Bibliographies thématiques / Vasilij Grossman

Littérature scientifique sur le sujet « Vasilij Grossman »

Auteur : Grafiati
Publié le 11 mars 2023

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Articles de revues sur le sujet "Vasilij Grossman"

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Czerny, Boris. « Trois écrivains du destin soviétique : Isaak Babel´, Vasilij Grossman, Boris Pasternak ». Revue des études slaves 83, no 4 (2012) : 1139–54. http://dx.doi.org/10.3406/slave.2012.8302.

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Golebiowski, Anja. « “Abandoned Secrets”. The Question of the Holocaust Narratives in Ukrainian Literature ». Poznańskie Studia Slawistyczne, no 12 (21 septembre 2017) : 93–105. http://dx.doi.org/10.14746/pss.2017.12.6.

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The reportage Ukraine without Jews (1943) by the Soviet writer Vasilij Grossman is one of the earliest public reports on the Holocaust. Although Ukraine had been in the centre of the Nazi mass murder and single voices like the ones of Grossman or Il’ja Ėrenburg even called betimes attention to the ongoing genocide of Ukrainian Jews, any tradition of Ukrainian Holocaust narratives has not been developed yet. Since its independency in 1991, there are attempts to participate in the Western memory discourse, but by now, they have rather no broader impact. The reception of the debate on the Holocaust serves more likely as a backdrop for its own discourse of victimization, the Holodomor, which is used for developing a national identification within the current Ukrainian nation-building process. Since the Orange Revolution, as the Ukraine has found itself in a critical phase of a socio-political upheaval, some texts of leading Ukrainian writers (Marija Matios, Oksana Zabužko, Jurij Vynnyčuk) have occurred that carefully raise the subject of the Holocaust, or rather the gap in the Ukrainian consciousness. This paper gives an overview about the texts and works out the narrative strategies, whereby only the coming years will show, if these texts constitute the beginning of a Ukrainian Holocaust literature.
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Gołąbek, Bartosz. « SOWIECKA ARMENIA WASILIJA GROSSMANA — WOKÓŁ GEOPOETYKI SOCREALIZMU ». Rusycystyczne Studia Literaturoznawcze 28 (12 décembre 2018) : 11–34. http://dx.doi.org/10.31261/rsl.2018.28.02.

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Vasily Grossman is one of the most prominent and interesting writers of Soviet era. His journalist papers on II war period, and later on his major literary work, novel Life and Fate made his name famous among the best writers of Russian culture. When his famous Life and Fate novel was seized in 1960 by KGB (Grossman himself was never arrested by the Soviet authorities) his literary career broke for that moment. As a moral compensation Grossman got a special translation work in Armenia, which he managed to put into a special prose called An Armenian Sketchbook. Grossman writes up soviet Armenia with poetical instruments that we are able to analyze through geopoetics and socrealism. Some parts of Grossman’s Armenian Sketchbook, though, could also be understood by postcolonial interpretation.
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Garrard, John. « Stepsons in the Motherland : The Architectonics of Vasilii Grossman's Zhizn' i Sud'ba ». Slavic Review 50, no 2 (1991) : 336–46. http://dx.doi.org/10.2307/2500209.

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The question of freedom and slavery tormented Grossman all his life.Semen LipkinArchitectonics designates those compositional principles that define a novel's structural and thematic coherence. The Greek term arkhitektonike, as glossed by Sir Philip Sidney in The Defense of Poesy, has the additional merit of offering a useful shorthand for my eclectic approach to Vasilii Grossman's novel: a pre-Saussurean concern for referent, parole, and authorial intent, combined with a structuralist focus on design and pattern–a search for the binary oppositions and governing motifs that make the work an integrated linguistic construct. I argue that Zhizn' i sud'ba requires such an approach and that only through coming to grips with the novel's architectonics shall we understand its meaning and appreciate its artistic energy.
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Tibaldeo, Roberto Franzini. « Hans Jonas and Vasily Grossman : Reflections on the Human Condition after Auschwitz ». ETHICS IN PROGRESS 5, no 2 (1 septembre 2014) : 215–45. http://dx.doi.org/10.14746/eip.2014.2.15.

