Pushkin Review

Articles from Vol. 10, Annual

Afterword: The Fate of the Jubilee Pushkin on the Stalinist Musical-Dramatic Stage
Early in the Boris Godunov seminar, Leeore Schnairsohn (a second-year graduate student in Comparative Literature) commented in one of his critiques on the openness or "eternal present" implied in Pushkin's famous final stage direction, narod bezmolvstvuet....
Another Look at the Poetics of Exile: Pushkin's Reception of Ovid, 1821-24
In 8 A.D., Publius Ovidius Naso was relegated to the far corner of the Roman Empire to a small city on the Black Sea, where he spent the last ten years of his life. Some 1800 years later, twenty-one-year-old Alexander Pushkin followed him there, again...
Editing Pushkin: A Seminar Held at Oxford University, UK, July 2007
In 2006 the first volume appeared of a projected new collection of Pushkin's works: Pushkin: Poemy i povesti. Chast' I. Moscow: Novoe izdatel'stvo, 2006. Commentary by Oleg Proskurin. The complete edition is entitled Pushkin. Sochineniia. Kommentirovannoe...
First Encounters of an Outsider with Boris: Tim Vasen, Director
In the winter of 2006 Simon Morrison offered me a unique directing opportunity, perhaps the most interesting and challenging I've yet faced. The task at hand: to create a production of one of Russia's best-known plays, almost completely unknown in...
"Light Breathing": Osip Mandel'shtam's "First" Poems, Pushkin, and the Poetics of Influence
After 1837, blood and poetry both rang differently in the ears. --Osip Mandel'shtam, The Noise of Time How (even with all hindsight) can we know the true ephebe, the potentially strong poet, from the mass of ocean's nurslings around him? By hearing...
Lucid Sorrow and Political Foresight: Simon Frank on Pushkin, and the Challenges of Ontology for Literature
So abounding in its living variety is the wondrous spiritual reality that in this world bore the name of Alexander Pushkin. --Simon Frank, "Lucid Sorrow" (1) Poetry and Philosophy: The Preamble Written less than a year before his death in...
"Mniszek's Sonnet": In Honor of J. Thomas Shaw, Pushkinist Extraordinaire
In recognition of Professor Shaw's lifetime work and numerous contributions to the field of Pushkin studies in North America, we are including two special sections to the journal for this issue. Part 1: (1) Contest for the best rhymed translation...
Princeton's Boris Godunov, 1936/2007
On April 12, 2007, after half-a-year of intense collaboration between Music, Slavic, Theater and Dance, and the School of Architecture, the Berlind Theater at Princeton University "premiered a concept." The communications and publicity staff of the...
Pushkin's Novel the Captain's Daughter as Fictional Family Memoir
Dedicated to J. Thomas Shaw with gratitude for his scholarship and generosity of spirit More often than not at the beginning of the nineteenth century the genre signal "zapiski" was used as the Russian equivalent of the French term "memoires," that...
Remembering Tom Shaw as Teacher, Scholar, Mentor
David M. Bethea The thing I remember most about Tom Shaw over the years is his generosity, his willingness to do the "heavy lifting" without commenting on it. Perhaps it has something to do with coming from a modest background, going through the...
The Actors on Their Biggest Anxieties, Best Moments, and Steepest Learning Curves: Testimonials from the Company
As Tim Vasen confessed, the "task at hand" was intimidating, a challenge of more than extra-curricular proportions. To increase the chances of its success, Princeton sponsored seven academic courses in connection with the BG project. In Fall 2006,...
Tragedy or Comedy? Boris the Visuals and Musico-Visuals: Juliet Forshaw and Stacy Dubov
In the Boris-related courses offered through the Slavic Department, one obstacle to visualizing the Meyerhold production was the paucity of designed sets and fully blocked scenes. We knew how the production was supposed to sound, and at which points...
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