Helena Goscilo

Helena Goscilo

Helena Goscilo

Professor

goscilo.1@osu.edu

414 Hagerty Hall (office) & 400 Hagerty Hall (mailing)
1775 College Road
Columbus, OH
43210 

Google Map

Office Hours

Spring 2020: By appointment

Areas of Expertise

  • Visual culture
  • Gender
  • Russian folklore
  • Russian culture, esp. 20th & 21st cc.
  • Bakhtin
  • The Russian novel
  • Romanticism
  • Representations of war
  • Russian capitals (Petersburg and Moscow)
 
 
Russian Aviation, Space Flight and Visual Culture
Russian Aviation, Space Flight and Visual Culture, edited by Helena Goscilo and Vlad Strukov (Routledge, 2017)
 

Among the many successes of the Soviet Union were inaugural space flight—ahead of the United States—and many other triumphs related to aviation. Aviators and cosmonauts enjoyed heroic status in the Soviet Union, and provided supports of the Soviet project with iconic figures which could be used to bolster the regime’s visions, self-confidence, and the image of itself as forward looking and futuristic. This book explores how the themes of aviation and space flight have been depicted in film, animation, art, architecture, and digital media. Incorporating many illustrations, the book covers a wide range of subjects, including the representations of heroes, the construction of myths, and the relationship between visual art forms and Soviet/Russian culture and society.

 
Fade from red: The Cold War ex-enemy in Russian and American film 1990-2005
Fade from Red: The Cold War Ex-Enemy in Russian and American Film 1990-2005, by Helena Goscilo and Margaret B. Goscilo (New Academia Publishing, 2014)
 
This study investigates the close correlation between politics and mainstream cinema vividly evidenced in Russian and American screen images of the former Cold War enemy from 1990 to 2005.  Whereas glasnost and the demise of the Soviet Union ushered in a period of official cooperation that soon inflated into rhetorical declarations of partnership, the fifteen years under examination saw the gradual deterioration of relations after the initial euphoria, culminating in a partial resumption of mutual Cold War recriminations.
 
 
 
 
Baba Yaga, book cover
 
Baba Yaga: The Wild Witch of the East in Russian Fairy Tales, by Sibelan Forrester (Translator), Helena Goscilo (Contribution by), Martin Skoro (Contribution by), Jack Zipes (Foreword by) (University Press of Mississippi, 2013)
 
Baba Yaga is an ambiguous and fascinating figure. She appears in traditional Russian folktales as a monstrous and hungry cannibal, or as a canny inquisitor of the adolescent hero or heroine of the tale. In new translations and with an introduction by Sibelan Forrester, Baba Yaga: The Wild Witch of the East in Russian Fairy Tales is a selection of tales that draws from the famous collection of Aleksandr Afanas'ev, but also includes some tales from the lesser-known nineteenth-century collection of Ivan Khudiakov. This new collection includes beloved classics such as "Vasilisa the Beautiful" and "The Frog Princess," as well as a version of the tale that is the basis for the ballet "The Firebird."
 
The preface and introduction place these tales in their traditional context with reference to Baba Yaga's continuing presence in today's culture--the witch appears iconically on tennis shoes, tee shirts, even tattoos. The stories are enriched with many wonderful illustrations of Baba Yaga, some old (traditional "lubok" woodcuts), some classical (the marvelous images from Victor Vasnetsov or Ivan Bilibin), and some quite recent or solicited specifically for this collection.
 
 
Lives in Transit book cover
Lives in Transit: Contemporary Russian Women's Writing, edited by Helena Goscilo (Ardis Publishers, 2013, 3ed)
 
After the fall of the Soviet empire, feminine roles in Russia shifted radically, resulting in a rich new body of women's literature. Featuring twenty-five diverse writers from this turbulent era, Lives in Transit is a collection of stories and poems that strive to make sense of the female experience. Sexual awakening, romantic love, parenthood, politics, family structures, abortion, rape, and the struggle to integrate domestic and professional responsibilities are deftly handled here in stunningly vibrant verse and prose.
 
Lives in Transit not only gives voice to a generation of talented Russian women authors, but also provides readers with a glimpse into a unique time and place. Within its pages are found a cobbler with an undying love, an immigrant family living in France, an elderly woman intrigued by a younger man, and other memorable characters, while several remarkable poems round out this collection.
 
 
Putin as a Celebrity and Cultural Icon book cover
Putin as Celebrity and Cultural Icon, edited by Helena Goscilo (Routledge, 2012)

Though in recent months Putin’s popularity has frayed at the edges, the dearth of comparably powerful and experienced political leaders leaves no doubt that he will continue to be a key political figure. During his tenure as Russia’s President and subsequently as Prime Minister, Putin transcended politics, to become the country’s major cultural icon. This book examines the nature of his iconic status. It explores his public persona as glamorous hero, endowed with vision, wisdom, moral and physical strength—the man uniquely capable of restoring Russia’s reputation as a global power. In analysing cultural representations of Putin, the book assesses the role of the media in constructing and disseminating this image and weighs the Russian populace’s contribution to the extraordinary acclamation he enjoyed throughout the first decade of the new millennium, challenged only by a tiny minority.

 

 

Embracing Arms book cover

Embracing Arms: Cultural Representation of Slavic and Balkan Women in War, edited by Helena Goscilo and Yana Hashamova (Central European University, 2012)

Discursive practices during war polarize and politicize gender: they normally require men to fulfill a single, overriding task destroy the enemy but impose a series of often contradictory expectations on women. The essays in the book establish links between political ideology, history, psychology, cultural studies, cinema, literature, and gender studies and addresses questions such as what is the role of women in war or military conflicts beyond the well-studied victimization? Can the often contradictory expectations of women and their traditional roles be (re)thought and (re)constructed? How do cultural representations of women during war times reveal conflicting desires and poke holes in the ideological apparatus of the state and society?

 

 

Celebrity and Glamour in Contemporary Russia

Celebrity and Glamour in Contemporary Russia: Shocking Chic, edited by Helena Goscilo and Vlad Strukov (Routledge, 2010)

The book demonstrates how the process of ‘celebrification’ in Russia coincides with the dizzying pace of social change and economic transformation, the latter enabling an unprecedented fascination with glamour and its requisite extravagance; how in the 1990s and 2000s, celebrities - such as film or television stars - moved away from their home medium to become celebrities straddling various media; and how celebrity is a symbol manipulated by the dominant culture and embraced by the masses. It examines the primacy of the visual in celebrity construction and its dominance over the verbal, alongside the interdisciplinary, cross-media, post-Soviet landscape of today’s fame culture.

