About this product

Product Identifiers

PublisherUniversity of California Press

ISBN-100520268768

ISBN-139780520268760

eBay Product ID (ePID)110834042

Product Key Features

Number of Pages360 Pages

LanguageEnglish

Publication NameAesthetics of Anarchy : Art and Ideology in the Early Russian Avantgarde

Publication Year2012

SubjectAesthetics, Political, Russian & Former Soviet Union, European

TypeTextbook

Subject AreaArt, Philosophy

AuthorNina Gurianova

FormatHardcover

Dimensions

Item Height1.1 in

Item Weight25.6 Oz

Item Length9 in

Item Width6 in

Additional Product Features

Intended AudienceScholarly & Professional

LCCN2011-035057

Dewey Edition23

TitleLeadingThe

IllustratedYes

Dewey Decimal700.947/09041

Table Of ContentIntroduction. The Russian Avant-Garde and the Aesthetics of Anarchy Part I. Movements and Ideas 1. The Aesthetics of Anarchy: Definitions 2. Ideas: Bakunin, Tolstoy, and the Russian Anarchists 3. Movements: Futurisms and the Principle of Freedom Part II. Poetics 4. A Game in Hell: The Poetics of Chance and Play 5. Victory over the Sun and the Theater of Alogism 6. Deconstructing the Canon: Russian Futurist Books Part III. Locating the Avant-Garde's Social Stance 7. The "Social Test": The Avant-Garde and the Great War 8. The Suprematist Party Part IV. Politics 9. Art, Creativity, and Anarkhiia 10. The Last Revolt: Politics of the Left Federation 11. The Avant-Garde and Ideology Conclusion. The Historical Paradigm: The Avant-Gardes and Revolution Notes List of Illustrations Index

SynopsisIn this groundbreaking study, Nina Gurianova identifies the early Russian avant-garde (1910-1918) as a distinctive movement in its own right and not a preliminary stage to the Constructivism of the 1920s. Gurianova identifies what she terms an "aesthetics of anarchy"--art-making without rules--that greatly influenced early twentieth-century modernists. Setting the early Russian avant-garde movement firmly within a broader European context, Gurianova draws on a wealth of primary and archival sources by individual writers and artists, Russian theorists, theorizing artists, and German philosophers. Unlike the post-revolutionary avant-garde, which sought to describe the position of the artist in the new social hierarchy, the early Russian avant-garde struggled to overcome the boundaries defining art and to bridge the traditional gap between artist and audience. As it explores the aesthetics embraced by the movement, the book shows how artists transformed literary, theatrical, and performance practices, eroding the traditional boundaries of the visual arts and challenging the conventions of their day.

LC Classification NumberNX556.A1G87 2012