scholarly journals A Forgotten Detail in the Cultural Landscape: Ukrainian Version of Russian Formalism? National Identity, Avant-garde and Ideology in Literary Discussions in Soviet Ukraine (1920s–1930s)

2017 ◽  
Vol 32 (37) ◽  
Author(s):  
Galina Babak
2007 ◽  
Vol 35 (2) ◽  
pp. 697-709
Author(s):  
Jock Macleod

AS AN UNDERGRADUATE IN THE1970s, my introduction to the 1890s was perfunctory. Squeezed into a couple of weeks in the middle of a year-long course on “Victorian and Modern Literature,” the literature of the decade was reduced to aestheticism and decadence and presented as something of a preliminary to the real business of modernism. Such a focus reflected the scholarship of the time, in which thefin de sièclewas constructed as a moment of transition, one in which the political and socio-ethical dimensions so central to high Victorian literature were evacuated, as arguments for the autonomy of art came to dominate the literary cultural landscape. The organising principle was one of bifurcation: the separating out ofavant gardefrom bourgeois culture, the high from the low and, of particular relevance to this essay, literature from politics.


Author(s):  
Jason Harding

This chapter employs concepts and terms drawn from Russian Formalism to assist reading key moments of non-translation in The Waste Land. Treated as avant-garde linguistic ‘shifts’ that disrupt and estrange the poetic form, particular instances of non-translation in the poem—from the epigraph to the wild cacophony of different languages at the end of the poem—are seen as covert and coded expressions of powerful affect. This chapter considers these experimental disruptions of form in the social and political contexts of post-war avant-garde revolt and recognition of individual and collective trauma.


Author(s):  
Angeliki Spiropoulou

Born in St Petersburg, Russia, Victor Borisovich Shklovsky (or Shklovskii; Ви́ктор Бори́сович Шкло́вский) was a literary critic, autobiographical novelist, and a leading figure of Russian Formalism (1910–30). A charter founder of OPOYAZ (The Society for the Study of Poetic Language, 1917), he was also associated with the Moscow Linguistic Circle, and contemporary avant-garde writers, such as the Serapion Brothers and the Russian Futurists, especially the poet Vladimir Mayakovsky (1893–1930), all of whom similarly emphasized literature as language against the moralizing idealism of Symbolist poetics and Impressionist criticism prevalent in pre-Revolution Russia. However, Formalism was later attacked as "decadent" aestheticism, and Shklovsky was forced to compromise. In his much quoted essay "Art as Device" (1917), a "manifesto of the Formalist method" (Eichenbaum 1965: 113), Shklovsky posits the autonomy of literature and affirms the Formalist pursuit of the immanent, scientific study of the "literariness" of literature derived from its distinctive language and techniques instead of its content, resonating with modernist aesthetics. Here he develops the concept of "estrangement" or "defamiliarization" ( ostraneniye ) as both the aim and method of all art, self-reflexively impeding the automatism of our perception. Renamed as the "alienation effect" or "distancing effect" (Verfremdungseffekt) and endowed with a political function, "estrangement" became the foundational technique of Bertolt Brecht‘s epic theater.


2020 ◽  
Vol 12 (8) ◽  
pp. 3113 ◽  
Author(s):  
Jing Zhang ◽  
Zuopeng Ma ◽  
Dawei Li ◽  
Wei Liu ◽  
Yao Tong ◽  
...  

The pioneers who started the gentrification process have contributed significantly to the activation of gentrified neighborhoods, but are often overlooked in top-down urban governance strategies. We studied the core participants, who were avant-garde café owners, in the initial stage of the commercial gentrification of Mudan Street in Changchun, China. By participatory observations and in-depth interviews, we closely investigated the statuses, behaviors, and preferences of the early gentrifiers, their contributions to block revivals, and the impacts of urban renewal policies on the gentrifiers themselves. Our conclusions are as follows. Most early gentrifiers were young and highly educated. They started the process of gentrification by youth culture production, which exhibited idealistic operating behaviors, such as the decoration of shops, creation of cultural atmospheres, and organization of cultural activities. They were the pioneers who drove bottom-up block renewal, reshaped traditional blocks into youth cultural consumption centers, and stimulated commercial vitality. However, commercialization was followed by soaring rents and increasing business competition that have forced many pioneers with low economic capital to leave. Furthermore, urban governance has had strong impacts on block renewal and gentrification. Inclusive management has promoted bottom-up neighborhood renewal, whereas arbitrary management has quickly destroyed the cultural landscape and business atmosphere, thereby accelerating the displacement of the pioneers. This study provides new evidence for gentrification theories, and offers a practical reflection for urban governance by constructing the profiles of early gentrifiers and discussing the paradox of gentrification in the context of urban China.


