Publications

Books: 

Lyric Complicity: Poetry and Readers in the Golden Age of Russian Literature, Madison: University of Wisconsin Press, 2019. Paperback edition – Madison: University of Wisconsin Press, 2021.

Impossible Project: The Story of Russian Ballet and Its Survival, Oxford University Press, forthcoming.

Essays:

"Action and Acting at Biograph Studio, 1908-1912," Journal of e-Media Studies 7:1 (2024). Co-author: Yuri Tsivian. Also available on the Web: Action and Acting at Biograph Studio, 1908–1912 (dartmouth.edu)

“Te zhe i Bowlt: nemoe kino i khudozhestvennyi byt” [“Enter John Bowlt: Silent Film and Visual Art Environment,”] in A Blue Brick. Festschrift in Honour of John E. Bowlt on the Occasion of his 80th Birthday, ed. by Yuri Leving (Saint-Petersburg: Chistyi list, 2024), 309-25. Co-author: Yuri Tsivian.

Balanchin pered ot’ezdom (po materialam arkhiva Slonimskogo) [“Balanchine before His Departure [from Russia] (Researching Yuri Slonimsky’s Archive)”,] in Omnia Praeclara Rara [A collection of works dedicated to the memory of Natalia Dunaeva], (Saint-Petersburg: Chistyi list, 2023), 129-38.

“Things Untimely: Death, Birth, and Poetry in Evgenii Baratynsky's ‘Nedonosok’,” Slavic and East European Journal 64:2, Summer 2020, 284-304.

“Dve stroki i tri soseda: konteksty odnogo pushkinskogo perevoda” [“Two Lines and Three Neighbors: Some Contexts of Pushkin’s Previously Unrecognized Translation”], in Unacknowledged Legislators: Studies in Russian Literary History and Poetics in Honor of Michael Wachtel, Stanford Slavic Studies 50, ed. by L. Fleishman, D.M. Bethea, I. Vinitsky (Bern, Switzerland: Peter Lang, 2020), 83-94.

“Reading and Readers of Poetry in the Golden Age, 1800-1830,” in Reading Russia. A History of Reading in Modern Russia, vol. 2, ed. by Damiano Rebecchini and Raffaella Vassena (Milano: di/segni, 2020), 13-55 [this book chapter is a slightly reworked excerpt from my Lyric Complicity: Poetry and Readers in the Golden Age of Russian Literature, see above].

“Introduction,” in Yuri Tynianov, Permanent Evolution: Selected Essays on Literature, Theory, and Film, ed. and trans. by Ainsley Morse and Philip Redko (Boston: Academic Studies Press, 2019), 1–24. Trans. by Maria Vassileva, with Ainsley Morse and Philip Redko. 2021 AATSEEL Best Scholarly Translation into English Award.

“Valentin Parnakh: genezis ‘vnezapnogo tantsa’” [Valentin Parnakh: A Genesis of the “Sudden Dance”,] in Tynianovskii sbornik 14 (2018), 139-54. Co-author: Yuri Tsivian. 

“The Case of The Dying Swan: The Performative Evolution of a Dance,” in Russian Performances: Word, Object, Action, ed. by Julie A. Bucker, Julie A. Cassiday, and Boris Wolfson (Madison: University of Wisconsin Press, 2018), 218-26.

„Exploring Cutting Structure in Film, with Applications to the Films of D. W. Griffith, Mack Sennett, and Charlie Chaplin,“ Digital Scholarship in the Humanities 32: 1 (April 2017), 1–16. Co-authors: Mike Baxter, Yuri Tsivian.

“A Numerate Film History? Cinemetrics Looks at Griffith, Griffith Looks at Cinemetrics,” Mise au Point, Vol.8 (8), 2016, online.Co-authors: Mike Baxter, Yuri Tsivian.

„Nijinsky’s Afterimages in Eisenstein’s and Chaplin’s Eyes,“ Russian Movement Culture of the 1920s and 1930s, ed. by Lynn Garafola (Harriman Institute, Columbia University, 2015), 80-88 (pdf volume published on the Harriman Institute website). 

„Esche raz ob iskusstve finala“ [On Finale of Gogol’s Notes of a Madman], forthcoming in Russko-frantsuzskii razgovornik ou Les Causeries du 7 Septembre. Collection of Papers in Honour of Professor Vera Milchina (Moscow: Novoe Literaturnoe Obozrenie, 2014). 

“This Is No Longer Dance:” The Politics of Choreography in The Steel Step (1927), Critical Inquiry 40:3 (Spring 2014), 134-149.

 «Siuzhet “Kino-Glaza”» [On the Plot of Dziga Vertov’s Kino-Eye (1924)], Kinovedcheskie Zapiski 104-105 (2013), 95-118. 

“Konets fil’ma” [The End: On Various Versions of Finale for Vasiliev Bros. The Sleeping Beauty (1930)], Istoriia literatury. Poetika. Kino: Sbornik v chest’ M.O. Chudakovoi, ed. Oleg Lekmanov, Ekaterina Liamina, and Alexandr Ospovat (Moscow: Novoe Izdatel’stvo, 2012), 545-568. Co-author: Yuri Tsivian.

