The last Soviet avant-garde : OBERIU--fact, fiction, metafiction /
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| Main Author: | |
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| Format: | Book |
| Language: | English |
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Cambridge, U.K. ; New York, NY, USA :
Cambridge University Press,
1997.
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| Series: | Cambridge studies in Russian literature
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| Subjects: |
Table of Contents:
- Introduction: OBERIU ~ the last Soviet avant-garde
- I. Authors and authority. The art of public speaking: Russian modernism and the avant-garde. Literature as system: Russian formalism and the Bakhtin circle. OBERIU - Nikolay Zabolotsky, Nikolay Oleinikov, and Igor' Bakhterev. Carnivalizing the author? Daniil Kharms. Writing for a miracle: Kharms's The Old Woman as menippean satire. What a time to tell a story: Aleksandr Vvedensky. Dialogues of the dead: Vvedensky's Minin and Pozharsky. The artist as hermit: Konstantin Vaginov. The author loses his voice: the novels of Konstantin Vaginov
- 2. Rereading reading. Addressing the reader: Russian modernism and the avant-garde. Text as dialogue: from Russian formalism to the Bakhtin circle. OBERIU and the reader: Zabolotsky, Oleinikov, Bakhterev. Stop reading sense: the prose of Daniil Kharms. Picture this: Christmas at the Ivanovs' by Aleksandr Vvedensky.
- The reader in the text: The Labours and Days of Svistonov by Konstantin Vaginov
- 3. Language and representation. From realism to 'real' art: Russian modernism and the avant-garde. Neighbouring worlds, imaginary realities: the chinari. OBERIU: The Association for Real Art. From the authority of language to the languages of authority: Daniil Kharms. Language games and power play: Elizaveta Bam. Time, death, God, and Vvedensky. The poverty of language: Vvedensky's A Certain Quantity of Conversations. Worlds beyond words: Konstantin Vaginov. Art as play: Konstantin Vaginov's Bambocciade
- Conclusion: OBERIU - between modernism and postmodernism?