Gabriella Safran

Recording Russia examines scenes of listening to "the people" across a variety of texts by Russian writers and European travelers to Russia. Gabriella Safran challenges readings of these works that essentialize Russia as a singular place where communication between the classes is consistently fraught, arguing instead that, as in the West, the sense of separation or connection between intellectuals and those they interviewed or observed is as much about technology and performance as politics and emotions. Nineteenth-century writers belonged to a distinctive media generation using new communication technologies—not bells, but mechanically produced paper, cataloguing systems, telegraphy, and stenography. Russian writers and European observers of Russia in this era described themselves and their characters as trying hard to listen to and record the laboring and emerging middle classes. They depicted scenes of listening as contests where one listener bests another; at times the contest is between two sides of the same person. They sometimes described Russia as an ideal testing ground for listening because of its extreme cold and silence. As the mid-century generation witnessed the social changes of the 1860s and 1870s, their listening scenes revealed increasing skepticism about the idea that anyone could accurately identify or record the unadulterated "voice of the people." Bringing together intellectual history and literary analysis and drawing on ideas from linguistic anthropology and sound and media studies, Recording Russia looks at how writers, folklorists, and linguists such as Turgenev, Dostoevsky, and Vladimir Dahl, as well as foreign visitors, thought about the possibilities and meanings of listening to and repeating other people's words.

Trying to Listen in the Nineteenth Century

Recording Russia

Sarah Ogilvie

Nineteenth-century readers had an appetite for books so big they seemed to contain the whole world: immense novels, series of novels, encyclopaedias. Especially in Eurasia and North America, especially among the middle and upper classes, people had the space, time, and energy for very long books. More than other multi-volume nineteenth-century collections, the dictionaries, or their descendants of the same name, remain with us in the twenty-first century. Online or on paper, people still consult Oxford for British English, Webster for American, Grimm for German, Littré for French, Dahl for Russian. Even in spaces whose literary languages already had long philological and lexicographic traditions-Chinese, Japanese, Arabic, Persian, Greek, Latin-the burgeoning imperialisms and nationalisms of the nineteenth century generated new dictionaries. The Whole World in a Book explores a period in which globalization, industrialization, and social mobility were changing language in unimaginable ways. Newly automated technologies and systems of communication expanded the international reach of dictionaries, while rising literacy rates, book consumption, and advertising led to their unprecedented popularization. Dictionaries in the nineteenth century became more than dictionaries: they were battlefields between prestige languages and lower-status dialects; national icons celebrating the language and literature of the nation-state; and sites of innovative authorship where middle and lower classes, volunteers, women, colonial subjects, the deaf, and missionaries joined the ranks of educated white men in defining how people communicated and understood the world around them. In this volume, eighteen of the world's leading scholars investigate these lexicographers asking how the world within which they lived supported their projects? What did language itself mean for them? What goals did they try to accomplish in their dictionaries?

Dictionaries in the Nineteenth Century

The Whole World in a Book

Nineteenth-century readers had an appetite for books so big they seemed to contain the whole world: immense novels, series of novels, encyclopaedias. Especially in Eurasia and North America, especially among the middle and upper classes, people had the space, time, and energy for very long books. More than other multi-volume nineteenth-century collections, the dictionaries, or their descendants of the same name, remain with us in the twenty-first century. Online or on paper, people still consult Oxford for British English, Webster for American, Grimm for German, Littr� for French, Dahl for Russian. Even in spaces whose literary languages already had long philological and lexicographic traditions-Chinese, Japanese, Arabic, Persian, Greek, Latin-the burgeoning imperialisms and nationalisms of the nineteenth century generated new dictionaries. The Whole World in a Book explores a period in which globalization, industrialization, and social mobility were changing language in unimaginable ways. Newly automated technologies and systems of communication expanded the international reach of dictionaries, while rising literacy rates, book consumption, and advertising led to their unprecedented popularization. Dictionaries in the nineteenth century became more than dictionaries: they were battlefields between prestige languages and lower-status dialects; national icons celebrating the language and literature of the nation-state; and sites of innovative authorship where middle and lower classes, volunteers, women, colonial subjects, the deaf, and missionaries joined the ranks of educated white men in defining how people communicated and understood the world around them. In this volume, eighteen of the world's leading scholars investigate these lexicographers asking how the world within which they lived supported their projects? What did language itself mean for them? What goals did they try to accomplish in their dictionaries?

Steven J. Zipperstein

The author of "The Dybbuk," Shloyme-Zanvl Rappoport, known as An-sky (1863-1920), was a figure of immense versatility and also ambiguity in Russian and Jewish intellectual, literary, and political spheres. Drawing together leading historians, ethnographers, literary scholars, and others, this far-ranging, multi-disciplinary examination of An-sky is the fullest ever produced.

Gabriella Safran

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