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Alexei Remizov's threshold art: The...

Friedman, Julia P.

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Alexei Remizov's threshold art: The illustrated albums of the 1930s (Russia).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Alexei Remizov's threshold art: The illustrated albums of the 1930s (Russia)./
Author:	Friedman, Julia P.
Description:	275 p.
Notes:	Source: Dissertation Abstracts International, Volume: 66-05, Section: A, page: 1528.
Contained By:	Dissertation Abstracts International66-05A.
Subject:	Art History. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3174602
ISBN:	9780542127625

Alexei Remizov's threshold art: The illustrated albums of the 1930s (Russia).
Friedman, Julia P.

Alexei Remizov's threshold art: The illustrated albums of the 1930s (Russia). - 275 p.

Source: Dissertation Abstracts International, Volume: 66-05, Section: A, page: 1528.

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

This dissertation examines Alexei Remizov's illustrated albums of the 1930s. In it I argue that without surrendering any of the significance that words had for him, the Russian modernist writer Remizov added a visual dimension to his work. A look at the overall chronological progression of his albums shows a gradual diminishment of text in favor of image. It is my original claim that from the early thirties onward, as an artist, Remizov existed on the boundary between word and image. This view represents a revision of his role within Russian modernism. Remizov now emerges not merely as an eccentric wordsmith who passed on the intricacies of colloquial narrative ( skaz) from Leskov to a generation of young Soviet writers, but as a successful heir of a synthesizing aesthetic that in Russia spanned from the medieval period to Futurism. I begin with a biographical introduction where I relate the liminal character of Remizov's illustrated albums to the circumstances of his life. I also explain how liminality extends into the content of the albums, creating different frames of reference within them. Next, I take up the subject of Remizov's formation as an author of illustrated albums. The first chapter is a study of Remizov's response to turn-of-the-twentieth-century book art. In chapter two I examine the evolution of meaning in Remizov's tale Solomoniia through three different illustrated albums that he created starting in the mid thirties. To create the desired focus for each album, Remizov transformed this mesmerizing narrative of phallic possession through variations in the albums' format. The metonymical relationship between the arts is the subject of the third chapter. There I show how Remizov carries the synaesthetic principle from content to form in his 1937 album Maroun. The last chapter is a study of Remizov's 1940 album Sibirskii skaz (The Siberian Tale). My intention here is to account for the complete absence of text in this late album. I conclude with a description of the text-to-image dynamic revealed by the chronological overview of the extant albums. This dynamic, I argue, elucidates the position of the illustrated albums in Remizov's oeuvre as a threshold over which the writer eventually stepped to become a remarkable graphic artist.

ISBN: 9780542127625Subjects--Topical Terms:

635474
Art History.

Alexei Remizov's threshold art: The illustrated albums of the 1930s (Russia).
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245 1 0 $a Alexei Remizov's threshold art: The illustrated albums of the 1930s (Russia).
300 $a 275 p.
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520 $a This dissertation examines Alexei Remizov's illustrated albums of the 1930s. In it I argue that without surrendering any of the significance that words had for him, the Russian modernist writer Remizov added a visual dimension to his work. A look at the overall chronological progression of his albums shows a gradual diminishment of text in favor of image. It is my original claim that from the early thirties onward, as an artist, Remizov existed on the boundary between word and image. This view represents a revision of his role within Russian modernism. Remizov now emerges not merely as an eccentric wordsmith who passed on the intricacies of colloquial narrative ( skaz) from Leskov to a generation of young Soviet writers, but as a successful heir of a synthesizing aesthetic that in Russia spanned from the medieval period to Futurism. I begin with a biographical introduction where I relate the liminal character of Remizov's illustrated albums to the circumstances of his life. I also explain how liminality extends into the content of the albums, creating different frames of reference within them. Next, I take up the subject of Remizov's formation as an author of illustrated albums. The first chapter is a study of Remizov's response to turn-of-the-twentieth-century book art. In chapter two I examine the evolution of meaning in Remizov's tale Solomoniia through three different illustrated albums that he created starting in the mid thirties. To create the desired focus for each album, Remizov transformed this mesmerizing narrative of phallic possession through variations in the albums' format. The metonymical relationship between the arts is the subject of the third chapter. There I show how Remizov carries the synaesthetic principle from content to form in his 1937 album Maroun. The last chapter is a study of Remizov's 1940 album Sibirskii skaz (The Siberian Tale). My intention here is to account for the complete absence of text in this late album. I conclude with a description of the text-to-image dynamic revealed by the chronological overview of the extant albums. This dynamic, I argue, elucidates the position of the illustrated albums in Remizov's oeuvre as a threshold over which the writer eventually stepped to become a remarkable graphic artist.
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