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Auteur : Grafiati
Publié le 11 mars 2023

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1

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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7

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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8

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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9

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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10

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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Murav, Harriet. « Violating the Canon : Reading Der Nister with Vasilii Grossman ». Slavic Review 67, no 3 (2008) : 642–61. http://dx.doi.org/10.2307/27652943.

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'Violating the Canon” makes the case for an alternative Jewish and literary space in the context of Soviet war literature by comparing works by Vasilii Grossman, Il'ia Erenburg, and the Yiddish author Der Nister. In this article, Harriet Murav distinguishes the question of literary value from the question of identity and separates out the problem of determining the typicality or representativeness of a work from the problem of engaging the complexity of its meanings. Jewish literature from the Soviet Union ought to be recovered from the constraints that subordinate it to Cold War-era sociological and political constraints. Mikhail Bakhtin, Werner Sollors, and Michael Warner provide approaches that allow access to more fluid and open-ended readings.
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12

Voinovich, Vladimir. « The Life and Fate of Vasily Grossman ». Index on Censorship 14, no 5 (octobre 1985) : 9–10. http://dx.doi.org/10.1080/03064228508533943.

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13

SenGupta, Karl Shankar. « God Below : A Faith Born in Hell—Life and Fate and the Otherwise Than Being ». Humanities 10, no 2 (18 juin 2021) : 84. http://dx.doi.org/10.3390/h10020084.

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This essay examines the idea of kenosis and holy folly in the years before, during, and after the Holocaust. The primary focus will be Vasily Grossman’s Life and Fate, though it also will touch upon Fyodor Dostoevsky’s Demons and the ethics of the Lithuanian-Jewish philosopher Emmanuel Levinas, speaking to their intersecting ideas. Dostoevsky, true enough, predates the Shoah, whereas Grossman was a Soviet Jew who served as a journalist (most famously at the Battle of Stalingrad), and Levinas was a soldier in the French army, captured by the Nazis and placed in a POW camp. Each of these writers wrestles with the problem of evil in various ways, Dostoevsky and Levinas as theists—one Christian, the other Jewish—and Grossman as an atheist; yet, despite their differences, there are ever deeper resonances in that all are drawn to the idea of kenosis and the holy fool, and each writer employs variations of this idea in their respective answers to the problem of evil. Each argues, more or less, that evil arises in totalizing utopian thought which reifies individual humans to abstractions—to The Human, and goodness to The Good. Each looks to kenosis as the “antidote” to this utopian reification.
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14

Parthe, Kathleen, et Frank Ellis. « Vasiliy Grossman : The Genesis and Evolution of a Russian Heretic ». Russian Review 56, no 1 (janvier 1997) : 134. http://dx.doi.org/10.2307/131496.

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15

Garrard, John, et Frank Ellis. « Vasiliy Grossman : The Genesis and Evolution of a Russian Heretic ». Modern Language Review 90, no 4 (octobre 1995) : 1053. http://dx.doi.org/10.2307/3733144.

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Cooke, Olga M., et Frank Ellis. « Vasiliy Grossman : The Genesis and Evolution of a Russian Heretic ». South Central Review 15, no 3/4 (1998) : 83. http://dx.doi.org/10.2307/3189850.

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Calusio, Maurizia. « L’orrore della colpa nell’ultimo Grossman ». Linguae & ; - Rivista di lingue e culture moderne, no 2 (décembre 2013) : 49–65. http://dx.doi.org/10.7358/ling-2013-002-calu.

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The recognition of the sins of the survivors of totalitarian regimes has great importance for the victims in Vasily Grossman’s last works. This paper analyzes how this issue turns out to be central in the artistic delineation of some of the most remarkable characters in Grossman’s works, from the half-mad Ikonnikov in Life and Fate to the cook Anna Sergeevna Michalëva, who, in Everything Flows, tells the story of the Holodomor.
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18

Christiaens, Tim. « Agamben’s ‘bare life’ and Grossman’s ethics of senseless kindness ». Journal of European Studies 52, no 1 (9 février 2022) : 36–53. http://dx.doi.org/10.1177/00472441211072611.

