The Cambridge Introduction to Russian Literature

Notes to pages 41–54 253

McGill-Queen’s University Press, 1993); and Catriona Kelly, Petrushka: The Russian Carnival Puppet Theatre (Cambridge: Cambridge University Press, 1990).

Faith Wigzell, “The Russian Folk Devil and his Literary Reflections,” in Russian Literature and its Demons, ed. Pamela Davidson (New York: Berghahn Books, 2000), pp. 59-86, esp. 68.

John Givens, Prodigal Son: Vasilii Shukshin in Soviet Russian Culture (Evanston, IL: Northwestern University Press, 2000), chs. 4 and 5, esp. p. 59.

Helena Goscilo, “Madwomen with Attics: The Crazy Creatrix and the Procreative Iurodivaia,” in Madness and the Mad in Russian Culture, ed. Angela Brintlinger and Ilya Vinitsky (University of Toronto Press, 2007), pp. 226-41, esp. 233.

Svetlana Vasilenko, “Little Fool,” trans. Elena Prokhorova, in Shamara and Other Stories, ed. Helena Goscilo (Evanston, IL: Northwestern University Press, 2000), p. 241.

See the section on mit'ki in Alexei Yurchak, “Dead Irony: Necroaesthetics, ‘Stiob,’ and the Anekdot,” ch. 7, Everything Was Forever Until It Was No More: The Late Soviet Generation (Princeton: Princeton University Press, 2005), esp. p. 239.

For a good introduction to these larger “geo-literary concerns” see ch. 1 of Paul M. Austin, The Exotic Prisoner in Russian Romanticism (New York: Peter Lang, 1997), pp. 12-51.

“Frol Skobeev, the Rogue,” in Medieval Russia’s Epics, Chronicles, and Tales, ed. Serge A. Zenkovsky (New York: Dutton, 1963), pp. 474-86, quote on p. 484. This indispensable and well-annotated anthology is the source of all pre-Petrine texts discussed in this volume.

Marcia A. Morris, The Literature of Roguery in Seventeenth- and Eighteenth-Century Russia (Evanston, IL: Northwestern University Press, 2000). Morris devotes a chapter to each of these four types.

Nakobov provides for both poshlost! and poshlyak a marvelous phonic and semantic analysis during his discussion of Chichikov, hero of Dead Souls, in Vladimir Nabokov, Nikolai Gogol (New York: New Directions, 1944), pp. 63-71.

Simeon Polotsky: “The Merchant Class,” in Medieval Russia’s Epics, ed. Zenkovsky, pp. 518-19.

For a lucid survey of these (and other) pre-Byronic European heroes, see Peter L. Thorslev Jr., The Byronic Hero: Types and Prototypes (Minneapolis: University of Minnesota Press, 1962), pp. 52-61.

For a survey of the Gothic tradition as Russian writers assimilated it (largely from the British), see Mark S. Simpson, The Russian Gothic Novel and its British Antecedents (Ann Arbor, MI: Slavica, 1983); for its later democratization, see Jeffrey Brooks, When Russia Learned to Read: Literacy and Popular Literature, 1861-1917 (Princeton: Princeton University Press, 1985), pp. 183-213.

This thesis is developed in Ellen B. Chances, Conformity’s Children: An Approach To The Superfluous Man in Russian Literature (Columbus, OH: Slavica, 1978).

My survey here is indebted to Molly W. Wesling, Napoleon in Russian Cultural Mythology (New York: Peter Lang, 2001).