By Olga Matich

Seeing that its founding 300 years in the past, the town of Saint Petersburg has captured the imaginations of the main celebrated Russian writers, whose characters map the town by way of navigating its streets from the aristocratic heart to the gritty outskirts. whereas Tsar Peter the nice deliberate the streetscapes of Russia’s northern capital as a distinction to the muddy and crooked streets of Moscow, Andrei Bely’s novel Petersburg (1916), a cornerstone of Russian modernism and the fruits of the “Petersburg delusion” in Russian tradition, takes factor with the city’s premeditated and supposedly rational personality within the early 20th century.     “Petersburg”/Petersburg experiences the ebook and town opposed to and during one another. It starts off with new readings of the novel—as a detective tale encouraged by way of bomb-throwing terrorists, as a illustration of the aversive emotion of disgust, and as a painterly avant-garde text—stressing the novel’s phantasmagoric and apocalyptic imaginative and prescient of town. Taking a cue from Petersburg’s narrator, the remainder of this quantity (and the significant other website, explores town from vantage issues that experience no longer been thought of before—from its streetcars and iconic art-nouveau workplace structures to the slaughterhouse at the urban fringes. From poetry and terrorist memoirs, images and art, maps and guidebooks of that interval, the town emerges as a residing organism, a dreamworld in flux, and a junction of modernity and modernism.

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The standard narrative function of “suddenly” is to catch the reader unawares. Vladimir Toporov considers it one of the discursive markers of the Petersburg text, which according to him is headed toward destruction and which “suddenly” represents. 36 Shklovsky’s image of “suddenly” can be illustrated by the Bronze Horseman galloping through Petersburg streets and up the staircase to Dudkin’s garret, which appropriately is preceded by the adverb. The narrator of Petersburg describes “suddenly” as “that notorious word .

Malmstad (Bloomington: Indiana University Press, 1978), 2. 2. See the thematic cluster on the Leningrad Blockade in Slavic Review 69, no. 2 (2010), edited by Polina Barskova, who is one of the authors in Part 2 of this volume. 24        3. Michel de Certeau, The Practice of Everyday Life, trans. Steven Rendall (Berkeley: University of California Press, 1988), 91. 4. N. Antsiferov, Dusha Peterburga (Leningrad: Leningradskii komitet literatorov. Agentstvo Lira, 1990), 27. 5. For a history of the different editions and publication history of Petersburg, see L.

55. Kaganov, Images of Space, 29–46. 56. , 49. 57. Gilles Deleuze, Cinema 2. The Time-Image, trans. Hugh Tomlinson and Robert Galeta (Minneapolis: University of Minnesota Press, 1989), 302. 58. For a discussion of the baroque in terms of the folding of space, movement, and time, see Gilles Deleuze, The Fold: Leibniz and the Baroque, trans. Tom Conley (Minneapolis: University of Minnesota Press, 1992). Deleuze considers folding, starting with the fold of fabric, a definitive aspect of the baroque.

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