“Eisenstein’s Choreography in Ivan the Terrible,” Studies in Russian and Soviet Cinema 5:1, 2011, 55-71. Italian translation: “La coreografia di Ivan il Terribile”, Bianco e nero, 569, 1/2011.

“Ukazatel’ zhestov: Prodolzhenie” [Index of Gestures: Continued], Ot slov k telu. [From Words to Body], ed. Alexandr Lavrov, Alexandr Ospovat, and Roman Timenchik (Moscow: Novoe Literaturnoe Obozrenie, 2010), 343-61 [research paper about three 20^th-century Russian poems on gestures and body movements: Vladislav Khodasevich's Giselle, Osip Mandelshtam's Grand Piano, and Joseph Brodsky's To Mikhail Baryshnikov ("The Classical Ballet is a Castle of the Beauty…")].

 “Illustratsiia v roli kommentariia: “Pikovaia Dama” Alexandra Benois” [Illustration as Commentary: Alexandre Benois' The Queen of Spades], Con amore: Festschrift for Prof. Liubov’ Kiseleva, eds. Roman Leibov, Andrey Nemzer, Alexandr Ospovat, et al. (Moscow: OGI, 2010), 619-38 [in collaboration with Yuri Tsivian].

 “Stikhotvorenie Pushkina “Rifma, zvuchnaia podruga…”: genealogiia i semantika liricheskogo narrativa” [Pushkin’s Poem “Rhyme, My Sonorous Friend...”: Genealogy and Semantics of a Lyrical Narrative], Novoe literaturnoe obozrenie, 95 (2009), 81-126. Also available on the web.

 “Pushkinskii nabrosok vozrazheniia Kuechelbeckeru” [Pushkin’s Draft Critics of 1824 Kuechelbecker’s Essays in Mnemozina], Russian Literature and the West. A Tribute for David M. Bethea. Stanford Slavic Studies 35, pt. I. (2008), 66-116. Co-author: Tatiana Krasnoborod’ko. Also published on the web.

 “Eshche raz o finale Dvenadtsati: opyt vizual’nogo kommentariia” [The Visual Commentary to the Finale of Alexander Blok’s  The Twelve], The Real Life of Pierre Delalande. Studies in Russian and Comparative Literature to Honor of Alexander Dolinin. Stanford Slavic Studies 33, pt I (2007), 186-219.

“(Ne)izvestnaia avtoepigramma Alexandra Pushkina: k interpretatsii odnoi strofy iz “Evgeniia Onegina” [An [Un]known Auto-Epigram of Alexander Pushkin: Towards  Interpretation of one Stanza from “Eugene Onegin”], Kirillitsa, ili Nebo v almazach, ed. Roman Leibov (Tartu University), published on the web. 

 “Oda kak madrigal: k opisaniiu odnogo stikhotvoreniia Baratynskogo” [The Ode as a Madrigal: Towards Interpretation of “Eshche kak Patriarch ne dreven ia…” by Evgenii Baratynsky], Pushkinskie chteniia v Tartu 4 (Tartu, 2007), 331-344. Also available on the web.

 “Kuzmin i smert’ tantsovshchitsy” [Mikhail Kuzmin and the Death of the Dancer], Novoe literaturnoe obozrenie 78 (2006), 241-270. Also available on the web.

 “Neizvestnyi stikh Baratynskogo” [The Unknown Verse of Evgenii Baratynsky], Desyatye-Odinnadcatye-Dvenadcatye Tynianovskie chteniia (Мoscow, 2006), 207-213.

“Literaturnaia positsiia Baratynskogo i esteticheskie spory konca 1820-h gg”. [Evgenii Baratynsky and the Discussions on Literary Aesthetics of the late 1820s], Pushkinskie chteniia v Tartu 3 (Tartu, 2004), 149-180. Also available on the web.

“Poslanie Bogdanovichu i literaturnaia positsiia rannego Baratynskogo” [The Epistle To Bogdanovich and the Literary Aesthetics of Evgenii Baratynsky in His Early Years], Lotmanovsky sbornik 3, (Мoscow: OGI, 2004), 933-947.

Book reviews:

Marius Petipa: The Emperor’s Ballet Master, by Nadine Meisner, Ballet Review 47.3 & 47.4, Fall-Winter 2019, 91-5.

Greetings, Pushkin! Stalinist Cultural Politics and the Russian National Bard, by Jonathan Brooks Platt, Slavic Review 76:4, Winter 2017, 1140-1.

‘Bolshoi Confidential’ Peers Down the Centuries and Past the Pirouettes [a review of Bolshoi Confidential:Secrets of the Russian Ballet from the Rule of the Tsars to Today, by Simon Morrison], New York Times, Nov. 13, 2016, C4.

Alla Osipenko: Beauty and Resistance in Soviet Ballet, by Joel Lobenthal, Russian Review 75:3, January-October 2016, 513-4.

Swans of the Kremlin, by Christine Ezrahi, Slavic Review 3:1, Spring 2014, 223-224.