SOBREPEREJIVANIENALISTAXMCA* (seleodepostagens)

Avivncia[perejivanie]constituia unidadedapersonalidadeedomeio talcomofiguranodesenvolvimento

L.S.Vigotski (ObrasEsc.TomoIV2006,p.383)

CompiladoporAchillesDelariJunior.Trabalhovoluntrioeindependente.caractersticoqueposts para listas de discusso estejam num gnero intermedirio entre textos acadmicos mais formais e debatesmaisabertoscomo,e.g.,osqueseguemumaapresentaonumcongresso,emboraofatode seremregistroescrito,abertoatodainternet,lhesconfiraumaspectopeculiar.Sendoassim,omodode adiscussodesenvolversenolinear,eocritrioparacoloclosemseqnciaaquibasicamente cronolgico sempre que possvel. Observese tambm que podem ter ficado erros de digitao por partedosautores,comunsaoescrevermosemails,quetenhampassadominhareviso,feitaapenas de sobrevo. Como esse um material para fins de pesquisa exploratria para desenvolvimento de sistematizaes posteriores, creio no haver maiores problemas, nem demande revises adicionais. Grafei perejivanie () no meu ttulo com j, pela pronncia de em portugus (comoemjil).Eminglsotransliterasecomozh,masnoonossozdezebra.Sevoc deseja citar qualquer dos posts, sugiro que faa uma busca com o seu contedo e nome do autorno campo de busca da pgina do LCHC Laboratory of Comparative Human Cognition http://lchc.ucsd.edu/index.html, na opo Search lchc.ucsd.edu, e recolha o url exato do trecho de seuinteresse.Qualquersugestooucrtica,porfavor,envieparadelari@uol.com.br.

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(1)DOTROBBINSSEMDATA
Anexadopostagemde01dedezembro

The Russian language has preserved a lot of magic, almost as much as Sanskrit. In Russianitsoundslike"perezhivanie".Whatdoesitmean?Itisastateofmindinwhich weareexcited,worried,nervous,sufferingfromsomething.Somethingtothateffect. Andifwelookatthecorrespondingverb"perezhivat'",wewillseetwostems:"pere" and "zhivat' " "Zhivat' " means "to live". And "perezhivat' " means to be able to survive after some disaster has overwhelmed you overlive something. And "pere" means carrying something over something, letting something pass beneath and overleaping it. "Pere" means something like cutting out a piece of space, time or feeling. "Pereterpet' " ("terpet' " to endure some pain) means to live until a time whennopainisleft."Pereprignut'"exactlylikeEnglishoverleapmeanstoovercome someobstacleapitorastonewithajump,meaningthatyoudon'twalkonit,butin somewayflyoverit.And,injustthesameway,"perezhivat'"means,ifyoulookatit closely,thatyouhavepassedasifabovesomethingthathadmadeyoufeelpain.And thefactthatinthebaseofeach"againliving"liesaPainyouknowthat.There,inside of a recollection that we call an "again living" lives your Pain. It is the pain that doesn'tletyouforgetwhathashappened.Andyoukeeponcomingbacktoitinyour memory,keeplivingthroughitoverandoveragain,untilyoudiscoverthatyouhave passedthroughit,andhavesurvived. Withbestwishestoallofyou, Dot Dorothy(Dot)Robbins ProfessorofGerman RussianOrphanageVyschgorod www.vygotskyrobbins.com (2)DOTROBBINS01DEDEZEMBRODE2007
From:DotRobbins<drobbins72000whoisatyahoo.com> Date:SatDec01200718:04:37PST

HelloEveryone,(alongnote,soIapologizeinadvance) Thank you for such interesting discussions and papers over the last months. I feel extremelyinadequateinsayingmuchrightnow,andIreallyhopethatmoreRussian colleagueswillcontributetothediscussiononperezhivanie,suchasAnnaS.,SashaS., NatalieG.,E.Matusov,somanymore,andfriendslikePeterMoxhay;and,Ihopeyou will help all of us to better understand this term, as it is so important for us collectively.