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The article endeavours to compare the reflections on the Shoah of two of the most celebrated intellectuals of Jewish origin of the 20th century, namely the German philosopher Hans Jonas (1903-1993) and the Soviet writer Vasily Grossman (1905-1964). Both Jonas’ essay on The Concept of God after Auschwitz (1987) and Grossman’s novels and reports, such as The Hell of Treblinka (1944), Life and Fate (1980), and The Sistine Madonna (1989), are characterised by a thorough enquiry into the ambivalence of the human condition, that tries to shed some light on the disturbing abyss of Auschwitz and the Shoah. Although neither Jonas nor Grossman considered themselves as religious believers, thanks to the Shoah they recollected their Jewish roots and developed peculiar and innovative thoughts on the meaning and vulnerability of life, human freedom, immortality, and God. The article endeavours to highlight the main similarities and differences between these two authors, who tackled the issue of thinking after Auschwitz.
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Helmreich, William B. « Ilya Ehrenburg & ; Vasily Grossman ». Human Rights Review 3, no 3 (avril 2002) : 100–102. http://dx.doi.org/10.1007/s12142-002-1021-2.

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Ellis, Frank. « Vasilii Grossman : The Genesis of Heresy 1937-41 ». Modern Language Review 85, no 3 (juillet 1990) : 653. http://dx.doi.org/10.2307/3732202.

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Volokhova, Yu A. « A forgotten testimony from the liberated Warsaw. Vasily Grossman on the Warsaw Ghetto Uprising ». Voprosy literatury, no 2 (29 juillet 2020) : 13–26. http://dx.doi.org/10.31425/0042-8795-2020-2-13-26.

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Prefacing the first ever publication of V. Grossman’s essay In memory of the Warsaw Ghetto Uprising [Pamyati vosstaniya v Varshavskom getto] (1948) in the Russian language, the article recollects the circumstances and reasons for the piece to have been kept from publication and defines its relevance in the author’s legacy. The work is analyzed in the context of the problems of a literary testimony. The researcher points out that Grossman wrote the story using a special writing strategy, where numerous meanings incompatible with official Soviet culture are incorporated by means of an uncontrollable symbolic subtext, decipherable with certain ‘keys’ created throughout the narrative. In this case, such a ‘key’ is provided by the character of the stocking knitter ofŁodź. The story and the editor’s corrections are reconstructed from an archived, typed manuscript. Also included in the publication and supplied with comments are V. Grossman’s answers to the questionnaire distributed by the Jewish Anti-Fascist Committee to several cultural workers in 1946 ahead of the first Victory Day anniversary.
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YÜKSEL, Hamit. « BİR ROMANCI VE SAVAŞ GAZETECİSİ OLARAK VASİLİ GROSSMAN ». Journal of Turk-Islam World Social Studies 20, no 20 (1 janvier 2019) : 446–53. http://dx.doi.org/10.16989/tidsad.1672.

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Mordacq, Pierre. « Vasily Grossman et le siècle soviétique ». Commentaire Numéro171, no 3 (2020) : 706. http://dx.doi.org/10.3917/comm.171.0706.

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Thèses sur le sujet "Vasilij Grossman"

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Le, Guével Michel. « La représentation du pouvoir dans "Vie et destin" de Vasilij Grossman ». Paris, INALCO, 1991. http://www.theses.fr/1991INAL0002.

