"A rereading of the Russian realist novel that proposes a hybrid genre, grotesque realism, to describe changes during the postreform era"--

This classic work by the Russian philosopher and literary theorist Mikhail Bakhtin (1895-1975) examines popular humor and folk culture in the Middle Ages and the Renaissance. One of the essential texts of a theorist who is rapidly becoming a major reference in contemporary thought, Rabelais and His World is essential reading for anyone interested in problems of language and text and in cultural interpretation.

The world of literature responds to the "spirit of carnival" in ways that are both social and cultural, mythological and archetypal. Literature provides a mirror in which carnival is reflected and refracted through the multifarious perspectives of verbal art. In his original, wide-ranging book, David K. Danow catches the various reflections in that mirror, from the bright, life-affirming magical side of carnival, as revealed in the literature of Latin American writers, to its dark, grotesque, death-embracing aspect as illustrated in numerous novels depicting the dire experience of the Second World War. The remarkable meshing of these two diametrically opposed yet inextricably intertwined facets of literature (and of life) makes for an intriguing sphere of investigation, for the carnival spirit is animated by a human need to dissolve borders and eliminate boundaries—including, symbolically, those between life and death—in an ongoing effort to merge opposing forces into new configurations of truth and meaning. Expanding upon the seminal ideas of Mikhail Bakhtin, carnival, argues Danow, is designed to allow one extreme to flow into another, to provide for one polarity (official culture) to confront its opposite (unofficial culture), much as individuals engage in dialogue. In this case the result is "dialogized carnival" or "carnivalized dialogue." In their artmaking, Danow claims, human beings are animated by a periodic predisposition toward the bright side of carnival, matched by an equally strong, far darker predilection. Carnival forms of thinking are firmly embedded within the human psyche as archetypal patterns. In this engaging exploratory book, we are shown the distinctive imprint of these primordial structures within a multitude of seemingly disparate literary works.

The destructive power of obsessive love was a defining subject of eighteenth- and nineteenth-century Russian literature. In Febris Erotica, Sobol argues that Russian writers were deeply preoccupied with the nature of romantic relationships and were persistent in their use of lovesickness not simply as a traditional theme but as a way to address pressing philosophical, ethical, and ideological concerns through a recognizable literary trope. Sobol examines stereotypes about the damaging effects of romantic love and offers a short history of the topos of lovesickness in Western literature and medicine. Read an interview with the author: http://www.rorotoko.com/index.php/article/valeria_sobol_interview_febris_erotica_lovesickness_russian_literary_imagin/

An essay collection that explores Russian literature and culture in relation to the late nineteenth-century fin de siècle.

Dostoevsky and Romantic Realism is Donald Fanger's groundbreaking study of the art of Dostoevsky and the literary and historical context in which it was created. Through detailed analyses of the work of Balzac, Dickens, and Gogol, Fanger identifies romantic realism, the transformative fusion of two generic categories, as a powerful imaginary response to the great modern city. This fusion reaches its aesthetic and metaphysical climax in Dostoevsky, whose vision culminating in Crime and Punishment is seen by Fanger as the final synthesis of romantic realism.

Maxim Gorky was dubbed the father of socialist realism in the Soviet period, but he had forged his career as an internationally known novelist and dramatist some three or more decades earlier. Posing questions that Soviet critics found difficult to confront, the author examines the effects of exile and religion on the content and form of the plays as well as the role played by women, and the personal and political implications of motherhood. All sixteen of Gorky's published plays are covered, and the book explores whether this body of work has themes and styles to unify it. While conflict is central to the core political themes and also infiltrates many aspects of the dramatic style (cartoonish and grotesque), other less expected themes and styles emerge. Viewing the post-revolutionary plays as a development of earlier work leads to a question rarely posed: are the plays written by Gorky in the process of defining the new Party-inspired socialist realism in fact less about socialist realist issues of conformity, and more about Gorky's own painful life experience? And what is equally under the microscope is a search for the monumental style frequently associated with socialist realist theatre: the proposed origins of the spatial grandeur in Gorky's plays come as a surprise.