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Исследование посвящено современной драматургии Великобритании, направлено на выявление ведущих тенденций и устоявшихся приоритетов в британском театре последней трети ХХ-начала XXI в. Каждый из авторов, рассматриваемых в монографии, может быть в том или ином смысле обозначен как один из лидеров современного театра: Том Стоппард (р. 1937)-драматург всемирно знаменитый, в том числе благодаря активному художественному эксперименту; Кэрил Черчилл (р. 1938)-наиболее известная драматическая писательница, отличающаяся и четкой политической позицией, и творческим поиском; Марк Равенхилл (р. 1966)самый влиятельный автор британской «новой драмы» рубежа ХХ-XXI вв. Для специалистов, читателей и театралов, интересующихся английской драмой.

With its in-depth knowledge and extensive use of archived and printed material, this book can offer a good learning experience for writers in the same genre: the biography of the Petersburgbased philologist, literary historian, translator, editor, and Professor A. Smirnov (1883–1962) is presented in the context of 20th-c. Russian cultural and literary life. The chapters follow a chronological order and are connected by permeating themes of human and academic relationships: with A. Veselovsky, V. Zhirmunsky, and others. The Shakespearean topic is particularly important in the book: Smirnov personally edited nearly all translations of the Bard’s works appearing in the 1930s–1950s. The biography paints a clear picture of the period and explains why Smirnov never got to write his magnum opus on Shakespeare, despite him having all it took to achieve this, being by nature and training, his philosophy and cultural mentality one of the more consummate ‘Europeans’ among Russian scholars.

A book of remembrance by Anatoly Kuznetsov, an enthusiastic scholar of the life, beliefs and works of the 20th-c. pianist and Christian philosopher Maria Yudina. Referring to her personality as ‘symphonic’ and ‘faithful to  sobornost’, Kuznetsov spent forty years celebrating Yudina’s memory and sparing no effort to collect and preserve her legacy. He searched for and gathered her articles, letters, reminiscences, and diaries, and brought to light her informal connections, discovering her friends of some years and correspondents from all over the world. Yudina exchanged letters with Adorno, Balanchine, Bakhtin, Zabolotsky, Karsavin, Lozinsky, Prokofiev, Stravinsky, Suvchinsky, Florensky, Favorsky, Chukovsky, Shostakovich, and Yavorsky. The rich ‘musical score of life’ is accentuated by the symphonic and polyphonic qualities of her letters. Searching for synthesis, Yudina became its true epitome. Supplementing Yudina’s own writings with scholarly essays and reminiscences about her, Kuznetsov succeeds in capturing the vanishing era.

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