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"Vie et destin" constitue une "encyclopédie de la vie soviétique" qui présente tous les aspects du pouvoir totalitaire, tel qu'il s'est manifesté à l'époque de Stalin, dont le personnage apparaît peu mais dans des épisodes très denses. De façon générale, le roman est construit sur une contradiction entre la profusion narrative et la densité thématique. Grossman y étudie les conséquences de la dictature, non seulement à propos des camps et de la répression, mais aussi dans la vie quotidienne. A travers le personnage central de Strum, il esquisse une morale personnaliste proche de celle de Berdjaev. "Vie et destin" marque une rupture avec "Pour une juste cause", tout en prolongeant certaines analyses contenues en germe dans la première partie du diptyque, en particulier au sujet de l'antisémitisme, couronnement de l'édifice totalitaire sovietique que plus rien ne distingue du nazisme, si ce n'est le poids du passé servile de la Russie, thème qui provoqua un scandale en URSS où l'on accusa Grossman, à tort, de russophobie
"Life and destiny" constitutes an "encyclopaedia of Soviet life" which presents all the aspects of the totalitarian power, as it was at Stalin's time. Stalin appears in a few but very significant episodes. The novel is built on a contradiction between the narrative abundance and the density of the these. Grossman studies the consequences of dictatorship not only through concentration camps and repression but also through daily life. Through the central character (Strum), he suggests a personnalist moral, not far from Berdjaev's. "Life and destiny" is in rupture with "For a right cause" though it extends some analysis of the first part, particularly as far as anti-Semitism is concerned. Anti-Semitism is typical of totalitarism in Soviet Union, as it was for the Nazis. Nothing distinguishes the two systems except the servile past of Russia, idea which raised up a scandal in USSR, where Grossman was fully and wrongly accused of russophobia
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Ellis, Norman John. « Vasiliy Grossman : the genesis and evolution of heresy ». Thesis, University of Bristol, 1990. http://hdl.handle.net/1983/8f5a8b40-3c25-4be6-b3d3-ad6a34971738.

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Prevailing wisdom avers that the Great Fatherland War is the crucial event in Vasiliy Grossman's disaffection from Soviet power. The importance of the war cannot be denied. Yet this thesis seeks to show that the origins of Grossman's heresy are to be found in the thirties. It will be argued that collectivisation, industrialisation and above all the Terror are the catalysts leading to Grossman's wholesale renunciation of Marxism-Leninism and his search for a coherent and humane alternative. To this end the evolution of certain themes will be examined from before the war to their maturation in Zhizn' i sud'ba and Vse techet. Chapter I brings together many recently published sources of biographical information. Additionally it states the nature of the problem to be solved. Given the significance of the war for Grossman's writing, chapter II examines the major trends in Soviet war literature from 1941 up to and including the accession of Gorbachev. Particular attention is paid to the problem of Remarquism. Chapter III examines the key works wri tten by Grossman during the war years. Their importance for the post-war period is apparent in chapter IV. Grossman's ocherki and povesti are the basis for many of his finest portraits of Soviet soldiers. Chapter V analyses the peculiarly Soviet phenomenon of the commissar and his interaction with the officer and the rank and file. Concepts of war and progress are the subject of chapter VI. A detailed analysis of Grossman's sole play, "Esli verit' pi fagoreyt sam" I in many respect s a seminal work, argues that its central theme is fundamentally inimical to Marxist-Leninist teleology. Subsequent sections examine the role of the scientist in Grossman's work, the view that scientific research and political heresy are inextricably linked. Attention is also focused on the interrelationship of war and historical change. Throughout Za pravoe delo and Zhizn' i sud'ba we are conscious of an affinity with Tolstoy. A final section considers the extent to which Grossman's concepts of war differ from, or compare with, those of Tolstoy. The final chapter considers the nature of the totalitarian state as recorded in Grossman's writing. Special attention has been given to a number of Grossman's neglected pre-war rasskazy. Not published until the sixties, they are harrowing accounts of upheaval and the effects of social engineering. All three of Grossman's major novels concern themselves with the nature of the tyrant. Classical, medieval and Tsarist antecedents allude to Stalin in Stepan Kol' chugin. In Za pravoe delo Grossman explores certain aspects of Stalinism through the medium of Hitler's Germany. Both Nazi and Soviet systems are explicitly identified as coessential in Zhizn' i sud'ba. This chapter concludes with an analysis of Grossman's most damning thesis, expounded in Vse techet. that Lenin, not Stalin was the architect of Soviet slavery. -
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Whittle, Maria Karen. « Subverting Socialist Realism : Vasily Grossman's Marginal Heroes ». Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/pomona_theses/70.

