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Scholars have traditionally sought the sources of Mikhail Chulkov’s The Comely Cook, or the Adventures of a Depraved Woman [Prigozhaia povarikha, ili pokhozhdeniia razvratnoi zhenshchiny] of 1770 in Western European novels. In contrast, this article examines Chulkov’s work as a complex example of cultural transfer that took place on several levels: among languages and national traditions; between poetry and prose; on the somewhat indeterminate level of genre; between oral and print, verbal and visual media; and between high and low, popular and highbrow cultural registers.
Abstract
This article examines the brilliant caricatures by Nikolai Vladimirovich Remizov (Re-mi, born Vasil’ev, 1887–1975) for the Russian satirical journals of 1905–1907. This period marked the first stage of Remizov’s long career, when he emerged as one of the country’s most talented and well-known caricaturists. The article focuses on Remizov’s new, no-holds-barred satire depicting episodes of state-sponsored bloodletting. The satirical journals widely quoted the words of Dmitri Trepov to his troops during the October general strike “not to fire blanks and to spare no cartridges,” a phrase that became a tragi-comic mantra in the satirical journals. It also reflected the take-no-prisoners spirit of Remizov’s caricatures. Further, the article outlines Remizov’s subsequent participation in the few journals—in particular, Satirikon and Novyi Satirikon (New Satyricon)—that strove to keep the satirical tradition of 1905 alive. After the Bolshevik Revolution put a forcible end to these publications, Remizov emigrated, and later forged a long career in the United States as an art designer for stage, television and the big screen.