 

 

Cinepaternity

Cinepaternity: Fathers and Sons in Soviet and Post-Soviet Film, edited by Helena Goscilo and Yana Hashamova (Indiana University Press, 2010)

This wide-ranging collection investigates the father/son dynamic in post-Stalinist Soviet cinema and its Russian successor. Contributors analyze complex patterns of identification, disavowal, and displacement in films by such diverse directors as Khutsiev, Motyl', Tarkovsky, Balabanov, Sokurov, Todorovskii, Mashkov, and Bekmambetov. Several chapters focus on the difficulties of fulfilling the paternal function, while others show how vertical and horizontal male bonds are repeatedly strained by the pressure of redefining an embattled masculinity in a shifting political landscape.

 

 

Preserving Petersburg

Preserving Petersburg: History, Memory, and Nostalgia, edited by Helena Goscilo and Stephen M. Norris (Indiana University Press, 2008)

Preserving Petersburg represents a significant departure from traditional representations. By moving beyond the "Petersburg text" created by canonized writers and artists, the contributors to this engrossing volume trace the ways in which St. Petersburg has become a "museum piece," embodying history, nostalgia, and recourse to memories of the past. The essays in this attractively illustrated volume trace a process of preservation that stretches back nearly three centuries, as manifest in the works of noted historians, poets, novelists, artists, architects, filmmakers, and dramatists.

 

 

Gender and National Identity in Twentieth-Century Russian Culture book cover

Gender and National Identity in Twentieth-Century Russian Culture, by Helena Goscilo and Andrea Lanoux (Northern Illinois University Press, 2006)

Combining concepts and methodologies from anthropology, history, linguistics, literature, music, cultural studies, and film studies, this collection of ten original essays addresses issues crucial to gender and national identity in Russia from the October Revolution of 1917 to the present. Prefaced by an introduction on Russian cultural myths grounded in gender difference, the essays shed new light on such topics as national, cultural, and gender identity in the Russian language; typecasting of women revolutionaries; soviet masculinity in Stalin-era film; and prostitution during and after perestroika.

Collectively, these interdisciplinary essays explore how traditional gender inequities influenced the social processes of nation building in Russia and how men and women responded to those developments. Gender and National Identity in Twentieth-Century Russian Culture offers fresh insights to students and scholars in the fields of gender studies, nationhood studies, and Russian history, literature, and culture.

 

 

Poles Apart book cover

Poles Apart: Women in Modern Polish Culture, edited by Helena Goscilo and Beth Holmgren (Slavica, 2006)

 

 

 

 

 

Encylopedia of Contemporary Russian Culture book cover

Encyclopedia of Contemporary Russian Culture, edited by Tatiana Smorodinskaya, Karen Evans-Romaine, and Helena Goscilo (Routledge, 2005)

This encyclopedia examines Russian culture from 1953, Stalin's death, to the present day. Both ‘Russian’ and ‘Culture’ are defined broadly. Given the diversity of the Federation in its ethnic composition and regional characteristics, questions of national, regional, and ethnic identity receive special attention as do Russian-speaking immigrant communities. ‘Culture’ embraces all aspects of culture and lifestyle, high and popular, artistic and material: art, fashion, literature, music, cooking, transport, politics and economics, film, crime – all are covered to give a full picture of the Russian way of life through the extraordinary changes since the middle of the twentieth century.

 

 

The Oeuvre of Nina Sadur book cover

The Oeuvre of Nina Sadur, edited by Karin Sarsenov, Helena Goscilo, and David J. Birnbaum (University of Pittsburgh Slavic Department, 2005)

 

 

 

 

 

Politicizing Magic book cover

Politicizing Magic: An Anthology of Russian and Soviet Fairy Tales, edited by Marina Balina, Helena Goscilo, and Mark Lipovetsky (Northwestern, 2004)

Introducing Western readers to the most representative texts of Russian folkloric and literary tales, this book documents a rich exploration of this colorful genre through all periods of Soviet literary production (1920-1985) by authors with varied political and aesthetic allegiances. Here are traditional Russian folkloric tales and transformations of these tales that, adopting the didacticism of Soviet ideology, proved significant for the official discourse of Socialist Realism. Here, too, are narratives produced during the same era that use the fairy-tale paradigm as a deconstructive device aimed at the very underpinnings of the Soviet system. The editors' introductory essays acquaint readers with the fairy-tale paradigm and the permutations it underwent within the utopian dream of Soviet culture, deftly placing each-from traditional folklore to fairy tales of Socialist Realism, to real-life events recast as fairy tales for ironic effect-in its literary, historical, and political context.

 

 

Anastasya Verbitskaya book cover

Anastasya Verbitskaya: Keys to Happiness: A Novel, translated and edited by Beth Holmgren and Helena Goscilo (Indiana University Press, 1999)

One of the most sensationally popular and influential of all pre-Revolutionary novels, Keys to Happiness is set against a panorama of Russian society on the eve of World War I. It tells the stormy tale of Manya Yeltsova, a Russian "new woman" who pursues her dreams and passions as a dancer and free spirit who captivates, among others, a Jewish socialist tycoon and a reactionary Russian nobleman. At the time of its publication, the novel crossed the boundaries of both gender and class to define a new type of literature in Russian society. The editors’ informative introduction places the novel within its cultural, political, and social context and makes clear for today’s readers its literary and historical importance.

 

 

The Explosive World of Tatyana N. Tolstaya's Fiction book cover

The Explosive World of Tatyana N. Tolstaya's Fiction, by Helena Goscilo (M.E. Sharpe, 1996)

Helena Goscilo spotlights Tolstaya's rich interweaving of myth, folklore, songs, children's games, and literary texts into stories of stunning imaginative power. Tolstaya's stylistic pyrotechnics vividly illuminate immemorial concerns about life's meaning, the role of art and fantasy in the modern world, the nature of memory and narrative, and the status of "innocence" and "truth." Finally, The Explosive World of Tatyanna N. Tolstaya's Fiction assesses how Tolstaya's rhetorical strategies have led critics to label her poetic prose "postmodernist, " although she ultimately emerges as a writer of traditional neohumanist values with a modernist technique.

 

 

Russian Women Culture book cover

Russia Women Culture, edited by Helena Goscilo and Beth Holmgren (Indiana University Press, 1996)

This volume examines areas of cultural production that have offered Russian women new freedoms and have opened commercial and artistic possibilities to them since the 19th century. Key aspects of Russian culture that have been systematically ignored are foregrounded here: Russian women’s development of "popular" culture and their ingenious reinventions of "high" literature. The essays analyze women’s creativity of every type—their products, performances, and collaborative exchanges—in sites that range from the bath-house to the ballroom.

 

 

Dehexing Sex book cover

Dehexing Sex: Russian Womanhood During and After Glasnost, by Helena Goscilo (University of Michigan Press, 1996)

Glasnost and the collapse of the Soviet Union revolutionized Russian society. What effects, however, did they have on the status, role, and image of women in Russian culture? Examining the past turbulent decade of transition to "democracy" and a market economy, Dehexing Sex traces the ways in which Russia's concept of womanhood both changed and remained the same, taking into account dominant ideologies and social philosophies, sociopolitical organizations, women's writings, literary criticism, film, and popular cultural forms such as pornography.