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Okay, the history of my interest in Bozhovich came from trying to understand perezhivanie, when Akhutina, Glozmann, Moskovich and I were putting together a book:FestschriftCelebratingtheCentennialoftheBirthofLuria(2002).Therewereso many words that I could not really understand. At that time, I wrote to approx. ten peoplearoundtheworldaskingfortheirdefinitionsofperezhivanie.Unfortunately,I didnotsaveallofthat.But,itledmetoBozhovich,amostremarkablewoman,anda personloyaltoVygotskyinverydifficulttimes.Inthoseearlydiscussions,itwasclear that perezhivanie is difficult to understand for us outside of Russia, because it really capturesthe"Russiansoul"insomanyways.WhatIunderstood(andifIamwrong, pleasecorrectme),wasthatthereisan"intensity,pain,sorrow[Russian]"involvedin perezhivanie,anditisatypeof"unity"ofaffect/cognitionwithsomanyotherthings, forming a "unit" (of analysis) for Vygotsky (at one point in his life). Van der Veer (in Chaiklin, 2001, p. 103) states: "The concept of perezhivanie captures the ideas of analysisinunitsratherthanelements...[It]alsocapturestheideaofdevelopmentby insisting on the everchanging character of interpretations or emotional experiences (whicharealsodependentonchangingwordmeaning,anotherofVygotsky'sunitsof analysis)". Beforetellingyoumythoughts,whileworkingontheBozhovichissueoftheJournalof RussianandEastEuropanPsychologyVol.42/4,T.AkhutinainterviewedN.N.Tolstykh onBozhovich,andIwillsendthatDVDtoPeterS.IalsocameintocontactwithMaria Neimark, who worked with Bozhovich. I could try and find out if she is still with us [alive], if anyone is interested. She sent me a book in English called Personality Orientation,whichIwillalsosendtoPeterS.Oneotherthing,VladislavLektorskygave agreatlectureatRubtscov'suniversityin2003,wherehespeaksaboutperezhivania. * Sasha was in charge of a wonderful series of lectures of wellknown Russian psychologists, offered to the public in Moscow. I am sure Sasha has a much better videoofthatlecturethanIdo,andIfeelsurethatDr.Lektorsky'swordswouldbeof great meaning to many in the Western world (it is always a question of obtaining funding for such translations. I have so many hours of lectures of Russian psychologists, but, no funding for translations). And, Anna Prikhozhan (a close colleagueofBozhovich)haswrittenarecentarticleonperezhivanie.IhaveEmailedto her,askingforacopysothatitcouldbetranslated.Sasha,youcouldbeofgreathelp with this, if you see her at RGGY? Thanks. And, relating to F. Vasilyuk...there are no words to express my extreme gratitude and happiness that his name will soon be known in the West. His ideas are spoken of so often, and just an aside comment... I was told that he just finished his doctorate at Moscow State University a few weeks ago,andthatitwasatrulyjoyousevent. IhavewantedtoseehisworksinEnglishforsometime,andwashopingtheJournalof RussianandEastEuropeanPsychologywouldpublishpartsofhisbookMethodological Analysis in Psychology. I was so hoping to interview him, as he is a major voice in Russianpsychologyofthisgeneration.Surely,allofthiswillhappensomeway,andit makesmeveryhappy.IsohopepeoplewillalsoreadtheideasofAndreyPuzyreiin
*

Aformaperejivaniaamesmatantoparaogenitivosingular,quantoparaonominativoplurale acusativoplural.AquiRobbinspodeestarusandoumplural,nopossoprecisar.

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thesamejournal. Okay,wearealllookingforwardtoISCARinSeptember2008,andIwouldliketosay thisassomethingIamnotsureisappropriate...ifsomepeoplearenotcomingwith their spouses, and have funding to come to the conference, it would be great if you couldpayforanextrabedorroom,tohelpsupportinternationalcolleagues/students wantingsomuchtoattendtheconference,butwhocannotpayforlodging.Thanksfor thatthought.Youwouldalsobeabletogettoknowsomeonefromadifferentpartof theworld,interestedinyourthoughts. Well,Iamsohappythatthebutterflyisthesymbolofthe2008ISCARconference....if my paper is accepted, I hope to speak about a new discourse for the 21st century, which I call"still point transformation," and that symbol is indeed the butterfly. This brings me back to perezhivanie....To be clear,having been born in the last century, I often fall on my face in total disgrace with a "clinging" dialogue, and dialogue of definitions, instead of transformation... examples of my failures: November 2006 in Moscow(andmanyofyouwillknowwhatIamsaying)...or,beingcontactedperEmail totryanddefinemyposition,ortocreateconcretedefinitionsofthings;again,Ioften failwhenfacedwiththesethings[Ifeelarefromthediscourseofthelastcentury].Itis the problem of trying to describe verbs by using nouns only, but never really using verbs,becoming'verbs'...itistheproblemoftryingtoproveone'stheory,andusing casestudies,andofferingdefinitions,butnottryingtoRadicallychangeone'sselfand tryingtoreally"lightthetorchofmotivation"ofthosearoundus...so,perezhivaniefor meisananchorinthefluidityoflife,itrepresentsatypeofsynthesis(notaconcrete unity of analysis), but an anchor within the fleeting times we have on this earth, dedicated to internal transformation and involvement in our world (which is truly suffering,e.g.Africa,Pakistan,Iraq,childrenhungryeverywhere).TheonepleaIhave isforustoreturntoadeeperunderstandingofSpinoza(andtoanappreciationofall art)... Now, Spinoza is tricky, because some people start to think of religion, others related to determinism; and, others relate to wholism, and this sometimes leads to totalitarism. I am extremely grateful to a number of people for including Spinioza in our dialogue, such as Fernanda (Brazil) and her team, Wolfgang (Germany), Vesa Oittinen(Finland),andothers...Weneedtohaveanindividual,singularvisionofwhat we want to leave as a legacy on this earth. Of course, my interests are in a genetic development approach, and that has much to do with language, and how language shapesourlivesinternally/externally.Formepersonally,V.Zinchenkoisareallight... He states: "Internal, is, in fact, not a concomitant condition that participates in determination of behaviour, but rather a source of free behaviour, free action." I believeinthe"winwin"situationLoisHolzmanalludedtolongago.Icanonlysayto youpersonallythatIwillberetiringveryearly,tobeabletohelpothers,torealizemy innerconviction,andtousetheconceptofperezhivanieinanywaythathelpsmeto develop. DotRobbins

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(3)DOTROBBINS02DEDEZEMBRODE2007
OnDec2,20077:23AM,DotRobbins<drobbins72000@yahoo.com>wrote:

