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Writer, cavalry officer, celebrity ? Mikhail Lermontov moved in an atmosphere of political intrigue and personal recklessness, producing works considered second only to Pushkin?s in Russian literature and a career which has often been compared to Byron?s.

Writer, cavalry officer, celebrity – Mikhail Lermontov moved in an atmosphere of political intrigue and personal recklessness, producing works considered second only to Pushkin’s in Russian literature and a career which has often been compared to Byron’s.

Les trois grands écrivains du début du début du XIXe siècle que réunit ce volume ouvrent la voie triomphale où s'engage la littérature russe quand, cessant d'imiter ou d'adapter des modèles étrangers, elle révèle son originalité nationale. On y trouvera la comédie de Griboïèdov, Le Malheur d'avoir trop d'esprit,le drame de Pouchkine, Boris Godounov et ses uvres en prose, Les Récits de Bielkine, Doubrovski, La Dame de Pique, La Fille du Capitaine, et les uvres en prose de Lermontov parmi lesquelles Un héros de notre temps.

Beiträge des Göttinger Lermontov-Symposiums vom 15. März 2005 zu Ehren von Reinhard Lauer mit einem Gesamtverzeichnis seiner Schriften von 1958-2008. Hrsg. von Matthias Freise und Walter Kroll. Sieben Beiträge zielen darauf ab, Lyrik, Epik und Prosa Lermontovs aus heutiger Sicht und in methodisch relevanten Einzelinterpretationen vorzustellen. M. Freise untersucht in seinem Beitrag Aspekte der Metapoetik in Lermontovs Lyrik, R. Grübel erörtert, von axiologischen Fragehinsichten ausgehend, die Kontrafaktur des Gebets bei Lermontov und seine Resakralisierung durch Vasilij Rozanov. Andrea Meyer-Fraatz greift den (russisch-romantischen, rezenten) Topos vom "bösen Tschetschenen" auf, um seine Wirksamkeit in Lermontovs Lyrik und Prosa intertextuell auszuleuchten. Ulrike Jekutsch aktualisiert in ihrem Beitrag Fragen der unterschiedlichen Interpretationsmöglichkeiten des "enigmatischen" Poems 'Demon' (Der Dämon). Lermontovs Prosa und der Werkfigur des "romantischen Helden" in 'Held unserer Zeit' gewidmet sind die Beiträge von Christiane Schuchart, die die Heldenkonzeption in Lermontovs Werk und V. Makanins Roman 'Andergraund, ili Geroj nashego vremeni' (1998) in intertextueller Fragehinsicht untersucht, und von A. Graf, der Lermontovs romantischen Helden (Pecorin) als "verführten Helden" darstellt, während R. Lauer in seiner rezeptionsästhetischhistorischen Analyse Pecorin als Verführer deutet. Im Anhang enthält der Band das Schriftenverzeichnis von R. Lauer, das seine fünfzigjährige wissenschaftliche Tätigkeit dokumentiert. VIII,188 Seiten, broschiert (Opera Slavica. Neue Folge; Band 50/Harrassowitz Verlag 2009). Früher EUR 38,00 388 g. Sprache: de

Mihail Yurevich Lermontov - one of the most important representatives of Russian literature of the nineteenth century. During his lifetime, Lermontov published very little: it has an extremely exacting and rigor to their creativity. 10 years he wrote poems, drama, prose, before you decide to make a small collection. All his works are characterized by a combination of simplicity and elevation, naturalness and originality, its ability to objectively show the characters, revealing one character through the eyes of others, and the delight of critics and readers and to this day.

In five linked episodes, Lermontov builds up the portrait of a man caught up in and expressing the sickness of his times. A marvelous novel and an early landmark in Russian literature, A Hero of Our Time served as an inspiration for many later Russian authors, including Tolstoy and Dostoyevsky.

This is the first synthesizing study of Russian writing about the Caucasus during the nineteenth-century age of empire-building. It covers major writers including Pushkin, Tolstoy and Lermontov, but also introduces material from travelogues, oriental studies, ethnography, memoirs, and the utterances of tsarist officials and military commanders. Setting these writings and the responses of the Russian readership in historical and cultural context, Susan Layton examines ways that literature underwrote imperialism. But her study also reveals the tensions between the Russian state's ideology of a European mission to civilize the Caucasian Muslim mountaineers, and romantic perceptions of those peoples as noble primitives whose extermination was no cause for celebration.

This is the first synthesizing study of Russian writing about the Caucasus during the nineteenth-century age of empire-building. It covers major writers including Pushkin, Tolstoy and Lermontov, but also introduces material from travelogues, oriental studies, ethnography, memoirs, and the utterances of tsarist officials and military commanders. Setting these writings and the responses of the Russian readership in historical and cultural context, Susan Layton examines ways that literature underwrote imperialism. But her study also reveals the tensions between the Russian state's ideology of a European mission to civilize the Caucasian Muslim mountaineers, and romantic perceptions of those peoples as noble primitives whose extermination was no cause for celebration.