2015 ◽  
Vol 30 (2) ◽  
pp. 332-359 ◽  
Author(s):  
Magdalena Waligórska

Focusing on three contemporary grassroots initiatives of preserving Jewish heritage and commemorating Jews in Belarus, namely, the Jewish Museum in Minsk, Ada Raǐchonak’s private museum of regional heritage in Hermanovichi, and the initiative of erecting the monument of Eliezer Ben-Yehuda in Hlybokae, the present article discusses how local efforts to commemorate Jews and preserve Jewish heritage tap into the culture of political dissent, Belarus’s international relations, and the larger project of redefining the Belarusian national identity. Looking at the way these memorial interventions frame Jewish legacy within a Belarusian national narrative, the article concentrates in particular on the institution of the public historian and the small, informal social networks used to operate under a repressive regime. Incorporating the multicultural legacy of the Polish–Lithuanian Commonwealth into the canon of Belarusian national heritage and recognizing the contribution of ethnic minorities to the cultural landscape of Belarus, new memory projects devoted to Jewish history in Belarus mark a caesura in the country’s engagement with its ethnic Others and are also highly political. While the effort of filling in the gaps in national historiography and celebrating the cultural diversity of the Grand Duchy of Lithuania overlaps in significant ways with the agenda of the anti-Lukashenka opposition, Jewish heritage in Belarus also resonates with the state authorities, who seek to instrumentalize it for their own vision of national unity.


Mulata Nation ◽  
2018 ◽  
pp. 106-149
Author(s):  
Alison Fraunhar

This chapter studies in the interweaving of popular and fine art forms during the Republican era, focusing on artwork of popular magazine covers and avant-garde painters of the period, with particular analysis of the work of several well-known (and several less so) painters and illustrators. In the chapter, the two formal approaches are connected by the deployment of the mulata in many of the artworks and illustrations. These artworks, fine and popular, were crucial in shaping consensus through vernacular imagery and well known national symbols, particularly (but not exclusively) the mulata. Both graphic and fine artists were shaped by international travel and residence abroad, introducing them to international stylistic currents against and through which they generated images that resonated with national identity. Not only did artists travel, but tourism continued to rise, bring foreign tastes, further shaping culture on the island. In addition to international connections, artists were at the vanguard of important political activism against corrupt government.


1996 ◽  
Vol 24 (2) ◽  
pp. 31-33
Author(s):  
James Counts Early

At the close of the twentieth century, we are witnessing across the globe competing, frequently cataclysmic discourses about identity. These discourses are literally erupting into activities that reshape the meaning of “national culture.” Simultaneously, many of these cultural confrontations are giving visibility and voice to transnational cultural communities. Within this world-wide context, U.S. cultural and educational institutions are at the national frontline of a related volatile, but potentially promising, debate frequently referred to as “cultural wars.” Museums in particular have become a flash point on the cultural landscape of what cultural conservatives Arthur A. Schlesinger and Patrick J. Buchanan accurately, although shrilly, formulate as “a struggle to redefine the national identity.”


2018 ◽  
Vol 5 (1) ◽  
pp. 21-39
Author(s):  
Orianna Cacchione

Despite being considered the first video artist to work in China, the majority of Zhang Peili’s earliest video works were originally exhibited abroad. In many of these exhibitions, his videos were displayed in different installation formats and configurations. One of the most evident of these changes occurred at the travelling exhibition China Avant-Garde. In Berlin, the opening venue of the exhibition, two videos were displayed in ways that differed from their original presentations; Document on Hygiene No. 3 (1991) and Assignment No. 1 (1992) were presented as singlechannel videos on single monitors instead of the multiple monitor installations previously used to show the works in Shanghai and Paris, respectively. Water: Standard Version from the Cihai Dictionary (1991) premiered in Berlin as a single-channel, single-monitor work. However, when it was installed in the exhibition’s Rotterdam venue, the work was shown on a nine-monitor grid. This article explores what caused the flexibility in the display of Zhang Peili’s early videos. I argue that these transformations demonstrate Zhang Peili’s conceptualization of video as a medium for art and his navigation of the rapidly globalizing art world. While the initial examples of this flexibility in installation were often caused by miscommunications with international curators, later exhibitions provided a regular venue for Zhang Peili to develop his approach to the ‘scene’ (chang) and ‘content’ (neirong) of video installation. Furthermore, as one of the most active Chinese artists working and exhibiting abroad in the 1990s, Zhang Peili was placed within the middle of domestic and international debates about the globalization of contemporary Chinese art. He responded to these debates by expelling signifiers of national identity in his videos and by forcefully deriding these discussions as a form of nationalism. Considering his video work from the perspective of its international presentation provides an important example of how artists working in China situated themselves in relationship to global art production in the 1980s and 1990s.


2013 ◽  
Vol 41 (4) ◽  
pp. 515-535 ◽  
Author(s):  
Duncan Light ◽  
Craig Young

This paper explores the relationship between the urban cultural landscape of Bucharest and the making of post-socialist Romanian national identity. As the capital of socialist Romania, central Bucharest was extensively remodelled by Nicolae Ceauşescu into the Centru Civic in order to materialize Romania's socialist identity. After the Romanian “Revolution” of 1989, the national and local state had to deal with a significant “leftover” socialist urban landscape which was highly discordant with the orientation of post-socialist Romania and its search for a new identity. Ceauşescu's vast socialist showpiece left a difficult legacy which challenges the material and representational reshaping of Bucharest and constructions of post-socialist Romanian national identity more broadly. The paper analyzes four attempts to deal with the Centru Civic: developments in the immediate post-1989 period; the international architectural competition Bucureşti 2000; proposals for building a Cathedral of National Salvation; and the Esplanada project. Despite over 20 years of proposals central Bucharest remains largely unchanged. The paper thus deals with a failed attempt to re-shape the built environment in support of national goals.


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