Helloagain, Having received questions on "verbs" and "still point transformation" related to perezhivanie,mayItryagain?Intryingtoestablishanewdiscourseformyselfinthe 21stcentury,perezhivanieisthewordthatcapturesmyinnerfeelings...itcannotbe "pinneddown"...Iamnotviewingitliterally,asIdon'tview"wordmeaning"asbeing reallyliteral,itisanunspeakableforcethatsometimesallowsmetotryanewdialogue withmyself.Itislikecapturingtheunderstandingof"consciousnessisreflectedinthe word like the sun is reflected in a drop of water..." Edward de Bono speaks of new forms of logic....he talks about "rock logic"(if you put three rocks together, what do youhave?Many"rock"answers).Ifyouputthreewaterstogether,whatdoyouhave? He is not trying to replace rock with water logic, but he wants us to expand our thinkingintomorefluidity.....Isohopeyouwillallowmetoenterthisdiscourseona real level.....it is all about a newer (well older, becoming newer) understanding of "internalization"... *InthemovieHaroldandMaud,Harold(veryyoung)andMaud(veryveryold)stand byapond,andhegivesheranengagementring,andsheholdsittight.Then,aftera pause(the"stillpoint"),shethrowsitbackintothewater,sayingsomethinglike"nowI willhaveyourringforever."(somethinghasshiftedinconsciousness) *Another example, Alexei Alexeevitch gave me a small booklet of his translations of poetry, and I kept it with me always, until the Language in Action conference in Finland,2006.AlexeiAlexeevichandKariS.hadplannedtheconferencetocelebrateA. A.'s70thbirthday,butA.A.diedin2004.Attheconference,KariS.wasinthehospital and he was dying. I could only speak to him on the phone, and had to give him the mostmeaningfulthingIhad.OnceIhandedthebookletofpoetrytoRiikkaA.forKari, therewasastillpointtransformation,acatharsis,andIknewthatIwouldalwayshave thebook. *HelenKellerandA.Sullivanaremyrealheroes,andIthinkofthemeveryday.Infact, the concept/word "water" for me represents a strong sense of perezhivania. While looking at Vygotsky documents in 2006 at the Kravtsov home, Elena handed me an article to see. It was an article Vygotsky had written, and it was in English, with a note... the note was written by Helen Keller, and there was a moment I could not breathe, the stillpoint transformational moment. I wanted to photocopy the document,butcouldnot.NowIwillalwayshaveit.TheStillPointMoment,ofcourse, must be accompanied with displacement, or dereflection (Frankl), or a form of disobjectivation (A. N. Leontiev), through the magic of catharis to a new "converted form"(Mamardashvilli). *Our orphanage in Vyschgorod (120 km from Moscow) once received a group called "Maria'sChildren."MariaisanartistandshehasanartcenterinMoscowfororphans 5de13

fromvariousorphanagesthere.OneofherclosefriendsisPatchAdams,whousedto come to Moscow yearly to visit hospitals. Maria's children also have learned how to clowninorphanagesandhospitals...InVyschgorod,weareinthemiddleofnowhere, with a school, a building housing staff, and a building where the children live, and woods. One afternoon Maria's Children (+adults) came to visit, and they were all dressedasclowns.Foronehourtheydidnotspeak,butplayedsimplegamesincircles, paintedfaces,therewasjuggling,etc.Ourchildrencouldnotconnectatfirst,theyhad never experienced anything like it. Slowly, the older children brought the younger children into the circles of activity, and the clown healers started speaking in a low voice. Maria's husband had a large map, and started asking the children where elephants live, etc. After 30 minutes, we all went into the gym for snacks, to just interact.Everyonestartedtalking,talking,laughing,itgotveryloud,anditwasthefirst time I had ever seen the children and teachers smile and laugh. I was so overcome withemotionsthatIhadtogooutsidealone,andjustcry.Itwasastillpointmoment, itwasPerezhivanie,withalarge"P."Later,nowbonded,ourentiregroupwenttothe buildingthechildrenlivein,andtogether,everyonepaintedthewallsofthemainhall, onelarge,connectedpaintingwithalltypesofpicturesflowingtogetheronthewalls. Maria's children came to us, gave so much, and just left. We will always carry those momentsinourhearts. *This morning it is finally winter in Missouri....it was raining, and I just went on the deckintherain,anditwaspure"perezhivanie"(withasmall"p,"butreallygood).So, toclose,thenewdiscourseIamdiscoveringistotryandbecomea"verb"andnotjust describewhataverbis...verbsneedtobegroundedinnouns,allofwhichisgrounded in a changing/fluid dialectic (trilectic, etc., meaning there are tons of realities experiencedatonce)...HopefullyinournewcenturywewillstarttoviewVygotskyand many others within the context ofa "verb" (please don't take me literally). As I now state over and over, in 1999 Lev Kravtsov said it the best for me: His hope is that people will stop trying to prove the correctness of individual views and theories of Vygotsky(i.e.,hewasaSpinozist,nohewasasemiotician,noaMarxist,etc.).ItisLev's hopethatwecanallstarttoviewproblemsolving,theorycreation,etc.,THROUGHthe eyes of Vygotsky. Perezhivanie, like the concept/term "water, for me is magic, including all aspects of life. To become who we really are, like Patch Adams did. WishingallofyouablessedandjoyousPerezhivanie! Dot (4)MIKECOLE02DEDEZEMBRODE2007
From:MikeCole<lchcmikewhoisatgmail.com> Date:SunDec02200708:11:31PST

