Wonderlands of the avant-garde :technology and the arts in Russia of the 1920s
- 作者: Vaingurt, Julia.
- 出版: Evanston, Ill. : Northwestern University Press 2013.
- 稽核項: xii, 308 p. :ill. ;24 cm.
- 叢書名: Northwestern University Press studies in Russian literature and theory
- 標題: Arts, Russian , History and criticism. , Russian literature 20th century -- History and criticism. , Russian literature , Art and technology. , Arts, Russian 20th century. , Machinery in literature. , Avant-garde (Aesthetics) , Avant-garde (Aesthetics) Russia (Federation) -- History -- 20th century. , History
- ISBN: 0810128942 , 9780810128941
- 附註: 103年科技部補助人文及社會科學研究圖書設備計畫規畫主題:藝術學:全球化與劇場跨界 Includes bibliographical references (p. 279-294) and index. Introduction: imaginative and instrumental technologies -- Part 1. Homo faber, homo ludens -- Poetry in motion: Aleksei Gastev and the aesthetic origins of soviet Biomechanics -- The biomechanics of infidelity: range of motion and limits of control in Meyerhold's theater -- Part 2. Alternative technologies -- Writing as bodily technology in Zamyatin's We, or a portrait of an avant-garde artist as a malfunctioning machine -- The incredible heights of organic architecture: tatlin, Khlebnikov, and the technological sublime -- Olesha's suicide machine -- Part 3. The homeland of technology -- Convention, play, and technology in Russian explorers' American discoveries -- Red Pinkertons: adventures in artificial reality -- Conclusion: poetics of the unconscriptable.
- 系統號: 005259099
- 資料類型: 圖書
- 讀者標籤: 需登入
- 引用網址: 複製連結
Longlist finalist, 2015 Historia Nova Prize for Best Book on Russian Intellectual and Cultural History In postrevolutionary Russia, as the Soviet government pursued rapid industrialization, avant-garde artists declared their intent to serve the nascent state and to transform life in accordance with their aesthetic designs. Despite their utilitarian intentions, however, most avant-gardists rarely created works regarded as practical instruments of societal transformation. Exploring this paradox, Vaingurt claims that the artists’ fusion of technology and aesthetics prevented their creations from being fully conscripted into the arsenal of political hegemony. The purposes of avant-garde technologies, she contends, are contemplative rather than constructive. Looking at Meyerhold’s theater, Tatlin’s and Khlebnikov’s architectural designs, Mayakovsky’s writings, and other works from the period, Vaingurt offers an innovative reading of an exceptionally complex moment in the formation of Soviet culture.
來源: Google Book
來源: Google Book
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