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Download Apricot Jam: And Other Stories by Aleksandr Solzhenitsyn PDF

By Aleksandr Solzhenitsyn

After years of dwelling in exile, Aleksandr Solzhenitsyn lower back to Russia in 1994 and released a sequence of 8 powerfully paired tales. those groundbreaking works—interconnected and juxtaposed utilizing an experimental approach Solzhenitsyn often called “binary”—join Solzhenitsyn’s already on hand fiction as the most strong literature of the 20th century.

With Soviet and post-Soviety existence as their concentration, those tales weave and shift within their shared environment, illuminating the Russian event below the Soviet regime. In “The Upcoming Generation,” a professor promotes a lifeless yet proletarian pupil merely out of fine will. Years later, a similar professor unearths himself arrested and, in a impressive accident, his pupil turns into his interrogator. In “Nastenka,” younger ladies with an identical identify lead regimen, ordered lives—until the Revolution exacts radical switch on them both.

The so much eloquent and acclaimed opponent of presidency oppression, Solzhenitsyn used to be provided the Nobel Prize in Literature in 1970, and his paintings keeps to obtain overseas acclaim. on hand for the 1st time in English, Apricot Jam and different Stories is a remarkable instance of Solzhenitsyn’s singular sort and in basic terms additional solidifies his position as a real literary giant.

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Stattdessen rechnet er mit der Kooperation des Publikums, das mithilfe der eigenen Vorstellungskraft am ästhetischen Gesamteindruck ergänzend mitwirken soll. Ferner traut er es dem Medium der Musik offenbar eher zu, die auratische Präsenz der mythischen Dimension zu suggerieren, als der Sprache. Intermedialität fungiert hier augenscheinlich als Möglichkeit, die spezifischen Limitierungen eines einzelnen Mediums, etwa des literarischen Textes bzw. Librettos, gezielt zu überschreiten und dabei gleichzeitig ästhetische Mehrdeutigkeiten zu erzeugen.

23 Vgl. Willaschek: Mozart-Theater, S. 1 u. 68 sowie Gardiner: >Idomeneo< in neuer Sicht, S. 25. « 38 ANNETTE SIMONIS lichkeit und Abgründigkeit des Werks? Hinterlassen vielleicht - so könnte man sich fragen - das Scheitern des aufklärerischen Bemühens, das sich schließlich auch symbolisch in der (von oben verordneten) Abdankung Idomeneos äußert, sowie das weitgehende Zugeständnis an die mythische Mentalität ein ungutes Gefühl beim Komponisten und zeitgenössischen Zuhörer? Das positive Ende wird außerdem dadurch merkwürdig gebrochen, dass zwei Personen isoliert bleiben und sich der allgemeinen harmonischen Auflösung in Wohlgefallen nicht integrieren lassen.

So wie bereits Aischylos, Sophokles und Euripides in ihrer dramatischen >Arbeit am Mythos< aus ein und demselben Fundus geschöpft und in der zeitgenössischen Arena des Athener Dionysos-Theaters am Fuß der Akropolis in wettbewerbsmäßiger Einstellung, mit Gewinn- und Überbietungsabsicht auf die Fassungen ihrer Konkurrenten reagiert hatten, so konnten die Dramatiker der neuzeitlichen europäischen Literaturen, nunmehr in der imaginären Arena des weltliterarischen Archivs, sich auf dieses kulturelle Repertoire zurückbeziehen und ihre eigene Kreativität an ihm erproben, eine agonale Konstellation, die ebenso zur selbstbewussten Bekundung moderner Überlegenheitsansptüche und Überbietungsambitionen Anlass gab (also etwa zu den großmütig herablassenden Äußerungen Voltaires, Schillers oder Wielands über die mannigfachen Ungereimtheiten in der vermeintlich von Regelverstößen strotzenden tragischen Kunst ihrer Vorgänger Sophokles oder Euripides), wie umgekehrt Nietzsche in der Geburt der Fragödie alle modernen Schriftstellerkollegen nachdrücklich vor solchen Selbstüberschätzungen warnte, indem er in grandioser Metaphorik die >Übermacht der Tradition« statuierte und daran erinnerte, »daß die Griechen unsere und jegliche Kultur als Wagenlenker in den Händen haben, daß aber fast immer Wagen und Pferde von zu geringem Stoffe und der Glorie ihrer Führer unangemessen sind, die dann es für einen Scherz erachten, ein solches Gespann in den Abgrund zu jagen: über den sie selbst, mit dem Sprunge des Achilles, hinwegsetzen« .

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