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In his early works, Giorgio Agamben argues that some Auschwitz inmates practised a ‘silent form of resistance’ by shutting themselves off from the world until nothing could harm them. I argue that this conception of ‘bare life’ is both too abstract and too individualistic. Agamben’s idea of bare life’s resistance first neglects the socio-historical context that has produced particular instances of it, effectively barring the investigation into how to avoid future occurrences of sovereign violence. Agamben, second, emphasizes the potential for resistance present in individual bodies shut off from the world without providing guidelines for how these bodies should form a substantive community. I consequently employ Vasily Grossman’s writings on the Shoah to provide an alternative conception of bare life’s resistance in the camps. According to Grossman, resistance lies not in closing oneself off from the world, but in cultivating ineradicable nodes of ‘senseless kindness’ in concrete human interactions.
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19

Danchev, Alex. « Ethics after Auschwitz : Vasily Grossman and senseless kindness ». Journal of European Studies 43, no 4 (18 novembre 2013) : 357–72. http://dx.doi.org/10.1177/0047244113501748.

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Zavadivker, Polly. « Vasilii Grossman : A cosmopolitan writer depicts the murder of the Jewish people ». Journal of European Studies 43, no 4 (18 novembre 2013) : 283–98. http://dx.doi.org/10.1177/0047244113501758.

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Shankman, S. « God, ethics, and the novel : Dostoevsky and Vasily Grossman ». Neohelicon 42, no 2 (27 novembre 2014) : 371–87. http://dx.doi.org/10.1007/s11059-014-0281-6.

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ÇELİK, Reyhan. « İKİNCİ DÜNYA SAVAŞI YILLARINDA İKİ BÜYÜK YAZAR : VASİLİ GROSSMAN VE İLYA ERENBURG ». Journal of Academic Social Sciences 62, no 62 (1 janvier 2017) : 51–59. http://dx.doi.org/10.16992/asos.13256.

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Arroyo Arrayás, Luis Miguel. « Los combates de Vasili Grossman el mensaje humanista de Vida y destino ». Thémata 48 (2013) : 111–20. http://dx.doi.org/10.12795/themata.2013.i48.09.

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Finney, Patrick. « Vasily Grossman and the myths of the Great Patriotic War ». Journal of European Studies 43, no 4 (18 novembre 2013) : 312–28. http://dx.doi.org/10.1177/0047244113501747.

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Barany, A. « THE INTERPRETATION OF ASPECTS OF LIGHT, SOUND, COLOUR AND TIME IN THE NOVELS “LIFE AND FATE” (Vasily Grossman) AND “FATELESSNESS” (Imre Kertész) ». MESSENGER of Kyiv National Linguistic University. Series Philology 23, no 2 (5 janvier 2021) : 9–18. http://dx.doi.org/10.32589/2311-0821.2.2020.222731.

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Nowadays, the novels “Life and Fate” (1960) by Vasily Grossman (1905-1964) and “Fatelessness” (1975)by Imre Kertész (1929-2016) attract attention of not only numerous readers but also literary critics. However,the critical articles focus mainly on the authors' philosophy and characters' thoughts, present commentarieson the world, war, human life under totalitarianism.The paper aims at investigating the magic power of lights, colours, sounds and their artistic reality in the novels“Life and Fate” by Vasily Grossman and “Fatelessness” by Imre Kertész; at revealing, analyzing and comparingthe meaning of lights, sounds, colours and theirs effect on the images embodied by writers in the novels “Lifeand Fate” and “Fatelessness”.Despite the fact that “Life and Fate” and “Fatelessness” were written in a reserved style there are certaincolours, light and sound effects which influence the emotional world of heroes in the novels. The paper considersthe various meanings of white colour in the novels, various types of the light at night and in the daytime, comparesthe effects of white and dark lights, determines the light of wisdom, gives interpretation to the noise of food kettlesin the novel “Fatelessness” that sounds like a chime in the ears of prisoners in the concentration camp and bringthem to life.The hidden colours, lights and sounds occupied proper places in the novels, their function is artisticallymotivated by Vasily Grossman and Imre Kertész. The light and sound gamma in these novels became integralexpressive tools creating such a background of the sphere of feelings that possesses magical power, helpsto reveal and better understand the emotions of the characters, brings the readers closer to the real time andinvolves them in the conditions and events lived by the characters. The sounds of voices, shades of coloursand aspects of light in the novels “Life and Fate” and “Fatelessness” are immortal, an everlasting bright sparkof life and energy lives in them.
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Shevtsova, Maria. « Lev Dodin Directs Grossman, O'Neill, and Shakespeare ». New Theatre Quarterly 25, no 2 (mai 2009) : 137–47. http://dx.doi.org/10.1017/s0266464x09000232.

