•DZ ages from Upper Mesoproterozoic rocks of N Baltica suggest a common provenance area.•The majority of clastics were sourced from the Grenvillian-Sveconorwegian Orogen.•Continuation of the ...Grenvillian-Sveconorwegian Orogen across the Barents Sea.
The Precambrian sedimentary succession of Middle Timan provides important information on the coeval history of Baltica prior to assembly of the Rodinia supercontinent. This study comprises a comprehensive integrated provenance study based on samples collected from Precambrian clastic rocks of the Chetlassky Kamen and Volsko-Vymskaya Ridge. The maximum depositional age of the studied succession is constrained as latest Mesoproterozoic – earliest Neoproterozoic based on the youngest detrital zircon and rutile ages. Metasandstone samples within the succession are arkose, sublitharenite and litharenite. The distributions of detrital zircon U-Pb ages from the studied metasedimentary rocks are very comparable, yielding approximately 50% Mesoproterozoic ages within the ranges 1470 – 1550 and 1170 – 1370 Ma, 45% Paleoproterozoic ages and 5% Archean ages, with predominant populations grouping at 2500–2700 and 1800–1900 Ma. Comparable detrital zircon age distributions within the coeval strata of northern Baltica suggest a common provenance area. Analysis of detrital rutile suggests the widespread distribution of latest Mesoproterozoic – earliest Neoproterozoic metamorphism within the provenance area. A comparison of detrital zircon age distributions from the coeval strata of Baltica and Laurentia also revealed a striking similarity. Therefore, we suggest that clasts were in fact predominantly sourced from the Grenvillian-Sveconorwegian Orogen, with possible reworking of older zircon grains from older sedimentary rocks involved in the deformation and uplift. Our data support the tectonic model invoking a continuation of the Grenvillian-Sveconorwegian Orogen further to the east across the Barents Sea from its closest modern outcrop in Scandinavia.
Across the twentieth century war was the central experience of the Russian people, spurring tales of the struggles and advances of the combat hero to become a prevailing Russian literary trope. In ...this wide spanning text Brintlinger traces the war experiences, memories, tropes, and metaphors in literature of the Soviet and post-Soviet period, examining the work of Dmitry Furmanov, Fyodor Gladkov, Alexander Tvardovsky, Emmanuil Kazakevich, Vera Panova, Viktor Nekrasov, Alexander Solzhenitsyn, Vladimir Voinovich, Sergei Dovlatov, Vladimir Makanin, Viktor Astafiev, Viktor Pelevin, and Vasily Aksyonov. These authors represented official Soviet literature and underground or dissident literature. They fell into and out of favor, were exiled and returned to Russia, and died at home and abroad. Most importantly, each of these writers was touched by war and reacted to the state of war in their literary works.
In The Icon and the Square , Maria Taroutina examines how the traditional interests of institutions such as the crown, the church, and the Imperial Academy of Arts temporarily aligned with the ...radical, leftist, and revolutionary avant-garde at the turn of the twentieth century through a shared interest in the Byzantine past, offering a counternarrative to prevailing notions of Russian modernism.
Focusing on the works of four different artists—Mikhail Vrubel, Vasily Kandinsky, Kazimir Malevich, and Vladimir Tatlin—Taroutina shows how engagement with medieval pictorial traditions drove each artist to transform his own practice, pushing beyond the established boundaries of his respective artistic and intellectual milieu. She also contextualizes and complements her study of the work of these artists with an examination of the activities of a number of important cultural associations and institutions over the course of several decades. As a result, The Icon and the Square gives a more complete picture of Russian modernism: one that attends to the dialogue between generations of artists, curators, collectors, critics, and theorists.
The Icon and the Square retrieves a neglected but vital history that was deliberately suppressed by the atheist Soviet regime and subsequently ignored in favor of the secular formalism of mainstream modernist criticism. Taroutina’s timely study, which coincides with the centennial reassessments of Russian and Soviet modernism, is sure to invigorate conversation among scholars of art history, modernism, and Russian culture.
One new damselfly genus and species,
Progophlebia tarasenkovae
gen. et sp. nov., and two new species from known genera:
Progoneura kityakensis
sp. nov. and
Kennedya tyulkinensis
sp. nov. of the ...family Kennedyidae (Odonata: Protozygoptera) from several Permian localities (Vyazovka, Kityak, and Tyulkino) of European Russia are described. All known representatives of the family are briefly reviewed. The distinctive features of the localities are characterized.
This second book in a three-volume work on the young Fyodor Dostoevsky is a diary-portrait of his early years drawn from letters, memoirs, and criticism of the writer, as well as from the testimony ...and witness of family and friends, readers and reviewers, and observers and participants in his life. The result of an exhaustive search of published materials on Dostoevsky, this volume sheds crucial light on the many unexplored corners of Dostoevsky's life in the time between the success of his first novel, Poor Folk, and the failure of his next four works. Thomas Gaiton Marullo lets the original writers speak for themselves—the good and the bad, the truth and the lies—and adds extensive notes with correctives, counterarguments, and other pertinent information. Marullo looks closely at Dostoevsky's increasingly tense ties with Vissarion Belinsky, Nikolai Nekrasov, Ivan Turgenev, and other figures of the Russian literary world. He then turns to the individuals who afforded Dostoevsky security and peace amid the often negative reception from fellow writers and readers of his early fiction. Finally, Marullo shows us Dostoevsky's break with the Belinsky circle; his struggle to stay afloat emotionally and financially; and his determination to succeed as a writer while staying true to his vision, most notably, his insights into human psychology that would become a hallmark of his later fiction. This clear and comprehensive portrait of one of the world's greatest writers provides a window into his younger years in a way no other biography has to date.
Russian Silver Age writers were full participants in European literary debates and movements. Today some of these poets, such as Akhmatova, Mandelstam, Mayakovsky, Pasternak, and Tsvetaeva, are known ...around the world. This volume introduces Silver Age poetry with its cultural ferment, the manifestos and the philosophical, religious, and aesthetic debates, the occult references and sexual experimentation, and the emergence of women, Jews, gay and lesbian poets, and peasants as part of a brilliant and varied poetic environment. After a thorough introduction, the volume offers brief biographies of the poets and selections of their work in translation-many of them translated especially for this volume-as well as critical and fictional texts (some by the poets themselves) that help establish the context and outline the lively discourse of the era and its indelible moral and artistic aftermath.
This collection of Russian short stories from the 21st century includes works by famous writers and young talents alike, representing a diversity of generational, gender, ethnic and national ...identities. Most of texts in this volume appear in English for the first time. 21 will appeal to anyone interested in contemporary Russia.
Russian children's literature has a history that goes back over 400 years. This book offers a comprehensive study of its development, setting Russian authors and their books in the context of ...translated literature, critical debates and official cultural policy.
The Bilingual Muse analyzes the work of seven Russian poets who translated their own poems into English, French, German, or Italian. Investigating the parallel versions of self-translated poetic ...texts by Vladimir Nabokov, Joseph Brodsky, Andrey Gritsman, Katia Kapovich, Marina Tsvetaeva, Wassily Kandinsky, and Elizaveta Kul'man, Adrian Wanner considers how verbal creativity functions in different languages, the conundrum of translation, and the vagaries of bilingual identities. Wanner argues that the perceived marginality of self-translation stems from a romantic privileging of the mother tongue and the original text. The unprecedented recent dispersion of Russian speakers over three continents has led to the emergence of a new generation of diasporic Russians who provide a more receptive milieu for multilingual creativity.
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