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Writing the Urals: Permanence and Ephemerality in Ol'ga Slavnikova’s 2017

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dc.contributor.author Sutcliffe, Benjamin en_US
dc.date.accessioned 2011-05-04T19:22:45Z en_US
dc.date.accessioned 2013-07-10T15:10:00Z
dc.date.available 2011-05-04T19:22:45Z en_US
dc.date.available 2013-07-10T15:10:00Z
dc.date.issued 2011-05-04 en_US
dc.identifier.citation New Zealand Slavonic Journal, vol. 41 (2007). en_US
dc.identifier.uri
dc.identifier.uri http://hdl.handle.net/2374.MIA/4421 en_US
dc.description.abstract Ol'ga Slavnikova’s novel 2017 (Vagrius, 2006) made her the second woman to win Russia’s coveted Booker Prize, garnering conflicting critical responses in the process. Many hurried to label the narrative a dystopia: 2017’s last hundred pages depict the centenary of the November ‘revolution’, chronicling how crowds commemorate the event by dressing up as Reds or Whites and slaughtering their enemies (Chantsev 287; Eliseeva 14). Other critics, and Slavnikova herself, see dystopia as only one strand in the work (Slavnikova ‘Mne ne terpitsia’, 18; Basinskii 13). en_US
dc.title Writing the Urals: Permanence and Ephemerality in Ol'ga Slavnikova’s 2017 en_US
dc.type Text en_US
dc.date.published 2007 en_US


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