Book contents
- The New Cambridge History of Russian Literature
- The New Cambridge History of Russian Literature
- Copyright page
- Contents
- Figures
- Contributors
- Acknowledgements
- On Transliteration, Names, and Dates
- Introduction
- History 1 Movements
- History 2 Mechanisms
- 2.1 The Monastery
- 2.2 The Court
- 2.3 The Salon and the Circle
- 2.4 The Thick Journal
- 2.5 The Publisher
- 2.6 Queerness
- 2.7 The Censor
- 2.8 The Voice
- 2.9 The Self-Publisher
- 2.10 The Market
- 2.11 The Internet
- 2.12 Empire
- Boxes 3 Places
- Boxes 4 Narrative Voices
- History 3 Forms
- History 4 Heroes
- Index
Boxes 4 - Narrative Voices
from History 2 - Mechanisms
Published online by Cambridge University Press: 31 December 2024
- The New Cambridge History of Russian Literature
- The New Cambridge History of Russian Literature
- Copyright page
- Contents
- Figures
- Contributors
- Acknowledgements
- On Transliteration, Names, and Dates
- Introduction
- History 1 Movements
- History 2 Mechanisms
- 2.1 The Monastery
- 2.2 The Court
- 2.3 The Salon and the Circle
- 2.4 The Thick Journal
- 2.5 The Publisher
- 2.6 Queerness
- 2.7 The Censor
- 2.8 The Voice
- 2.9 The Self-Publisher
- 2.10 The Market
- 2.11 The Internet
- 2.12 Empire
- Boxes 3 Places
- Boxes 4 Narrative Voices
- History 3 Forms
- History 4 Heroes
- Index
Summary
It is a truism to say that medieval literature was largely anonymous. Chronicles accumulated over the centuries without indication of author or compiler. Scores of saints’ lives were composed, expanded, redacted, and paraphrased by unnamed writers and editors. It can be surprising, therefore, to find that the use of the first-person singular is not as uncommon as the truism might imply. Who is he (the first-person singular is almost invariably male), and what are his roles and functions?
- Type
- Chapter
- Information
- The New Cambridge History of Russian Literature , pp. 452 - 462Publisher: Cambridge University PressPrint publication year: 2024