The lively, engaging chapters of this book examine texts by contemporary women writers in the context of the political, social, economic, biological, psychological, and aesthetic transformations that helped define them. Goscilo reveals that the Russian cultural revolution has reshaped the female image in varied and often contradictory ways. While increased interaction with the West fostered gender awareness, it also introduced imported Western sexist practices--especially the exploitation of female bodies--formerly proscribed by a puritanical censorship. Popular magazines, newspapers, and television propagated the image of woman as mother, ornament, and sexual object, even as women's fiction conceived of womanhood in complex psychological terms that undermined the gender stereotypes which had ruled Soviet thinking for more than 70 years.

With the aid of feminist and cultural theory, Dehexing Sex investigates the overt and internalized misogyny that combined with the genuinely liberalizing forces unleashed by Gorbachev's policy of glasnost and perestroika. It exposes Russia's repressive romance with womanhood as a metaphor for nationhood and explores Russian women's ironic recasting of national mythologies.

 

 

The Wild Beach book cover

The Wild Beach: An Anthology of Contemporary Russian Stories, edited by Helena Goscilo and Byron Lindsey (Ardis, 1993)

This collection is a companion volume to Goscilo and Lindsey’s highly praised Glasnost: An Anthology of Russian Literature under Gorbachev. The twelve authors include writes known in the West as well as newer stars of the current literary scene. All of the worst were first published in the Soviet Union in the late 1980s, and, like Glasnost, this volume covers a wide range of subjects, from the world of the urban intelligentsia to life in the villages and provincial towns, from personal drama to larger social and historical themes. Together, these stories form an illuminating picture of Soviet life and the individual, social, moral and spiritual struggles that are part of it. 

 

 

Fruit of Her Plume book cover

Fruit of Her Plume: Essays on Contemporary Russian Women's Culture, edited by Helena Goscilo (M.E. Sharpe, 1993)

These essays all address—whether tacitly or explicitly—the vexed question of whether there exists a distinctly ‘women’s culture,’ a suggestion strongly resisted in the Russian context by those very artists it would include. The voices in this collection are by no mean unanimous on this point either, and it is Helena Goscilo’s achievement to have assembled such a provocative array of critical perspectives on the works of women writers. The contributors are among the most prominent scholars in the field, and their discussions combine incisive formulations of the issues with sensitive readings of the texts. Fruits of Her Plume is an important contribution to the debate over the value of gendered literary categories and a significant addition to the expanding field of gender studies in Russian literature.

 

 

Balancing Acts book cover

Balancing Acts: Contemporary Stories by Russian Women, edited by Helena Goscilo (Indiana University Press, 1989 | 2nd Edition by Dell, 1991)

[Dell] This superb anthology provides a unique opportunity for the West to hear Russia’s women speak for and about themselves.  […] Evoking the universality of women’s experiences but vividly portraying Russian day-to-day existence, this extraordinary anthology allows distant voices to reach us and touch our minds and hearts.

 

 

 

Glasnost book cover

Glasnost, An Anthology of Literature Under Gorbachev, edited by Helena Goscilo and Byron Lindsey (Ardis, 1990)

This remarkable collection brings together the best writers of the current Russian literary renaissance, providing the English-speaking reader with the largest, most representative anthology yet available of works published during the last three years in the Soviet Union. The ten writers included here are all literary stars whose works have evoked both praise and controversy, often provoking charges of excessive naturalism and pessimism. These stories illuminate new worlds as previously forbidden themes are explored in works of genuine merit. 

 

 

Yury Nagibin book cover

Yury Nagibin: The Peak of Success and Other Stories, edited by Helena Goscilo (Ardis, 1986)

Many readers in the Soviet Union consider Yury Nagibin the best author of short stories in their country. One western critic has said that Nagibin’s work is “psychologically sensitive in the manner of Chekhov and Bunin, with clear, uncomplicated moral values tempered by a sense of irony and compassion.” […] Until now it was not possible to evaluate the work of this writer who, like such figures as Trifonov and Rasputin, is not a dissident in his society. The selection of stories in volume, which is the most comprehensive in English, was made with Nagibin’s assistance. The collection contains stories from the 1950s through the 1970s, with an emphasis on the later fiction.
Known in the West for his scenario for the prize-winning Japanese-Soviet film Dersu Uzala, Nabigin (b. 1920) began his long and prolific career in 1939, and has consistently been one of the most popular and highly regarded Soviet short story writers. Nagibin applies the traditional values of Russian literature to Soviet themes, and deals with a wide range of subjects: children, war, sports, village life, life abroad, and love.
 

 

Russian and Polish Women's Fiction book cover
Russian and Polish Women's Fiction, edited by Helena Goscilo (University of Tennessee Press, 1985)
Although the female authors of the stories in this anthology enjoy solid reputations in their native countries, their names are virtually unknown to English-speaking audience. Helena Goscilo’s skillful and highly readable translations will enable readers who lack a command of Slavic languages to learn how women in Poland and Russia have perceived themselves over the years and surmounted the painful imbalance of sex roles in Russia and Eastern Europe. […]
In her introduction, which is an extensive survey of Polish and Russian women’s history, Goscilo provides a broad socio-political context for the stories. She also provides biographical sketches of the authors.
 
 

 

Mikhail Lermontov book cover
Mikhail Lermontov: Vadim, translated and edited by Helena Goscilo (Ardis, 1984)
The transition from Romanticism to Realism which all Russian literature underwent can be seen in microcosm in Lermontov’s prose fiction. Vadim, Lermontov’s first prose work, is the prototypical Romantic novel. Both in its style and its characters Vadim is an encyclopedia of Romantic conventions. The borrowings from the Gothic novel and the English and French Romantics are obvious everywhere; both in content and in form the influences of Sir Walter Scott, James Fenimore Cooper, and Huge are manifest. The bloody Pugachev rebellion provides the frenetic historical plot for Vadim. The mysterious hunchback Vadim is at first a tragic hero and later a demonic villain. In the Gothic tradition of Radcliffe and Monk Lewis, the heroine, Olga, is an angelic Madonna; but then incest is added to the plot as Vadim and she discover that they are brother and sister.
 
