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• W4210531859 abstract "924 Reviews prose is simple, straightforward, and interesting, but great art it is not' (p. I I9). Time and again we are let down by the lack of a gold standard. Shneidman has consistently written about the close interconnection of Soviet society and its literature, especially prose, but with the new socio-political realities it is no longer enough to show how literature simply reflects social processes. Undoubtedly, there is a role for any curmudgeonly assessment of the literary or cultural scene, and this could have been awitty, satirical, invective-fuelled diatribe against the rampant commercial forces that are seen as putting a great culture in decline. Shneidman provides what is admittedly a detailed and fairly comprehensive review of the period, even encompassing the new realities of literature on the Internet, and his style remains simple and clear. But his insistence on belittling the 'new' literature, or at best damning itwith faint praise, tends to persuade the reader that it is not the literature itself here that is at fault, but the commentator's own insistence on the need for 'great art'. UNIVERSITY OF BATH DAVID GILLESPIE National Identity inRussian Culture: An Introduction. Ed. by SIMON FRANKLIN and EMMAWIDDIS. Cambridge: Cambridge University Press. 2004. xiii + 240 pp. ?J45. ISBN 0-52i-83926-2. Contributions by nine leadings scholars (including the editors) are gathered in this volume with the purpose of explicating 'Russianness' in awide range of cultural do mains: religion, music, language, literature, and architecture, to name but five. These standard areas of investigation are then both framed and expanded by related studies of Russian daily life or-broader still-the notions of time and space as perceived and presented across theworld's largest nation. Cohesiveness between ostensibly un related essays comes from an overarching view of Slavic historiography akin to that of Catriona Kelly, one of the authors here, in her Russian Literature: A Very Short Introduction (Oxford: Oxford University Press, 200I). That tiny study delineated Pushkin's role as a recurring, endlessly reinterpreted significance in Russian poetry and culture. By viewing creative writing in thismanner, and thus eschewing a strictly linear, chronological, or causal view of cultural 'development', certain nodes or in tensities propose themselves, places of significance to which Russian culture either gravitates (endlessly) or returns (occasionally). Such is the structure of this work, which would certainly make ideal reading for all students at or beyond the undergraduate level. Some knowledge of Slavic culture is assumed, but the editors' attempt to redress unidirectional views of Russian custom would be a beneficial counterbalance tomany recognized forms of 'doing' Slavic art in the classroom. There is a slight repetition of subject-matter in several chapters, but the fact that each section of the book is dedicated to a separate domain of artistic activity simply helps to stress the presence of the wandering 'intensities' to which I refer. Certain people, places, and cultural postures are filtered through a range of expressions (inmusic, stone, or behaviour, say) and consequently shown to be places of renewable cultural validity. From what we assume to be a country of pronounced (if not tragic) conservatism comes a hopeful and happy disclosure of implicit, potential diversity. The question of potential runs through many of the studies, beginning perhaps with Simon Franklin's apt description of the original wording for the Soviet National Anthem as 'sonorously vague, redolent of remote glories' (p. i8). Boris Gasparov's stylish study of 'identity in language' extends this problem of vagueness via the unavoidably ineffable in both apophatic church tradition and Soviet, endlessly futural MLR, I01.3, 2oo6 925 phraseology; both modes evinced a frustrating, ever-preserved distance between the moment of speech and a vague, slippery object of (continuous) desire. Emma Widdis remarks that the more earthbound language used to explain spatial expansion in Russian culture-the terminology of cartographers-was likewise often excessively forceful, as it belies increasingly distressed attempts at defining emptiness with words such as zavoevanie (conquest) or pokorenie (subjugation), for example (p. 38). From within ancient and profoundly conservative spiritual institutions for which 'changelessness was virtue and pride' (p. 99), there was (and is) therefore room for semantic manipulation, since tradition could never actually 'say itself..." @default.
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• W4210531859 date "2006-01-01" @default.
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• W4210531859 title "National Identity in Russian Culture: An Introduction by Simon Franklin, Emma Widdis" @default.
• W4210531859 doi "https://doi.org/10.1353/mlr.2006.0229" @default.
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