Daniil Charms' “Old Woman” Climbs her Family Tree: “Starucha” and the Russian Literary Past

Chances, Ellen

doi:10.1016/0304-3479(85)90018-3

Cited by 5 publications

(2 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…Чансес (Chances 1985) отмечает, что ОБЭРИУ считало своей задачей обновить литературу и другие виды искусства. Хотя Чансес при этом признает новаторский аспект текстов Хармса, ее интересует в первую очередь зависимость писателя от своих предшественников в русской литературе.…”

Section: литература о старухеunclassified

“…Э. Чансес (Chances 1985) видит среди подтекстов Старухи, помимо Преступления и наказания, Пиковую даму Пушкина, которая, впрочем, играет аналогичную роль в романе Достоевского. Старуху связывают с Пиковой дамой схожесть структуры и тематики, а также некоторые общие мотивы.…”

Section: интертекстуальность (библия)unclassified

See 1 more Smart Citation

Eto i to v povesti "Starukha" Daniila Kharmsa

Pratt¹,

Heinonen²

2003

The Slavic and East European Journal

View full text Add to dashboard Cite

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. American Association of Teachers of Slavic and East EuropeanLanguages is collaborating with JSTOR to digitize, preserve and extend access to The Slavic and East European Journal. Reviews 689Reviews 689 ect. The memorial plaque was finally established in 1991, on the day of the fiftieth anniversary of Tsvetaeva's suicide. The author achieves resonance by describing, with the precision of a social scientist, all the trials and tribulations associated with preserving and restoring the house in Borisoglebsky Lane. The editors claim, in the introduction, that Kataeva-Lytkina herself played an invaluable role in the preservation of the house. Indeed, her writing often assumes the air of a museum curator: she displays remarkable familiarity with the objects of the house, from the years of Tsvetaeva's blissful first experiences of her comfortable existence, to the collapse of the poet's world in the years of War Communism. Kataeva-Lytkina's dedication is contagious in the way she maps her vision of the museum, as a meeting place for poets and intellectuals who would propel poetic ideas into the twenty-first century.Kataeva-Lytkina also discusses at length the house visitors during Tsvetaeva's eight-year stay at Borisoglebsky Lane; they include the actress Sophia Holliday, the poet Adelaida Gertsyk, the prince-turned-writer Serge Volkonsky, and others. Although many are familiar personalities from Victoria Schweitzer's and Anna Saakiants's extensive biographies (among others), the non-specialists will greatly benefit from Kataeva-Lytkina's vivid account. The author also discusses at length the few months of Tsvetaeva's life in Bolshevo after her return from abroad. Those were the arduous months followed by the arrests of the poet's daughter Ariadna Efron and of her husband Sergei Efron. Although mostly revisiting other accounts of that period, Kataeva-Lytkina's narrative and almost personal involvement with her subject matter capture the reader's attention.One of the drawbacks of the book is that the essays occasionally repeat the same material. Yet, as the editors acknowledge, their attempt was to preserve the uniqueness of each article by Kataeva-Lytkina: hence the repetitions and demonstrations of lack of continuity.In the final part of the book, Kataeva-Lytkina appears as the chronicler of the latest artistic exhibits in Moscow, some independent of Tsvetaeva, and one in direct connection with the Tsvetaeva legacy. The latter was entitled "lIymiKHHHaHa pyccKoro 3apy6e)Kbs"; it was sponsored by the Tsvetaeva Museum Archive and was held in 1999, during the bicentennial of Pushkin's birth in Moscow. The Pushkiniana of 1999 mirrored the Paris exhibit of 1937, where some of the most illustr...

show abstract

Section: литература о старухеunclassified

Section: интертекстуальность (библия)unclassified