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Soviet writer Vasilii Grossman has been renowned in the West as a dissident author of Life and Fate, which multiple sources, including The New York Times have called "arguably the greatest Russian novel of the 20th century." Grossman, however, was not a dissident, but an official state writer attempting to publish for a Soviet audience. Grossman's work was criticized by Soviets as being "too Jewish", while Jewish scholars have called it "not Jewish enough." And, despite his modern critical acclaim, little scholarship on Grossman exists. In my thesis, I explore these paradoxes. I argue that Grossman attempts to reinterpret traditional state ideas of Sovietness into a more inclusive, democratic version by creating heroes from traditionally marginalized groups. To do this, he reinterprets and inverts traditional tropes of the Socialist Realist genre. Genric limitations on his worldview, however, prevent this vision from being completely realized in the course of his work. I trace Grossman's work from his early short fiction to his Khruschev era novels and show how this trope develops during his career as a Soviet writer and citizen.
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Shulga, J. « Memory, history, testimony : the representation of trauma in Iurii Dombrovskii's and Vasilii Grossman's writing ». Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1388177/.

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This thesis is concerned with interrogating the major fiction of Vasilii Grossman and Iurii Dombrovskii in the context of trauma theory, identifying the ways in which the theory illuminates the representation of catastrophic events in Russian fiction and at the same time probing the limits of trauma theory itself. Trauma theory has often been deemed to be a “Western” concept, and its applicability to the Soviet experience has been questioned. Recently the concept has gained some ground in Soviet studies as well. Focusing on the relationship between an event and its traumatic impact, I investigate the narratives that are created about this relationship, with a particular focus on identity and unrepresentability, two concepts which are central to both trauma and Soviet studies. In my research I have found that the relevance of trauma theory can be challenged but not rejected in its entirety. The fiction of Grossman and Dombrovskii allows a creative approach to collective experience, which enables the event to be processed in unexpected ways.
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TOSCO, Pietro. « "Ho scritto quello che ho visto". La poetica di Grossman e il problema delle verità ». Doctoral thesis, 2012. http://hdl.handle.net/11562/404136.