DotVeryinterestingnotesandexamplesonperezhivanie. Mycurrentquestionisabout"displacement"or"dereflection."Thesetwotranslations

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of?????appearcontradictorytoeachother.AcolleagueandIhavebeenworkingto findoutthewaysinwhichtheterm,ostranenie,wasusedbyRussiansemiotic/literary theory and psychological scholars in the early 20th century. This term was used by Shklovski,thePetrograd/Leningrad/StPetersburg"formalist"andsofarasIcantell,it is best translated as "decentering" or "estrangement." Sort of like the idea that the purposeofanthropologicalfieldworkistomakethestrangefamiliarandthefamiliar strange.Thisseemssortoflikedisplacement,butnotDEreflection,sincedecentering presumablygivesrisetoaformofreflectivethought.WhatdoesEugenethink?:) mike (5)BELLAKOTIK02DEDEZEMBRODE2007(ElogiaecomplementaRobbins)
From:bellakotik<bella.kotikwhoisatgmail.com> Date:SunDec02200703:04:23PST

DearDotandall! To your excellent analysis of semantics of "perezhivanie" I want to add one aspect whichwasnotenoughclear:itisreallyaunityofaffectandintellect,butitisnotonly negativeaffect(pain,traumaticeventsetc.)wecanuseitalsoinapositivecontext.I rememberhearingaboutafriend:"Sheisgoingthrough(perezhivaet)acats'period" whichmeant:sheishappy,crazywithinlove.Wecanspeakaboutaprofoundjoyof victoryasperezhivanieetc. BellaKotikFriedgut (6)DOTROBBINS02DEDEZEMBRODE2007(respondeCole)
From:DotRobbins<drobbins72000whoisatyahoo.com> Date:SunDec02200712:43:10PST

Everyone,sorrymymessagesaresolong. Mike, thank you, and yes I believe you are correct that I may be using the wrong terms...please let me give some context first. When Plenum was publishing a book I had, Plenum was sold to Kluwer, and the manuscript was lost. The title of the book shouldhavecontainedtheword"metatheoretical"andnot"metaphor,"andthebook was simply various parts put together, from the confusion. So, I never dreamed of framingVygotskianthoughtasa"metaphor"andneverhadthegoalof"holism."But, it took a direction that was different for me... the un(sub)conscious (as the seat of creativity).VygotskyinterestedmeinthisinPsychologyofArtstartingonp.72.And, since my deep interest is in language, all of this led me to people who write on the consciousandunconsciousasaunity,suchasLacan(IdonotascribetohisFreudian

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side). This led me to the collaboration of neuroscientists working together with the Dala Lama on all of these areas (all of which is connected with personality, identity, etc).Bytheway,theDalaLamamentionsVygotskyinDestructiveEmotions.Thisled me to manypeople, such as Joseph LeDoux (Synaptic Self, for example, who also mentions Luria), and synaptogenesis, for me, the synaptic transmission between neurons,withmultiple"firingpotentials"thatmakesitallpossible.Thisledtotryingto understandthe"gap,""stillpoint,"theBuddhist"emptiness."Iseeitbeingdiscussed in so many places, including Frankl, D. Leontiev, JeanLuc Nancy, etc. So, I have now beenthrownsquarelyinto"metaphor,"butitisnotagoal,justatool.Whathappens in order to reach the moment of catharsis and the newly "converted form"? I don't know, and I can't imagine anyone knows it. It is something like this, from V. Frankl Preciselyattheplaceofitsorigin,theretinaoftheeyehasablindspot,wherethe optic nerve enters the eyeball. Likewise, the spirit is blind precisely at its origin preciselythere,noselfobservation,nomirroringofitselfispossible;wherethespiritis original spirit, where it is fullyitself, precisely there it is also unconscious of itself. (Man'sSearchforUltimateMeaning,p.37).So,tothetermsthatIamtryingtofindto capturetheideaofa"firingpotential,"whichaimsatcatharsis.Ireallylikeyourterm decentering, Mike. Here is another term deautomatization. Here is a quote, that mentionsanotherheroofmine,S.Eisenstein,whoknewVygotsky/Luria/Leontievwell: Process is at the heart of the perception of signs in particular in the creation and
recreation of signs based on structural oppositions. As Eisenstein says: The classical structureofmusicalworks,ofdramas,offilmsorpaintingsisalmostinvariablyderived from a struggle of opposites, linked by the unity of conflict. The role of conflict, of opposition of deautomatization (making strange) was central to Eisensteins contemporaries, the Russian Formalists (in particular, V. Sklovskij and Ju. Tynjanov). In his article Art as Device (1919) Sklovskij advanced the view that artistic communication was based on making strange (ostranenie) and making difficult (zatrudnenie) perceptions that have become automatized, thus enabling the receiver toderivenewinformationthroughanactiveprocess(HerbertEagle,Eisensteinasa Semiotician of the Cinema. In: R. W. Bailey, L. Matejka, and P. Steiner (Eds.) The Sign:SemioticsaroundtheWorld.MichiganSlavicPublications.1978.pp.173 193).

