XVIII. The “Traditional Postmodernism” of Viktor Pelevin’s Short Story “Nika”

Kapitel in diesem Buch

1. Frontmatter i
2. Table of Contents iii
3. Contributors v
4. Acknowledgments xi
5. Introduction: The Short Story as the Genre of Cultural Transition xiii
6. I. “The Darling”: Femininity Scorned and Desired 1
7. II. Bunin’s “Gentle Breath” 13
8. III. Ekphrasis in Isaak Babel 31
9. IV. Zoshchenko’s “Electrician,” or the Complex Theatrical Mechanism 47
10. V. Yury Olesha’s Three Ages of Man: a Close Reading of “Liompa.” 71
11. VI. Nabokov’s Art of Memory: Recollected Emotion in “Spring in Fialta” (1936-1947) 97
12. VII. Child Perspective: Tradition and Experiment. An Analysis of “The Childhood of Luvers” by Boris Pasternak 117
13. VIII. Andrei Platonov and the Inadmissibility of Desire 143
14. IX. “This Could Have Been Foreseen”: Kharms’s The Old Woman (Starukha) Revisited. A Collective Analysis 161
15. X. Testimony as Art: Varlam Shalamov’s “Condensed Milk.” 185
16. XI. The Writer as Criminal: Abram Tertz’s “Pkhents.” 201
17. XII. Vasilii Shukshin’s “Cut Down to Size” (Srezal) and the Question of Transition 217
18. XIII. Carnivalization of the Short Story Genre and the Künstlernovelle: Tatiana Tolstaia’s “The Poet and the Muse.” 239
19. XIV. Down the Intertextual Lane: Petrushevskaia, Chekhov, Tolstoy 261
20. XV. The Lady with the Dogs 279
21. XVI. Russian Postmodernist Fiction and Mythologies of History: Viacheslav Pietsukh’s “The Central-Ermolaevo War” and Viktor Erofeev’s “Parakeet.” 283
22. XVII. Psychosis and Photography: Andrei Bitov’s “Pushkin’s Photograph.” 307
23. XVIII. The “Traditional Postmodernism” of Viktor Pelevin’s Short Story “Nika” 327
24. WORKS CITED 343