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«HO SCRITTO QUELLO CHE HO VISTO». La poetica di Grossman e il problema delle verità La tesi intende presentare il percorso poetico e concettuale dello scrittore Vasilij Grossman (1905-1964) evidenziando i punti di contatto e i punti di rottura con il «paradigma sovietico» del suo tempo. Attraverso un percorso che parte dal debutto ufficiale dello scrittore negli anni Trenta per arrivare alla scrittura della prima e della seconda parte della «dilogia di Stalingrado» (Za pravoe delo, 1952; Žizn’ i sud’ba, pubblicato postumo nel 1980), la tesi individua alcuni snodi fondamentali della produzione artistica grossmaniana che documentano una caratteristica specifica della sua attività artistico-letteraria: la tensione tra i confini specifici imposti alla letteratura sovietica nelle diverse fasi del suo sviluppo e le esigenze individuali di emancipazione intellettuale e artistica. Il percorso è sviluppato accostando un’analisi letteraria dei motivi e delle tematiche di alcune opere a una serie di documenti d’archivio, alcuni dei quali inediti, che disegnano il difficile rapporto dello scrittore con le istituzioni ufficiali e l’influsso che esse hanno esercitato nell’elaborazione artistica di Grossman, ossia nel suo tentativo di definire uno specifico spazio mito-poietico personale. Ad attraversare l’intero lavoro di ricerca è il problema specifico del rapporto tra il primo e il secondo Grossman, ovvero tra le opere che furono pubblicate in Unione Sovietica e quelle postume, proibite e censurate dal regime sovietico. L’elaborazione della tesi, in tre capitoli, rende conto dello sviluppo della poetica di Grossman che si snoda tra due verità: da una parte la verità «esteriore» o «ufficiale», dall’altra quella «individuale». Obiettivo del lavoro è mostrare la specificità di Vasilij Grossman e l’evolversi della categoria della verità intesa come fondamento della sua opera. Il lavoro di tesi può essere perciò considerato come una critica delle immagini della verità nella poetica grossmaniana.
«I WROTE WHAT I SAW». Grossman’s poetics and the issue of truths This thesis aims to explain the poetic and the conceptual path of Vasily Grossman (1905-1964), in particular focusing on meeting and breaking points with the «Soviet paradigm» of his times. Along a path, which starts from the writer’s official debut in the early Thirties and concludes with the writing of the first and the second part of the «dilogy of Stalingrad» (Za pravoe delo, 1952; Žizn’ i sud’ba, published in 1980 after author’s death), the thesis highlights some of the most important turning points of Grossman’s artistic production. These points underline a specific characteristic of his literary activity: the tension between official Soviet literature borders throughout different stages of its development and Grossman’s individual needs of intellectual and artistic emancipation. The thesis develops a literary analysis of topics and themes of some Grossman’s works in relation with several archive documents, some of which are not yet published. This path shows the strained relationship between the author and official institutions and their influence on Grossman’s artistic elaboration, i.e. on his attempt to define a specific personal mytho-poetic space. The main issue, that runs under the entire research work, is the relationship between the first and the second Grossman, that is the relationship between the author’s works which were published in Soviet Union and the works which were censured and published after his death. The thesis, composed of three parts, demonstrates that in Grossman’s poetics lie two truths: on the one hand, the «exterior» or «official» truth, and on the other hand the «individual» one. The aim of this thesis is to show the peculiarity of Vasily Grossman’s poetics and the progress of the category of truth that is considered as the roots of his work. Therefore, this thesis can be considered a critique of the figures of the truth in Grossman’s poetics.
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Traverse, Emily Austin. « Ethics to Art : Vasily Grossman's Poetics as the Realization of His Philosophy ». Thesis, 2020. https://doi.org/10.7916/d8-48f9-5z18.

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This dissertation examines key texts from the intermediate and mature periods of Vasily Grossman’s career in order to determine the relationship between his evolving philosophy and the poetics that characterize his writing. While significant critique has been applied to the nature of Grossman’s philosophy, comparatively less has looked at the aesthetic and technical aspects of his writing itself; still less to the connection between Grossman’s abstract concepts and his accomplished texts. My effort has been to bridge the gap between these two areas of inquiry and to ascertain the quality of their tightly intertwined and complex relationship. I analyze four of Grossman’s key texts in depth, with reference to several other writings. Of the primary texts considered in my study, two are essays from the writer’s intermediate period: “The Hell of Treblinka” («Треблинский ад») and “The Sistine Madonna” («Сикстинская мадонна»);” of the two longer works, one is Grossman’s multi-volume masterpiece novel Life and Fate (Жизнь и судьба) and the other is his novella (повесть) and final fictional work Everything Flows (Все течет). These texts were chosen for their aptness at demonstrating key features of Grossman’s prosody and philosophical thinking, both those that remained constant and those that evolved over time. The following study establishes that Grossman’s writing itself, by means of the formal structures he employs throughout his works, constitutes the embodiment and realization of his ethics. Specifically, the following work considers modes of movement and generation in Grossman’s writing that speak to the value he places on the individual human experience.
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Livres sur le sujet "Vasilij Grossman"

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Italy) Convegno internazionale "Vasilij Grossman tra ideologie e domande eterne" (2009 Turin. L'umano nell'uomo : Vasilij Grossman tra ideologie e domande eterne. Soveria Mannelli : Rubbettino, 2011.

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Maddalena, Giovanni, et Pietro Tosco. Il romanzo della libertà : Vasilij Grossman tra i classici del XX secolo. Soveria Mannelli (Catanzaro) : Rubbettino, 2007.