DisobjectivationwasexplainedbyDimitryLeontievinanarticleIamattaching.Itwas usedbyA.N.Leontiev.Itistheuneditedpaper,butthebookislistedwiththeedited version. Perhaps I am not using that word correctly either. I so appreciate this help. Dereflectioninlogotherapythistermisusedastheoppositeof"hyperreflection"of one's own situation. And, there is the paradoxical intention, regarding imagining the thingyoufearthemost(usedintherapy).So,IthinkyouarecorrectMike,thatIhave used the wrong term. My thinking was this: When Viktor Frankl was in the concentrationcamp,thewayhesurvivedwasbyimagininghislifeasitwas,andasit should be. This triggered a new reality that helped him survive to actually live that reality later. This is what attractedme to the term: "Treatment [logotherapy] had to givebacktothepatienthistrustintheunconscious,byhavinghimrealizehowmuch moremusicalhisunconsciouswasthanhisconscious...whattherapyhastoachieveis toconvertanunconsciouspotentiaintoaconsciousactus,buttodosofornoother reasonthantorestoreiteventuallyasanunconscioushabitus"(Frankl,pp.44).

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Thankstoeveryoneforhelpandsupport. Warmly, Dot Dorothy(Dot)Robbins ProfessorofGerman RussianOrphanageVyschgorod www.vygotskyrobbins.com (7)MIKECOLE02DEDEZEMBRODE2009(trplicaaRobbins)

From:MikeCole<lchcmikewhoisatgmail.com> Date:SunDec02200712:59:14PST

Gee,DotIdidn'tthinkyouwereusingaWRONGterm,Ifiguredyoumightbeaiming forsomethingslightlydifferentfromdefamiliarization/decentration.Iwasconfusedby mysensethatyoumightbeusingtwotermsintendedtobesynonymousthatIthought wereantonyms,butthesearebig,unfamiliarwordsandwhenonedoesn'tknowthe territory well, its easy to get confused. The Frankl metaphor of retina and soul is prettyamazing.Iamsureeveryoneisappreciativeofyouthoughtfulnotes.Thosewho arenotinterestedknowwherethedeletebuttonis,letshope!! mike (8)CATHRENESEMDATA(anexoaPeter041207)(sobreperejivanieecatarse)
To:eXtendedMind,Culture,Activity Subject:[xmca]PerezhivanieandCatharsis?

HiPeterandfriends, Ithinkyouareontosomethinghere.IfwelookattheontologyofVygotsky'swork,we seethatheusesthetermcatharsisinhisdoctoraldissertationThePsychologyofArt. Perhapshislaterwritingsonperezhivaniewereanattempttocomefullcirclewiththe totality of experience he was seeking to describe as root or motif of his original framework? In this early work, Vygotsky's definition of catharsis moves beyond processing the experience of trauma and angst to a larger perspective in which emotions are economized and mental energy is conserved through a "discharge that introduces order and harmony into the psychic household of our feelings" (p. 248). Catharsisisachievedthroughthemovementofopposingemotionsthatdevelopintwo different directions, resulting in a dialectic that both validates and transforms the emotions involved. I see parallels here between the internal/external dialectic he sought to capture in his description of perezhivanie. Perhaps the next step in this mystery is to obtain the etymology of the Russian term catharsis and compare the

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two? Cathrene (9)PETERSMAGORINSKY04DEDEZEMBRODE2007

From:PeterSmagorinsky<smagowhoisatuga.edu> Date:TueDec04200711:42:47PST

IjusttalkedwithmyRussiannativecolleagueViktoriaDriagina,andshehelpedwitha fewthings:Pronunciation:per'uhjhivon'iuh.Assheunderstandstheterm,itrefers to the process of working through/reliving through a (usually negative) experience. Andsocatharsisisn'tquiterightbecauseitrefersmoretotheresolutionthantothe process.OneproblemwiththisinterpretationisthatImayberelyingtooheavilyonthe USnotionofcatharsis;ViktoriaindeedwonderedwhatRussiantermmighthavebeen translatedintocatharsis.Itispossible,shenoted,touseperezhivanieinrelationtoa morepositivenoun(e.g.,happiness),andsoit'snotexclusivelytiedtobadexperiences thoughoftenisconcernedwiththem.Viktoriadealswiththeseissuesinherownwork. I'm attach an article she coauthored on Russian emotional vocabulary in American learners'narratives. Acoupleofexcerpts: English, for instance, has no exact translation of the Russian verb perezhivat' that referstotheprocessofworrying,takingthingshardandexperiencingthemkeenly,or, literally, suffering things through. Together with the corresponding noun rasstroistvo, these choices accounted for 32% of the emotion word corpus. Rasstraivat'siaisnottheonlyfrequentlyusedverbtheothertwopopularchoicesare perezhivat' 'to suffer, to worry, to experience something keenly' (18 tokens, 8% of the emotion word corpus) and plakat 'to cry' (10 tokens, 4.6%). As noted earlier, perezhivat' is a languagespecific word that does not have an exact translation equivalentinEnglish.Asaverb,itcanbeusedinallthreetenses(past,present,and future) but only in an imperfective aspect; its perfective counterpart, perezhit', means'tosurvive,tolivethrough'. (10)DOTROBBINS14DEDEZEMBRODE2007
On14/12/2007,DotRobbins<drobbins72000@yahoo.com>wrote:

() Okay, per request, I did want to give a fleeting/free, very short summary of perezhivaniefromE.F.Vasilyuk,whowrotetoallofyouonxmca:

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"Perezhivanie is an inner activity (work) (for example "activity of sadness"), oriented towards the reconstruction and creation of the meaningfulness of life (of a meaningful/sensefilled life). The process of perezhivanie submits to four principles/rules: pleasure, reality, values, and creativity. The process of perezhivanie takes place on three levels/planes: experiencing feelings, expressing it, and creating sense/meaning/intelligence/comprehension/judgment, etc. Perezhivanie is the activity of a personality (a person), and it is not only a spontaneous process. Perezhivanie addresses the dialogical ("I cry not to you but to the aunt"), and it is mediatedbyculturalsymbolicforms."