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When Lev Dodin and the Maly Drama Theatre travelled to Britain in 1988, performing Stars in the Morning Sky at the London International Festival of Theatre (LIFT), it was their first tour abroad. Since then, this repertory ensemble has had an enormous impact on audiences across the world because of its powerful artistry, sustained by the unique training methods, emotional and philosophical as much as technical, developed by Dodin and his collaborators. This article is an account of the three productions directed by Dodin since King Lear (St Petersburg, March 2006, and performed at the Barbican in London in October that year). They are Life and Fate (2007) after the novel by Vasily Grossman, Long Day's Journey into Night (2008) by Eugene O'Neill, and Shakespeare's Love's Labour's Lost (2008, its premiere in April preceding that of Long Day's Journey in December). Maria Shevtsova is Professor of Drama and Theatre Arts at Goldsmiths, University of London, and Co-Editor of New Theatre Quarterly.
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Legvold, Robert, John Garrard et Carol Garrard. « The Bones of Berdichev : The Life and Fate of Vasily Grossman ». Foreign Affairs 75, no 4 (1996) : 155. http://dx.doi.org/10.2307/20047706.

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Radley, Philippe D., John Garrard et Carol Garrard. « The Bones of Berdichev : The Life and Fate of Vasily Grossman ». World Literature Today 71, no 2 (1997) : 409. http://dx.doi.org/10.2307/40153175.

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Estraikh, Gennady. « The Road : Stories, Journalism, and Essays by Vasily Grossman (review) ». Shofar : An Interdisciplinary Journal of Jewish Studies 31, no 3 (2013) : 179–82. http://dx.doi.org/10.1353/sho.2013.0071.

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Korkunov, V. V. « Review of Bit-Yunan, Y. and Feldman, D. (2016). Vasily Grossman : A literary biography in a historical-literary context. Moscow : NEOLIT. 248 pages. » Voprosy literatury, no 5 (19 décembre 2018) : 402–7. http://dx.doi.org/10.31425/0042-8795-2018-5-402-407.

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The book by Yury Bit-Yunan and David Feldman Vasily Grossman: A Literary Biography in a Historical-Literary Context is an attempt to reconstruct the writer’s biography. Using copious evidence from archives, the authors set out to demythologize the pervading image of a non-conformist writer. They also try to reveal on whose accusations his novel was confiscated by the authorities. The reviewer examines the arguments supplied by Bit-Yunan and Feldman, and criticizes them for their invectives against earlier biographers, in particular, Semyon Lipkin.
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Bonola, Anna P. « LINGUISTIC FORMS OF TOTALITARIAN AND ANTITOTALITARIAN COMMUNICATION IN LIFE AND FATE BY VASILY GROSSMAN ». Vestnik Tomskogo gosudarstvennogo universiteta, no 420 (1 juillet 2017) : 16–22. http://dx.doi.org/10.17223/15617793/420/2.

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Young, Sarah J. « Testimony on the margins : Silence, innocence and the other in Vasilii Grossman’s late fiction ». Journal of European Studies 43, no 4 (18 novembre 2013) : 329–43. http://dx.doi.org/10.1177/0047244113501756.

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Amir Weiner. « A Writer at War : Vasily Grossman with the Red Army, 1941–1945 (review) ». Kritika : Explorations in Russian and Eurasian History 10, no 2 (2009) : 387–97. http://dx.doi.org/10.1353/kri.0.0094.

