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Making Modernism Soviet

The Russian Avant-Garde in the Early Soviet Era, 1918-1928

Making Modernism Soviet provides a new understanding of the ideological engagement of Russian modern artists such as Kazimir Malevich, Alexander Rodchenko, and Vera Ermolaeva with the political and social agenda of the Bolsheviks in the chaotic years immediately following the Russian Revolution. Focusing on the relationship between power brokers and cultural institutions under conditions of state patronage, Pamela Kachurin lays to rest the myth of the imposition of control from above upon a victimized artistic community. Drawing on extensive archival research, she shows that Russian modernists used their positions within the expanding Soviet arts bureaucracy to build up networks of like-minded colleagues. Their commitment to one another and to the task of creating a socially transformative visual language for the new Soviet context allowed them to produce some of their most famous works of art. But it also contributed to the "Sovietization" of the art world that eventually sealed their fate.

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Mandelstam, Blok, and the Boundaries of Mythopoetic Symbolism

“Mandelstam had no teacher,” marveled Anna Akhmatova, reflecting on his early maturity and singularity. But Mandelstam himself spoke of the need and even duty to study a poet’s literary roots. So how did this consummately complex, compelling, multi-resonant poet navigate and exploit the burden of the Russian Symbolist movement from which he emerged? How did this process change and augment his poetry? Through a series of illuminating readings, Stuart Goldberg explores the ongoing role that the poetry of Russian Symbolism played in Osip Mandelstam’s creative life, laying bare the poet’s productive play with distance and immediacy in his assimilation of the Symbolist heritage. At the same time, Mandelstam, Blok, and the Boundaries of Mythopoetic Symbolism presents the first coherent narrative of the poet’s fraught relationship with Alexander Blok, the most powerful poetic voice among the Symbolists. This dialogue, which was largely one-sided, extended beyond poetic intertext into the realms of poetics, charisma, and personality. Goldberg’s study pushes theoretical boundaries, exploring the juncture between pragmatics and intertext, adapting and challenging Bloom’s anxiety of influence theory, and, ultimately, tracing a shift in the nature of sincerity and authenticity that divided poetic generations.

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The Many Lives of Khrushchev's Thaw

Experience and Memory in Moscow's Arbat

The Arbat neighborhood in central Moscow has long been home to many of Russia's most famous artists, writers, and scholars, as well as several of its leading cultural establishments. In an elegantly written and evocative portrait of a unique urban space at a time of transition, Stephen V. Bittner explores how the neighborhood changed during the period of ideological relaxation under Khrushchev that came to be known as the thaw.

The thaw is typically remembered as a golden age, a period of artistic rebirth and of relatively free expression after decades of Stalinist repression. By considering events at the Vakhtangov Theater, the Gnesin Music-Pedagogy Institute, the Union of Architects, and the Institute of World Literature, Bittner finds that the thaw was instead characterized by much confusion and contestation. As political strictures loosened after Stalin's death, cultural figures in the Arbat split-often along generational lines-over the parameters of reform and over the amount of freedom of expression now permitted.

De-Stalinization provoked great anxiety because its scope was often unclear. Particularly in debates about Khrushchev's urban-planning initiatives, which involved demolishing a part of the historical Arbat to build an ensemble of concrete-and-steel high rises, a conflict emerged over what aspects of the Russian past should be prized in memory: the late tsarist city, the utopian modernism of the early Soviet period, or the neoclassical and gothic structures of Stalinism. Bittner's book is a window onto the complex beginning of a process that is not yet complete: deciding what to jettison and what to retain from the pre-Soviet and Soviet pasts as a new Russia moves to the future.

