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BLOK'S NONFICTION: THE PEOPLE, THE INTELLIGENTSIA, AND CARNIVAL 1 Russian Symbolist nonfiction marked a sharp break with tradition. As Dmitrii Maksimov once observed of its criticism, "Comparing Symbolist criticism with the criticism of the Russian literary and social 'thick' journals, it is easy to convince one's self that the former and the latter have between themselves little in common."1 Dikman has argued that this break stemmed largely from the "impressionistic character of the Symbolistdoi:10.1163/221023997x00834 fatcat:pyspyn2dnva3dotmuy7km5inte