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Guillaume, Laura, et Patrick Finney. « ‘It is a terrible thing to condemn even a terrible man’ : Vasily Grossman on judging perpetrators ». Journal of European Studies 43, no 4 (18 novembre 2013) : 344–56. http://dx.doi.org/10.1177/0047244113501749.

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Guthmann, Yanina. « Calle Este-Oeste. Sobre los orígenes de genocidio y crímenes contra la humanidad de Philippe Sands ». Díkaion 29, no 1 (18 août 2020) : 291–97. http://dx.doi.org/10.5294/dika.2020.29.1.10.

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En el marco de sagas que relatan la historia del siglo pasado, de sus guerras, en particular de la segunda guerra mundial, los grandes movimientos genocidas y totalitarios, sus formas y orígenes, pero que a la vez retoman las historias de las personas comunes, de los Justos o de los que resistieron, de los que desangraron sus vidas o sus historias familiares, de los que fueron parte del terror, libros que pueden desarmar la dicotomía entre lo individual y colectivo, entre lo particular y lo universal, porque alcanzan lo profundo y lo íntimo del horror y también de la resistencia… Vida y Destino de Vasili Grossman es una obra clave, también encontramos la pluma de las víctimas judías –El diario de Ana Frank, Diario de Hélène Berr, Anónima de Una Mujer en Berlín…, odas a la escritura, la historia y a la dignidad humana. El libro Calle Este-Oeste. Sobre los orígenes de “genocidio” y “crímenes contra la humanidad” puede unirse a estas obras, puzzle perfecto de datos históricos, familiares y geográficos, pero también jurídicos.
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Kowalska-Paszt, Izabela. « POSTKOLONIALNE ZAPISKI Z PODRÓŻY DO „KOLONII”. OSIP MANDELSZTAM PODRÓŻ DO ARMENII, JURIJ KARABCZIJEWSKIJ TĘSKNOTA ZA ARMENIĄ ». Rusycystyczne Studia Literaturoznawcze 28 (12 décembre 2018) : 35–60. http://dx.doi.org/10.31261/rsl.2018.28.03.

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Prosaic notes by Mandelstam and Kаrabtchiyevski selected for critical reading contribute to the Armenian text in the Russian literature (Alexander Pushkin, Valery Bryusov, Sergey Gorodetsky, Andrei Bely, Anna Akhmatova, Vasily Grossman, Andrei Bitov). A methodology adopted in the article enables analyzing the postcolonial awareness of travelling authors expressed in the two works, and its origin one should look for in the position of an outsiders in the Soviet culture. The autobiographic narrators — Mandelstam and Karabtchiyevsky — seem to be fully associated with a frequently tragic experience of a centuries long colonial domination suffered by Armenians. While the attitude of the author of the Journey to Armenia is supported by exceptionally broad knowledge about history and culture of the country, the main role in Longing for Armenia is played by well-motivated ethical emotions of the traveler.
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Shulga, Jekaterina. « The freedom within : Time, trauma and temporality in Vasilii Grossman’s For a Just Cause and Life and Fate ». Journal of European Studies 43, no 4 (18 novembre 2013) : 299–311. http://dx.doi.org/10.1177/0047244113501750.

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Maguire, Muireann. « Yevgeny Zamyatin : We, translated by Bela Shayevich ; Vasily Grossman : Stalingrad, translated by Robert Chandler and Elizabeth Chandler ». Translation and Literature 30, no 3 (novembre 2021) : 396–405. http://dx.doi.org/10.3366/tal.2021.0486.

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Morawiec, Arkadiusz. « Literatura rosyjska wobec zagłady sowieckich jeńców wojennych ». Narracje o Zagładzie, no 6 (21 novembre 2020) : 80–114. http://dx.doi.org/10.31261/noz.2020.06.06.

