Suchergebnisse

AbstractThis essay investigates the geopoetic strategies through which Muslim writers contributed to as well as undermined the consolidation of the Russian literary canon. Its central focus is the Azeri writer Celil Memmedquluzade's translation of Gogol''s work, revealing the politicization of Gogol"s poetics in the Muslim south Caucasus in 1905. Drawing upon Gogol''s prose about the Russian provinces, its translation in the Caucasus, and its resurrection in literary theory, I illustrate the ways in which the poetics of the imperial provinces intersected with the Russian and Soviet imperial gaze, highlighting the internalizing force of imperial expansion as well as the radical alterity of the colonial experience. The early twentieth century was marked by a series of revolutionary upheavals in the imperial capital and periphery, as well as a Bolshevik ideological campaign to envision literature as an enlightened enterprise, that is, one characterized by both its scientific and political power. In dialectical fashion, the creation of a revolutionary poetics involved a repetition of Gogol''s prose in order to reconcile and thus transcend the series of binaries associated with nineteenth century literature: center/periphery, oral/written, self/other. Gogol''s resurrection in Memmedquluzade's translations and in the hands of his Formalist and postcolonial critics highlights the role of Russian imperial geopoetics in simultaneously sustaining and subverting a revolutionary literary culture

This dissertation considers the foundation of discourses of Orientalism and Postcolonialism in representations of the Caucasus in the literature of Russians and Muslims of the empire from 1828 through 1920. From the mid-nineteenth century through World War I, the Russian empire continued an era of expansion, colonizing the diverse ethnic and cultural territories of the Muslim Caucasus and Central Asia. The oil boom, the creation of an international Turkic language press, the spread of Russian language education and the construction of the Transcaspian Baku-Batumi Railroad during this period all contributed to the development of a cosmopolitan literary and artistic scene in the administrative and industrial capitals of Tbilisi and Baku. While discussions about the destiny of the Russian Empire - its relationship to the European Enlightenment, Byzantium and its own imperial acquisitions percolated in Moscow and Petersburg, debates about the role of Islam and language politics as well as Pan-Turkic, Pan-Islamic and proletarian discourses of identity dominated discussions among writers and thinkers in the Caucasus. Russian writers imagined a civic identity amidst an expanding empire, and in so doing, they represented the Caucasus as a space of freedom, heroism and spiritual enlightenment. I trace the ways in which Muslim writers and thinkers of the Caucasus translated and transformed this imaginary, debating the role of Islam and language politics in the construction of supranational discourses of cultural, ethnic and political identity. Building on Edward Said's theory of Orientalism and Mikhail Bakhtin's theory of narrative discourse, I present a portrait of the intellectual milieu between a series of intertextual encounters across Europe, Russia and the Turkic Muslim world.My dissertation is organized into four chapters, each of which addresses intertextual encounters in these diverse literary traditions. My first chapter, "Heterodoxy and Heteroglossia: Axundov on the Threshold of Russian Literature" discusses Mirza Fatali Akhundov's contribution to the foundation of a modern Azeri literary tradition through his invocation of Aleksandr Sergeevich Pushkin's orientalist literary legacy. Drawing upon Pushkin's representation of the Caucasian imaginary as a prophetic legacy of freedom, Axundov generates supranational texts that incorporate diverse Islamic, Russian and European theological, philosophical, cultural and political discourses. My second chapter, "Prisoners of the Caucasian Imaginary: Lermontov and Kazy-Girei's Heroes in Exile" examines the idea of heroism in Russian Romantic representations of the Caucasus through the Caucasian tales of Mikhail Iur'evich Lermontov and a Russophone story by the Adyghe writer Sultan Kazy-Girei. I illustrate the ways Kazy-Girei contests and expands the ideas of heroism embedded in Russian representations of the Caucasus through his foundational contribution to Muslim Russophone literature. My third chapter, "Textual Deviance in Russian Empire: Gogol' and Mammedquluzadeh's Parodic Innovations," discusses the comedic space of the Russian Empire and Soviet Union. Comparing the works of Nikolai Vasilevich Gogol and the Azeri writer Jalil Mammedquluzadeh, I discuss the role of textual deviance in Russian literature. Though Gogol's work entered a supranational Soviet literary space through his appropriation by Formalist literary critics, this chapter highlights the importance of his work in the literature of the Muslims of the Russian empire more broadly, as well the early twentieth century in the Caucasus. My final chapter, "Translating Early Twentieth Century Baku: The Romantic Poetic Futures of the Russian and Azeri Avant-gardes," examines the role of Romantic poetics in the emergence of revolutionary and early Soviet politics. I compare the works of Russian writers in Baku, including Velimir Khlebnikov, Aleksei Eliseevich Kruchenykh, Viacheslav Ivanovich Ivanov, and Vladimir Vladimirovich Maiakovskii to the works of the Azeri writers Abbas Sahhat, Mehammed Hadi, and Mikayil Rafili. In so doing, this chapter illustrates the role of the Baku avant-garde in shaping Soviet hegemony, as well as diverse forms of anti-imperial agency. This moment in the formation of the Soviet Union, envisioned from the vantage point of the Caucasus, frames my discussion of the architecture of a supranational literary tradition informed by Russian Orientalism, anti-imperial Soviet hegemony, and postcolonial politics.

"Did It Happen Here? collects, in one place, key texts from the sharpest minds in politics, history, and the academy beginning with classic pieces by Hannah Arendt, Angela Davis, Reinhold Niebuhr, Leon Trotsky, and others. The book's contemporary contributors include Ruth Ben-Ghiat on the trivialization of the term "fascism," Jason Stanley and Sarah Churchwell on the Black radical perspective, and Robert O. Paxton on Trump. These writers argue firmly that fascism is alive and well in America today, but another set of contemporary voices disagree. Samuel Moyn demonstrates the limitations of historical comparison. Rebecca Panovka examines the uses and abuses of Hannah Arendt's work. Anton Jager and Victoria De Grazia make the case that the social and communal conditions necessary for fascism do not exist in the United States. Still others, like Priya Satia and Pankaj Mishra, are critical of the narrow framework of this debate and argue for a global perspective." --