Russian literature. A short introduction

the Soviet ‘petty intelligentsia’ appalled that something inimical to the spirit of ‘classic Russian literature’ in the crippled form that he or she knew it had been published.

The Stalin era, then, saw the development of an exceptionally restrictive canon, not only in the sense that few works were included, but because the manner of discussing these was regulated with extraordinary severity. The cultural liberalization that began in 1954, a year after Stalin’s death, was, in this area as in so many others, haphazard and incomplete. It affected, in the main, the scholarly interpretation of Pushkin, but even that only partially. ‘Pushkin House’, the Institute of Russian Literature of the Academy of Sciences in Leningrad, retained a privileged position with regard to Pushkin publications that has been described by one hostile commentator, not altogether unjustly, as ‘a narrow circle of Pushkin priests making monopolistic decisions about whether a particular article served their own ends’. To be sure, the growing diversity that was evident in the publication of literature and of translations began to make itself felt in literary criticism and in scholarship as well. A crucial event was the founding of the Tartu University series Semiotike (Studies in Sign Systems), under the leadership of the scholar and critic Yury Lotman in 1965. The concentration of semioticians upon the question of meaning within a given culture at a set time, rather than upon the significance of texts for later generations, mounted a covert challenge to the traditional Marxist-Leninist emphasis upon progressiveness. (It was significant that some of Lotman’s best work was devoted to the so-called ‘gentry sentimentalist’ Karamzin.) The immersion in the past that was required by the semiotic approach also meant that material such as writers’ letters and diaries was once again accorded value in itself, as a genre of literary or sub-literary composition, rather than regarded simply as a repository for information about when a writer was doing what to the drafts of his novels, plays, and poems.

However, both in the work of Russian scholars, such as Lotman, and in