Vasilyuk goes on to say that perezhivanie in English is "experiencing + coping." F. E. VasilyukhasaninterestingarticleinSovietPsychology(1990),28/5,pp.6987,title:* Warmgreetingstoeachofyou, Dot() *=Ottulonoaparecenapostagem. (11)DOTROBBINS13DEFEVEREIRODE2008
From:DotRobbins<drobbins72000whoisatyahoo.com> Date:WedFeb13200810:21:06PST

DearFriends, Many thanks for pushing us into newer understandings of the ZPD. Phil, Vesna, Lois, Volker,Carrie,othershavehelpedmeverymuch.Hereareacoupleofthings: *Sorry, mea culpa. My mistake was this: the unity of the cognitive/affective is the understandingofperezhivanie.Thezoneoffusion(Andy,fromxmcaOct.12,2000) represents the unity of both the individual and the social, while guarding the uniqueness of both. (! At the very bottom of the page I am adding a quote from Davydovforanunderstandingthatfitsmyinterpretationofthezoneoffusion.Delete ifnotinterested) *Weneedtoseeeachotherinordertounderstandeachother.Again,sorryforthat. IntheexampleofVolkerhavingusperformatthe2006conference,weclearlysaw eachotherbeforetheperformanceandafter.whatImeantwasthatbyenteringinto a new, playful activity,many of us somehow shed our masks of ego, to join in the recognitionofviewingothersasarealcommunity.Itisapartofthemagicofaliving ZPD,focusingtosomeextentontheexperimentalgeneticmethod,tosimplybracket (fromthebracketingprincipleinphenomenology)judgmentbyreturningtoabasic understanding of where the other person is coming from, within a genotypic (as opposed to phenotypic) point of view, and an analysis of process (not product), etc.

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*Performance: At the All Stars Workshop at Canarsie High School in Brooklyn, New York, a beautiful woman spoke to the young participants this way (paraphrased): If yougetanythingoutofthisworkshop,Iwantyoutobeselfconsciousthatanything youdoinyourlifeisaperformance.Walkingdownthestreetorinteractingwithyour motherisaperformance.Youcandecideifyouwanttobereactive,orifyouwantto talk. You can hit someone or write a poem. The paradox is that this view of performancemakesusconsciousofouractions,theroleswedecidetoplay..WhenI teach, it is a performance, but I normally feel that my true essence is at the forefront,theselfIwanttobe,inordertosparktheimaginationandmotivationofmy students(nomatterwhatIteach,orwhatlevels).Stanislavkysgripisimportantfor metotryandturnasimpleclassroomintoanatmosphereofmagicforthestudents, hoping that they thrive in such an atmosphere, and passit on. Students read the subtextofmypersonaimmediately,andStanislavskyoncereferredtohistheoryof actingasthetheoryofemotionalexperience. * *ZPD:Iwillattachmy2001paperontheZPD,tryingtolookatthehistoryoftheZPD, andthe14mostimportantpoints(atthattime).Itwaseditedandputintoabookin 2003. There was an international conference in 2000 in Moscow/Zvenigorod, Belaya KaytvaontheZPD,andanumberofinterestingarticleshavenotbeenpublishedinthe Westtodate.Iwillscanthemandseehowtomakethemmoreavailable.And,there was a symposium in 2000 at the American Association of Applied Linguistics on the ZPD. Gordon Wells spoke of the ZPD within a personal transformation, Vera John SteineridentifiedtheZPDasthegiftofdignity,andTimMurpheycreatedthezone of approximal adjustments. I love the idea of a zone of peoples development, Vesna. I am hoping people will read Loiss ideas that take the ZPD out of theoretical definitionsintoreallife.ShestatesthattheZPDisnotazoneitisanactivity,alife space. Besttoeachofyou, Dot References

Kravtsova,E.,&V.Spiridonov(2001).WorksfromtheVygotskyInstituteofPsychology. RussianStateUniversityfortheHumanities.Universitypublication.ArticlesinEnglish by:L.Albert&C.McKee,A.Bilics,G.Claxton,S.Gettys,C.Lerch,D.Robbins. Newman,F.,&L.Holzman(2006).UnscientificPsychology:ACulturalPerformatory ApproachtoHumanUnderstanding.iUniverse,Inc.

ValsinereVanderVeernoVygotskyReadertraduziramperejivanieporemotionalexperience, contudo,noshoproblemadequeperejivaniecomoconceitometodolgico,nosemocional, masumaunidadeafetivocognitiva,comotambmodequeVigotski,svezes,comonaPsicologiada arte, fala de (emotsionalniie perejivania) uma declinao para perejivanie emocional. Contudo, as palavras de Stanislavski citadas por Robbins devem, de algum modo, remeter ao termo perejivanie, adjetivado ou no. Num artigo de reviso sobre Stanislavski, providenciado por Peter Smagorinsky, o qual coloco aqui em anexo, podese notar a ocorrncia de perejivanienaobradodramaturgosovitico.

