| Description |
1 online resource (xxvi, 422 pages). |
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data file |
| Physical Medium |
polychrome |
| Series |
Studies in Russian and Slavic literatures, cultures and history
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Studies in Russian and Slavic literatures, cultures and history.
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| Bibliography |
Includes bibliographical references and index. |
| Contents |
Preface / Caryl Emerson -- Great art should slow us down : "participative thinking" in the world and as the world of Caryl Emerson / David Bethea -- I. On Mikhail Bakhtin : (Dialogue, Carnival, the Bakhtin Wars) -- Polyphony and the carnivalesque : introducing the terms -- Early philosophical essays -- Coming to terms with Carnival -- Gasparov and Bakhtin -- II. On the master workers : (Pushkin, Dostoevsky, Tolstoy) -- Four Pushkin biographies -- Pushkin's Tatiana -- Pushkin's Boris Godunov -- George Steiner on Tolstoy or Dostoevsky -- Tolstoy and Dostoevsky on evil-doing -- Kundera on not liking Dostoevsky -- Parini on Tolstoy, with a postscript on Tolstoy, Shakespeare, and the performing arts -- Chekhov and the Annas -- III. Musicalizing the literary classics : (Musorgsky, Tchaikovsky, Shostakovich, Prokofiev) -- Foreword to Richard Taruskin's Essays on Musorgsky - From "Boris Godunov" to "Khovanshchina" -- Tumanov on Maria Olenina-D'Alheim -- Tchaikovsky's Tatiana -- Little operas to Pushkin's little tragedies -- Playbill to Prokofiev's "War and peace" at the Met - Shostakovich's "Lady Macbeth of Mtsensk" - Princeton University's Boris Godunov - "Eugene Onegin" on the Stalinist stage -- In conclusion. |
| Summary |
All the Same the Words Don't Go Away brings together twenty-five years of essays and reviews, linked loosely by three themes. First is the creative potential inherent in transposing classic literary texts into other genres or media (operatic, dramatic) and the responsibilities, if any, that govern the transposer, audience, and critic. The practice of transposition, however, gives rise to a creative conflict: is there a limit to the amount of ornamentation, pressure, or dilution to which the "mediated" word can be subject? Finally, the more polemical of the essays included here are structured on the Bakhtinian notion of coexisting "plausibilities" and points of view. What a carnival approach can uncover in Pushkin that might have surprised and even pleased the poet, what a libretto or play script brings out that the "true original" hides: here the work of the creator and the critic co-exist in exhilarating ways that respect the competencies of each. --Book Jacket. |
| Note |
This work is licensed under a Creative Commons license https://creativecommons.org/licenses/by-nc/4.0/legalcode |
| Local Note |
JSTOR Books at JSTOR Open Access |
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eBooks on EBSCOhost EBSCO eBook Subscription Academic Collection - North America |
| Subject |
Russian literature -- History and criticism.
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Russian literature. |
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Russian literature -- Adaptations -- History and criticism.
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Adaptations. |
| Genre/Form |
Electronic books.
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Electronic books.
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Criticism, interpretation, etc.
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| Other Form: |
Print version: Emerson, Caryl. All the same the words don't go away. Boston : Academic Studies Press, 2011 (DLC) 2010047494 |
| ISBN |
9781618111289 (electronic book) |
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1618111280 (electronic book) |
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9781618118479 (electronic book) |
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1618118471 (electronic book) |
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9781934843819 (electronic book) |
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1934843814 (electronic book) |
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