Bøker av Evgeny Dobrenko

This book explores how Soviet film worked with time, the past, and memory. It looks at Stalinist cinema and its role in the production of history. Cinema's role in the legitimization of Stalinism and the production of a new Soviet identity was enormous. Both Lenin and Stalin saw in this 'most important of arts' the most effective form of propaganda and 'organisation of the masses'. By examining the works of the greatest Soviet filmmakers of the Stalin era--Sergei Eisenstein, Vsevolod Pudovkin, Grigorii Kozintsev, Leonid Trauberg, Fridrikh Ermler--the author explores the role of the cinema in the formation of the Soviet political imagination.

White Guard, Mikhail Bulgakovs semi-autobiographical first novel, is the story of the Turbin family in Kiev in 1918. Alexei, Elena, and Nikolka Turbin have just lost their mothertheir father had died years beforeand find themselves plunged into the chaotic civil war that erupted in the Ukraine in the wake of the Russian Revolution. In the context of this familys personal loss and the social turmoil surrounding them, Bulgakov creates a brilliant picture of the existential crises brought about by the revolution and the loss of social, moral, and political certainties. He confronts the reader with the bewildering cruelty that ripped Russian life apart at the beginning of the last century as well as with the extraordinary ways in which the Turbins preserved their humanity.In this volume Marian Schwartz, a leading translator, offers the first complete and accurate translation of the definitive original text of Bulgakovs novel. She includes the famous dream sequence, omitted in previous translations, and beautifully solves the stylistic issues raised by Bulgakovs ornamental prose. Readers with an interest in Russian literature, culture, or history will welcome this superb translation of Bulgakovs important early work.This edition also contains an informative historical essay by Evgeny Dobrenko.

In this nuanced historical analysis of late Stalinism organized chronologically around the main events of the period--beginning with Victory in May 1945 and concluding with the death of Stalin in March 1953--Evgeny Dobrenko analyzes key cultural texts to trace the emergence of an imperial Soviet consciousness that, he argues, still defines the political and cultural profile of modern Russia.

Bringing together the Soviet historical experience and Stalin-era art, in novels, films, poems, songs, painting, photography, architecture, and advertising, this work examines Stalinism's representational strategies and demonstrates how real socialism was begotten of Socialist Realism.

Sots-art, the mock use of the Soviet ideological cliches of mass culture, originated in Soviet nonconformist art of the early 1970s. This text examines literary Sots-art on several levels.

This book completes the author's study of the sociology of the literary process in Soviet Russia, begun in "The Making of the State Reader: Social and Aesthetic Contexts of the Reception of Soviet Literature" (Stanford, 1997).

This book is a history of the shaping of the reader of Soviet literature, for in Soviet culture the reader was never a "consumer of books" in the Western sense. According to the doctrine of Socialist Realism, the reader was a subject of education, to be reforged and molded.