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Robbins,D.(2003).VygotskysandA.A.LeontievsSemioticsandPsychologuistics: ApplicationsforEducation,SecondLanguageAcquisition,andTheoriesofLanguage. Westport,CT:Praeger. Wells, G. (1999). Dialogic inquiry: Toward a sociocultural practice and theory of education.NewYork:CambridgeUniversityPress.

"Zone of fusion"! So, feel free to hit the delete bottom here, as I do want to offer a longer theoretical quote. Peter Moxhay is a voice I respect very much. He has translatedabookfromV.V.Davydov(ProblemsofDevelopmentalInstruction),andI sincerely feel that this book will help all of us in clarifying so many past points of discussions on xmca, and hopefully Peters translation (a real labor of dedication to Davydov)willbeoutinafewmonthsIntheintroduction,Davydovstates: Apersonssocialorcollectivelifeenableshim,usingthemeansoftheidealplane,to
separateoffhisactivityfromhimselfandtorepresentitasaspecialobjectthatcanbe transformed,evenbeforethisactivityisrealizedinactuality.Thenthepersoncansee, evaluateandconsiderhisownactivityfromthepositionoftheothermembersofthe collective. Within his own activity, the individual person creates an ideal representationofthepositionsofotherpeople.Thepersonsreproductionofanideal imageofhisactivity,andofanidealrepresentationwithinitofthepositionsofother people, may be called consciousness. Consciousness cannot be studied in isolation from the ideal or from activity; these exist in an indissoluble unity, with activity predominating.However,eachoftheseformations,andallofthemtogether,canbe understood only through the totality of social relations that is the essence of the human.

Dorothy(Dot)Robbins ProfessorofGerman RussianOrphanageVyschgorod www.vygotskyrobbins.com

Compilaorealizadaentre06e08defevereirode2009. PorAchillesDelariJunior. EmUmuarama,Paran. Produovoluntriaeindependente.

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Review: [Untitled] Reviewed Work(s): Stanislavsky in Focus by Sharon M. Carnicke Catherine Schuler Russian Review, Vol. 59, No. 2. (Apr., 2000), pp. 290-291.
Stable URL: http://links.jstor.org/sici?sici=0036-0341%28200004%2959%3A2%3C290%3ASIF%3E2.0.CO%3B2-6 Russian Review is currently published by The Editors and Board of Trustees of the Russian Review.

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290

The Russin~ Review

stood in the shadows of the "great" writers of the age: Elena Gan, Nikolai Gnedich, and Vladimir Odoevsky, all writers primarily recognized for their other literary achievements (the society tales of Gan and Odoevsky, and Gnedich for his translations of foreign works into Russian). The topics pursued are equally various, but all discussion stems more or less from a finite group of common concerns, which are almost by definition those addressed by all writers of the gothic and fantastic traditions. These are universal concerns, which find expression readily in the equivocal world of the gothic novel. These concerns include problems of parentage, procreation, and origins (Cynthia Ramsey, "Gothic Treatment of the Crisis of Engendering in Osoevskii's TheSnlamander"); uncertainty and even "anxiety about the position of the self in the world" (p. 179), and in reality itself (Roger Cockrell, "Philosophical Tale or Gothic Horror Story? The Strange Case of V. F. Odoevskii's The Cosnzornnzn," and Derek Offord, "Karamzin's Gothic Tale, The ZslnndofBorn/zolm"); and the determinism and supernatural forces that negate and deny man's free will (Richard Peace, "From Pantheon to Pandemonium"). One challenge, of course, to addressing and discussing the gothic and fantastic in Russian literature is in establishing that such works are in fact generic and not simply imitations in the gothic and fantastic style. Richard Peace describes a logical and even natural progression of one of the common concerns of the gothic when he traces nineteenth-century interest in the supernatural forces. Carolyn Jursa Ayers attempts to establish Elena Gan as a writer in the continuing tradition of Female Gothic, raising the important question of whether one can state that there is such a tradition in Russian literature. On the other hand, Derek Offord suggests that while Karamzin's "Bornholm Island" is clearly riddled with stock gothic elements, this tale in fact fits into a Sentimental framework and is but "a development of a particular strand of Preromanticism" (p. 41). One conspicuous detail regarding this collection, however, is the consistent reliance on Tsvetan Todorov's work on the fantastic: five of the twelve essayists rely on Todorov's theory to establish or prove the fantastic qualities of the work they are addressing; four of the five quote the same passage from Todorov, the fifth refers to it in a footnote. While Todorov's contribution to the study of the fantastic is certainly significant, the frequency with which this one theory is applied would seem to suggest that there are only limited methodologies to approaching and interpreting the fantastic.

