The Cambridge Introduction to Russian Literature

Notes to pages 67–84 255

Tolstoy to N. N. Strakhov, March 22/25, 1872, in Tolstoy’s Letters, ed. and trans. R. F. Christian, vol. I: 1828–1879 (New York: Charles Scribner’s Sons, 1978), p. 244.

Her traits are exhaustively catalogued in Andreas Johns, Baba Yaga: The Ambiguous Mother and Witch of the Russian Folktale (New York: Peter Lang, 2004), esp. chs. 1 and 5.

For the bylina, see Victor Terras, A History of Russian Literature (New Haven: Yale University Press, 1991), pp. 6–8; and Hubbs, Mother Russia, pp. 143–66 (for a feminine-centered reading).

English translations of both essays are available in Ju. M. Lotman / B. A. Uspenskij, The Semiotics of Russian Culture, trans. N. F. C. Owen, ed. Ann Shukman (Ann Arbor: University of Michigan Slavic Department, 1984): Lotman/Uspenskij, “The Role of Dual Models in the Dynamics of Russian Culture (Up to the End of the Eighteenth Century)” [1977], pp. 3–35; and Lotman, “‘Agreement’ and ‘Self-Giving’ as Archetypal Models of Culture” [1980], pp. 125–40. Translation of the title of the second essay adjusted in the text.

See Svetlana Boym, The Future of Nostalgia (New York: Basic Books, 2001), pp. 100– 08, the subchapter “The Largest Orthodox Church in the World,” in ch. 8, “Moscow, the Russian Rome.”

For more on this fascinating story, see John Garrard and Carol Garrard, “Rebuilding Holy Moscow,” ch. 3, Faith and Patriotism in the New Russia: From Party to Patriarch (Princeton: Princeton University Press, forthcoming).

W. F. Ryan, “Magic and Divination. Old Russian Sources,” in The Occult in Russian and Soviet Culture, ed. Bernice Glatzer Rosenthal (Ithaca: Cornell University Press, 1997), pp. 35–58, esp. 36.

4 The eighteenth century

Alexander M. Schenker, The Dawn of Slavic: An Introduction to Slavic Philology (New Haven: Yale University Press, 1995), p. 167.

William Edward Brown, A History of 18th Century Russian Literature (Ann Arbor, MI: Ardis, 1980), pp. 123–27.

David J. Welsh, Russian Comedy 1765–1823 (The Hague: Mouton, 1966), p. 15.

Simon Karlinsky, “Beginnings of Secular Drama: Court Theater and Chivalric Romance Plays,” ch. 2, Russian Drama from its Beginnings to the Age of Pushkin (Berkeley: University of California Press, 1985), especially, pp. 34–35.

Ibid., pp. 123–24. As Karlinsky notes, plays mocking the abuses of serfdom were regularly performed by serf actors in private theatres to domestic audiences. There is no indication that Catherine or her court felt indicted by a depiction of these whims or cruelties in comic operas – any more than consumer-side beneficiaries of capitalism today feel indicted (or implicated) when corporate crooks are caught and punished, or when contemporary films document their misdeeds.