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"Literatura po poniatiiam": Examining Prison Slang in Russian Literature ...
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: University of Virginia, 2021
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Criticizing Past and Modern Ideology Through Twisted Comedy Series: A Case of "Comrade Detective"
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In: Class, Race and Corporate Power (2021)
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Sexualität - Geschlecht - Affekt: Sexuelle Scripts als Palimpsest in literarischen Erzähltexten und zeitgenössischen theoretischen Debatten
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In: Gender Studies ; 326 (2021)
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La poesía de Julio Martínez Mesanza: un ejemplo de épica en la actualidad
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A Cinematic Atopia: Robert Smithson and the Filmic Afterlife of the Soviet Avant-Garde
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Abstract:
This dissertation reconsiders the legacy of American artist Robert Smithson (1938–73) through his reception of Sergei Eisenstein (1898–1948), famed Revolutionary Soviet filmmaker. From his early canonization, Smithson has been virtually synonymous with the emergence of aesthetic postmodernism. Radically redefining sculpture as plural and dispersed (as in his nonsites) or else site-specific, subject to physical deterioration, and mediated by film and photography (as with his signal earthwork Spiral Jetty), Smithson’s practice has been consistently positioned as a rigorously logical, programmatic critique of Greenbergian modernism and the idealism subtending its values of autonomy and opticality. To that end, Smithson’s work is understood, too, as “postminimal,” extending the anti-aesthetic provocations that Minimalist objecthood inherited from the Soviet avant-garde precedent. In focusing narrowly on Constructivist sculpture of the early 1920s, however, accounts of this generation’s revival of that avant-garde have ignored the Revolutionary cinema to which it gave rise. Such an oversight is especially significant given that Eisenstein’s films were undergoing widespread reassessment beginning in the 1960s, during which time they were rapidly assimilated by Smithson, an artist exemplary of his generation for being not only a sculptor but also a cinephile and filmmaker.Taking seriously Smithson’s cinephilia and filmmaking practice, as well as his manifest interest in Soviet cinema specifically, this dissertation reconsiders a canonical postmodernist through the radical model of Eisenstein’s films. In particular, it shows Eisenstein’s theory of dialectical montage to be teeming amidst Smithson’s work and animating the paradoxes, binaries, and discontinuities that proliferate through his entire practice, even, or perhaps especially, when that practice does not take recourse to the physical material of film. In doing so, an unfamiliar Smithson emerges—not the quintessential logician of postmodernity but, following the libidinal subtext of Eisensteinian montage, an artist concerned with hellish monstrosity, perversion, sexuality, and violence consistent with his reading of Georges Bataille. The destination may no longer be Revolutionary utopia but what Smithson described in 1971 as a “cinematic atopia”—an entropic nether-place of razed boundaries, ruined hierarchies, and obliterated categories that will come to define the artist’s devolutionary “montage” of sculpture and film.
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Keyword:
Annette Michelson; Art history; Film studies; postminimalism; postmodernism; Robert Smithson; Sergei Eisenstein; soviet avant-garde
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URL: https://escholarship.org/uc/item/3kn4f5g8
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| 6 |
Characteristics of Humbert, the Hero of Vladimir Nabokov's Lolita Novel (Vladimir Nabokov'un Lolita romanının kahramanı Humbert'in özellikleri)
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In: ALTRALANG Journal; Vol 2 No 01 (2020): ALTRALANG Journal Volume: 02 Issue: 01 / July 2020; 12-23 ; 2710-8619 ; 2710-7922 (2020)
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| 7 |
Postmodernism in “A Wild Sheep Chase”, the Novel by Haruki Murakami (Haruki Murakami'nin “Yaban Koyunun İzinde” romanında postmodernizm)
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In: ALTRALANG Journal; Vol 2 No 02 (2020): ALTRALANG Journal Volume: 02 Issue: 02 / December 2020; 318-330 ; 2710-8619 ; 2710-7922 (2020)
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| 8 |
From Postmodernism to Posthumanism: Theorizing Ethos in an Age of Pandemic
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In: Humanities ; Volume 9 ; Issue 2 (2020)
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| 9 |
Total Capital -- Total Cinema
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In: Film, Media & Theatre Theses (2020)
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| 10 |
Das Sozialpolitische Prinzip: Die eigene Kraft des Sozialen an den Grenzen des Wohlfahrtsstaats
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In: 36 ; Gesellschaft der Unterschiede ; 180 (2020)
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| 11 |
METAMODERNISM AS A CONCEPT OF CULTURAL STUDIES ; МЕТАМОДЕРНИЗМ КАК КУЛЬТУРОЛОГИЧЕСКАЯ КОНЦЕПЦИЯ ; МЕТАМОДЕРНІЗМ ЯК КУЛЬТУРОЛОГІЧНА КОНЦЕПЦІЯ
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In: Issues in Cultural Studies; No. 36 (2020); 14-23 ; Питання культурології; № 36 (2020); 14-23 ; Вопросы культурологии; № 36 (2020); 14-23 ; 2616-4264 ; 2410-1311 (2020)
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| 12 |
Методологічна аморфність посткультурології та антиномії художньої культури ; The methodological amorphousness of post-culturology and antinomy of creative culture
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In: Мистецтвознавство України; № 20 (2020); 121-130 ; Art Research of Ukraine; № 20 (2020); 121-130 ; 2663-0370 ; 2309-8155 (2020)
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| 14 |
No Future
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In: Electronic Thesis and Dissertation Repository (2020)
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| 15 |
Paul Auster: Narrative and thought from a dual consciousness – The early fiction
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| 16 |
The Act of Silencing in Robert Musil’s “Tonka”
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In: Journal Polingua: Scientific Journal of Linguistics, Literature and Education, Vol 9, Iss 2, Pp 48-53 (2020) (2020)
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| 17 |
Rethinking globalization and the transnational capitalist class: a corporate network approach toward the China-U.S. trade war and inter-imperialist rivalry
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| 18 |
Cathedral From the Perspective of Reconstructive Postmodernism
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In: Studies in Literature and Language; Vol 20, No 3 (2020): Studies in Literature and Language; 142-146 ; 1923-1563 ; 1923-1555 (2020)
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| 19 |
Writing at the time of Eros : sex representation in the works of Michel Houellebecq ; L'écriture à l'heure d'Éros : la représentation sexuelle dans l'oeuvre littéraire de Michel Houellebecq
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In: https://tel.archives-ouvertes.fr/tel-03481182 ; Linguistique. Université Clermont Auvergne [2017-2020]; Université de Wuhan (Chine), 2019. Français. ⟨NNT : 2019CLFAL033⟩ (2019)
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| 20 |
Postmodern Realism and That Class Which Is Not One: The White Lower Middle Class in American Fiction 1973-83
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