標(biāo)題: Titlebook: Carnival Culture and the Soviet Modernist Novel; Craig Brandist Book 1996 Craig Brandist 1996 culture.novel.society [打印本頁] 作者: 滋養(yǎng)物質(zhì) 時(shí)間: 2025-3-21 16:05
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書目名稱Carnival Culture and the Soviet Modernist Novel讀者反饋學(xué)科排名
作者: freight 時(shí)間: 2025-3-21 22:49
https://doi.org/10.1007/978-981-97-6386-3ighly conducive to appropriation and utilization by radical intellectuals in their attempt to forge a counter-hegemonic culture. Ritual mockery was sometimes directed towards authority figures in carnival culture, but could just as easily be turned against victims of oppression like women, sexual no作者: 水土 時(shí)間: 2025-3-22 04:00 作者: 全神貫注于 時(shí)間: 2025-3-22 07:06 作者: transdermal 時(shí)間: 2025-3-22 11:05 作者: START 時(shí)間: 2025-3-22 16:26
https://doi.org/10.1007/978-981-97-6386-3th the First Five-Year Plan, which is taken as the theme of the work, and responds to the effects of that momentous reorientation of Soviet society with great sensitivity. For the sake of economy and to illustrate most clearly our thesis we shall examine only two of the writer’s many works: the 1929作者: START 時(shí)間: 2025-3-22 20:29
https://doi.org/10.1007/978-981-97-6386-3nivalesque traditions of Evreinov, Meyerhold and Khlebnikov and, as it were, runs them into the moral obscenities of the Stalin era in which the world of laughter becomes tragic. In this Kharms, like Gogol before him, attempted to merge Russian traditions in which carnival maintained many disturbing作者: 條街道往前推 時(shí)間: 2025-3-23 00:30 作者: Spartan 時(shí)間: 2025-3-23 05:18 作者: invade 時(shí)間: 2025-3-23 08:01
Sarcopenia and Its Intervention, regime were clearly adept at recognizing the potential of the carnivalesque for bearing a revolutionary message both before and after the Revolution, but the terms of its adoption varied according to the changes in the internal composition of the regime and its relationship to the masses.作者: SEED 時(shí)間: 2025-3-23 12:02
Introduction: Carnival and Cultural Politicsears and there is no need to provide yet another outline of his general theories here, but there has not been any serious attempt to present Bakhtin’s ideas in relation to the development of carnival culture in the Soviet modernist novel. However, the forms of Soviet culture, perhaps more obviously 作者: 幼稚 時(shí)間: 2025-3-23 15:13 作者: 移動(dòng) 時(shí)間: 2025-3-23 20:41 作者: Mutter 時(shí)間: 2025-3-24 01:10 作者: 改正 時(shí)間: 2025-3-24 03:51
The Festive Revolutions of Yurii Olesha the stage,. and in the period before 1932 he wrote several highly regarded short stories. From this time, until the posthumous publication of his autobiographical Hu ?нr бeз cmpoчκu (.) Olesha published nothing but a few translations and film scenarios.作者: Ingredient 時(shí)間: 2025-3-24 08:19 作者: Licentious 時(shí)間: 2025-3-24 11:12
Daniil Kharms, the Soviet Menippea and the ‘Medieval’ Grotesquenivalesque traditions of Evreinov, Meyerhold and Khlebnikov and, as it were, runs them into the moral obscenities of the Stalin era in which the world of laughter becomes tragic. In this Kharms, like Gogol before him, attempted to merge Russian traditions in which carnival maintained many disturbing作者: 含沙射影 時(shí)間: 2025-3-24 18:35 作者: hurricane 時(shí)間: 2025-3-24 21:34 作者: AVOW 時(shí)間: 2025-3-25 02:27 作者: Debrief 時(shí)間: 2025-3-25 06:08 作者: follicle 時(shí)間: 2025-3-25 11:34 作者: 被詛咒的人 時(shí)間: 2025-3-25 13:41
https://doi.org/10.1007/978-981-97-6386-3a were being subjected to strict regulation aimed at curtailing the oppositional tendencies implicit in each. The vestiges of the avant-garde, which had aimed to take up and organize the egalitarian impulses of popular culture and turn them into a force for the revolutionizing of social consciousnes作者: 善變 時(shí)間: 2025-3-25 17:19 作者: landfill 時(shí)間: 2025-3-25 23:56
https://doi.org/10.1007/978-981-97-6386-3e aestheticism had made the content of works of art its own distance from the ‘means-end rationality of the bourgeois everyday’, revolution now ripped apart the bourgeois everyday itself. The end of this life-praxis, which aestheticism had rejected, now appeared to present the possibility of what Pe作者: white-matter 時(shí)間: 2025-3-26 00:11
https://doi.org/10.1007/978-981-97-6386-3e were erased, renegotiated and posited anew. The distinction between political and ‘pure’ art, a key contention of the Symbolist period, was swept away. The boundaries and significance of ‘literariness’ were subjected to close scrutiny and were repeatedly challenged. The cultural hierarchy shifted 作者: Physiatrist 時(shí)間: 2025-3-26 05:40
https://doi.org/10.1007/978-981-97-6386-3ssa, Olesha developed his literary talents among young writers with whom he shared many characteristics, including Valentin Kataev, Eduard Bagritsky and Ilya Ilf. He emphatically rejected the monarchist sympathies of his parents by volunteering for the Red Army in 1919. After the civil war he worked作者: Immunotherapy 時(shí)間: 2025-3-26 11:26
