Martina Napolitano explores the poetics of one of the most significant Russian authors of the 20th century. Sasha Sokolov’s oeuvre represents a milestone in the development of Russian literature; his legacy can be traced in most prose and poetry appearing in post-Soviet Russia. Taking as point of departure the studies and analyses written so far and considering the new suggestions contained in Sokolov’s last published book Triptych (2011), Napolitano further examines the keystones and the theoretical framework that arise from a close reading of Sokolov’s works, trying to systematize the findings into what can be considered as a structured authorial theory of literary creation. The study demonstrates how Sokolov’s oeuvre cannot be fully understood but within the widened perspective of inter-artistic creation: in fact, the writer, a “failed composer”, as he admits, in his literary work has tried to draw natural and spontaneous connecting lines between the artificially categorized realms of art (word, sound, painting, performance). Finally, the book sets forth the first solid analysis of Sokolov’s concept of proeziia, not merely a genre nor style of his own invention, but a more significant theoretical reflection of the writer about the role and value of literature, art, creation, and finally beauty.

In recent years, the Russian government has dramatically expanded its restrictions on the internet, while simultaneously consolidating its grip on traditional media. The internet, however, because of its transnational configuration, continues to evade comprehensive state control and offers ever new opportunities for disseminating and consuming dissenting opinions. Drawing on a wide range of disciplines, including media law, human rights, political science, media and cultural studies, and the study of religion, this book examines the current state of the freedom of speech, freedom of expression, and media freedom in Russia, focusing on digital media and cross-media initiatives that bridge traditional and new media spheres. It assesses how the conditions for free speech are influenced by the dynamic development of Russian media, including the expansion of digital technologies, explores the interaction and transfer of practices, formats, stylistics and aesthetics between independent and state-owned media, and discusses how far traditional media co-opt strategies developed by and associated with independent media to mask their lack of free expression. Overall, the book provides a deep and rich understanding of the changing structures and practices of national and transnational Russian media and how they condition the boundaries of freedom of expression in Russia today.

Martina Napolitano explores the poetics of one of the most significant Russian authors of the 20th century. Sasha Sokolov's oeuvre represents a milestone in the development of Russian literature; his legacy can be traced in most prose and poetry appearing in post-Soviet Russia. Taking as point of departure the studies and analyses written so far and considering the new suggestions contained in Sokolov's last published book Triptych (2011), Napolitano further examines the keystones and the theoretical framework that arise from a close reading of Sokolov's works, trying to systematize the findings into what can be considered as a structured authorial theory of literary creation. The study demonstrates how Sokolov's oeuvre cannot be fully understood but within the widened perspective of inter-artistic creation: in fact, the writer, a "failed composer", as he admits, in his literary work has tried to draw natural and spontaneous connecting lines between the artificially categorized realms of art (word, sound, painting, performance). Finally, the book sets forth the first solid analysis of Sokolov's concept of proeziia, not merely a genre nor style of his own invention, but a more significant theoretical reflection of the writer about the role and value of literature, art, creation, and finally beauty.

Hailed as one of the most significant writers in contemporary Russian literature, Sasha Sokolov (1943-) nevertheless remains one of its most hermetic. Despite a considerable scholarly interest in his work, no comprehensive book-length study has yet been published on Sokolov. With the focus on his three main texts, 'School for Fools', 'Between Dog and Wolf' and 'Palisandriia', this groundbreaking monograph is an exploration of Sokolov's aesthetics in which language is shown to embody reality, rather than express it. In her study Elena Kravchenko invites us to examine how language and art affect our perception of the real that, fading away into its reflections, finds its essence. Elena Kravchenko is an independent researcher, whose doctoral thesis (School of Slavonic and Eastern European Studies, UCL) laid a foundation for this monograph.

How Russian Literature Became Great explores the cultural and political role of a modern national literature, orchestrated in a Slavonic key but resonating far beyond Russia's borders. Rolf Hellebust investigates a range of literary tendencies, philosophies, and theories from antiquity to the present: Roman jurisprudence to German Romanticism, French Enlightenment to Czech Structuralism, Herder to Hobsbawm, Samuel Johnson to Sainte-Beuve, and so on. Besides the usual Russian suspects from Pushkin to Chekhov, Hellebust includes European writers: Byron and Shelley, Goethe and Schiller, Chateaubriand and Baudelaire, Dante, Mickiewicz, and more. As elsewhere, writing in Russia advertises itself via a canon of literary monuments constituting an atemporal "ideal order among themselves" (T.S. Eliot). And yet this is a tradition that could only have been born at a specific moment in the golden nineteenth-century age of historiography and nation-building. The Russian example reveals the contradictions between immutability and innovation, universality and specificity at the heart of modern conceptions of tradition from Sainte-Beuve through Eliot and down to the present day. The conditions of its era of formation—the prominence of the crucial literary-historical question of the writer's social function, and the equation of literature with national identity—make the Russian classical tradition the epitome of a unified cultural text, with a complex narrative in which competing stories of progress and decline unfold through the symbolic biographical encounters of the authors who constitute its members. How Russian Literature Became Great thus offers a new paradigm for understanding the paradoxes of modern tradition.

By turns lyrical and philosophical, witty and baffling, A School for Fools confounds all expectations of the novel. Here we find not one reliable narrator but two “unreliable” narrators: the young man who is a student at the “school for fools” and his double. What begins as a reverie (with frequent interruptions) comes to seem a sort of fairy-tale quest not for gold or marriage but for self-knowledge. The currents of consciousness running through the novel are passionate and profound. Memories of childhood summers at the dacha are contemporaneous with the present, the dead are alive, and the beloved is present in the wind. Here is a tale either of madness or of the life of the imagination in conversation with reason, straining at the limits of language; in the words of Vladimir Nabokov, “an enchanting, tragic, and touching book.”

Introduction to Russia's land and history, religion and thought, social customs, gender roles and education, cuisine and fashion, literature, media and cinema, the arts, and architecture.

The experimental poems of a new generation of Russian writers

Provides "coverage of developments in music, literature, cinema, drama, dance, art and architecture" as well as "those aspects of philosopy, science and the social sciences that have had an impact on the wider culture in Europe."

"This present collection contains fourteen texts written by Sokolov between 1981 and 2010 and published in various papers and journals in Russia and in the West."--P. x.