Probably Vladimir Sorokin's most famous and most repeated saying is that his characters and their... more Probably Vladimir Sorokin's most famous and most repeated saying is that his characters and their actions are merely nothing more than words on paper, and should not be judged on moral or any other extra-literary grounds. In one of his early interviews, published in 1992 as an afterwoard to his the first book he had published in Russia, he maintained (and this phrase was has repeatedly been quoted by critics): Я получаю колоссальное удовольствие, играя с различными стилями. Для меня это чистая пластическая работа — слова как глина. Я физически чувствую, как леплю текст. Когда мне говорят — как можно так издеваться над людьми, я отвечаю: «Это не люди, это просто буквы на бумаге». 1 In another interview accompanying the first edition of his collected works, Sorokin has proposed something like resembling an apophatic justification of his apparent " immoralism " : На бумаге можно позволить все, что угодно. Она стерпит… То самое Слово, что было у Бога, было вовсе не на бумаге. 2 I would like to argue that this dictum only partially reflects the form-shaping ideology of Sorokin's texts. It is a half-truth at best, which something that Sorokin indirectly admits when he says: Tекст — очень мощное оружие. Он гипнотизирует, а иногда — просто парализует. 3 Sorokin thus emphasizes — and, in all likelihood, desires — the physiological effects of the text. He has frequently spoken about the lack of attention paid to the corporeal aspects of literary representation in the Russian cultural tradition, declaring that his artistic originality lies exactly in precisely this area: В русской литературе вообще тела было очень мало. Духа было выше крыши. Когда читаешь Достоевского, не можешь почувствовать тела героев: сложение князя
... ce Page 2. Performing Violence Page 3. Page 4. Performing Violence Literary and Theatrical Ex... more ... ce Page 2. Performing Violence Page 3. Page 4. Performing Violence Literary and Theatrical Experiments of New Russian Drama By Birgit Beumers and Mark Lipovetsky intellect Bristol, UK/Chicago, USA Page 5. First published ...
The Slavonic and East European Review, Jan 1, 2001
FROM the title of Vladimir Novikov's I997 article on Russian post-modernism,&amp... more FROM the title of Vladimir Novikov's I997 article on Russian post-modernism,' 'The Ghost with No Features', one would assume that the author had given up his ambition to define the specificity of Russian postmodernism. For that reason, it is rather curious that it was he who ...
... However, there is an important difference between the deconstruction of Socialist Realism, di... more ... However, there is an important difference between the deconstruction of Socialist Realism, displayed in the classical forms of Russian Postmodernism (Conceptualism, Sots-Art), and the novel attitude to totalitarian discourses manifested in Starye pesni o glavnom, the Molo ...
Probably Vladimir Sorokin's most famous and most repeated saying is that his characters and their... more Probably Vladimir Sorokin's most famous and most repeated saying is that his characters and their actions are merely nothing more than words on paper, and should not be judged on moral or any other extra-literary grounds. In one of his early interviews, published in 1992 as an afterwoard to his the first book he had published in Russia, he maintained (and this phrase was has repeatedly been quoted by critics): Я получаю колоссальное удовольствие, играя с различными стилями. Для меня это чистая пластическая работа — слова как глина. Я физически чувствую, как леплю текст. Когда мне говорят — как можно так издеваться над людьми, я отвечаю: «Это не люди, это просто буквы на бумаге». 1 In another interview accompanying the first edition of his collected works, Sorokin has proposed something like resembling an apophatic justification of his apparent " immoralism " : На бумаге можно позволить все, что угодно. Она стерпит… То самое Слово, что было у Бога, было вовсе не на бумаге. 2 I would like to argue that this dictum only partially reflects the form-shaping ideology of Sorokin's texts. It is a half-truth at best, which something that Sorokin indirectly admits when he says: Tекст — очень мощное оружие. Он гипнотизирует, а иногда — просто парализует. 3 Sorokin thus emphasizes — and, in all likelihood, desires — the physiological effects of the text. He has frequently spoken about the lack of attention paid to the corporeal aspects of literary representation in the Russian cultural tradition, declaring that his artistic originality lies exactly in precisely this area: В русской литературе вообще тела было очень мало. Духа было выше крыши. Когда читаешь Достоевского, не можешь почувствовать тела героев: сложение князя
... ce Page 2. Performing Violence Page 3. Page 4. Performing Violence Literary and Theatrical Ex... more ... ce Page 2. Performing Violence Page 3. Page 4. Performing Violence Literary and Theatrical Experiments of New Russian Drama By Birgit Beumers and Mark Lipovetsky intellect Bristol, UK/Chicago, USA Page 5. First published ...
The Slavonic and East European Review, Jan 1, 2001
FROM the title of Vladimir Novikov's I997 article on Russian post-modernism,&amp... more FROM the title of Vladimir Novikov's I997 article on Russian post-modernism,' 'The Ghost with No Features', one would assume that the author had given up his ambition to define the specificity of Russian postmodernism. For that reason, it is rather curious that it was he who ...
... However, there is an important difference between the deconstruction of Socialist Realism, di... more ... However, there is an important difference between the deconstruction of Socialist Realism, displayed in the classical forms of Russian Postmodernism (Conceptualism, Sots-Art), and the novel attitude to totalitarian discourses manifested in Starye pesni o glavnom, the Molo ...
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