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Oleh S. Ilnytzkyj: Ukrainian Futurism, 1914-1930: A Historical and Critical Study. Cambridge, Mass.: Harvard University Press for the Ukrainian Research Institute, Harvard University, 1997. 413 pp. $35.00 (cloth); $18.00 (paper).

Oleh S. Ilnytzkyj: Ukrainian Futurism, 1914-1930: A Historical and Critical Study. Cambridge,... Double theme in Bunin's depictions of the women his young heroes love, and that doubling began with Pashchenko. There was the flesh-and-blood Varvara Pashchenko and then there was the idealized P a s h c h e n k o , whom the young creative artist Bunin invented and fell in love with. Even as a young man Bunin was aware that he was falling in love, largely, with a figment oj his own imagi- i- nation, as do the young heroes he later invented. This brings us back to t h e issue we began with, the Nabokovian theme of "reali-ty." To what extent is even our present life a concatenation of imagined circumstances, rather than a "real" life? "The re-experience of the past is more real for the adult Arsen'ev than t h e original e x p e r i e n c e s . . . " (p. 58). There is the key. For Bunin imaginative life is equally (or more) "real" than "real life" (whatever that is). For the creative artist t h e Pygmalion myth is paramount. In her memoir, Grasskii dnevnik, Galina Kuznetsova relates an account of a dream Bunin http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Canadian-American Slavic Studies Brill

Oleh S. Ilnytzkyj: Ukrainian Futurism, 1914-1930: A Historical and Critical Study. Cambridge, Mass.: Harvard University Press for the Ukrainian Research Institute, Harvard University, 1997. 413 pp. $35.00 (cloth); $18.00 (paper).

Canadian-American Slavic Studies , Volume 33 (2-4): 455 – Jan 1, 1999

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Publisher
Brill
Copyright
© 1999 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0090-8290
eISSN
2210-2396
DOI
10.1163/221023999X00670
Publisher site
See Article on Publisher Site

Abstract

Double theme in Bunin's depictions of the women his young heroes love, and that doubling began with Pashchenko. There was the flesh-and-blood Varvara Pashchenko and then there was the idealized P a s h c h e n k o , whom the young creative artist Bunin invented and fell in love with. Even as a young man Bunin was aware that he was falling in love, largely, with a figment oj his own imagi- i- nation, as do the young heroes he later invented. This brings us back to t h e issue we began with, the Nabokovian theme of "reali-ty." To what extent is even our present life a concatenation of imagined circumstances, rather than a "real" life? "The re-experience of the past is more real for the adult Arsen'ev than t h e original e x p e r i e n c e s . . . " (p. 58). There is the key. For Bunin imaginative life is equally (or more) "real" than "real life" (whatever that is). For the creative artist t h e Pygmalion myth is paramount. In her memoir, Grasskii dnevnik, Galina Kuznetsova relates an account of a dream Bunin

Journal

Canadian-American Slavic StudiesBrill

Published: Jan 1, 1999

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