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Anna Michajlovna LjunggrenProfessor emerita i ryska

Om mig

Mitt forskningsområde har under många år varit  1800- 0ch 1900-talets poesi (Boris Pasternak, Elena Guro, Innokentij Annenskij, Fjodor Tiuttjev). 
Jag har även lett ett projekt om rysk prosa kring millenieskiftet. För närvarande deltar jag i forskningsprogrammet “Cosmopolitan and Vernacular Dynamics in World Literatures”, där min del handlar om ”Samtida ryska kosmopoliter”.
 

Biografiska data

  • född  i Leningrad
  • MA i romanska språk ( Institutet för Allmän Språkvetenskap, Rysslands Vetenskapsakademien) 1978
  • filosofie doktor 1984 Stockholm Universitet 
  • professor i slaviska språk med litterär inriktning 2001

Publikationer

I urval från Stockholms universitets publikationsdatabas

  • “ПУШКИНИЗМ” АННЫ АХМАТОВОЙ

    2017. Anna Ljunggren. Russian literature 90, 115-143

    Artikel

    The purpose of the article is to draw attention to Anna Akhmatova’s scholarly studies of Pushkin, which she called “pushkinizm” after Boris Tomashevskii, and to discuss its place in Akhmatova’s work, as well as the role it played in the unofficial culture of Leningrad. Her studies are regarded here as an “open” text, unfinished and ongoing. The importance of the oral performance is stressed; it uses “pushkinizm” to create a theatralized act of commemoration. A wider question is raised in this con-nection, that of the unofficial culture in Leningrad as being a culture of conservation, rather that of dissent. There the most prominent part was played not only by a poet, but also by a scholar.

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  • Closing the Circle: On the Poetics of Contemporary Russian Prose

    2009. Anna Ljunggren. Russian literature 65 (4), 451-466

    Artikel

    This article attempts to define trends in prose at the turn of the Millennium. Discussion focuses on the following issues in the context of “pluralist” postmodern aesthetics in Russia: ambiguity as multilingualism and its hero-intermediary, simulacra and homonymy, or the category of the “neo-real”, as Jean Baudrillard formulated it, in connection with stylization. Finally, it is maintained that the oversaturation of our contemporary culture with signs replacing reality has exhausted their potential “to mean” and invites the theme of Apocalypse as a last resort for producing meaning. Two ways out of this impasse seem to emerge in the mid-1990s: on the one hand, documentary genres; on the other, their opposite – the mythological novel. The aesthetic development of the 1990s seems, however, to have been impeded by the shrinking freedom of cultural expression in Russia.

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