Cvetaeva’s poetic use of folklore is unusual for the Silver Age, though it connects her with nineteenth-century writers, especially Pushkin. Examination of the long folkloric poems “Царь-Девица” and “Молодец”, both based on folktales found in Aleksandr Afanas’ev’s classic three-volume collection of Russian folktales, shows Cvetaeva freely engaging in folkloric strategies of adaptation. She also responds in important ways to the folkloristic commentary provided by Afanas’ev. Folklore has been a significant topic in scholarship on Cvetaeva as well.

In: A Companion to Marina Cvetaeva
Editor: Olga Voronina
A Companion to Soviet Children’s Literature and Film offers a comprehensive and innovative analysis of Soviet literary and cinematic production for children. Its contributors contextualize and reevaluate Soviet children’s books, films, and animation and explore their contemporary re-appropriation by the Russian government, cultural practitioners, and educators.
Celebrating the centennial of Soviet children’s literature and film, the Companion reviews the rich and dramatic history of the canon. It also provides an insight into the close ties between Soviet children’s culture and Avant-Garde aesthetics, investigates early pedagogical experiments of the Soviet state, documents the importance of translation in children’s literature of the 1920-80s, and traces the evolution of heroic, fantastic, historical, and absurdist Soviet narratives for children.

of Eastern Christianity. The notion of the immutability of Byzantine inheritance, whether via text, image, or idea, anchors the received artifact in space and time and estranges the possibility of adaptation and interpretation. 54 The case of court rituals in Rus/Muscovy and the Byzantine Empire

In: Byzantium in Eastern European Visual Culture in the Late Middle Ages

th centuries, is not a synthesis of artistic and architectural elements drawn from distinct church building traditions. Rather, these buildings display an adaptation and translation of select elements, such as the triconch layout, in order to fulfill certain needs. For instance, the desire of the

In: Byzantium in Eastern European Visual Culture in the Late Middle Ages