 
 

Publications

Books & Issues of Journals

Lermontov’s Vadim. Ann Arbor: Ardis, 1984 (translation, essay, and notes)
Russian and Polish Women’s Fiction. Knoxville: U of Tennessee P, 1985 (anthology of translations, biography, commentary, critical essay of 43 pp.)
The Peak of Success and Other Stories by Nagibin. Ann Arbor: Ardis, 1986 (some translations, interview, biography, bibliography, critical essay)
Balancing Acts: Recent Fiction by Russian Women. Bloomington: Indiana UP, 1989 (some translations, critical introduction, biographies, bibliographies, commentaries; Honorable Mention in Category of Women’s Issues Books, Chicago Women in Publishing 16th Annual Award. 2nd edition published by Dell, Summer 1991 [50,000 copies])
Glasnost: An Anthology of Literature under Gorbachev. Ann Arbor: Ardis/Vintage, 1990 (co-editor with Byron Lindsay, 446 pp., with 30 pp. introduction; chosen as a selection for Quality Paperback Book Club Spring 1991)
Wild Beach. Ann Arbor: Ardis/Vintage, 1992 (co-editor with Byron Lindsey, companion volume to Glasnost)
Skirted Issues: The Discreteness and Indiscretions of Russian Women’s Prose. Ed. Russian Studies in Literature Series. 28.2. Armonk, NY: M.E. Sharpe, 1992 (editor)
Fruits of Her Plume: Essays on Contemporary Russian Women’s Culture. Ed. Armonk, NY: M.E. Sharpe, 1993
Lives in Transit: Recent Russian Women’s Writing. Ann Arbor: Ardis, 1995 (Outstanding Academic Book for 1996 [listed as January 1996 issue])
Russia*Women*Culture. Co-editor with Beth Holmgren. Bloomington: Indiana UP, 1996
Dehexing Sex: Russian Womanhood During and After Glasnost. Ann Arbor: Michigan UP, 1996
TNT: The Explosive World of Tatyana Tolstaya’s Fiction. Armonk, NY: M.E. Sharpe, 1996
Anastasya Verbitskaya, Keys to Happiness. Bloomington: Indiana UP, 1999 (co-trans. and co-edited with Beth Holmgren, with introduction)
Svetlana Vasilenko, Shamara and Other Writings. Evanston, IL: Northwestern UP, 2000 (editor)
Russian Culture in the 1990s. Studies in 20th Century Literature. Manhattan: Kansas State UP, 2000 (editor; selected for CELJ competition as Best Special Issue)
Visual Art. Studies in Slavic Cultures. Vol. I. Pittsburgh: U of Pittsburgh P, 2000 (general editor; with Michael Brewer)
Vzryvoopasnyi mir Tat’iany N. Tolstoi. Ekaterinburg: Ural UP, 2000
Anna Karenina on Page and Screen. Studies in Slavic Cultures. Vol. II. Pittsburgh: U of Pittsburgh P, 2001 (general editor; with Petre Petrov)
The Body in Russian Culture. Studies in Slavic Cultures. Vol. III. Pittsburgh: U of Pittsburgh P, 2002 (general editor; with Seth Graham)
The Oeuvre of Nina Sadur. Pittsburgh: U of Pittsburgh and Ohio State UP, 2005 (co-editor with Karin Sarsenov and David Birnbaum)
Politicizing Magic: An Anthology of Russian and Soviet Fairy Tales. Evanston, IL: Northwestern UP, 2005 (co-editor with Marina Balina and Mark Lipovetsky)
Stalinka: A Digital Library of Staliniana. September 2005-2010. University of Pittsburgh. <http://images.library.pitt.edu/s/stalinka/> (site constructed with Susan Corbesero and Petre Petrov)
Gender and National Identity in 20th-Century Russian Culture. Dekalb, IL: Northern Illinois UP, 2006 (co-editor with Andrea Lanoux)
Encyclopedia of Contemporary Russian Culture. London: Routledge, 2006 (co-editor with Tatiana Smorodinskaya and Karen Evans-Romaine), reissued in paperback 2014
Poles Apart: Women in Modern Polish Culture. Indiana Slavic Studies. Bloomington: Indiana UP, 2006 (co-editor with Beth Holmgren)
Resent, Reassess, and Reinvent: The Three R’s of Post-Soviet Cinema, SEEJ, 51.2 (Summer 2007): 213-390 (editor and organizer of the forum)
Preserving Petersburg: History, Memory, Nostalgia. Bloomington: Indiana UP, 2008 (co-editor with Stephen M. Norris)
Cinepaternity: Fathers and Sons in Soviet and Post-Soviet Film. Bloomington: Indiana UP, 2010 (co-editor with Yana Hashamova)—OSU Award for Book Cover
Celebrity and Glamour in Contemporary Russia: Shocking Chic. London: Routledge, 2010/2011 (co-editor with Vlad Strukov); reissued in paperback by Routledge, 2012—OSU Award
for Book Cover
Reflections and Refractions: The Mirror in Russian Culture - guest editor of Studies in 20th and 21st Century Literature 34, 2 (Summer 2010) May 2011
Putin as Celebrity and Cultural Icon, ed. London: Routledge, 2012—OSU Award for Book Cover
Embracing Arms: Cultural Representation of Slavic and Balkan Women in War. Budapest: Central European UP 2012 (co-editor with Yana Hashamova)
Lives in Transit: Contemporary Russian Women’s Writing. New York: Overlook Press 2013 (reissue in paperback of the 1995 Ardis edition)—OSU Award for Book Cover
Baba Yaga: The Wild Witch of the East in Russian Fairy Tales. UP of Mississippi, 2013 (with Sibelan Forrester, Martin Skoro, and Jack Zipes)—OSU Award for Book Cover
Fade from Red: The Cold War Ex-Enemy in Russian and American Film 1990-2005. Washington DC: New Academic Publishing 2014 (co-written with Margaret B.
Goscilo)
Russian Aviation, Space Flight, and Visual Culture. London: Routledge UP (co-edited with Vlad Strukov), 2016/2017
The Allure of Retro: Neoacademism after the Fall, ed. cluster of articles in Russian Review, Vol. 78, No. 2 (2019): 183-271.