Focusing on a number of historical and literary personalities who were regarded with disdain in the aftermath of the 1917 revolution—figures such as Peter the Great, Ivan the Terrible, Alexander Pushkin, Leo Tolstoy, and Mikhail Lermontov—Epic Revisionism tells the fascinating story of these individuals’ return to canonical status during the darkest days of the Stalin era.     An inherently interdisciplinary project, Epic Revisionism features pieces on literary and cultural history, film, opera, and theater. This volume pairs scholarly essays with selections drawn from Stalin-era primary sources—newspaper articles, unpublished archival documents, short stories—to provide students and specialists with the richest possible understanding of this understudied phenomenon in modern Russian history.“These scholars shed a great deal of light not only on Stalinist culture but on the politics of cultural production under the Soviet system.”—David L. Hoffmann,Slavic Review

Russians visit the Caucasus with a sense of homecoming, Andrei Bitov--one of the Soviet Union's most gifted stylists--has remarked. They find there a world familiar from the moral and philosophic landscapes of Pushkin, Lermontov, and Tolstoy. In Lessons of Armenia, the first of the two personal memoirs that constitute this book, Bitov explores the way Pushkin's "confines of boundless Russia" seem never to be truly escapable. Though held in thrall by Armenia, a captive of the Caucasus, Bitov the traveler is a captive, however alienated, of his homeland, too.Bitov's works characteristically proceed from and comment on one another, and the realization of captivity leads to a different journey; the second account, Choosing a Location, an entertaining impressionistic record of his travels in Soviet Georgia, is Bitov's quest for his own place and time. Compellingly conceived and spectacularly crafted, A Captive of the Caucasus is an intellectually spirited inquiry into the persistent idea of homeland and the individual's identity, cultural and creative.When Lessons of Armenia first appeared in the Soviet Union in 1969, censors deleted its subtitle, "Journey Out of Russia," and made numerous small cuts. This translation restores all the deletions. Choosing a Location could not be published in the Soviet Union.

'The preface ... either serves for the explanation of the purpose of the book, or for justification and as an answer to critics'. Lermontov This book is based mainly on the lectures on the Chemistry of Glasses which I gave at the University of Sheffield to the final year honours and postgraduate students of Glass Technology and Materials Science. Most books reflect the interests and enthusiasm of their authors, and the present one is no exception. The chemistry of glass is a rapidly developing field because the frontiers of advanced chemistry and advanced physics are merging together and con­ sequently this book will soon require considerable amplification and modification. However, my experience in teaching the chemistry of glasses for more than a decade has shown me that there is much need for a good text-book on the subject. This book is therefore intended to be a stop-gap which, until it receives that new revision. may serve as a useful reference work for students and research workers alike. I gratefully acknowledge the influence on my thinking of many of those colleagues at Sheffield with whom I have been in contact during the past twenty years or so. In addition to these personal influences, other published works have had considerable influence in modifying my approach. especially Cotton and Wilkinson's Advanced inorganic Chemistry. Dr Peter James helped me in writing Chapter 2, and Professor Peter McMillan not only read the whole manuscript but also made a number of most helpful suggestions.

Mikhail Lermontov's A Hero of Our Time (1840) is one of thegreat classics of Russian nineteenth-century literature, is a novel ofunique structure, based on a series of short storied held together by aByronic hero, Pechorin, whose gifted but embittered nature typified theso-called superfluous men of the 1830's. The novel, however, raisesissues of imperialism, fate, free will and the limits of self-knowledge.Thepresent study draws together the now considerable body of secondarymaterial on Lermontov's novel, and offers new insights in the light ofthe recent critical and theoretical trends on such aspects asethnicity, materialism, narrative implications of diary form and theludic dimensions of fate. This up-todate, comprehensive study of A Hero of Our Time will appeal to students at all levels of specialism.

A Hero of Our Time is a novel by Mikhail Lermontov published in 1840. It tells the story of a young officer, Pechorin, sent to the Caucasus after a duel. This is what the author himself wrote about his idea of Pechorin in the preface: "Pechorin, my dear readers, is in fact a portrait, but not of one man only: he is a composite portrait, made up of all the vices which flourish, full-grown, amongst the present generation. You will tell me, as you have told me before, that no man can be so wicked as this; and my reply will be: 'If you believe that such persons as the villains of tragedy and romance could exist in real life, why can you not believe in the reality of Pechorin? If you could admire far more terrifying and repulsive types, why aren't you more merciful to this character, even if it is fictitious? Isn't it because there's more truth in it than you might wish?'" This edition includes 22 illustrations by M. Lermontov, M. Vrubel, V. Serov, V. Polyakov and other artists of the late 19th and early 20th century.

Oxford 1976/, pp. 323. A more literate society's efforts to discard irresponsible absolutism. Interesting comments on Pushkin and his French opponent in the tragic duel, Chaadaev, Lermontov et al. Mint. ISBN 0198225334 [hb]

Focusing on a number of historical and literary personalities who were regarded with disdain in the aftermath of the 1917 revolution—figures such as Peter the Great, Ivan the Terrible, Alexander Pushkin, Leo Tolstoy, and Mikhail Lermontov—Epic Revisionism tells the fascinating story of these individuals’ return to canonical status during the darkest days of the Stalin era.     An inherently interdisciplinary project, Epic Revisionism features pieces on literary and cultural history, film, opera, and theater. This volume pairs scholarly essays with selections drawn from Stalin-era primary sources—newspaper articles, unpublished archival documents, short stories—to provide students and specialists with the richest possible understanding of this understudied phenomenon in modern Russian history.“These scholars shed a great deal of light not only on Stalinist culture but on the politics of cultural production under the Soviet system.”—David L. Hoffmann,Slavic Review

Lermontov's famous fable tells of Ashik Kerib, the wandering minstrel who is trying to earn enough money to marry the girl he loves. But when the father of his beloved spurns him, Ashik is forced to roam the land for 1,001 nights. In recounting the story, Paradjanov boldly dispenses with conventional storytelling deceives. Ashik Kerib is a series of glorious tableaux, exquisitely composed, choreographed and photographed. In addition, Paradjanov combines inter titles with images of early Russian