Olga Voronina
Olga Voronina was Deputy Director of the Nabokov Museum in St Petersburg and the Nabokov Estate representative in Russia before receiving a PhD in Slavic Languages and Literatures from Harvard University. She is now Associate Professor of Russian at Bard College, where she directs the Russian and Eurasian Program, and a board member of the Vladimir Nabokov Literary Foundation.
Supervisors: Stephanie Sandler, Louis Menand, William Mills Todd III, and Svetlana Timina
Supervisors: Stephanie Sandler, Louis Menand, William Mills Todd III, and Svetlana Timina
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Papers by Olga Voronina
How do contemporary poets’ museums in Moscow contend with the need to relegate their sacral functions to the Russian Orthodox Church? What visual devices and narrative techniques do they use to restore the power of poetic language while embracing the new information environment that emphasizes the pragmatic function of the vernacular? Can a Russian literary museum finally cease to be an altar and, instead, turn itself into a forum? This essay introduces and analyzes case studies of the Anna Akhmatova Museum in St. Petersburg, Marina Tsvetaeva Museum in Moscow, and the yet-unopened Joseph Brodsky Museum, as well as their predecessors, in an attempt to identify three Post-Soviet paradigms of the alteration and manipulation of cultural memory.
How do contemporary poets’ museums in Moscow and St. Petersburg contend with the need to relegate their sacral functions to the Russian Orthodox Church? What visual devices and narrative techniques do they use to restore the power of poetic language while embracing the new information environment that emphasizes the pragmatic function of the vernacular? Can a Russian literary museum finally cease to be an altar and, instead, turn itself into a forum? This essay introduces and analyzes case studies of the Anna Akhmatova Museum in St. Petersburg, Marina Tsvetaeva Museum in Moscow, and the yet-unopened Joseph Brodsky Museum, as well as their predecessors, in an attempt to identify three Post-Soviet paradigms of the alteration and manipulation of cultural memory.
How do contemporary poets’ museums in Moscow contend with the need to relegate their sacral functions to the Russian Orthodox Church? What visual devices and narrative techniques do they use to restore the power of poetic language while embracing the new information environment that emphasizes the pragmatic function of the vernacular? Can a Russian literary museum finally cease to be an altar and, instead, turn itself into a forum? This essay introduces and analyzes case studies of the Anna Akhmatova Museum in St. Petersburg, Marina Tsvetaeva Museum in Moscow, and the yet-unopened Joseph Brodsky Museum, as well as their predecessors, in an attempt to identify three Post-Soviet paradigms of the alteration and manipulation of cultural memory.
How do contemporary poets’ museums in Moscow and St. Petersburg contend with the need to relegate their sacral functions to the Russian Orthodox Church? What visual devices and narrative techniques do they use to restore the power of poetic language while embracing the new information environment that emphasizes the pragmatic function of the vernacular? Can a Russian literary museum finally cease to be an altar and, instead, turn itself into a forum? This essay introduces and analyzes case studies of the Anna Akhmatova Museum in St. Petersburg, Marina Tsvetaeva Museum in Moscow, and the yet-unopened Joseph Brodsky Museum, as well as their predecessors, in an attempt to identify three Post-Soviet paradigms of the alteration and manipulation of cultural memory.
Eric Naiman, TLS: “an impressive achievement. Copiously annotated and amply indexed, it is extremely user-friendly. . . . the richly textured, eminently readable translations by Boyd and Olga Voronina are admirably faithful. An enormous amount of research has gone into the annotation, and a generation of scholars of the emigration will be in Boyd and Voronina’s debt.”
Donald Rayfield, The Literary Review: “exemplary translation and annotation make this collection something of a biography in itself.” Philip Hensher, Spectator: “some of the most rapturous love letters anyone has ever written, love letters from the length of a lifelong marriage; beautiful performances for Véra, Nabokov’s wife, and incidentally for us.”