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Mapping the Feminine

Russian Women and Cultural Difference

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Marxism and Form

20th-Century Dialectical Theories of Literature

Fredric Jameson

For more than thirty years, Fredric Jameson has been one of the most productive, wide-ranging, and distinctive literary theorists in the United States and the Anglophone world. Marxism and Form provided a pioneering account of the work of the major European Marxist theorists--T. W. Adorno, Walter Benjamin, Herbert Marcuse, Ernst Bloch, Georg Lukács, and Jean-Paul Sartre--work that was, at the time, largely neglected in the English-speaking world. Through penetrating readings of each theorist, Jameson developed a critical mode of engagement that has had tremendous in.uence. He provided a framework for analyzing the connection between art and the historical circumstances of its making--in particular, how cultural artifacts distort, repress, or transform their circumstances through the abstractions of aesthetic form.

Jameson's presentation of the critical thought of this Hegelian Marxism provided a stark alternative to the Anglo-American tradition of empiricism and humanism. It would later provide a compelling alternative to poststructuralism and deconstruction as they became dominant methodologies in aesthetic criticism.

One year after Marxism and Form, Princeton published Jameson's The Prison-House of Language (1972), which provided a thorough historical and philosophical description of formalism and structuralism. Both books remain central to Jameson's main intellectual legacy: describing and extending a tradition of Western Marxism in cultural theory and literary interpretation.

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Mikhail Sholokhov and His Art

Herman Ermolaev

Treating Sholokhov's art and life against the Soviet political background, the author considers the episodes in his life that influenced his writing and then shows how one-sided commitment to party ideology led to his creative deterioration.

Originally published in .

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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Milosz and the Problem of Evil

Lukasz Tishner; Translated from the Polish by Stanley Bill

While scholars have chronicled Czesław Miłosz’s engagement with religious belief, no previous book-length treatment has focused on his struggles with theodicy in both poetry and thought. Miłosz wrestled with the problem of believing in a just God given the powerful evidence to the contrary in the natural world as he observed it and in the horrors of World War II and its aftermath in Poland. Rather than attempt to survey Miłosz’s vast oeuvre, Łukasz Tischner focuses on several key works—The Land of Ulro, The World, The Issa Valley, A Treatise on Morals, A Treatise on Poetry, and From the Rising of the Sun—carefully tracing the development of Miłosz’s moral arguments, especially in relation to the key texts that influenced him, among them the Bible, the Gnostic writings, and the works of Blake, Hegel, Kierkegaard, and Scho­penhauer. The result is a book that examines Miłosz as both a thinker and an artist, shedding new light on all aspects of his oeuvre.

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The Mitki and the Art of Postmodern Protest in Russia

Alexandar Mihailovic

During the late Soviet period, the art collective known as the Mitki emerged in Leningrad. Producing satirical poetry and prose, pop music, cinema, and conceptual performance art, this group fashioned a playful, emphatically countercultural identity with affinities to European avant-garde and American hippie movements.

More broadly, Alexandar Mihailovic shows, the Mitki pioneered a form of political protest art that has since become a centerpiece of activism in post-Soviet Russia, most visibly today in groups such as Pussy Riot. He draws on extensive interviews with members of the collective and illuminates their critique of the authoritarian state, militarism, and social strictures from the Brezhnev years to the present.

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The Modernist Masquerade

Stylizing Life, Literature, and Costumes in Russia

Colleen McQuillen

Masked and costume balls thrived in Russia in the late nineteenth and early twentieth centuries during a period of rich literary and theatrical experimentation. The first study of its kind, The Modernist Masquerade examines the cultural history of masquerades in Russia and their representations in influential literary works.

            The masquerade's widespread appearance as a literary motif in works by such writers as Anna Akhmatova, Leonid Andreev, Andrei Bely, Aleksandr Blok, and Fyodor Sologub mirrored its popularity as a leisure-time activity and illuminated its integral role in the Russian modernist creative consciousness. Colleen McQuillen charts how the political, cultural, and personal significance of lavish costumes and other forms of self-stylizing evolved in Russia over time. She shows how their representations in literature engaged in dialog with the diverse aesthetic trends of Decadence, Symbolism, and Futurism and with the era's artistic philosophies.

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