Bøger om Russisk

Studienarbeit aus dem Jahr 2005 im Fachbereich Russistik / Slavistik, Note: 1,7, Humboldt-Universität zu Berlin (Institut für Slawistik), Veranstaltung: Polnische Prosa der Moderne: Mimetische Strategien zwischen , Sprache: Deutsch, Abstract: Witold Gombrowicz wurde 1904 als Sohn eines polnischen Landadeligen geboren und ist einer der bedeutendsten polnischen Schriftsteller des 20. Jahrhunderts. 1939 landete Gombrowicz als Passagier der Jungfernfahrt eines Schiffes in Argentinien, wo er vom Ausbruch des Zweiten Weltkriegs überrascht wurde und blieb dort bis 1963 in Argentinien. Danach übersiedelte er nach Frankreich und starb dort 1969.Gombrowicz gilt als Vertreter des polnischen Existentialismus und wurde vor allem durch seine grotesken und phantastischen Erzählungen bekannt. Er stellt oft die menschliche Objektivität in Frage. Zu seiner meist bekannten Werke gehört Ferdydurke, in dem ¿die einzige Wahrheit¿ und die autoritative Gesellschaft hinterfragt werden und die Individualität stark gelobt. Der Autor beschäftigt sich in Ferdydurke hauptsächlich mit dem Thema der Wirklichkeitswahrnehmung und der Kondition des Menschen, der diese Wirklichkeit wahrnimmt. Der Autor zeigt das Bild eines Menschen (Józio), der verschiedene ¿Formen¿ betritt, sie demaskiert und dann verlässt.Meine Arbeit, die sich vor allem auf Witold Gombrowiczs Werk Ferdydurke bezieht, soll in Anlehnung an seine ¿Theorie der Form¿ die von ihm bei der Konstruktion der Wirklichkeit(en) genutzten Strategien und seine Vorstellung von der Wirklichkeit veranschaulichen. Was ist die ¿Wirklichkeit¿ an sich? Gibt es überhaupt eine objektive Wirklichkeit (eine axiomatische Wirklichkeit)? In welchem Verhältnis steht die in Gombrowiczs Werken darstellte Wirklichkeit zu der von uns ertastbaren Wirklichkeit? Wie sieht die Welt Gombrowiczs aus und welche Regeln beinhaltet sie? Hat er bewusst und konsequent ein Weltbild kreiert? Welche Mittel benutzte er dabei? Woraus besteht die Einzigartigkeit seiner Vorgehensweise? In welcher Beziehung steht der Hauptprotagonist in Ferdydurke zur vorhandenen Wirklichkeit? Welche Verständnisstufe erreicht er bei der Perzeption der Wirklichkeit und welche Strategien sind ihm dabei von Nutzen? Diese alle Fragen versuchte ich in dieser Arbeit zu beantworten.

An author from the heart of post-Soviet poetry.

Verse rich with aromas, colors, and sometimes bitter hints of what is unsaid.

In the course of his short, dramatic life, Aleksandr Pushkin gave Russia not only its greatest poetry-including the novel-in-verse Eugene Onegin-but a new literary language. He also gave it a figure of enduring romantic allure-fiery, restless, extravagant, a prodigal gambler and inveterate seducer of women. Having forged a dazzling, controversial career that cost him the enmity of one tsar and won him the patronage of another, he died at the age of thirty-eight, following a duel with a French officer who was paying unscrupulous attention to his wife.In his magnificent, prizewinning Pushkin, T. J. Binyon lifts the veil of the iconic poet's myth to reveal the complexity and pathos of his life while brilliantly evoking Russia in all its nineteenth-century splendor. Combining exemplary scholarship with the pace and detail of a great novel, Pushkin elevates biography to a work of art.

Osip Mandelstam is a central figure not only in modern Russian but in world poetry, the author of some of the most haunting and memorable poems of the twentieth century. A contemporary of Anna Akhmatova, Marina Tsvetayeva, and Boris Pasternak, a touchstone for later masters such as Paul Celan and Robert Lowell, Mandelstam was a crucial instigator of the "revolution of the word" that took place in St. Petersburg, only to be crushed by the Bolshevik Revolution. Mandelstam's last poems, written in the interval between his exile to the provinces by Stalin and his death in the Gulag, are an extraordinary testament to the endurance of art in the presence of terror. This book represents a collaboration between the scholar Clarence Brown and W. S. Merwin, one of contemporary America's finest poets and translators. It also includes Mandelstam's "Conversation on Dante," an uncategorizable work of genius containing the poet's deepest reflections on the nature of the poetic process.

Poetry. Translated from the Russian by Mark Halperin and Dinara Georgeoliani. Reaching back as far as medieval Rus and as far forward as metrical and linguistic innovation permit, Sosnora has written with a voice unique and wide-ranging. Historical allusion, conscious anachronism, humor, and intensity of word play dominate by turns his range of verse. Viktor Sosnora was born in 1936 in the Crimea. He is known as one of the most consistently experimental of Russian poets, and one of the foremost translators, into Russian, of Catullus, Oscar Wilde, Edgar Allan Poe, and Allen Ginsberg.

