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Gender-oriented studies of 19th-century Russian literature have struggled with how to determine the feminism or misogyny of particular authors. This book argues that in order to make this determination, we need to engage with the poetics of the text rather than rely on the author's stated views. By focusing on the character type of the ward, or young female dependent, this book examines the narrative strategies used by such writers as Pushkin, Zhukova, Tolstoy, Herzen, and Dostoevsky to represent socially marginal women in their works.
Drawing on the theories of Bakhtin, the volume analyzes the degree to which female characters are presented as subjects who actively think and perceive, rather than as passive objects who are thought of and perceived by men. In a polyphonic novel, authors enter into dialogic relationships with their characters; they depict them as unfinalizable persons, unfathomable and unpredictable, capable of the full range of human activity and emotion. The extent to which this polyphony incorporates women's voices is an accurate gauge of the feminism or misogyny of individual writers.
- Sales Rank: #7906442 in Books
- Published on: 2001-11-30
- Original language: English
- Number of items: 1
- Dimensions: 9.02" h x .56" w x 5.98" l, .94 pounds
- Binding: Hardcover
- 175 pages
Review
"Grenier's monograph will prove to be indispensable to both feminist and Bahktinian scholars. Her systematic approach of presenting questions and answers lays the groundwork for further readings of this kind. Highly readable and easy to navigate, it also offers novel ways of interpreting classical Russian literature."-Slavic and East European Journal
"[S]vetlana Grenier is to be congratulated for producing an important contribution to our understanding of nineteenth-century Russian literature and especially the role therein of marginalized women."-The Russian Review
"This book has many strengths: its close attention to nuances of voice and point of view is often insightful; bringing together this series of texts and characters provides illuminating moments of contrast."-Slavic Review
"ÝS¨vetlana Grenier is to be congratulated for producing an important contribution to our understanding of nineteenth-century Russian literature and especially the role therein of marginalized women."-The Russian Review
?[S]vetlana Grenier is to be congratulated for producing an important contribution to our understanding of nineteenth-century Russian literature and especially the role therein of marginalized women.?-The Russian Review
?This book has many strengths: its close attention to nuances of voice and point of view is often insightful; bringing together this series of texts and characters provides illuminating moments of contrast.?-Slavic Review
?Grenier's monograph will prove to be indispensable to both feminist and Bahktinian scholars. Her systematic approach of presenting questions and answers lays the groundwork for further readings of this kind. Highly readable and easy to navigate, it also offers novel ways of interpreting classical Russian literature.?-Slavic and East European Journal
About the Author
SVETLANA SLAVSKAYA GRENIER is Assistant Professor of Russian at Georgetown University. Her articles have appeared in such journals as Russian Literature, New Zealand Slavonic Journal, Canadian Slavonic Papers, and Slavic and East European Journal.
Most helpful customer reviews
4 of 4 people found the following review helpful.
Dostoevsky more feminist than Charlotte Bronte?
By Penelope V. Burt
This is an engaging book at a number of levels. Grenier takes the ward figure (dependent, marginal and female) and discovers a fascinating "plot" in the various uses of this figure in Russian literature, starting with Pushkin's "Queen of Spades." Pushkin's text generates a whole series of responses by later authors, who respond to him and to each other by endowing this character with a greater or lesser degree of subjectivity. Grenier asks: does the author treat the ward as an object to be manipulated in order to prove some ideological point, to serve as background or victim to the main event? Or does the author treat her as a subject, allowing her to have a voice in her own fate, a voice equal to the author's own? One of Grenier's most interesting discoveries is the extent to which Russian literature is embedded in intertextuality. Tolstoy learns from Dostoevsky and Anna Karenina is more polyphonic than War and Peace. Dostoevsky reads a (bad) translation of Jane Eyre and transforms and recombines themes and actual speeches and distributes them amongst a number of characters in Demons (The Possessed), whereas in Bronte's book only Jane, not Blanche or Bertha, has a voice. But the book is not just literary criticism of a very high order. Lots of books use Bakhtin, and by this time one may nod one's head knowingly whenever someone says "dialogue" or "polyphony" or "carnival" or "unfinalizability." Grenier takes Bakhtin back to his roots in Russian philosophy, and here is where the "personalism" of the subtitle comes in. The human being, any human being, even the most grotesque, is a subject in a world of subjects. What we think and say to ourselves and others is saturated in what those others think and say. And yet my voice is my own. The person is "unfinalizable" not in the postmodern sense that I am an amorphous blob that takes on any shape that society or language or I myself, at various times, impose on it. I am unfinalizable because no one else can say a final word about me, no one can usurp my voice and put me in the third person--"oh, she's a ward/a woman/a murderer/a fool, and therefore..." Grenier liberates Bakhtin from the straitjacket he seems to have fallen into lately--as does Olga Meerson in her book on Dostoevsky's Taboos. Very highly recommended.
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