Anastasiia Verbitskaia

The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Verbitskaia, Anastasiia Alekseevna


Born Feb. 10 (22), 1861, in Voronezh; died Jan. 16, 1928. Russian writer.

The principal themes of Verbitskaia’s topical but very superficial books are family life and interrelations between the sexes: the novella Discord (1887), the novels Vavochka (1898) and She Got Free (1899), the novella In a New Way (1902), and the play Whose Fault (1904). However, a certain protest is expressed in them against the abnormal upbringing of women in bourgeois-aristocratic society. In the novel Spirit of the Time (1908), she made an attempt at commenting on the events of 1905-07. In the later novels The Keys of Happiness (1909-13) and The Yoke of Love (1914-15), the problem of the emancipation of women is replaced by advocacy of “free” love and by sexual motifs, which made the novels popular primarily among bourgeois readers.


Chukovskii, K. Kniga o sovremennykh pisateliakh. St. Petersburg [1914].
[“Stat’i o Verbitskoi i perepiska.”] In Ol’minskii, M. Po literaturnym voprosam. Moscow-Leningrad, 1932.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
When thinking about "serious" music and "fine art" it is useful to remember the point made trenchantly by Laura Engelstein decades ago: the boulevard was a site of cultural production that violated status, class, and gender distinctions; it was "by definition indiscriminate, [mixing] high and low in both thematic and stylistic terms." (11) Since Engelstein's seminal The Keys to Happiness: Sex and the Search For Modernity in Fin-de-Siecle Russia, the boulevard has appeared mainly as the playground of celebrities such as Anastasiia Verbitskaia or the meshchanstvo (middle-class philistines)--as a space of supposedly middlebrow cultural forms like variety theater, operetta, and cinema.
A wide range of literary genres are considered, from hagiographic writings, personal journals, and novellas to plays, novels, and poetry written by well-known authors (including, amongst others, Lidiia Ginzburg, Lidiia Zinov'eva-Annibal, Leonid Andreev, Daniil Kharms, Liudmila Petrushevskaia) and other writers, as yet little known or studied by Western critics (such as Anastasiia Verbitskaia, Tatiana Smertina, Tatiana Bek, Nina Iskrenko, Ol'ga Sedakova).