Titlebook: Russian Montparnasse; Transnational Writin Maria Rubins Book 2015 Maria Rubins 2015 Russian Montparnasse.interwar literature.modern Europea

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Human Document or ,?hey were scrutinizing. Critical thought generally operated through such binaries as life/fiction, and texts designated as human documents were assumed to be based on “raw reality” and “genuine experience” rather than fantasy and imagination. As the polemic between Khodasevich and Adamovich demonstra

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“A Shared Homeland for All Foreigners”: The Paris Mythinked to the city’s propensity for universal estrangement. In his study of the Paris mythos, Karlheinz Stierle argues that the urban metropolis renders the very notion of stranger irrelevant, “because everyone is a stranger there,” the exotic visitor and native alike.. In the 1920s, when diverse and

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Art Deco Fiction: Literary Reflections on the Seventh Artnd created an unprecedented challenge to artists who still conceived of their trade as a sacred ritual. Among all the arts, literature was possibly most vulnerable to the pervasive acceleration of life, the insatiable desire for entertainment, and the all-consuming celebration of the physicality of

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Anthologizing the Jazz Age: Ga?to Gazdanov’s ,arguably the most detailed reconstruction of the Art Deco aesthetic code in the writing of the Russian diaspora. Although the final version of the novel came out only in the 1940s, its original conception dates to the early 1930s, and the project apparently occupied the author throughout the pre-war

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