Contemporary Russian Satire: A Genre Study

Contemporary Russian Satire: A Genre Study

Paperback Cambridge Studies in Russian Literature

By (author) Karen L. Ryan-Hayes, Other adaptation by Catriona Kelly, Other adaptation by Anthony Cross, Other adaptation by Caryl Emerson, Other adaptation by Barbara Heldt, Other adaptation by Malcolm Jones, Other adaptation by Donald Rayfield, Other adaptation by G. S. Smith, Other adaptation by Victor Terras


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Hardback $122.36
  • Format: Paperback | 304 pages
  • Dimensions: 138mm x 212mm x 24mm | 422g
  • Publication date: 30 April 2006
  • Publication City/Country: Cambridge
  • ISBN 10: 0521026261
  • ISBN 13: 9780521026260
  • Edition: 1
  • Illustrations note: black & white illustrations
  • Sales rank: 1,662,784

Product description

This wide-ranging 1996 study presents an examination of the extraordinary diversity and range of satirical writing in Russian literature and will be of interest not only to Slavicists but also to those interested in genre theory. Through the close analysis of seminal satirical texts written by five Russian and emigre authors in the 1970s and 1980s, Karen Ryan-Hayes demonstrates that formal and thematic parody is pervasive and that it provides additional levels of meaning in contemporary Russian satire. Each work under examination is placed within the wider European literary context as well as within the Russian tradition and is representative of a different sub-genre of satire. The author focuses on a variety of these genres and modes and offers practical criticism on each text. The writers under discussion have enjoyed a positive reception in the West and their works demonstrate the variety and vitality of Russian and Soviet satire.

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Review quote

"I highly recommend this book for advanced undergraduate courses in Russian and world literature, and also for specialists." Valerie Z. Nollan, The Russian Review

Table of contents

Acknowledgements; Note on the translation; Introduction; 1. Iskander's transparent allegory: Rabbits and Boa Constrictors; 2. Beyond picaresque: Erofeev's Moscow-Petushki; 3. Satire and the autobiographical mode: Limonov's It's Me, Eddie; 4. The family chronicle revisited: Dovlatov's Ours; 5. Dystopia redux: Voinovich and Moscow 2042; Conclusions; Notes; Select bibliography; Index.