By Mikhail Lermontov
A super new translation of a perennial favourite of Russian Literature
The first significant Russian novel, A Hero of Our Time used to be either lauded and reviled upon booklet. Its dissipated hero, twenty-five-year-old Pechorin, is a gorgeous and magnetic yet nihilistic younger military officer, bored via lifestyles and detached to his many sexual conquests. Chronicling his unforgettable adventures within the Caucasus related to brigands, smugglers, squaddies, competitors, and fans, this vintage story of alienation inspired Tolstoy, Dostoyevsky, and Chekhov in Lermontov's personal century, and unearths its modern day opposite numbers in Anthony Burgess's A Clockwork Orange, the novels of Chuck Palahniuk, and the movies and performs of Neil LaBute.
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Additional resources for A Hero of Our Time
1650. 48,5 x 37,5 cm. Vatican, Biblioteca Apostolica Vaticana, Barb. Lat. 4428, f. 11. ). 6 Premier exemple donc d’une éclatante Reine des Cieux: la Vierge, assimilée à la Femme de l’Apocalypse, triomphante, piétine la lune (Apoc. 12. 1),7 symbole de l’inconstance du monde, et est accompagnée des astres luminaires, en référence aux attributs de la Vierge issus du Cantique des Cantiques (Ct. 6. 9 10). Sous le titre Canone a cinque voci all’unisono sopra le vocali suivi, comme souvent, du monogramme de Valentini, l’image découpée par l’auteur d’une Vierge triomphante est entourée d’une composition musi cale à cinq voix à l’unisson sopra le vocali (ﬁg.
Marcel Duchamp, Manual of instructions for the assembly of Étant donnés, 1966. Binder: 115/8 x 9 13/16 x 13/4 inches. Philadelphia Museum of Art, Gift of the Cassandra Foundation, 1969. © Succession Marcel Duchamp, 2008, ADAGP, Paris. Duchamp’s elaborate, and rather eccentric, system of ﬂuorescent lighting, which requires a dense tangle of roughly connected electrical wires and around thirty extension cords to obtain the supra naturalistically diaphanous quality that pervades the work. The behind the scenes workings have a ramshackle quality that is dramatically different from the technical perfection of the illusionistic diorama that we view through the peepholes, which permanently cuts off from view many crucial details, such as the checkered black and white linoleum ﬂoor.
6 Lowe points out that the accompanying text demonstrates clearly that Kahlo saw herself as Neferisis/Nefertiti, and Diego as Akhenaten, Nefertiti’s consort (220). 7 Oil on canvas 65 x 45 cm, Government of the State of Tlaxcala, Instituto Tlax calteca de Cultura, Museo de Arte de Tlaxcala. Reproduced in Dexter and Barson 84. 5 x 35 cm, Madonna’s Collection. Reproduced in Dexter and Barson 100. 5 x 38 cm, Museo Dolores Olmedo Patiño, Mexico City. Repro duced in Dexter and Barson 99. 5 cm, Murray Collection, Harry Ransom Research Center, University of Texas at Austin.
A Hero of Our Time by Mikhail Lermontov