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Radical Remakes: Confronting Russia'...

Hinds-Bond, Jessica.

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Radical Remakes: Confronting Russia's Literary Heritage on the Post-Soviet Russian Stage.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Radical Remakes: Confronting Russia's Literary Heritage on the Post-Soviet Russian Stage./
Author:	Hinds-Bond, Jessica.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
Description:	455 p.
Notes:	Source: Dissertations Abstracts International, Volume: 80-01, Section: A.
Contained By:	Dissertations Abstracts International80-01A.
Subject:	Slavic literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10812969
ISBN:	9780438116269

Radical Remakes: Confronting Russia's Literary Heritage on the Post-Soviet Russian Stage.
Hinds-Bond, Jessica.

Radical Remakes: Confronting Russia's Literary Heritage on the Post-Soviet Russian Stage. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 455 p.

Source: Dissertations Abstracts International, Volume: 80-01, Section: A.

Thesis (Ph.D.)--Northwestern University, 2018.

This item must not be added to any third party search indexes.

This dissertation examines dramatic and theatrical remakes of the Russian literary canon in post-Soviet and contemporary Russian playwriting. Remakes are provocative, postmodern engagements with classic texts. They not only rewrite the canonical texts but also problematize their extratextual legacy as cultural objects with accumulated meanings, interpretations, and preexisting histories of adaptation. I conduct careful and contextualized analysis of eight play texts (dating from 1994 to 2013) and their most significant theatrical productions to understand how young Russians empower themselves through playwriting, rewrite their literary canon, and critique and contend with aspects of contemporary Russian life, from rigidifying gender norms to histories of trauma and war. My examination moves forward chronologically as it moves outward from plays that take on single source texts to those that take on the canon as a whole. Chapters 1 and 2 examine remakes of the novels Oblomov and Anna Karenina, respectively. Chapter 3 considers remakes of two novellas from a single author, Nikolai Gogol. Chapter 4, finally, investigates two plays that remake famous nineteenth-century plays, works that were already written for the stage. While the early chapters focus on how individual protagonists have been reimagined by contemporary playwrights, my later chapters turn to the question of the utility of and inherent meaning in the canon at large. I argue that these playwrights deconstruct canonical texts to lay claim to Russia's literary heritage while also asserting the right to make meaning in a post-Soviet space. Moreover, in bringing these works to the stage, the playwrights lay the canonical texts and their own remakes bare for an ongoing process of meaning making, one that takes place through the encounter with the audience. If the Russian literary canon is inherently closed , its prescribed interpretations a product of the long Soviet years in which literature was coopted for its socializing and Sovietizing purposes, then the stage, in which meaning is never fixed, offers the canon its best possible antidote: in this site of living confrontation, these contemporary remakes wrench the canonical texts and the canon itself wide open.

ISBN: 9780438116269Subjects--Topical Terms:

2144740
Slavic literature.
Subjects--Index Terms:

Adaptation

Radical Remakes: Confronting Russia's Literary Heritage on the Post-Soviet Russian Stage.
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520 $a This dissertation examines dramatic and theatrical remakes of the Russian literary canon in post-Soviet and contemporary Russian playwriting. Remakes are provocative, postmodern engagements with classic texts. They not only rewrite the canonical texts but also problematize their extratextual legacy as cultural objects with accumulated meanings, interpretations, and preexisting histories of adaptation. I conduct careful and contextualized analysis of eight play texts (dating from 1994 to 2013) and their most significant theatrical productions to understand how young Russians empower themselves through playwriting, rewrite their literary canon, and critique and contend with aspects of contemporary Russian life, from rigidifying gender norms to histories of trauma and war. My examination moves forward chronologically as it moves outward from plays that take on single source texts to those that take on the canon as a whole. Chapters 1 and 2 examine remakes of the novels Oblomov and Anna Karenina, respectively. Chapter 3 considers remakes of two novellas from a single author, Nikolai Gogol. Chapter 4, finally, investigates two plays that remake famous nineteenth-century plays, works that were already written for the stage. While the early chapters focus on how individual protagonists have been reimagined by contemporary playwrights, my later chapters turn to the question of the utility of and inherent meaning in the canon at large. I argue that these playwrights deconstruct canonical texts to lay claim to Russia's literary heritage while also asserting the right to make meaning in a post-Soviet space. Moreover, in bringing these works to the stage, the playwrights lay the canonical texts and their own remakes bare for an ongoing process of meaning making, one that takes place through the encounter with the audience. If the Russian literary canon is inherently closed , its prescribed interpretations a product of the long Soviet years in which literature was coopted for its socializing and Sovietizing purposes, then the stage, in which meaning is never fixed, offers the canon its best possible antidote: in this site of living confrontation, these contemporary remakes wrench the canonical texts and the canon itself wide open.
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