By Mikhail Lermontov
An excellent new translation of a perennial favourite of Russian Literature
The first significant Russian novel, A Hero of Our Time was once either lauded and reviled upon booklet. Its dissipated hero, twenty-five-year-old Pechorin, is a gorgeous and magnetic yet nihilistic younger military officer, bored by means of lifestyles and detached to his many sexual conquests. Chronicling his unforgettable adventures within the Caucasus related to brigands, smugglers, infantrymen, competitors, and fanatics, this vintage story of alienation stimulated Tolstoy, Dostoyevsky, and Chekhov in Lermontov's personal century, and unearths its modern day opposite numbers in Anthony Burgess's A Clockwork Orange, the novels of Chuck Palahniuk, and the movies and performs of Neil LaBute.
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An Intimate Self-Portrait. Ed. Phyllis Freeman. Trans. Barbara Crow de Toledo and Ricardo Pohlenz. New York: Harry N. ; Mexico: La Vaca Independiente, 1995. Lowe, Sarah M. ” In The Diary of Frida Kahlo. An Intimate Self-Portrait. Ed. Freeman, Phyllis. Trans. Barbara Crow de Toledo and Ricardo Pohlenz. New York: Harry N. ; Mexico: La Vaca Independiente, 1995. 25–29. —. ” In The Diary of Frida Kahlo. An Intimate Self-Portrait. Ed. Freeman, Phyllis. Trans. Barbara Crow de Toledo and Ricardo Pohlenz.
The performance takes place on multiple levels. ” (133, ﬁg. ” (100), “YES, I COME CRYING TO YOU” (101), or demands an audience: “LONG LIVE STALIN / LONG LIVE DIEGO” (111), “ENGELS / MARX / LENIN / STALIN / MAO” (114). The progressive disintegration of the pictorial body deﬁnes the chronology of the narrative; the diarist accomplishes what the painter has begun. ” (Kahlo 115), or indicates her inability to escape the symbolic ﬁre that is burning her body because she has “BROKEN WINGS” (Kahlo 124), the voice of the social and political activist grows stronger, marking a change of focus towards another dimension of her persona—the Communist: “I feel uneasy about my painting.
6 Lowe points out that the accompanying text demonstrates clearly that Kahlo saw herself as Neferisis/Nefertiti, and Diego as Akhenaten, Nefertiti’s consort (220). 7 Oil on canvas 65 x 45 cm, Government of the State of Tlaxcala, Instituto Tlaxcalteca de Cultura, Museo de Arte de Tlaxcala. Reproduced in Dexter and Barson 84. 5 x 35 cm, Madonna’s Collection. Reproduced in Dexter and Barson 100. 5 x 38 cm, Museo Dolores Olmedo Patiño, Mexico City. Reproduced in Dexter and Barson 99. 5 cm, Murray Collection, Harry Ransom Research Center, University of Texas at Austin.
A Hero of Our Time by Mikhail Lermontov