Books by Angela Brintlinger
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Indiana University Press, 2018.
Please see the Table of Contents instead. This volume is nearing completion and is to come out wi... more Please see the Table of Contents instead. This volume is nearing completion and is to come out with Indiana University Press in 2018.
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One hundred fifty years after his birth, Anton Chekhov remains the most beloved Russian playwrigh... more One hundred fifty years after his birth, Anton Chekhov remains the most beloved Russian playwright in his own country, and in the English-speaking world he is second only to Shakespeare. His stories, deceptively simple, continue to serve as models for writers in many languages. In this volume, Carol Apollonio and Angela Brintlinger have brought together leading scholars from Russia and the West for a wide-ranging conversation about Chekhov’s work and legacy. Considering issues as broad as space and time and as tightly focused as the word, these are twenty-one exciting new essays for the twenty-first century.
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Across the twentieth century, the Russian literary hero remained central to Russian fiction and f... more Across the twentieth century, the Russian literary hero remained central to Russian fiction and frequently “battled” one enemy or another, whether on the battlefield or on a civilian front. War was the experience of the Russian people, and it became a dominant trope to represent the Soviet experience in literature as well as other areas of cultural life. This book traces those war experiences, memories, tropes, and metaphors in the literature of the Soviet and post-Soviet period, examining the work of Dmitry Furmanov, Fyodor Gladkov, Alexander Tvardovsky, Emmanuil Kazakevich, Vera Panova, Viktor Nekrasov, Alexander Solzhenitsyn, Vladimir Voinovich, Sergei Dovlatov, Vladimir Makanin, Viktor Astafiev, Viktor Pelevin, and Vasily Aksyonov. These authors represented official Soviet literature and underground or dissident literature; they fell into and out of favor, were exiled and returned to Russia, died at home and abroad. Most importantly, they were all touched by war, and they reacted to the state of war in their literary works.
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Derzhavin occupied a position at the center of Russian life, uniting civic service with poetic in... more Derzhavin occupied a position at the center of Russian life, uniting civic service with poetic inspiration and creating an oeuvre that at its essence celebrated the triumphs of Russia and its rulers, particularly Catherine the Great. His biographer Khodasevich, by contrast, left Russia in 1922, unable to abide the increasingly repressive regime of the Soviets. For Khodasevich, whose lyric poems were as commonplace in their focus as Derzhavin’s odes were grand, this biography was in a sense a rediscovery of a lost and idyllic era, a period when it was possible to aspire to the pinnacles of artistic achievement while still occupying a central role in Russian society.
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In Writing a Usable Past, Brintlinger compares the Pushkin biographies to the other biographies e... more In Writing a Usable Past, Brintlinger compares the Pushkin biographies to the other biographies examined, and in a concluding chapter she considers other, more successful commemorations of the great poet's death. She argues that popular commemorations--exhibits, concerts, special issues of journals--were a more fitting biography than the genre of the "usable past." For post-revolutionary cultural actors, including Tynianov, Khodasevich, and Bulgakov, Pushkin was a symbol rather than a model for constructing that usable past.
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The problem of madness has preoccupied Russian thinkers since the beginning of Russia's troubled ... more The problem of madness has preoccupied Russian thinkers since the beginning of Russia's troubled history and has been dealt with repeatedly in literature, art, film, and opera, as well as medical, political, and philosophical essays. Madness has been treated not only as a medical or psychological matter, but also as a metaphysical one, encompassing problems of suffering, imagination, history, sex, social and world order, evil, retribution, death, and the afterlife.
Madness and the Mad in Russian Culture represents a joint effort by American, British, and Russian scholars - historians, literary scholars, sociologists, cultural theorists, and philosophers - to understand the rich history of madness in the political, literary, and cultural spheres of Russia. Editors Angela Brintlinger and Ilya Vinitsky have brought together essays that cover over 250 years and address a wide variety of ideas related to madness - from the involvement of state and social structures in questions of mental health, to the attitudes of major Russian authors and cultural figures towards insanity and how those attitudes both shape and are shaped by the history, culture, and politics of Russia.
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Papers by Angela Brintlinger
Canadian-American Slavic studies =, 2015
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Food, Culture & Society, 2020
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In a 1997 essay for a pre-bicentennial exhibition of Pushkiniana in Paris, Helene Henry noted the... more In a 1997 essay for a pre-bicentennial exhibition of Pushkiniana in Paris, Helene Henry noted the irony of Aleksandr Pushkin’s situation: nicknamed “le Francais” when he was at school, Pushkin never set foot on French soil. What’s more, his debt to French philosophy and poetry did little to enhance his reputation in the country of Voltaire and Andre Chenier. “In current opinion,” writes Henry, “nothing could come from Russia but ‘exotic’ objects, marked by local color and folklore: tales and legends, popular refrains, ‘Muscovite songs of old times’, and other ‘verses of moujiks’, as Merimee expressed it.” When the French read Pushkin, it was the fantastic elements of “Ruslan and Liudmila” and the exotic locale of “The Fountain of Bakhchisarai” which drew their attention.
