Butler offers a brilliant reworking of the body, examining how the power of heterosexual hegemony forms the "matter" of bodies, sex, and gender. Butler argues that power operates to constrain sex from the start, delimiting what counts as a viable sex. She clarifies the notion of "performativity" introduced in Gender Trouble and via bold readings of Plato, Irigaray, Lacan, and Freud explores the meaning of a citational politics. She also draws on documentary and literature with compelling interpretations of the film Paris is Burning, Nella Larsen's Passing, and short stories by Willa Cather.

    In the earlier play Ostrovsky had adopted a satiric tone that proved him a worthy disciple of Gogol, the great founder of Russian realism. Not one lovable character appears in that gloomy picture of merchant life in Moscow; even the old mother repels us by her stupidity more than she attracts us by her kindliness. No ray of light penetrates the "realm of darkness" -- to borrow a famous phrase from a Russian critic -- conjured up before us by the young dramatist. In Poverty Is No Crime we see the other side of the medal. Ostrovsky had now been affected by the Slavophile school of writers and thinkers, who found in the traditions of Russian society treasures of kindliness and love that they contrasted with the superficial glitter of Western civilization. Life in Russia is varied as elsewhere, and Ostrovsky could change his tone without doing violence to realistic truth. The tradesmen had not wholly lost the patriarchal charm of their peasant fathers. A poor apprentice is the hero of Poverty Is No Crime, and a wealthy manufacturer the villain of the piece. Good-heartedness is the touchstone by which Ostrovsky tries character, and this may be hidden beneath even a drunken and degraded exterior. The scapegrace, Lyubim Tortsov, has a sound Russian soul, and at the end of the play rouses his hard, grasping brother, who has been infatuated by a passion for aping foreign fashions, to his native Russian worth. Alexander Ostrovsky (1823-1886) was an early Russian Realist whose work led to the founding of the Moscow Arts Theatre and to the career of Stanislavsky. He has been acknowledged to be the greatest of the Russian dramatists.

    Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England is a sustained and powerful exemplification of this innovative method, offering a new way of understanding the power of Shakespeare's achievement and, beyond this, an original analysis of cultural process.

    After the Revolution, and the persecution of intellectuals which followed, she was forced to flee to Paris, where she was to remain for 25 years. There she formed part of a group of literary Russian emigres that included Gorky, Bunin, Svetaeva, Nabokov and Akhmatova, and earned a precarious living as a journalist, barely surviving the hardship and poverty of exile. In 1950 she left France for the United States to begin a new life with no money and no knowledge of English. She is now a retired Professor of Russian Literature at Princeton, and has belatedly been acclaimed for the short novels she wrote in the 1930s and '40s.

    Trotsky wrote, `Certainly Blok is not one of us, but he came towards us. And that is what broke him.' Pasternak said, `He is as free as the wind.'

    This classic biography carefully traces Bukharin's rise to and fall from power, focusing particularly on the development of his theories and programmatic ideas during the critical period between Lenin's death in 1924 and the ascendancy of Stalin in 1929.

    Lewis's classic analysis springs from the conviction that literature exists for the joy of the reader and that books should be judged by the kind of reading they invite. Crucial to his notion of judging literature is a commitment to laying aside expectations and values extraneous to the work, in order to approach it with an open mind.

    In the essay, originally published in Spanish in 1925, Ortega grappled philosophically with the newness of nonrepresentational art and sought to make it more understandable to a public confused by it. Many embraced the essay as a manifesto extolling the virtues of vanguard artists and promoting their efforts to abandon the realism and the romanticism of the nineteenth century.The dehumanization of the title, which was meant descriptively rather than pejoratively, referred most literally to the absence of human forms in nonrepresentational art, but also to its insistent unpopularity, its indifference to the past, and its iconoclasm. Ortega championed what he saw as a new cultural politics with the goal of a total transformation of society.Ortega was an immensely gifted writer in the best belletristic tradition. His work has been compared to an iceberg because it hides the critical mass of its erudition beneath the surface, and because it is deceptive, appearing to be more spontaneous and informal than it really is.Princeton published the first English translation of the essay paired with another entitled Notes on the Novel. Three essays were later added to make an expanded edition, published in 1968, under the title The Dehumanization of Art and Other Essays on Art, Culture and Literature .

