東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

Wonderlands of the Russian avant-gar...

Vaingurt, Julia.

FindBook

Google Book

Amazon

博客來

Wonderlands of the Russian avant-garde: Technology and the arts in the 1920s.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Wonderlands of the Russian avant-garde: Technology and the arts in the 1920s./
作者:	Vaingurt, Julia.
面頁冊數:	332 p.
附註:	Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0195.
Contained By:	Dissertation Abstracts International66-01A.
標題:	Literature, Slavic and East European. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3161202
ISBN:	0496948954

Wonderlands of the Russian avant-garde: Technology and the arts in the 1920s.
Vaingurt, Julia.

Wonderlands of the Russian avant-garde: Technology and the arts in the 1920s. - 332 p.

Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0195.

Thesis (Ph.D.)--Harvard University, 2005.

From Formalist technique to the Constructivist artist-craftsman, from collages inspired by cinema to paeans to electricity and airplanes, a technological orientation defined the modernist project. My dissertation examines how technology provided the artist with new conceptual methods for perceiving the world and his own place in it, for analyzing his self and reconsidering his relationship to the Other. The study explores how a century ago artists attempted to creatively transform technology, infusing it with aesthetic ethos. My inquiry into the cultural and individual meanings of technology focuses on the two prominent discursive practices of the time, biomechanics and Americanization. By tracing the presence of these two curiously interconnected tropes in various political and artistic texts, my project reveals the discrepancy between the state's largely exploitative and the avant-garde's largely exploratory uses of technology. I propose that artists' imaginative ways of approaching technology ensured that their works provided a counter realm to the utilitarian-totalitarian world created by the state. This dissertation deals with two concepts of technology, the instrumental technology of the state and the imaginative technology of the avant-garde. The often ignored aspect of technology---its aesthetic origins---explains why the avant-garde's creations can hardly be regarded as practical instruments, technology in its crude and limited sense. The hybrid of art and technology leads to whimsical, imaginative, and improbable results. My study discusses works of literature, theater, film, art, and architecture. It begins with an analysis of bioengineering in the art of Gastev, a poet and a proponent of Taylor's scientific management of labor, and Meyerhold, the great theater director. I then look at works that oppose the mechanized aesthetics of biomechanics and propose new paradigms for the relationship between art and technology: writing as bodily technology in Zamyatin's We, Khlebnikov and Tatlin's organic technology, Olesha's mad machine Ophelia, and Krutikov's flying cities. Using the films of Kuleshov, travelogues by Gorky, Mayakovsky, and Esenin, and parodic novels by Tolstoy, Kataev, and Shaginyan, I lay bare the mechanisms by which the discourse of Americanization is both perpetuated and deconstructed and reveal the exuberance with which technological fantasy is conceived and exploited.

ISBN: 0496948954Subjects--Topical Terms:

1022083
Literature, Slavic and East European.

Wonderlands of the Russian avant-garde: Technology and the arts in the 1920s.
LDR:03313nmm 2200277 4500 001 1816148
005 20060711082526.5
008 130610s2005 eng d
020 $a 0496948954
035 $a (UnM)AAI3161202
035 $a AAI3161202
040 $a UnM $c UnM
100 1 $a Vaingurt, Julia. $3 1905543
245 1 0 $a Wonderlands of the Russian avant-garde: Technology and the arts in the 1920s.
300 $a 332 p.
500 $a Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0195.
500 $a Adviser: Svetlana Boym.
502 $a Thesis (Ph.D.)--Harvard University, 2005.
520 $a From Formalist technique to the Constructivist artist-craftsman, from collages inspired by cinema to paeans to electricity and airplanes, a technological orientation defined the modernist project. My dissertation examines how technology provided the artist with new conceptual methods for perceiving the world and his own place in it, for analyzing his self and reconsidering his relationship to the Other. The study explores how a century ago artists attempted to creatively transform technology, infusing it with aesthetic ethos. My inquiry into the cultural and individual meanings of technology focuses on the two prominent discursive practices of the time, biomechanics and Americanization. By tracing the presence of these two curiously interconnected tropes in various political and artistic texts, my project reveals the discrepancy between the state's largely exploitative and the avant-garde's largely exploratory uses of technology. I propose that artists' imaginative ways of approaching technology ensured that their works provided a counter realm to the utilitarian-totalitarian world created by the state. This dissertation deals with two concepts of technology, the instrumental technology of the state and the imaginative technology of the avant-garde. The often ignored aspect of technology---its aesthetic origins---explains why the avant-garde's creations can hardly be regarded as practical instruments, technology in its crude and limited sense. The hybrid of art and technology leads to whimsical, imaginative, and improbable results. My study discusses works of literature, theater, film, art, and architecture. It begins with an analysis of bioengineering in the art of Gastev, a poet and a proponent of Taylor's scientific management of labor, and Meyerhold, the great theater director. I then look at works that oppose the mechanized aesthetics of biomechanics and propose new paradigms for the relationship between art and technology: writing as bodily technology in Zamyatin's We, Khlebnikov and Tatlin's organic technology, Olesha's mad machine Ophelia, and Krutikov's flying cities. Using the films of Kuleshov, travelogues by Gorky, Mayakovsky, and Esenin, and parodic novels by Tolstoy, Kataev, and Shaginyan, I lay bare the mechanisms by which the discourse of Americanization is both perpetuated and deconstructed and reveal the exuberance with which technological fantasy is conceived and exploited.
590 $a School code: 0084.
650 4 $a Literature, Slavic and East European. $3 1022083
650 4 $a Fine Arts. $3 891065
690 $a 0314
690 $a 0357
710 2 0 $a Harvard University. $3 528741
773 0 $t Dissertation Abstracts International $g 66-01A.
790 1 0 $a Boym, Svetlana, $e advisor
790 $a 0084
791 $a Ph.D.
792 $a 2005
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3161202