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The Polish Review, 2018
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The Slavonic and East European Review
In the 1920s in Soviet Russia, biography seemed an urgent topic, and theorists and practitioners ... more In the 1920s in Soviet Russia, biography seemed an urgent topic, and theorists and practitioners of the art of biography proliferated. The current article examines the 1920s debates about biography, looking at examples of the variety of biographical narratives produced in the post-Revolutionary, pre-Stalinist period in Soviet Russia. The article is divided into two sections, each featuring three main characters. In the first section I seek to explain why biography was an important area of research, classification and self-conception for figures in the 1920s, using three heroes: Semen Vengerov (the ‘old guard’), Boris Tomashevskii (the ‘taxonomist’) and Grigorii Vinokur (the ‘linguist’). In the second section, I give a sense of what biographies or kinds of biographical writing were being produced during this era, with the three heroes of Iurii Tynianov (the novelist), Boris Eikhenbaum (the experimenter) and Valeria Feider (the compiler). In the short final section I offer some suggestions as to what ‘worked’ and what did not, and show where biography was headed in Russia in the coming era.
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Culture and Text
In 2020 Columbia University Press in the United States published a new translation of A. S. Gribo... more In 2020 Columbia University Press in the United States published a new translation of A. S. Griboedov’s play Woe from Wit into English. In the article are discussed the experience of teaching the play in a classroom of non-specialist college students and the particular complications of the play for such readers. Examples from student papers are used and the problem of vocabulary in English is discussed. The author concludes that even though the new translation conveys the content of Griboedov’s play, gives American students an opportunity to expand their knowledge about 19th century Russia, and in parts remains a comedy, certain nuances of the playwright’s poetic inventions are not yet visible. In conjunction with A. S. Pushkin’s Eugene Onegin, Woe from Wit illustrates specific political and moral qualities of society in the first quarter of the century, but the idea of wit remains unclear for students. Teachers of Russian literature in institutions of higher education in the United...
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Canadian Slavonic Papers
ABSTRACT This article explores Soviet traditions of documentary prose and in particular Aleksievi... more ABSTRACT This article explores Soviet traditions of documentary prose and in particular Aleksievich’s variant of that genre, focusing on U voiny – ne zhenskoe litso (Unwomanly Face of War). The changing nature of publishing and censorship in the period from 1984 to 2004, among other factors, created a text that is a “dynamic system” (Sivakova) and that has as much to do with the biography and literary methods of the author as with the subjects of her interviews. Through her contributions to the Soviet documentary canon, Aleksievich wrote herself into the fabric of World War II history, forging relationships of kinship with female veterans and male veteran-writers and enacting the patriotism and suffering of World War II memory while also contributing to the Soviet anti-war program of the mid 1980s. The article identifies these relationships – Aleksievich as daughter to mother-veterans as well as to father-documentarian(s) – and Aleksievich’s personal history as essential to understanding Unwomanly Face. Her place within the corps of documentary makers, including her relationship with mentor Ales' Adamovich, was a significant if invisible influence on her text, and by narrating and discussing her process, Aleksievich makes her own participation in the gathering of information a vital part of the final product.
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Choice Reviews Online
One hundred fifty years after his birth, Anton Chekhov remains the most beloved Russian playwrigh... more One hundred fifty years after his birth, Anton Chekhov remains the most beloved Russian playwright in his own country, and in the English-speaking world he is second only to Shakespeare. His stories, deceptively simple, continue to serve as models for writers in many languages. In this volume, Carol Apollonio and Angela Brintlinger have brought together leading scholars from Russia and the West for a wide-ranging conversation about Chekhov’s work and legacy. Considering issues as broad as space and time and as tightly focused as the word, these are twenty-one exciting new essays for the twenty-first century.
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Books by Angela Brintlinger
Madness and the Mad in Russian Culture represents a joint effort by American, British, and Russian scholars - historians, literary scholars, sociologists, cultural theorists, and philosophers - to understand the rich history of madness in the political, literary, and cultural spheres of Russia. Editors Angela Brintlinger and Ilya Vinitsky have brought together essays that cover over 250 years and address a wide variety of ideas related to madness - from the involvement of state and social structures in questions of mental health, to the attitudes of major Russian authors and cultural figures towards insanity and how those attitudes both shape and are shaped by the history, culture, and politics of Russia.
Papers by Angela Brintlinger
Madness and the Mad in Russian Culture represents a joint effort by American, British, and Russian scholars - historians, literary scholars, sociologists, cultural theorists, and philosophers - to understand the rich history of madness in the political, literary, and cultural spheres of Russia. Editors Angela Brintlinger and Ilya Vinitsky have brought together essays that cover over 250 years and address a wide variety of ideas related to madness - from the involvement of state and social structures in questions of mental health, to the attitudes of major Russian authors and cultural figures towards insanity and how those attitudes both shape and are shaped by the history, culture, and politics of Russia.
Ivan Eubanks & Lina Steiner (Assistant Editors)
Sara Dickinson (Review Editor)
“LIVES, FACTS, THINGS: BIOGRAPHY IN RUSSIA IN THE 1920s”
and
“COOKING (AND WRITING) RUSSIAN HERITAGE:
FOODS, ETHNICITIES, NOSTALGIAS”