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The article concerns the motif and theme of Soviet prisoners of war in Russian literature. It presents the most important historical facts, which are the sources of literary approaches, concerning the complicated fate of Soviet POWs during the German-Soviet war (1941‒1945) and after its end. It also shows the political and ideological determinants of the literary image of a prisoner (as a traitor and coward, a resistance fighter in camps and a partisan, victim). The subjects of the analysis are both fictive works and memoirs, among others Mikhail Sholokhov’s The Fate of a Man (Судьба человека), Aleksandr Solzhenitsyn’s One day in the life of Ivan Denisovich (Один день Ивана Денисовича), Vasily Grossman’s Life and fate (Жизнь и судьба), Andrey Pogozhev’s Escape from Auschwitz (Смерть стояла у нас за спиной).
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Shafranskaya, Eleonora F. « Armenian Text : Job’s Children ». Polylinguality and Transcultural Practices 19, no 3 (30 septembre 2022) : 511–20. http://dx.doi.org/10.22363/2618-897x-2022-19-3-511-520.

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The article considers one of the patterns of the Armenian text in Russian literature - the relationship of the historical destinies of the Armenian and Jewish peoples. The purpose of the study is to present, using the example of travelogues of writers of the second half of the twentieth century: Andrei Bitov, Vasily Grossman, Yuri Karabchievsky, Georgy Gachev, how this pattern of the Armenian text was formed - the pairing of the tragic fate of Jews and Armenians. The intention of the mentality of the Armenians, based on their ancient history, coincides with the Jewish intention, which is shown in the article using typological examples from the prose of Dina Rubina. The Armenian text, according to the author of the article, is a literary construct invented precisely by the writer’s creativity, first by prose, then by poetry responding to it. Thus, examples of the Armenian text, which is in interaction with the specified prose, are given from the lyrics of contemporary poets - Liana Shahverdyan, Alessio Gaspari. The Armenian text is a construct retransmitted in Russian literature. It was created by writers who reproduce certain stable patterns in their work. On the material of this study, we focused on one of them - the ontological relationship of Armenians and Jews. Its central motif is the metaphor of the historical memory of the bloody 20th century - a metaphor-reproach for the fratricidal wars of mankind.
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GRAZIOSI, ANDREA. « The National and the Social in Stalin's Political Famines ». Contemporary European History 27, no 3 (23 juillet 2018) : 470–75. http://dx.doi.org/10.1017/s096077731800036x.

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Ten or more years ago I informally proposed to a friend sitting in the editorial board of a major historical journal to organise a forum on Soviet famines in the light of the new sources and interpretations that were emerging. The answer I received struck me: it was a good idea and the topic was indeed important, but times weren't yet ripe. At first I was reminded of what Mikhail Suslov supposedly told Vasily Grossman: people weren't yet ready for Life and Destiny, whose essential ‘truth’ he did not therefore question. Then, I came to the conclusion that the answer was in itself a sign of the relevance of the topic and of its potential impact upon our reading of the past century. In fact, as I will try to briefly show in my conclusions, within Soviet famines keys can be found that open doors to an array of new, conceptual questions which force us to reconsider many of our basic ideas and representations. This is for historians a fascinating opportunity, but it can also prove a harrowing personal experience, so that in a way my colleague – being unquestionably wrong – was also unquestionably right: big questions have their times, and we can ‘force’ these times only up to a point, and at a risk, as is often the case with ‘forcing’.
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Khazan, Vladimir. « Vasily Grossman : A Writer's Freedom. Ed. Anna Bonola and Giovanni Maddalena. Montreal : McGill-Queen's University Press, 2018. vii, 173 pp. Index. $110.00 hard bound, $34.95 paper. » Slavic Review 80, no 1 (2021) : 183–86. http://dx.doi.org/10.1017/slr.2021.61.

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BARAN, Adalbert. « FEATURES OF DEPICTION THE SECOND WORLD WAR EVENTS IN THE XXTH CENTURY RUSSIAN, AMERICAN AND HUNGARIAN PROSE (BASED ON THE NOVELS «LIFE AND FATE» BY VASILIY GROSSMAN, «FATELESSNESS» BY IMRE KERTÉSZ, «FROM HERE TO ETERNITY» BY JAMES JONES) ». Ukraine : Cultural Heritage, National Identity, Statehood 33 (2020) : 433–47. http://dx.doi.org/10.33402/ukr.2020-33-433-447.

