The Cambridge Introduction to Russian Literature

Notes to pages 180–90 263

Mind: A Semiotic Theory of Culture, trans. Ann Shukman (Bloomington: Indiana University Press, 1990), pp. 191–202.

See Sidney Monas, “St. Petersburg and Moscow as Cultural Symbols,” in Art and Culture in Nineteenth-Century Russia, ed. Theofanis George Stavrou (Bloomington: Indiana University Press, 1983), pp. 26–39. I am indebted to this article also for details of the Moscow Myth.

Andrei Bely, Petersburg, trans. Robert A. Maguire and John E. Malmsted (Bloom-ington: Indiana University Press, 1978), p. 10. All further references in the text are to this translation.

M. M. Bakhtin, “Zapisi kursa lektsii po istorii russkoi literatury” R. M. Mirkinoi, “Blok,” Sobranie sochinenii, vol. II (Moscow: Russkie slovari, 2000), pp. 343–55, esp. 351–52.

Alexander Blok, “Intelligentsia and Revolution” [January 1918], The Spirit of Music (Westport, CN: Hyperion Press, 1946: repr. 1973), pp. 7–19, especially 11–13. Translation adjusted.

Julie A. Buckler, Mapping St. Petersburg: Imperial Text and Cityscape (Princeton: Princeton University Press, 2005), p. 1. See also ch. 4, “Stories in Common: Urban Legends in St. Petersburg,” pp. 116–57, and “The Illegible Industrial Text,” pp. 179– 94.

Simon Karlinsky, Marina Tsvetaeva: The Woman, the World and her Poetry (Cambridge: Cambridge University Press, 1986), pp. 58–60.

Keith A. Livers, “Conquering the Underworld: The Spectacle of the Stalinist Metro,” ch. 4, Constructing the Stalinist Body: Fictional Representations of Corporeality in the Stalinist 1930s (New York: Lexington Books, 2004), pp. 189–236.

Svetlana Boym, “Moscow, the Russian Rome,” ch. 8, The Future of Nostalgia (New York: Basic Books, 2001), pp. 83–119.

Both stories are availableinEnglishinMikhail Bulgakov,Diaboliad and Other Stories, trans. Carl R. Proffer (Bloomington: Indiana University Press, 1972): pp. 3–47 and 159–74.

See Sabine I. Go¨lz, “Moscow for Flaneurs: Pedestrian Bridges, Europe Square, and Moskva-City,” Popular Culture 18.3 (2006): 573–605.

Nicolai Ouroussoff, “The Malling of Moscow: Imperial in Size and a View of the Kremlin,” New York Times (March 15, 2007). The architect-urban designer is British Modernist Norman Foster.

See Irina Gutman, “The Legacy of the Symbolist Aesthetic Utopia: From Futurism to Socialist Realism,” in Creating Life: The Aesthetic Utopia of Russian Modernism, ed. Irina Paperno and Joan Delaney Grossman (Palo Alto: Stanford University Press, 1994), pp. 167–96.

For debate over “Taylorism” and industrial futures, see Patricia Carden, “Utopia and Anti-Utopia: Aleksei Gastev and Evgeny Zamyatin,” Russian Review 46.1 (January 1987): 1–18.

Leon Trotsky, Literature and Revolution, trans. Rose Strunsky (Ann Arbor: University of Michigan Press, 1971), p. 132.