Articles


“Point of View in Heart of a Dog” Russian Literature Triquarterly, 15 (1978): 281-91
“Lermontov’s Sketches: From Poetic City to Prosaic Man” Canadian-American Slavic Studies 14.1 (1980): 21-35
“Delo” The Modern Encyclopedia of Russian and Soviet Literature 5 (1981): 110-27
“Lermontov’s Debt to Lavater and Gall” Slavonic and East European Review 59.4 (1981): 500-15
“The First Pechorin En Route to A Hero” Russian Literature 11.2 (1982): 129-62
“Gilded Guilt: Confession in Russian Romantic Prose” Russian Literature (Special Issue: Russian Romanticism I) 14.2 (1983): 149-81
“His Master’s Voice: Pushkin Chez Bulgakov” In Memoriam: James Daniel Armstrong. Columbus: Slavica, 1984. 54-66
“Stage and Page: Drama’s Incursion Into Russian Fiction of the 1830s” Zeszyty Naukowe Wyzszej Szkoly Pedagogicznej w Bydgoszczy, 18.7 (1985): 91-113
“Tolstoyan Fare: Credo à la Carte” Slavonic and East European Review 62.4 (1984): 481-95.
“Tolstoy, Laclos, and the Libertine” The Modern Language Review 81.2 (1986): 398-414
“Feet Pushkin Scanned, or Seeming Idée Fixe as Implied Aesthetic Credo” SEEJ 32.4 (1988): 562-73
“Tat’iana Tolstaia’s ‘Dome of Many-Coloured Glass’: The World Refracted through Multiple Perspectives” Slavic Review 47.2 (1988): 280-90
“Women’s Wards and Wardens: The Hospital in Contemporary Russian Literature” Canadian Women’s Studies 10.4 (1989): 83-86
“Multiple Texts in Eugene Onegin: A Preliminary Investigation” Russian Literature Triquarterly 23 (1990): 271-85
“Tolstaian Love as Surface Text” SEEJ 34.1 (1990): 40-52
“Paradise, Purgatory, and Post-Mortems in the World of Tat’iana Tolstaia” Indiana Slavic Studies 5 (1990): 97-113
Entries totaling twenty-four pages on: Maiia Ganina, I. Grekova, Nina Katerli, Nadezhda Kozhevnikova, Elena Makarova, Evdokiia Rostopchina, Galina Shcherbakova, Viktoriia Tokareva, Tat’iana Tolstaia, Inna Varlamova. Continental Women Writers. Ed. K. Wilson. NY: Garland,1991
“Alternative Prose and Glasnost’ Literature” Five Years that Shook the World: Gorbachev’s Revolution. Ed. Harley Balzer. Boulder, CO: Westview, 1991. 119-37
“Perestroika ili ‘domostroika’?: Stanovlenie zhenskoi kul’tury v usloviiakh glasnosti” Obshchestvennye nauki i sovremennost’ 4 (1991): 134-45
“Russian Women under Glasnost’” New Outlook 2.4 (1991): 45-50
“Tolstaian Times: Traversals and Transfers” New Directions in Soviet Literature. Ed. S. Graham Macmillan, 1992. 36-62
“Ludmila Petrushevskaya” and “Tatyana Tolstaya” Encyclopedia of World Literature in the Twentieth Century. Vol. 5. New York: Crossroad, 1991
“Introduction” to Ignacy Krasicki, The Adventures of Mr. Nicholas Wisdom. Evanston, IL: Northwestern UP, 1992. ix – xxvii (1993 PEN Translation Award)
“Coming A Long Way, Baby: Russian Women’s Fiction 1965-1992,” Harriman Institute FORUM 6, 1992
“Monsters Monomaniacal, Marital, and Medical: Tat’iana Tolstaia’s Regenerative Use of Gender Stereotypes” Sexuality and the Body in Russian Culture. Ed. J. Costlow, S. Sandler, J. Vowles. Palo Alto, CA: Stanford UP, 1993. 204-220
“Perspectives in T. Tolstaia’s Wonderland of Art” World Literature Today 67.1 (1993): 80-90
“Domostroika or Perestroika? The Construction of Womanhood under Glasnost” Late Soviet Culture. Ed. Thomas Lahusen. Durham, NC: Duke UP, 1993
“Tat’iana Tolstaia” Contemporary World Writers. Ed. Tracy Chevalier. Detroit: St. James, 1993
“Inscribing the Female Body in Women’s Fiction: Cross-Gendered Passion à la Holbein” Gender Restructuring in Russian Studies. Ed. Marianne Liljeström et al. Tampere, Finland: U of Tampere P, 1993. 73-86
“Body Talk in Current Fiction: Speaking Parts and (W)holes,” Stanford Slavic Studies 7 (1993): 145-77
“New Members and Organs: the Politics of Porn” Carl Beck Papers 1007 (1993): 1-44; reprinted in revised version in Genders 22 (1995): 164-94
Twenty articles (approx. 40 pp.) in Dictionary of Russian Women Writers. Eds. M. Ledkovsky, C. Rosenthal, M. Zirin. Westport, CT: Greenwood, 1994
“Paradigm Lost?: Contemporary Women’s Fiction” Women Writers in Russian Literature, ed. Diana Greene & Toby W. Clyman. Westport, CT: Greenwood, 1994. 205-228
“The Gendered Trinity of Russian Cultural Rhetoric Today — or the Glyph of the H[i]eroine” Soviet Hieroglyphics. Ed. Nancy Condee. London: BFI/Indiana UP, 1995. 68-92
“Foreword” to I. Grekova, Ship of Widows. Evanston, IL: Northwestern UP, 1994. vii - xxvii
“The Unbearable Heaviness of Being” The Women’s Review of Books, December 1994: 19-20
“Novye chleny i organy: politika ‘pornukhi’” Novaia volna: russkaia kul’tura i subkul’tury na rubezhe 80-90-kh godov. Ed. N. I. Azhgikhina. Moscow: Moskovskii rabochii, 1994. 32-36
“Mother as Mothra: Totalizing Narrative and Nurture in Petrushevskaia,” Female Protagonists in Russian Literature. Ed. Sona Hoisington. Evanston, IL: Northwestern UP, 1995. 102-113, 157-161
“Vdovstvo kak zhanr i professiia à la Russe” Preobrazhenie 3 (1995): 28-32
“Foreword” to Present Imperfect. Boulder, CO: Westview Press, 1996. 1-10
“Karamzin’s Legacy of Sexuality” Proceedings of V International Conference on 18th-Century Russia 1995. Rome: LaFenice, 1996
Interview on Feminism and Russia, Nezavisimaia gazeta (November 1996): 6
“Khudozhestvennaia optika Petrushevskoi” Russkaia literatura XX veka. Ekaterinburg: Ekaterinburg UP 1996. 109-119
“Bol’she vsego liubliu kogda so mnoi ne soglashaiutsia,” Interview in Korni travy. Ed. Nadezhda Azhgikhina. Moscow: AAslan,” 1996. 74-78
“Vdovstvo kak zhanr i professiia v Rossii” Sem’ia, gender, kul’tura. Ed. V.A. Tishkov. Moscow, 1996: 344-51
Gos cilo 18
Six entries in Women Writer of Great Britain and Europe. Eds. Katharina Wilson et al. New York: Garland, 1997
“Feminist Pulp Fiction: Detecting Murder and Aleksandra Marinina” WEW Newsletter (December 1997)
“S(t)imulating Chic: The Aestheticization of Post-Soviet Russia” Essays in the Art and Theory of Translation. New York: Edwin Mellen, 1997. 35-57
“Afterword” Changing Lives of Russian Women. Ed. Lynette Seator. New York: Edwin Mellen, 1998. 183-90
“Porn on the Cob: Some Hard Core Issues” Eros and Pornography in Russian Culture. Ed. M. Levitt and A. Toporkov. Moscow: “Ladomir,” 1999. 553-72
