Delo odpira nekatere temeljne dileme razmerja med resničnostjo in njenim ubesedovanjem. Osvetlili so jih strokovnjaki različnih disciplin, ki jih povezuje temeljno semiotično stališče o tekstu kot kompleksnem znaku, katerega funkciji sta reprezentiranje resničnosti in pragmatično umeščanje govorečega/spoznavajočega subjekta v to resničnost.

The themes of longing, weakness and temptation are relevant to every human and are interwoven with all fundamental ideals and values of the created, rational being. Temptation is all the more dramatic, the broader the perspective of recognition, the power of human longing and the sense of the difference between good and evil. This book is a summary of a study which compares and contrasts Slovenian and European literary works created under the influence of biblical source texts (Adam and Eve, Joseph from Egypt, Samson and Dalilah, etc.) and the works of other known and unknown origins (Homer’s Iliad, Goethe’s Faust, various versions of the myth of the Fair Vida, etc.). The ascribing of a text to a genre provides the interpreter of the text with a key intertextual framework and with a system of references to other books, other texts, other literary statements. The intertextual approach is obviously appropriate to the study of contents, symbols and forms of literary works. It shows how the source text continues to speak through the new work and how the new work forces new meanings from the source text. Later writers use important themes with a historical sense, when aiming toward a better understanding of authenticity of human existence.

This is a selection of papers on Russian literature of the Soviet period presented at the IVth World Congress for Soviet and East European Studies in 1990. The ten articles range from the experimental prose and drama of the 1920s to studies of work by younger writers of the 1980s. The articles include analyses of works by individual writers and examinations of general phenomena, for example, village prose or the way Stalin is presented in literature of the glasnost era.

The past fifteen years have seen an important shift in the way scholars look at socialist realism. Where it was seen as a straitjacket imposed by the Stalinist regime, it is now understood to be an aesthetic movement in its own right, one whose internal logic had to be understood if it was to be criticized. International specialists remain divided, however, over the provenance of Soviet aesthetic ideology, particularly over the role of the avant-garde in its emergence. In The Cultural Origins of the Socialist Realist Aesthetic, Irina Gutkin brings together the best work written on the subject to argue that socialist realism encompassed a philosophical worldview that marked thinking in the USSR on all levels: political, social, and linguistic. Using a wealth of diverse cultural material, Gutkin traces the emergence of the central tenants of socialist realist theory from Symbolism and Futurism through the 1920s and 1930s.

An important collection of essays which treats Bakhtin as a provocative theorist whose work must be tested, explored and compared with the work of others. Contributors assess Bakhtin's contribution to difficult issues of colonialism, feminism, reception theory and theories of the body, amongst others. New articles explore the origins, previously unacknowledged, of Bakhtin's theory of language and provide a vivid account of the dramatic scandal surrounding Bakhtin's thesis on Rabelais. Contains dramatic new material, drawn from post-perestroika sources, which demythologizes the image of this important writer. A new bibliographical essay and introduction bring the English-language reader up-to-date with the progress of Bakhtin studies in Russia.

The ancient heartland of shamanism is no longer forbidden territory - to travelers or to the spirits. But the spirits never left the vastnesses of Siberia and Central Asia, as these writings reveal. Russian and native experts, and an American cultural anthropologist who has done fieldwork in the region, introduce us to shamans as the poets, therapists, healers, and even leaders of their communities. Among the special features of this collection are remarkable transcriptions of shamanic exhortations and a pathbreaking study of shamanic tales and rituals.

Staging the Absolute argues that an array of practices and beliefs came together to define an essential aspect of Russian and Soviet culture in the twentieth century: the persistent desire to interrupt – or disrupt – history. Drawing on sources that define the nature of public rituals, the book reveals the pervasive presence of the impulse to impede history in Russia’s modern era and the realization of the idea in the form of the Stalinist show trials of the 1930s. Thomas Seifrid analyses Soviet festivals, public displays of agitational propaganda, and urban planning, together with such modernist precursors as fin-de-siècle and early twentieth-century projects for reviving the theatre, modernist adaptations of puppet theatre, the Faust legend and its vogue in early twentieth-century Russia, and the nineteenth-century panorama. The book reveals that what binds these otherwise disparate phenomena together is a shared impatience with history and a corresponding desire to appropriate urban space. Illuminating the deeper meanings in these revived archaic forms, Staging the Absolute shows how pervasive the interest in disrupting history was in the Russian modern era.