Iurii Olesha was a controversial writer whose most productive period was the late 1920s and early 1930s. He also enjoyed a period of posthumous fame in the 1960s with the publication in 1965 of his wr...
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In the following essay, Harkins explores a number of philosophical antitheses in Olesha's short stories.
The early stories of Jurij Oleša, such as “Liompa” (1928), ...
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In the following essay, Beaujour underscores the theme of the artist in society in Olesha's short fiction through an analysis of his short stories “The Cherry Stone” and “L...
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In the following essay, Barratt provides a stylistic and thematic analysis of “Liompa.”
In Yury Olesha's small corpus of literary works “Liompa” occupies a specia...
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In the following essay, Ingdahl perceives the dichotomy of life and death as a major thematic concern in “Liompa.”
I
Man's relationship to reality is a constantly recurring the...
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In the following essay, Ingdahl assesses the significance of “The Cherry Pit” to Olesha's oeuvre and investigates the origins of the story.
1. “lessons of Observation...
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In the following essay, Beaujour portrays Olesha's No Day Without a Line as a pessimistic semi-autobiographical work and notes Olesha's attempts to compare himself with Marcel Proust.
...
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In the following essay, Naydan presents a semiotic analysis of Olesha short story “The Cherry Pit,” emphasizing the concepts of Biblical myth, regeneration, and time.
Oleša�...
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In the following chapter from his book-length study of Olesha's poetic artistry, Peppard points out the ways in which Olesha uses dialogic structures in his work.
Olesha's best works ...
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In the following essay, Ehre explores the ways in which Olesha's modernist novel Zavist' presents a comic view of the Soviets' utopian dream.
Utopia and dystopia designate the ...
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In the following essay, Tolczyk calls Olesha a post-realist who found it nearly impossible to reconcile his idea of artistic “truth” with the realities of the Soviet system.
Russian l...
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In the following excerpt, Borden explores the influences of a short story by H. G. Wells on Olesha's work.
In The Man Who Mistook His Wife for a Hat and Other Clinical Tales, Oliver Sacks de...
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In the following essay, Borden explores the importance of the childhood experience to the formation of metaphor in Olesha's narratives.
Iurii Olesha (1899-1960), like many of his generation,...
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In the following essay, Michalski examines cinematic techniques used in Olesha's literary works and analyzes Olesha's screenplay, Strogii iunosha, and its adaptation by filmmaker Abram R...
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In the following excerpt from his chapter on Soviet romantics, Slonim presents an overview of Olesha's works, emphasizing Envy and a few plays and short stories.
Perhaps the label of romanti...
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In the following review of Michael Green and Jerome Katsell's translation of Olesha's plays, Beaujour criticizes the translations of colloquial expressions but finds the volume an otherw...
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In the following essay, Harkins notes that Olesha's fragmentary reminiscences show both an esthetic view of life and an absence of a moral or political viewpoint.
Olesha's No Day With...
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In the following essay, Oja argues that it is possible to separate fantasy and reality in the imaginative work Zavist', thereby providing clues to the thematic structure of the novel.
Iurii ...
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Yuri (Karlovich) Olesha
Critical Essay by William E. Harkins
