencies of each. --Book Jacket. |
| Note |
This work is licensed under a Creative Commons license https://creativecommons.org/licenses/by-nc/4.0/legalcode |
| Subject |
Russian literature -- History and criticism.
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Russian literature -- Adaptations -- History and criticism.
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Littérature russe -- Histoire et critique.
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Literary studies: general
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LITERARY CRITICISM -- Russian & Former Soviet Union.
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DRAMA -- Russian & Former Soviet Union.
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Russian literature
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| Genre/Form |
Criticism, interpretation, etc.
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| Other Form: |
Print version: Emerson, Caryl. All the same the words don't go away. Boston : Academic Studies Press, 2011 (DLC) 2010047494 |
| ISBN |
9781618111289 (electronic bk.) |
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1618111280 (electronic bk.) |
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9781618118479 (electronic bk.) |
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1618118471 (electronic bk.) |
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9781934843819 (electronic bk.) |
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1934843814 (electronic bk.) |
| Standard No. |
AU@ 000053277332 |
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DEBBG BV043085572 |
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DEBSZ 424617137 |
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HEBIS 29983378X |
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NZ1 14257272 |
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AU@ 000075762101 |
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