Vicki J. Hendrickson Hodovance, University of Colorado, Boulder

Carnicke, Sharon M. Sfatzislnvskjl in Focc~s. Russian Theatre Archive. Amsterdam: Harwood Academic Publishers, 1998. xiii + 235 pp. $23.00 (paper). ISBN 90-5755-070-9. Do actors pursue "objectives" or perform "tasks"? Is a dramatic text structured in "bits" or "beats"? Is theater an artistic or a commercial practice? Should Lee Strasberg be held criminally liable for corrupting Stanislavsky's theory and practice? Sharon Carnicke's attention to these and other provocative questions reveals that the preoccupation of Americans with Konstantin Stanislavsky and his notorious "System" for actors continues unabated. Carnicke's SfnnislnvskyinFocc~sis latest in a long line the of exegetical texts devoted to the Master's theory and practice. Critical analysis of Stanislavksy and his work began shortly after the founding of the Moscow Art Theater in 1898; following the dissemination of the System in the West, "Stanislavsky studies" have become increasingly complex and vexed. Although Stanislavsky expounded at length on his theory and practice in a series of published texts, he apparently failed to explicate the System satisfactorily because the secondary literature and lore on the System and its corruption by American admirers is great and still growing. In her introduction, Carnicke proposes to "demythologize Stanislavsky" through careful analysis of three frequently misunderstood and misinterpreted aspects of his work: "the history and premises of the System"; "the transformation of the System into the Method; and "Soviet conditioning of the System" (p. 6). Although Carnicke fails to demythologize Stanislavsky and her study tends to reinforce "great man" theories of history, there is much of interest in this articulate comparative investigation of Stanislavsky's System and Strasberg's Method.

Book Reviews

291

The book is organized in three parts. Part 1, "Transmission," describes the Moscow Art Theater's New York tours; part 2, "Translation," considers the appropriation of the System by American admirers through classroom lore and Elizabeth Hapgood's translations of Stanislavsky's texts; part 3, "Transformation," interrogates issues of linguistic and cultural translation. Part 1 will interest readers new to Stanislavsky studies in English; the uniqueness of Carnicke's contribution to the field is, however, her discussion of linguistics in parts 2 and 3. Although skeptics might argue that by the simple act of theorizing acting, Stanislavsky mystified an otherwise uncomplicated activity, confusion escalated when monolingual members of the Group Theater appropriated terms and concepts associated with the System. Mistranslations and misinterpretations occurred on both mundane and recondite points. Thus, for example, in Richard Boleslavskii's broken English, the System's "bits" (kusokz) became the Method's "beats." Hapgood's translation of zndncha as "objective" rather than "task" had serious practical consequences for American actor training. Mistranslation and cultural transformation of Stanislavsky's "lost term,"perezhivanie, gave rise to profound conceptual antagonisms between Russian and American practitioners. Stanislavsky, Carnicke argues, understood perezhivanie as the ability of an actor to "experience" the role with dual consciousness of self and character, while Strasberg construedperezhivn~zie as "living through" the role. The translation of the System into the Method reveals the preference of Russians for behaviorism and Americans for Freudian psychology. Carnicke's account of Stanislavsky's heritage from nineteenth-century theatrical theory and practice is less satisfying than her discussion of translation and transformation. Although the relationship she establishes between Tolstoy's writings on aesthetics and Stanislavsky's practice is surely significant, other critical influences are neglected. Indeed, readers might conclude on the basis of this book that Tolstoy and Stanislavsky invented performance theory in Russia. In fact, Stanislavsky joined a conversation already in progress. The first purely theoretical treatise on acting, P. D. Boborykin's thoroughly materialist manifesto, Tentml'hoe iskusstvo, was published in 1873; the terms of the debate over /grn andperezhzivnnie were established in the 1870s in response to neurasthenic actors like Polina Strepetova; and by the 1890s, professional journals regularly included articles on the theory and practice of acting and actor training. Surely Stanislavsky drew from this lore and literature as well.

Catherine Schuler, University of Maryland

Sandler, Stephanie, ed. Rereadzkg Russian Poetry. New Haven and London: Yale University Press, 1999. xi + 365 pp. $40.00. ISBN 0-300-007149-3. This is the first book dedicated entirely to the reinterpretation of Russian poetry from Zhukovsky to Kibirov, and it should be warmly welcomed. It is edited by one of the most knowledgable scholars, who possesses the talent for reading Pushkin and Sedakova with equal ease, as her very informative introduction and essay on Elena Shvarts confirms. Each contribution in interesting in its own way. The collection contains a wide range of topics. Part 1 has the subtitle "Vocation of the Russian Poet"; part 2 reconsiders some less-known Silver Age poets (Annensky, Kuzmin, Gumilev, Merkureva, and Gertsyk); part 3 focuses on imagery, tropes, and genres. There is a fascinating discussion of homosexuality (Esenin, Kliuev, Ivlev) by Luc Beaudoin, and a balanced and convincing essay on Nina Iskrenko's poetry by Vitaly Chernetsky. While David Bethea deals mainly with Pushkin's first poem, Gerry Smith concentrates his attention on Brodsky's last poem. This reviewer has a problem with Andrew Wachtel's contribution on the odic genre employed by contemporary Russian poets. By including such different poets as Sedakova, Parshchikov, Kibirov, and Kutik in one article, Professor Wachtel opens the sluice gates rather too far. He speaks of every poet as if for the first time, ignoring the considerable literature on each one of them; for example, there is no. no reference to a special issue of Literatu~izoeobozrenie(1998, 1) which was dedicated to Kibirov; or to Olga Sedakova's interview, where she speaks about her own poetry, including the symbol of water