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The present article deals with the comparative analysis of the methodological bases of depicting the authenticity, features, and character of ideological-thematic reflection of the Second World War events on the pages of the novel by Russian writer Vasily Grossman (1905-1964) «Life and Fate» (1960), the masterpiece by the American novelist James Jones (1921-1977) «From here to eternity» (1953) and the work by the Hungarian novelist Imre Kertész (1929-2016) «Fatelessness» (1975). The novels' authors did not need to interpret historical events by other people's memories and strive for a documentary. The original document in the novels was the life and unique memory of the writers themselves, and not only in the sense of the artistic reproduction of the true sides of the survived and seen, but also in terms of serious thoughts about the relationship of the past with the present in their moral, social, philosophical and ethical aspects. The article highlights the events and circumstances that predetermined the formation of features of the writers' worldview and led to the writing of the novels on military topics. The novels «Life and Fate», «Fatelessness», and «From here to eternity» can be considered as deeply personal works by the writers who have not declared, magnified the events of the history in context, but through the image system of the novels deeply examined, analyzed their roots. The authors of the novels have shown the history of the 20th century not on the background of exaggerated, politically agitating, heroic pictures, but from the point of view of the true significance of historical events for modern society. Keywords: documentary, historical memory, regime, literary tradition, writer’s consciousness, historical concreteness.
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Shishkin, Andrei B. « The Plan for a Soviet Academy in Rome (1924) : Viacheslav Ivanov, Anatoly Lunacharsky, Petr Kogan and Others ». Literary Fact, no 23 (2022) : 55–99. http://dx.doi.org/10.22455/2541-8297-2022-23-55-99.

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In spring of 1924 Viacheslav Ivanov was invited to Moscow to participate in the June celebrations of the 125th anniversary of Aleksandr Pushkin’s birth. The months he spent in the capital reflect an unusually active social schedule. As his address book of the summer of 1924 indicates, he met with a wide range of people: composers and performers (Reinhold Glière, Mikhail Gnesin, Aleksandr Grechaninov, Aleksandr Goldenweiser, Nikolai Miaskovsky, Nikolai Medtner, Leonid Sabaneev), poets and prose writers (Valery Briusov, Iurgis Baltrushaitis, Andrei Globa, Vasily Kazin, Vladimir Lidin, Isaiah Lezhnev, Vladimir Nilender, Ivan Novikov, Sergei Poliakov, Ivan Rukavishnikov, Sergei Shervinsky, Anastasia Tsvetaeva), theater directors (Vsevolod Meyerhold, Aleksandr Tairov), literary scholars (Mikhail Gershenzon, Leonid Grossman, Viktor Zhirmunsky, Boris Eichenbaum), artists (Anatoly Arapov, Nikolai Ulianov, Nikolai Vysheslavtsev, Konstantin Yuon), priests and theologians (Sergei Sidorov, Pavel Florensky), art historians and museum curators (Count Valentin Zubov, Nikolai Mashkovtsev, Boris Ternovets, Abram Efros) and others. Many of these people were in one way or another connected to the activity of the State Academy for the Study of the Arts (GAKhN). It was in fact for GAKhN that Ivanov gave a series of well-received lectures. After receiving his passport to travel to Italy on 4 July 1924, Ivanov decided to postpone his departure for an entire month. It would seem that this delay was connected to the need to draw up a project for the creation in Rome of a Soviet State Institute for History, Archeology and Art History. The project was supported by Petr Kogan, the president of GAKhN, and by Anatoly Lunacharsky, the head of the People’s Commissariat of Enlightenment. The Institute was envisioned as an organization that would serve both researchers and students, following the models of the corresponding academies in Rome — the French Academy, the French School of Archeology, the German Archeological Institute, etc. As Ivanov formulated it in the first plan that he gave to Lunacharsky on 24 August 1924: “The absence of Russia in the arena where cultured peoples are jointly and competitively pursuing scholarly work and cooperating in advanced scholarly colloquy is a kind of voluntary exclusion from contemporary civilization and an indirect affirmation of false rumors about the decline of our culture.”
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Klier, John D. « The Complete Black Book of Russian Jewry. Edited by Ilya Ehrenburg and Vasily Grossman. Translated and edited by, David Patterson. Foreword by, Irvin Louis Horowitz. Introduction by, Helen Segall. New Brunswick, N.J. : Transaction Publishers, 2002. Pp. xxxvi+579. » Journal of Modern History 76, no 3 (septembre 2004) : 741–43. http://dx.doi.org/10.1086/425489.