    Every summer he visits his grandmother in a dusty village overlooking the vast steppes. Here, during the warm evenings, they sit on Charlotte's narrow, flower-covered bacony and listen to tales from another time, another place: Paris at the turn of the century. She who used to see Proust playing tennis in Neuilly captivates the children with stories of Tsar Nicholas's visit to Paris in 1896, of the great Paris flood of 1910, of the death of French president Felix Faure in the arms of his mistress. But from Charlotte the boy also learns of a Russia he has never known, of famine and misery, of brutal injustice, of the hopeless chaos of war. He follows her as she travels by foot from Moscow half the way to Siberia; suffers with her as she tells of her husband - his grandfather - a victim of Stalin's purges; shudders as she describes her own capture by bandits, who brutalize her and left her for dead. Could all this pain and suffering really have happened to his gentle, beloved Charlotte? Mesmerized, the boy weaves Charlotte's stories into his own secret universe of memory and dream. Yet, despite all the deprivations and injustices of the Soviet world, he like many Russians still feels a strong affinity with and "an indestructible love" for his homeland.

    The story of these men and women - as diverse as the lands they governed - is, in many ways, the story of Russia itself. From the birth of the Kievan state in the second half of the ninth century to the murder of Czar Nicholas II and his family in 1918, historians James P. Duffy and Vincent L. Ricci trace the long and twisted line of imperial rule in Russia, offering many insights into the uses and abuses of absolute power, as well as a glimpse at world history through the eyes of those who made it. The Czars is a vital page in the literature of Russian history.

    Falling into Theory is a brief and inexpensive collection of essays that asks literature students to think about the fundamental questions of literary studies today.

     This was the beginning of two years of persecution, punishment and imprisonment for Tchernavin and his family. Although a penniless scientist who was aiding the U.S.S.R. with research in fishing he was persecuted by the state because his family were Russian nobility, which to the Soviet Government meant that he was a class enemy. Tchernavin’s fascinating story takes the reader into the heart of the Soviet Union of the 1930s as it was desperately trying to industrialise, no matter what the cost was in human lives. Accused of counter-revolutionary activities and not assisting in the industrial drive that Stalin had implemented he was imprisoned in 1931 and sentenced to five years in the Gulags. Tchernavin’s account vividly depicts the persecution that he and his fellow prisoners suffered at the hands of the U.S.S.R., how many buckled under the torturous conditions, confessing to crimes they had never committed and even indicting others in the process. Along with his wife and son Tchernavin was one of the lucky ones who was able to escape across the border to Finland and later live in England. “Professor Tchernavin has an important story to tell and tells it well and convincingly.” William Henry Chamberlain, Pacific Affairs “The story reveals the life and organization of the prisons, the treatment meted out to those dealing with the Communists.” Kirkus Reviews Vladimir Tchernavin was a Russian scientist, who specialized in studying fish. He was one of the first and very few prisoners of the Gulag system to escape. His work I Speak for the Silent Prisoners of the Soviets was first published in 1934 and he died in 1949. This work was translated by Nicholas Oushakoff who had left the U.S.S.R. in the 1920s to settle in Massachusetts. He died in 1973.

    Here is his legacy to us: the universal values he pinpoints become the watchwords for our appreciation of Calvino himself.What should be cherished in literature? Calvino devotes one lecture, or memo to the reader, to each of five indispensable qualities: lightness, quickness, exactitude, visibility, and multiplicity. A sixth lecture, on consistency, was never committed to paper, and we are left only to ponder the possibilities. With this book, he gives us the most eloquent defense of literature written in the twentieth century as a fitting gift for the next millennium.

    It contains such masterpieces as "In the Waiting Room," "The Moose," and "One Art."

      John Gardner was almost as famous as a teacher of creative writing as he was for his own works. In this practical, instructive handbook, based on the courses and seminars that he gave, he explains, simply and cogently, the principles and techniques of good writing. Gardner’s lessons, exemplified with detailed excerpts from classic works of literature, sweep across a complete range of topics—from the nature of aesthetics to the shape of a refined sentence. Written with passion, precision, and a deep respect for the art of writing, Gardner’s book serves by turns as a critic, mentor, and friend. Anyone who has ever thought of taking the step from reader to writer should begin here.