Note on Transliteration and Translation

Chapters in this book

1. Frontmatter i
2. Contents v
3. List of Illustrations vii
4. Acknowledgments ix
5. Note on Transliteration and Translation xi
6. Introduction. The Western Wall of Russian Literature 1
7. Part I. The Generative Model of “the jews”
8. One. “The jews” in Christian Theology and Myth 27
9. Two. Archetypal Elaboration 55
10. Three. Animal Symbols and Human Types 74
11. Four. The Semiotics of the “jewish” Body 88
12. Part II. How Gogol’s Iankel' Is Made
13. Five. “Taras Bul'ba” in Context 105
14. Six. The Theology of Archetypes in “Taras Bul'ba” 114
15. Seven. The Opponent 122
16. Eight. The Eschatology of “Taras Bul'ba” 129
17. Nine. The Temptation of Taras 138
18. Ten. The Helper 151
19. Part III. The Discreet Pleasures of Liberalism
20. Eleven. Liberalism, Modernity, and Semi(o)tic Chaos 163
21. Twelve. Ivan Turgenev’s Crime and Punishment 177
22. Thirteen. Uncle Iankel’s Cabin 217
23. Fourteen. Of Chekhov and Garlic 233
24. Part IV. Concerto for Flute Without Orchestra
25. Fifteen. Reb Goethe and the Problematics of Russian-Jewish Authorship 281
26. Sixteen. Isaak Babel’s Portrait of the Artist as a Former Jew 300
27. Seventeen. Writing and Reading in the Margins 337
28. Notes 371
29. Works Cited 439
30. Index 483