“Rossiiskoe predprinimatel’stvo v 90-e gody: kul’turnyi aspekt” Kontinent, 102.4 (1999): 153-64
“Big-Buck Books: Pulp Fiction in Postsoviet Russia” The Harriman Review, 12.2-3 (1999/2000): 6-24
“Vdovstvo kak zhanr i professiia à la russe” Voina i literatura 1941-1945 (Ekaterinburg: Urals UP, 2000. 68-74
“Novye chleny i organy: Politika pornografii,” Zhenshchina i vizual’nye znaki. Ed. Anna Al’chuk. Moscow: Ideia Press, 2000: 107-143
“Perestroika ili ‘domostroika’? Stanovlenie zhenskoi kul’tury v usloviiakh glasnosti,” Zhenshchina v obshchestve: Mify i realii. Moscow: Informatsiia—XXI vek, 2001. 126-36
Twenty-five entries in and editor for the Slavic section in Who’s Who in Contemporary Women’s Writing. Ed. Jane E. Miller. London: Routledge, 2001
“Perestroika and Postsoviet Prose: From Dazzle to Dispersal” A History of Women’s Writing in Russia. Ed. A. Barker and J. Gheith. Cambridge: Cambridge UP, 2002. 297-312
“Playing Dead: the Operatics of Celebrity Funerals, or the Ultimate Silent Part” Imitations of Life: Two Centuries of Melodrama in Russia. Ed. Louise McReynolds and Joan Neuberger. Durham, NC: Duke UP, 2002. 283-319
“Modeling the Paradoxes of Wisdom’s Ways” The Novel. Ed. Franco Moretti. Princeton: Princeton UP, 2003; also as “Le avventure di Niccolò d’Esperientis,” Il romanzo: Storia e geografia III. Ed. Franco Moretti. Torino: Einaudi, 2002. 533-39
“Zhivopisuia gender: sovremennoe zhenskoe iskusstvo” Iskusstvo zhenskogo roda/femme art. Ed. N. Kamenetskaia and N. Iurasovskaia. Moscow: State Tretyakov Gallery/Creative Laboratory, 2002. 144-70 (with Elena Kornetchuk)
“Rozhdenie novykh russkikh: kartinki s vystavki” O muzhe(N)stvennosti: sbornik statei. Ed. S. Ushakin. Moscow: Novoe literaturnoe obozrenie, 2002. 504-531
“Absurdity Normalized: Irony in Dovlatov’s Ours” Against the Grain: Parody, Satire, and Intertextuality in Russian Literature. Ed. Janet Tucker. Bloomington, IN: Slavica, 2002. 149-66 (with Alexander Prokhorov)
“Casting and Recasting the Caucasian Captive” Two Hundred Years of Pushkin, Ed. Joe Andrew and Robert Reid. Vol. I. Amsterdam/New York: Rodopi 2003. 195-207
Editor of “New Russian” cluster of articles for Russian Review, 62.1 (2003), plus Editor’s Introductory Article, “A Label Designed to Libel versus Mimetic Modeling and Parthenogenesis”: 1-10
“Dystopian Dreams,” The Women’s Review of Books. 20.8 (2003): 10-11 (essay-review of 2 volumes by Tatyana Tolstaya)
“Motif-Mesh as Matrix: Body, Sexuality, Adultery, and the Woman Question” Approaches to Anna Karenina. Ed. Liza Knapp and Amy Mandelker. New York: MLA, 2003. 83-89
Gos cilo 19
“Cosmetics—or Dying to Overcome Nature in an Age of Art and Artifice” Women and Gender in 18th-Century Russia. Ed. Wendy Rosslyn. Brookfield, VT: Ashgate 2003. 73-103
“Dochki-materi na stranitsakh i vne,” Gendernaia tsenzura kak element kul’tury. Ed. N. I. Azhgikhina. Moscow: Eslan, 2003. 73-78
“The Italics Are Hers: Matrophobia and the Family Romance in Elena Bonner’s Mothers and Daughters” The Russian Memoir: History and Literature. Ed. Beth Holmgren. Evanston, IL: Northwestern UP, 2003. 53-69
“Tatyana Tolstaya”; “Liudmila Petrushevskaia” Dictionary of Literary Biography: Russian Writers Since 1980. Ed. Marina Balina and Mark Lipovetsky. Vol. 285. Detroit: Thompson/Gale, 2004. 220-29, 316-28
“Moving Images, Imagination, and Eye-deologies” Russian Literature on the Silver Screen (I): Studies in Literature 40: 2 (2004): 7-19
“Negotiating Gendered Rhetoric: Between Scylla and Charybdis” Representing Gender in Cultures. Ed. E. Oleksy and J. Rydzewska. Frankfurt/Berlin: Peter Lang, 2004. 19-37
“Novoe pokolenie rossiiskikh zhenshchin umeet postoiat’ za sebia…” Interview in Zhurnalist (January 2005): 72-74
“Post-ing the Soviet Body as Tabula Phrasa and Spectacle” Lotman and Cultural Studies: Encounters and Extensions. Ed. Andreas Schönle. Madison: Wisconsin UP, 2006. 248-96
“Widowhood as Genre and Profession à la Russe: Nation, Shadow, Curator, and Publicity Agent” Gender and National Identity in 20th-Century Russian Culture. Dekalb, IL: Northern Illinois UP, 2006. 55-74 (co-editor with Andrea Lanoux)
“Polanski’s Existential Body—As Somebody, Nobody, and Anybody” The Cinema of Roman Polanski: Dark Spaces of the World. Ed. John Orr and Elżbieta Ostrowska. Director’s Cut Series. London: Wallflower, 2006. 22-37
“Lewd and Ludic, and Flaunting It: Leningrad’s Highly Profitable ‘Nenormativnaia Leksika’” Translating Russia: From Theory to Practice. Ed. Brian James Baer. Ohio Slavic Papers. Vol. 8. Columbus, OH: Ohio State UP. 37-62
“Madwomen without Attics: The Crazy Creatrix and the Procreative Iurodivaia,” Madness and the Mad in Russian Culture. Eds. Angela Brintlinger and Ilya Vinitsky. Toronto: U of Toronto P, 2007. 226-41
“From Stigma to Enigma: Adultery, Triangulation, and Divorce à la Russe” After Intimacy: The Culture of Divorce in the West since 1789. Eds. Nicholas White and Karl Leydecker. Oxford: Peter Lang, 2007. 163-82
“The Eternal Return: Polyvalent Maternal Discourse and National Identity” Introduction to Oleg Riabov. “Rossiia-Matushka”: Natsionalizm, gender i voina v Rossii XX veka. Stuttgart: Ibidem-Verlag, 2007. 9-25
“Introduction” to Forum: “Resent, Reassess, and Reinvent: The Three R’s of Post-Soviet Russian Cinema” SEEJ 51.2 (2007): 213-28
“Re-Conceptualizing Moscow (W)hole/sale” SEEJ 51.2 (2007): 314-33
“Watery Maidens: Rusalki as Sirens and Slippery Signs” Poetics, Self, Place: Essays in Honor of Anna Lisa Crone. Bloomington, IN: Slavica, 2007. 50-70
“Viktor Vasnetsov’s Bogatyrs: Mythic Heroes and Sacrosanct Borders Go to Market” Picturing Russia: Explorations in Visual Culture. Eds. Valerie Kivelson and Joan Neuberger. New Haven: Yale UP, 2008. 248-53 + 2 pp.
“History and Metahistory in Soviet World War II Posters” Recalling the Past—(Re)constructing The Past: Collective and Individual Memory of World War II in Russia and Germany. Eds. Withold Bonner and Arja Rosenholm. Finland: Aleksanteri Series 2/2008. 221-41.
“VVP kak objet d’art” Neprikosnovennyi zapas [62] 6 (2009). [As Elena Goshchilo} http://magazines.russ.ru/nz/2008/6/go8-pr.html. 16 pages