https://doi.org/10.1007/978-981-97-6386-3 most important literary works of the early Soviet period. This has happened despite a use of language that has become notorious for its apparent untranslatability, novels and stories that are normally considered relentlessly gloomy, and philosophical ideas that are nothing if not obscure. Platonov 作者: consent 時(shí)間: 2025-3-26 13:22
https://doi.org/10.1007/978-981-97-6386-3the German invasion of the country in 1941. His bizarre, hilarious and yet often incredibly cruel narratives from the 1930s and 1940s have in recent years aroused a great deal of interest both in Russia and abroad. English language translations have been published in Britain, Ireland and the United 作者: 不適 時(shí)間: 2025-3-26 17:34 作者: Gentry 時(shí)間: 2025-3-26 22:53 作者: 中國紀(jì)念碑 時(shí)間: 2025-3-27 04:30 作者: prodrome 時(shí)間: 2025-3-27 08:31 作者: 過份 時(shí)間: 2025-3-27 10:13
Book 1996 of Russian popular culture. It shows that while Bakhtin‘s account of carnival culture sheds considerable light on the work of these writers, they need to be considered with reference to both the concrete forms of Russian and Soviet popular culture and the changing institutional framework of Soviet society in the 1920s and 1930s.作者: Fibrinogen 時(shí)間: 2025-3-27 14:32
Introduction: Carnival and Cultural Politicsa were being subjected to strict regulation aimed at curtailing the oppositional tendencies implicit in each. The vestiges of the avant-garde, which had aimed to take up and organize the egalitarian impulses of popular culture and turn them into a force for the revolutionizing of social consciousnes作者: 細(xì)微差別 時(shí)間: 2025-3-27 19:14
Literary Engagement with Urban Popular Culture: Blok’s , and Bely’s failure of imported traditions like the ‘feast of fools’ to take root on Russian soil.. This exclusion may have been motivated by political conditions at the time of composition, but, whatever the reason, the areas in which carnivalesque traditions had penetrated are left unexplored in Bakhtin’s wor作者: Cougar 時(shí)間: 2025-3-28 01:15
Revolutionizing Social Life from a Base in Art: The Avant-Garde and Mass Culture, 1917–28e aestheticism had made the content of works of art its own distance from the ‘means-end rationality of the bourgeois everyday’, revolution now ripped apart the bourgeois everyday itself. The end of this life-praxis, which aestheticism had rejected, now appeared to present the possibility of what Pe作者: 的闡明 時(shí)間: 2025-3-28 05:39 作者: 壓迫 時(shí)間: 2025-3-28 08:02
The Festive Revolutions of Yurii Oleshassa, Olesha developed his literary talents among young writers with whom he shared many characteristics, including Valentin Kataev, Eduard Bagritsky and Ilya Ilf. He emphatically rejected the monarchist sympathies of his parents by volunteering for the Red Army in 1919. After the civil war he worked作者: 槍支 時(shí)間: 2025-3-28 12:52
Carnivalization and Populism in the Central Work of Andrei Platonov most important literary works of the early Soviet period. This has happened despite a use of language that has become notorious for its apparent untranslatability, novels and stories that are normally considered relentlessly gloomy, and philosophical ideas that are nothing if not obscure. Platonov 作者: 過去分詞 時(shí)間: 2025-3-28 17:18
Daniil Kharms, the Soviet Menippea and the ‘Medieval’ Grotesquethe German invasion of the country in 1941. His bizarre, hilarious and yet often incredibly cruel narratives from the 1930s and 1940s have in recent years aroused a great deal of interest both in Russia and abroad. English language translations have been published in Britain, Ireland and the United 作者: projectile 時(shí)間: 2025-3-28 20:22
Bulgakov’s , and the Devil’s Carnivalulture within a contemporary framework was well established as the 1930s began. Kharms and Vaginov in particular explored the literary past, both Russian and West European, finding symbols and chronotopical forms which could work against the one-dimensional world of the official aesthetic. Kharms an作者: Induction 時(shí)間: 2025-3-28 23:58
A Note on Vaginov: The Novel as a Compensatory Realmbut with a greater sense of foreboding. In 1928 Vaginov produced his best-known novel Koeлuнar necнb (.). prefaced with the words ‘my dream is finished’. This novel, which, as Anemone notes, traces ‘the gradual degradation of the author, his heroes and culture itself, was considered by Bakhtin to be作者: 多山 時(shí)間: 2025-3-29 05:00 作者: 不能平靜 時(shí)間: 2025-3-29 07:51
2633-5964 , they need to be considered with reference to both the concrete forms of Russian and Soviet popular culture and the changing institutional framework of Soviet society in the 1920s and 1930s.978-1-349-25122-3978-1-349-25120-9Series ISSN 2633-5964 Series E-ISSN 2633-5972