One of the great masterpieces of Russian literature, the Red Cavalry cycle retains today the shocking freshness that made Babel's reputation when the stories were first published in the 1920s. Using his own experiences as a journalist and propagandist with the Red Army during the war against Poland, Babel brings to life an astonishing cast of characters from the exuberant, violent era of early Soviet history: commissars and colonels, Cossacks and peasants, and among them the bespectacled, Jewish writer/intellectual, observing it all and trying to establish his role in the new Russia.Drawn from the acclaimed, award-winning Complete Works of Isaac Babel, this volume includes all of the Red Cavalry cycle; Babel's 1920 diary, from which the material for the fiction was drawn; and his preliminary sketches for the stories-the whole constituting a fascinating picture of a great writer turning life into art.

To illuminate the mysterious greatness of Anton Chekhov's writings, Janet Malcolm takes on three roles: literary critic, biographer, and journalist. Her close readings of the stories and plays are interwoven with episodes from Chekhov's life and framed by an account of Malcolm's journey to St. Petersburg, Moscow, and Yalta. She writes of Chekhov's childhood, his relationships, his travels, his early success, and his self-imposed "exile”—always with an eye to connecting them to themes and characters in his work. Lovers of Chekhov as well as those new to his work will be transfixed by Reading Chekhov.

The first example of the psychological novel in Russia, A Hero of Our Time influenced Tolstoy, Dostoyevsky, and Chekhov, and other great nineteenth-century masters that followed. Its hero, Pechorin, is Byronic in his wasted gifts, his cynicism, and his desire for any kind of action-good or ill-that will stave off boredom. Outraging many critics when it was first published in 1840, A Hero of Our Time follows Pechorin as he embarks on an exciting adventure involving brigands, smugglers, soldiers, rivals, and lovers.This edition includes a new introduction, chronology, suggestions for further reading, maps, and full explanatory notes.

While historical and political aspects of the Russo-German relationship over the past three to four centuries have received due attention from scholars, the range of the far more diverse, important, and peculiar cultural relations still awaits full assessment. This volume shows how enriching these cultural influences were for both countries, affecting many spheres of intellectual and daily life such as philosophy and religion, education and ideology, sciences and their application, arts and letters, custom and language. The German-Russian relationship has always been particularly intense. Oscillating as it has between infatuation and contempt, it has always been marked by a singular paradox: a German cultural presence in Russia resulting either in a more or less complete fusion, as in the case of Russifield German, or in a pronounced mutual repulsion, accompanied by the denigration of each other's culture as inferior. It is this curious paradox that determines the perspectives of the articles that were specially written for this volume, providing it with a unifying focus.

Nicht nur für Touristen, sondern für alle: Schüler, Studenten, Touristen, Geschäftsleute.Diese kleinen, praktischen Sprachführer ermöglichen es, auch ohne Vorkenntnisse in der Sprache Goethes im deutschsprachigen Raum sofort den Kontakt zu Einheimischen zu finden.Die Grundstrukturen der deutschen Sprache werden kurz erklärt, und eine Auswahl an praktischen Sätzen und Wörtern - inklusive Aussprache - garantiert das Zurechtfinden vom ersten Tag an.

"The pictorial quality of the whole poem is an eye-opener. There is always a tendency, on the part of his detractors, to make of Solzhenitsyn something less than he is, but here is further evidence that he is something more than even his admirers thought." - Clive James, New Statesman

Joseph Brodsky's last volume of poems in English, So Forth, represents eight years of masterful self-translation from the Russian, as well as a substantial body of work written directly in English."Nobel laureate Brodsky completed work on this sobering and brilliant collection just a week before his death ...." Brodsky's death is a loss to literature; his final collection of poems is the best consolation we could ask for." - Publishers Weekly

The devil, disguised as a magician, descends upon Moscow in the 1930s with his riotous band, which includes a talking cat and an expert assassin. Together they succeed in comically befuddling a population which denies the devil's existence, even as it is confronted with the diabolic results of a magic act gone wrong. This visit to the capital of world atheism has several aims, one of which concerns the fate of the Master, a writer who has written a novel about Pontius Pilate, and is now in a mental hospital. Margarita, the despairing and daring heroine, becomes a witch in an effort to save the Master, and agrees to become the devil's hostess at his annual spring ball. By turns acidly satiric, fantastic, and ironically philosophical, this work constantly surprises and entertains, as the action switches back and forth between the Moscow of the 1930s and first-century Jerusalem.

In the grand tradition of the epic novel, Boris Pasternak's masterpiece brings to life the drama and immensity of the Russian Revolution through the story of the gifted physician-poet, Zhivago; the revolutionary, Strelnikov; and Lara, the passionate woman they both love. Caught up in the great events of politics and war that eventually destroy him and millions of others, Zhivago clings to the private world of family life and love, embodied especially in the magical Lara. First published in Italy in 1957, Doctor Zhivago was not allowed to appear in the Soviet Union until 1987, twenty-seven years after the author's death. Translated by Manya Harari and Max Hayward

Every major socio-political change starts with some discarding. Suffice it to think about the heaps of rubbish consisting of old furniture, cars, busts of famous communist leaders, badges, and books on the streets of Eastern Europe in the fall/winter of 1989/1990. Among the institutions which have the greatest amount of experience with discarding are libraries: Counterintuitive as it may seem, libraries (but also museums and archives) regularly discard books as part of their job. In the wake of the collapse of communism in Europe, stock revision was needed in libraries, but did it unfold in a ¿business as usual¿ fashion or was it a ¿bibliocide¿ (as it was labelled by some media in Croatia) or even ¿the biggest destruction of books in the post-war period¿ (as it was characterized by a German journalist)? When does a standard library practice start attracting public attention? What makes the Croatian case stand out?