“Luxuriating in Lack: Plenitude and Consuming Happiness in Soviet Paintings and Posters, 1930s-1953” Petrified Utopia. Eds. Marina Balina & Evgeny Dobrenko. London & New York: Anthem Press, 2009. 53-79, 268-73
Co-editorship of the Special Section “Women in War: Mobilisation, Manipulation, and Marginalisation on the Eastern Front” Aspasia 4 (2010): 97-154
Co-authorship of Introduction to “Women in War: Mobilisation, Manipulation, and Marginalisation on the Eastern Front” Aspasia 4 (2010): 97-102
“Between the Sword and the Scales, or Celluloid Justice” Introduction to the cluster “Nemesis or Mimesis: The Theme of Retribution in Contemporary Russian Cinema” Studies in Russian and Soviet Cinema 4, 2 (2010): 137-45
“La russificazione del raziocinio: Donne detective, o la supremazia Marinina-Doncova” [“Ratiocination under Russification: Detecting Women, or the Marinina-Dontsova Supremacy”] Giallo Rosa Slavo. Eds. Sara Dickinson et al. Pisa: Edizioni ETS, 2010/pd. 2011. 55-66
“Russian Celebrities Home and Abroad—United under Putin, March 2011” Celebrity Studies 2, 2 (July 2011): 190-194 (with Vlad Strukov)
“Vision, Vanitas, and Veritas: The Mirror in Art” Studies in 20th and 21st Century Literature, 34, 2 (Summer 2010 [2011]): 282-319
“Slotting War Narratives into Culture’s Readymade” Fighting Words and Images. Representing War across the Disciplines. Eds. E. Baraban, S. Jaeger, A. Muller. Toronto: U of Toronto P, 2012. 132-60
“Introduction” Putin as Celebrity and Cultural Icon, ed. Helena Goscilo. London: Routledge: 2012. 1-5
“Russia’s Ultimate Celebrity: VVP as VIP Objet d’art” [revised] Putin as Celebrity and Cultural Icon, ed. Helena Goscilo. London: Routledge: 2012. 6-36
“Putin’s Performance of Masculinity: The Action Hero and Macho Sex-Object” Putin as Celebrity and Cultural Icon, ed. Helena Goscilo. London: Routledge, 2012. 180-207
“Introduction” Embracing Arms: Representation of Slavic and Balkan Women in War, ed. Helena Goscilo and Yana Hashamova. Budapest: Central European UP, 2012. 1-28
“Graphic Womanhood under Fire” Embracing Arms: Representation of Slavic and Balkan Women in War, ed. Helena Goscilo and Yana Hashamova. Budapest: Central European UP, 2012. 153-78 + visuals
“Texting the Body: Soviet Criminal Tattoos” Cultural Cabaret: Russian and American Essays in Memory of Richard Stites, eds. David Goldfrank and Pavel Lyssakov. Washington DC: New Academia Publishing, 2012. 203-230
“Kuda letit putinskii zhuravl’?” Interview with Oleg Sul’kin, Golos Ameriki, 22 Sept. 2012 at http://www.golos-ameriki.ru/content/putin/1513010.html
“The Affluent Global Provincial: American Reception of Polish Cinema” Beyond the Border: Polish Cinema in a Transnational Context, eds. Ewa Mazierska and Michael Goddard. New York: U of Rochester P, 2014. 56-76
“The Thorny Thicket of ‘Children’s Literature’” Introduction to a cluster of articles collectively titled “Reconfiguring Childhood: The Girl’s World,” Russian Review 73 (July 2014): 2-14
“Complicity in the Illicit? Liube’s Rock Band Bond with the Criminal Zona,” Punishment as Crime? Eds. Julie Hansen and Andrei Rogatchevski. Uppsala: Uppsala Universitet, 2014: 111-33
“Indivisibility and the Threads that Bind” Introduction to Ludmila Ulitskaya and the Art of Tolerance, authored by Benjamin Sutcliffe and Elizabeth Skomp, Wisconsin UP, 2015. xi-xxiii
“Narrating Trauma: Modes and Patterns of Repression, Reprisal, Reiteration,” Russian Literature since 1991. Eds. Evgeny Dobrenko and Mark Lipovetsky, Cambridge: Cambridge UP, 2015. 167-187
“The Body Breached: Post-Soviet Masculinity on Screen,” The Cinematic Bodies of Eastern Europe and Russia: Between Pain and Pleasure. Eds. Ewa Mazierska, Matilda Mroz, Elżbieta Ostrowska, Edinburgh UP, 2016. 89-109
“The Many Faces of Vladimir Putin’s Public Persona” (annotated exhibition of 50 Putin images in Hagerty Hall; with Jessi Jones), spring 2016
“Deineka’s heavenly bodies: ascent in space, sports, and the sacred,” in Russian Aviation, (co-edited with Vlad Strukov), 2016. 53-88
“The aerial ways of aspiration and inspiration, or the Russian chronot(r)ope of transcendence” (Introduction), Russian Aviation, Space Flight, and Visual Culture. London: Routledge 2016. 1-20
“Teper’ on ne letaet so sterkhami: Pochemu voznik i kak menialsia kul’t Vladimira Putina?” Radio Svoboda, Interview with director Dmitrii Volchek (23 July 2016), at http://www.svoboda.org/articleprintview/27871477.html
“Humor as a Bulletproof Vest: Artists Embracing an Ironic Zeitgeist” in Russia: Art Resistance and the Conservative-Authoritarian Zeitgeist, eds. Lena Jonson and Andrei Erofeev, London: Routledge, 2017. 182-208
“Problems of Taxonomy, Issues of Class, Citizenship, Consumption, and Avdot’ia Smirnova’s KoKoKo (2012),” Slavonica 2017. http://www.tandfonline.com/doi/pdf/ 10.1080/13617427.2017.1376799?needAccess=true
“Maslov and Kuznetsov: Camping and Revamping Classical Scenarios,” Russian Review, Vol. 78, No. 2 (April 19, 2019): 245-71
“Yearning for a Soul: The Little Mermaid in Graphics” in Hans Christian Andersen and Russia, eds. Marina Balina et al. Odense: U of Southern Denmark P, 2019, 393-431
“The Danish Little Mermaid vs. the Russian Rusalka: Screen Choices” in Hans Christian Andersen and Russia, eds. Marina Balina et al. Odense: U of Southern Denmark P, 2019, 323-44
“MERMAID/Rusalka,” The Contemporary Russian Cinema Reader 2005-2016, ed. Rimgaila Salys (Boston: Academic Studies Press, 2019). 89-113
“Stacking National Identity: The Lucrative Legacy of the Matreshka,” EXPERIMENT, 25.1 (2019): 227-43
“Between the Gangster and the Country Gentleman: Male Fashion during the Volatile 1990s,” New Russian Masculinities issue of Critical Studies in Men’s Fashion (2019): 35-56
“Three Degrees of Exemplary Boyhood According to Boris Kustodiev’s Soviet Paradise” in The Pedagogy of Images, eds. Marina Balina and Serguei Oushakine. Toronto: U of Toronto P, 2020
“Big Rewards for the Small Screen: The Man from U.N.C.L.E. during Both Cold Wars,” Cold War II: Hollywood’s Renewed Obsession with Russia, ed. Tatiana Prorokova, U of
Mississippi P.


