naia gazeta 39 (Sept. 25 , 1847 ): 613 ; Moskvitianin 15 ( 1853 ): 110 ; Illiustratsiia(Jan.
2 , 1858 ): 7 , respectively.
41 .On Bakunina’s unpublished poetry, see my “Praskov’ia Bakunina and
the Poetess’s Dilemma,” 43–57. See also Kul’man’s “Kopaiskii rybar” (The
Kopais fisherman, 1839 ), in which a storm at sea is personified as a combination
of the feminine (volny) and the masculine (vetry). This androgynous image con-
trasts with contemporary men poets’ depiction of storms as raging females
(Iazykov’s “Buria” [The storm, 1839 ], Lermontov’s “Groza” [The thunderstorm,
1830 ], and Fet’s “Nyne pervyi my slishali grom” [Now we heard thunder for the
first time, 1883 ]).
42 .Johnson, The Poems of Emily Dickinson, 3 : 1114. In Turgenev’s “Poezdka v
poles’e” ( 1857 ), the forest is presented as similarly uninterested in humanity, but
the point of the story appears to be the narrator’s epiphany in which he comes
to understand the life of nature (zhizn’ prirody).
43. See Margaret Homans’s discussion of the implications of the Garden of
Eden myth for women poets inWomen Writers and Poetic Identity,29–31.
44 .Of course, the men poets who had been classically educated (Pushkin,
Del’vig, Fet, Khomiakov, Maikov, etc.) also evoked the worlds of ancient Rome
and Greece in their poetry, but usually in Bacchic or anacreontic poetry, i.e., po-
etic fantasies about a pre-Christian world of sexually available women.
45 .Garelina also writes of “merciless fate” in “Tebia kak angela spasen’ia”
(You, like an angel of salvation, 1870 ).
Chapter 3. Gender and Genre
- For various taxonomies and hierarchies of genre starting with Plato and
continuing to the present, see Fowler,Kinds of Literature.
2 .Fowler,Kinds of Literature, 111 , 122. It was Aristotle who first wrote of
“kinds” of literature in his Poetics.Fowler’s use of “kind,” although logical, has
not been adapted by subsequent genre theorists, as can be seen from the quo-
tations that follow. In the following discussion, therefore, I, too, generally use
“genre” to refer to kinds of literature.
3 .I am thinking of such scholars as Fredric Jameson in The Political Uncon-
scious: Narrative as a Socially Symbolic Act (Ithaca, N.Y.: Cornell University Press,
1981 ) and Anne Cranny-Francis in Feminist Fiction: Feminist Uses of Generic Fic-
tion.Gerhart defines ideology as “the lies that keep the powerful in power”
(Genre Choices, Gender Questions, 190 ). On ideology, see Terry Eagleton’s Ideology:
An Introduction (New York: Verso, 1991 ); Jameson, Political Unconscious, 106 ; Ger-
hart, Genre Choices, Gender Questions,189–90. For ideologies of class and race in
relation to Russian literary genres, see my “Gender and Genre in Pavlova’s A
Double Life,” Slavic Review 54 , no. 3 ( 1995 ): 567 ; and “Karolina Pavlova’s ‘At the
Tea Table’ and the Politics of Class and Gender,” 271–84.
4 .In a Russian literary context Michael Wachtel confirms Russ’s conclusion
when he states, “Pushkin’s example alone... serves as eloquent testimony that
the greatest poets are not necessarily the most radical innovators” (Development
of Russian Verse, 16 ). “A poet’s attitude to the larger literary tradition is revealed
with striking clarity when his [sic] work is placed in the formal and semantic
242 Notes to Pages 53–58