EROTIC literature, CIRCUS, CULTURE, SEXUAL excitement, IDEOLOGY
Abstract
Abstract: In this paper the author describes (with some illustrations) a number of instances of the often erotic nature of various acts performed in the circus in early Soviet times. It is pointed out that in a sense the circus had remained one of the least ideologized sectors of Soviet culture. [Copyright &y& Elsevier]
Abstract: In this paper the author draws a systematic comparison between Italian and Russian Futurism in order to answer the question if, and to which extent, the aesthetic categories are connected with the ideological orientation of either movement, and whether they differ or concur in this respect. The author juxtaposes the key concepts of both Italian and Russian Futurism and concludes that there exist correspondences but also significant differences between the two movements. [ABSTRACT FROM AUTHOR]
EXPERIMENTAL literature, IDEOLOGY, PRACTICAL politics, WORLD War I
Abstract
Abstract: In this paper Zdanevich''s “dra” Ianko krul'' albanskii, an Avant-Garde text par excellence, is examined with respect to its historical, ideological and political context. The Albanian question is connected with the problematic of the whole Balkans and the “Slavic question”, which led up to World War I. Special attention is paid to the attitude of the main Futurists with regard to these matters. [Copyright &y& Elsevier]
RUSSIAN literature, IDEOLOGY, PRACTICAL politics, ART
Abstract
Abstract: In this paper the role of “ideology” in the Russian Avant-Garde is examined in its historical development. Within this period two phases can be distinguished, running parallel to socio-political events. The author demonstrates the difference between the two by contrasting two key texts, Shklovskii''s ‘Art as Device’ and its central concept of “ostranenie”, and Eisenstein''s discussion of the principle of “montage of attractions”. [Copyright &y& Elsevier]
In this paper the author reminisces about his personal experiences with the Soviet attitude towards the historical Avant-Garde in the 1960s and 1970s. In addition he discusses aspects of samizdat, in particular some problems that arise in establishing the correct versions of samizdat literature, such as some poems by Galich and Okudzhava. [ABSTRACT FROM AUTHOR]