[To request papers that not available online, please write to firstname.lastname@example.org]
Luba Golburt, “Alexander Pushkin as a Romantic,” in the Oxford Handbook of European Romanticism, ed. Paul Hamilton. Oxford University Press, 2015.
Ilya Kliger and Boris Maslov, eds. Persistent Forms: Explorations in Historical Poetics. Forthcoming with Fordham UP (series “Studies in Poetics”), June 2015. Table of Contents (revised). http://fordhampress.com/index.php/persistent-forms-cloth.html
NB: For illustrations to Michael Kunichika’s chapter see the bottom of the page.
Ilya Kliger, “Non-synchronous Modernity and Tragic Nationalism in Dostoevsky and Nietzsche,” in Dostoevsky and Nietzsche, eds. Jeff Love and Jeffrey Metzger, Northwestern University Press.
Boris Maslov, Pindar and the Emergence of Literature, Forthcoming with Cambridge UP, 2015.
Scott Mehl, “The Beginnings of Japanese Free Verse and the Dynamics of Cultural Change.”Japan Review (2015).
Victoria Somoff, The Imperative of Reliability: Russian Prose on the Eve of the Novel, 1820s-1850s. Forthcoming with Northwestern UP, February 2015. http://www.nupress.northwestern.edu/titles/imperative-reliability
Luba Golburt, The First Epoch: The Eighteenth Century and the Russian Cultural Imagination. University of Wisconsin Press, 2014. http://uwpress.wisc.edu/books/5136.htm
Luba Golburt, “The Queen is Dead, Long Live the King: Paul’s Accession and the Plasticity of Late Eighteenth-Century Panegyric,” Russian Literature 75.1-4 (2014): 163-187.
Boris Maslov, “Why Republics Always Fail: Pondering Feofan Prokopovich’s poetics of absolutism.” ВИВЛIОθИКА: E-Journal of Eighteenth-Century Russian Studies 2 (2014) 24-46.
Luba Golburt, “The Portrait Mode: Zhukovskii, Pushkin and the Gallery of 1812.” In Rites of Place: Public Commemoration and Celebration in Russia, eds. Julie Buckler and Emily Johnson, 105-132. Evanston, IL: Northwestern University Press, 2013.
Kate Holland, The Novel in the Age of Disintegration: Dostoevsky and the Problem of Genre in the 1870s. Northwestern University Press, 2013.
Boris Maslov, “Comparative Literature and Revolution, or the Many Arts of (Mis)Reading Alexander Veselovsky.” Compar(a)ison: An International Journal of Comparative Literature 2008  2: 101-129.
Boris Maslov, “The Dialect Basis of Choral Lyric and the History of Poetic Languages in Archaic Greece.” Symbolae Osloenses 87 (2013): 1-29.
Armen Avanessian, Anke Hennig, Präsens: Poetik eines Tempus (Zurich: Diaphanes, 2012). Russian translation forthcoming in 2013. English translation in preparation.
Ilya Kliger, “Resurgent Forms in Ivan Goncharov and Alexander Veselovsky: Toward a Historical Poetics of Tragic Realism.” Russian Review 71.4 (2012): 655-672.
Michael Kunichika, “ ‘The Scythians Were Here…’ On Nomadic Archaeology, Modernist Form, and Early Soviet Modernity.” Ab Imperio. 2012. № 2. P. 229-257.
Michael Kunichika, “’The Ecstasy of Breadth': The Odic and the Whitmanesque in Dziga Vertov’s One Sixth of the World (1926).” Studies in Russian & Soviet Cinema 6.1 (2012) 53-74.
Boris Maslov, “Pindaric temporality, Goethe’s Augenblick, and the invariant plot of Tiutchev’s lyric.” Comparative Literature 64.4 (2012) 356-381.
Boris Maslov, “The real life of the genre of prooimion.” Classical Philology 107.3 (2012) 191-205.
Boris Maslov, “From (theogonic) mythos to (poetic) logos: reading Pindar’s genealogical metaphors after Freidenberg.” Journal of Ancient Near Eastern Religions 12.1 (2012) 49-77.
Ilya Kliger, The Narrative Shape of Truth: Veridiction in Modern European Literature. University of Pennsylvania Press, 2011.
Ilya Kliger, “Genre and Actuality in Belinskii, Herzen, and Goncharov: Toward a Genealogy of the Tragic Pattern in Russian Realism.” Slavic Review 70.1 (2011) 45-66.
Ilya Kliger, “Dostoevsky and the Novel-Tragedy: Genre and Modernity in Ivanov, Pumpyansky, and Bakhtin.” PMLA 126.1 (2011) 73–87.
Jonathan Ullyot, “Molloy or Le conte du Graal.” Modern Philology 108.4 (2011) 560-79.
Ilya Kliger, “World Literature Beyond Hegemony in Yuri Lotman’s Cultural Semiotics,” Comparative Critical Studies 7.2-3 (2010) 257-274.
Leslie Kurke, Aesopic Conversations: Popular Tradition, Cultural Dialog, and the Invention of Greek Prose, Princeton UP , 2010.
Victoria Somoff, “No Need for Dogs or Women: Muteness in Turgenev’s ‘Mumu’.” Russian Literature 68:3-4 (2010), 501-520.
Christopher Faraone, The Stanzaic Architecture of Early Greek Elegy, Oxford UP, 2008.
Kate Holland, “Novelizing Religious Experience: The Generic Landscape of The Brothers Karamazov,” Slavic Review 66.1 (2007): 63-81
Kate Holland, “Literary Contexts of Triangular Desire: Natalie and Alexander Herzen as Readers of George Sand,” Russian Literature 61. 1-2 (2007): 175-205
Leslie Kurke, “Plato, Aesop, and the Beginnings of Mimetic Prose,” Representations 94 (2006) 6-52.
Richard P. Martin, “Words Alone are Certain Good(s): Philology and Greek Material Culture,” Transactions of the American Philological Association 138.2 (2008) 313-349.
Boris Maslov, “The semantics of aoidos and related compounds: Towards a historical poetics of solo performance in Archaic Greece.” Classical Antiquity 28.1 (2009) 1-38.
Igor Smirnov. “O teorii zhanrov.” Die Welt der Slaven 50.2 (2005): 322-361.
Victoria Somoff, “On the Metahistorical Roots of the Fairytale.” Western Folklore 61 (2002), 277-294.
Victoria Somoff (Nesterenko), “Chudo kak sobytie v slove” (Miracle as a Narrative Event), Voprosy literatury, 1 (1997), 103-116.