Translations

 

  • Polish Literary Manifestoes: Tytus Czyzewski, “Expressionist and Futurist Poetry” (1919) and Bogdan Chaykowski, “A Synthetic Formulation about the Kontynenty Poetry Group” (1960) Queens Slavic Papers 1 (1973): 102-105, 113-14
  • Andrei Bitov, “The Forest” Andrei Bitov, Life in Windy Weather. Ann Arbor: Ardis, 1986. 269-333
  • Inna Varlamova, “A Ladle for Pure Water” The Barsukov Triangle. Ann Arbor: Ardis, 1989. 169-91
  • Liudmila Petrushevskaia, “Our Crowd” Michigan Quarterly Review 28.4 (1989): 676-98
  • Vladimir Tendriakov, “Donna Anna” Michigan Quarterly Review 28.4 (1989): 648-75 (co-trans. with Lila Wangler)
  • Emma Gershtein, “Akhamatova’s Prose” Anna Akhmatova, My Half Century. Ed. Ronald Meyer. Ann Arbor: Ardis, 1992. 335-45
  • Ludmila Ulitskaya, “Lucky” Nimrod: Prose and Poetry from the Soviets 33.2 (1990): 66-70
  • Mark S. Altshuller, “Russian Poetry” The New Princeton Encyclopedia of Poetry and Poetics. Eds. Preminger and Brogan. Princeton: Princeton UP, 1993. 1103-1112
  • Viktoria Tokareva, “Nothing Special,” reprinted in The Many Worlds of Literature. Ed. Stuart Hirschberg. Bloomington: Indiana UP, 1994. 388-417
  • Mark Kharitonov, Lines of Fate. NY: New Press, 1996
  • Semeon Agroskin’s Website <http://www.semeonagroskin.com> 2004


Reviews

  • Vasily Shukshin, Snowball Berry Red and Other Short Stories. Ed. Donald M. Fiene. Modern Language Journal 64.3 (1980): 372-73
  • C. J. G. Turner, Pechorin: An Essay on Lermontov’s “A Hero of Our Time.” Modern Language Journal 63.4 (1980): 488-89
  • Mandelstam: The Complete Critical Prose and Letters. Ed. J. G. Harris. Modern Language Journal 65.3 (1981): 105-06.
  • John Garrard, Mikhail Lermontov. The Russian Review, 1985
  • Studies in Honor of Xenia Gasiorowska. Ed. Lauren G, Leighton. Slavic Review 43.4 (1984): 736-37
  • John Mersereau. Russian Romantic Fiction. The Russian Review 45.1 (1985): 55-57.
  • The Russian Novel from Pushkin to Pasternak. Ed. John Garrard. Russian Literature Triquarterly 19 (1986): 431-33
  • Nina Perlina. Varieties of Poetic Utterance. Dostoevsky Studies 6 (1985): 191-92
  • Slavic Culture: Proceedings of the Second Symposium on Slavic Culture. Ed. Masing-Delic. University of Witwatersand. SEEJ 30.4 (1986): 570-71.
  • I. Obodovskaia, M. Dement’ev. Natal’ja Nikolaevna Puškina. Po epistoljarnym materialam, Moscow, 1985. SEEJ 31.3 (1987) (with Mark Altshuller)
  • Gary Saul Morson, Hidden in Plain View: Narrative and Creative Potentials in “War and Peace.” Stanford University Press, 1987. RLT 21 (1988): 236-37
  • Katerina Clark and Michael Holquist. Mikhail Bakhtin. Harvard University Press, 1984-87. RLT 21 (1988): 242
  • Barbara Heldt. Terrible Perfection: Women and Russian Literature. Indiana UP, 1987. RLT 21 (1988): 246-47
  • Rostislaw Schulz. Pushkin i knidskii mif. Wilhelm Fink Verlag, 1985. SEEJ 3.3 (1988) (with Mark Altshuller)
  • Russian Romantic Criticism. Ed. Lauren Gray Leighton. Greenwood Press, 1987. SEEJ (1988)
  • Julian Graffy and Geoffrey A. Hosking. Culture and the Media in the USSR Today. NY: St. Martin’s Press, 1989. Soviet Union/Union Soviétique
  • Glas. Ed. N. Perova. Slavic Review, 1995
  • Robert Porter. Alternative Prose. Russian Review, 1995
  • Sven Spieker. Figures of Memory and Forgetting in Andrej Bitov’s Prose. Russian Review, 1998 Sundry Reviews for Choice (1990 – )
  • Michal Mikos. Kochanowski’s Treny. SEEJ, Spring 1998
  • Evgeny Steiner. Stories for Little Comrades. Seattle: Washington UP, 2000. SEEJ 2000-2001
  • Sally Dalton-Brown. Voices from The Void: The Genres of Liudmila Petrushevskaia. New York/Oxford: Berghahn Books, 2000. Slavic Review 61.3 (2002): 654-55
  • Sofya Kovalevskaya. Nihilist Girl. Trans. Natasha Kolchevska. Women’s Review of Books 19.8 (2002): 7-8
  • Katherine R. Jolluck. Exile and Identity: Polish Women in the Soviet Union During World War II. Pittsburgh: U of Pittsburgh P, 2002. The Journal of Modern History, 2004
  • Valentina Polukhina & Daniel Weissbort. An Anthology of Contemporary Russian Women Poets. Iowa City: U of Iowa P, 2005. The Moscow Times, 23-29 June 2006: 4
  • David Caute. The Dancer Defects: The Struggle for Cultural Supremacy during the Cold War. Oxford: Oxford UP, 2003. SEEJ 51.4 (2007): 818-20
  • Stanislaw Lem. Stanislaw Lem: Selected Letters to Michael Kandel. Trans. Peter Swirski. Liverpool Science Fiction Texts and Studies, 46. Liverpool: Liverpool UP, 2014.
  • SEEJ 59.2 (Summer 2015): 316-17
  • Colleen McQuillen, The Modernist Masquerade: Stylizing Life, Literature, and Costumes in Russia (Madison: U of Wisconsin P, 2013). Slavic Review (Autumn 2015): 670-2