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Elina, Nina. Vasiliĭ Grossman. Ierusalim : [s.n.], 1994.

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Vasilii Grossman : Zhizn', tvorchestvo, sud'ba. Moskva : Sovetskii pisatel', 1990.

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Bocharov, A. G. Vasiliĭ Grossman : Zhiznʹ, tvorchestvo, sudʹba. Moskva : Sov. pisatelʹ, 1990.

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Vasiliy Grossman : The genesis and evolution of a Russian heretic. Oxford : Berg, 1994.

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Genzeleva, Rita. Puti evreĭskogo samosoznanii͡a︡ : Vasiliĭ Grossman, Izrailʹ Metter, Boris I͡A︡mpolʹskiĭ, Rufʹ Zernova. Moskva : Mosty kulʹtury, 1999.

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Olbrych, Wiesława. Besedy o Vasilii Grossmane : Po materialam mezhdunarodnykh literaturnykh chteniĭ v Gdyne i diskussii v gazete "Literaturnye vesti". Warszawa : "Slavica Orientalia", 2002.

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Markish, Simon Peret͡sovich. Babelʹ i drugie. 2e éd. Moskva : Personalʹnai͡a︡ tvorcheskai͡a︡ masterskai͡a︡ "Mikhail Shchigolʹ", 1997.

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Babelʹ i drugie. Kiev : Personalʹnai︠a︡ tvorcheskai︠a︡ masterskai︠a︡ "Mikhail Shchigolʹ", 1996.

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Chapitres de livres sur le sujet "Vasilij Grossman"

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Rigler, Sibille. « Grossman, Vasilij ». Dans Kindlers Literatur Lexikon (KLL), 1. Stuttgart : J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_514-1.

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Mattis, Susanne. « Grossman, Vasilij : Žisn' i sud'ba ». Dans Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart : J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_515-1.

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Boschiero, Manuel. « Treblinskij ad di V. Grossman nell’Europa dell’immediato dopoguerra (1945-1947) ». Dans Biblioteca di Studi Slavistici, 105–13. Florence : Firenze University Press, 2019. http://dx.doi.org/10.36253/978-88-6453-910-2.13.

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The literary essay Treblinskij ad (The Hell of Treblinka), written by Vasilij Grossman and first published in the journal Znamja in 1944, circulated widely at the end of World War II, with editions appearing in several different languages. This article examines how Treblinskij ad spread across Europe and the United States during the Nuremberg Trials. We focus on the English, French, and German translations of the text that appeared between 1945 and 1947, and compare these translations with the versions of Grossman’s essay that were published in Russia.
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Pogorelskin, Alexis. « Vasily Grossman and Anatoly Rybakov : Soviet Sources of Historical Memory of the Holocaust ». Dans The Palgrave Handbook of Holocaust Literature and Culture, 267–86. Cham : Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33428-4_16.

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Ellis, Frank. « Army and Party in Conflict : Soldiers and Commissars in the Prose of Vasily Grossman ». Dans World War 2 and the Soviet People, 180–201. London : Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22796-9_10.

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« „Freiheitliche Erinnerung“. Vasilij Grossman und die europäische Erinnerung an Totalitarismus und Zweiten Weltkrieg ». Dans Politische Justiz, Herrschaft, Widerstand, 237–60. De Gruyter, 2021. http://dx.doi.org/10.1515/9783110728002-012.

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« Vasily Grossman ». Dans Late and Post Soviet Russian Literature, 144–68. Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618114334-007.

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« Vasily Grossman (1905–1964) ». Dans Voices of Jewish-Russian Literature, 419–61. Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618117939-051.

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« Vasily Grossman (1905–1964) ». Dans Voices of Jewish-Russian Literature, 513–26. Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618117939-058.

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Caute, David. « The Tragic Case of Vasily Grossman ». Dans POLITICS and the NOVEL DURING the COLD WAR, 171–75. Routledge, 2017. http://dx.doi.org/10.4324/9781315126845-19.

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