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Kotkiewicz, Aurelia. « „Wspomnienia” Nadieżdy Mandelsztam jako forma reprezentacji pamięci ». Miscellanea Posttotalitariana Wratislaviensia 6 (10 octobre 2017) : 207–15. http://dx.doi.org/10.19195/2353-8546.6.16.

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Nadezhda Mandelstam’s Hope against Hope: A Memoir as a form of representation of memoryNadezhda Mandelstam’s Hope Against Hope: a Memoir must be regarded as one of the most important accounts of the gradual subjugation of Russian literature in Stalin’s Soviet Union. The purpose of my article is to examine the literary devices employed by the author in her attempt to describe her traumatic experiences, as well as the strategies she uses in order to ‘tame the past’ at a more personal, generational, and historical plan concerning such experiences as loneliness, entrapment, solitude, homelessness, suffering, fear, and death. Her memoir enables her to relieve the trauma caused by the tragic fate of her husband, the poet Osip Mandelstam, as well as to recreate the final years of his life and work. In a broader context, the book offers thoughts and insights into the moral state of humanity. Together with such novels as Vasily Grossman’s Everything Flows…, Lydia Chukovskaya’s Sofia Petrovna, and Anna Akhmatova’s Requiem, Nadezhda Mandelstam’s writings are a shattering account of life in a totalitarian regime, marked by an ideologically driven process of distorting and erasing memory. She identified creative process not only with the struggle to keep her husband’s name alive but also with a moral obligation to bear witness to the inhumanity of her time.Воспоминания Надежды Мандельштам как форма репрезентации памятиВоспоминания Надежды Мандель­штам — это одно из самых выдающихся свидетельств процесса порабощения русской литера­туры в период сталинского террора. Целью статьи является анализ механизмов репрезентации личного травматического опыта Надежды Мандельштам, а также применяемых стратегий ос­ваивания прошлого в личном, общественном и историческом контекстах одиночество, от­чужденность, бездомность, страдание, страх, смерть. Рядом с такими произведениями как Все течет... Василия Гроссмана, Софья Петровна Лидии Чуковской, Реквием Анны Ахматовой, Воспоминания Надежды Мандельштам являются потрясающей записью гибели русской интел­лигенции, а также идеологически управляемого процесса искажения и стирания памяти о про­шлом. Творческий процесс Надежда Мандельштам отождествляет с борьбой за память о поэте Осипе Мандельштаме, его поэтическом наследии, но также с моральной ответсвенностью дать свидетельство времени.
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Krupnikow, Peter. « Erinnerungen eines Zeitzeugen. Gesprochen auf der Vasilij-Grossman-Konferenz in Eichstätt ». Forum für osteuropäische Ideen -und Zeitgeschichte 10, no 2 (janvier 2006). http://dx.doi.org/10.7788/frm.2006.10.2.137.

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Rybakov, Alexei. « Die menschliche Güte und das unmenschliche „Gute“ – Vasilij Grossman und Lev Šestov ». Forum für osteuropäische Ideen -und Zeitgeschichte 10, no 2 (janvier 2006). http://dx.doi.org/10.7788/frm.2006.10.2.151.

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Zarusky, Jürgen. « „Freiheitliche Erinnerung“ Vasilij Grossman und die europäische Erinnerung an Totalitarismus und Zweiten Weltkrieg ». Forum für osteuropäische Ideen -und Zeitgeschichte 10, no 2 (janvier 2006). http://dx.doi.org/10.7788/frm.2006.10.2.81.

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Luks, Leonid. « Paradoxien von Stalingrad. Zum Buch von Vasilij Grossman Leben und Schicksal - anläßlich des 100. Geburtstages des Autors ». Forum für osteuropäische Ideen -und Zeitgeschichte 9, no 1 (janvier 2005). http://dx.doi.org/10.7788/frm.2005.9.1.271.

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