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The language of glass and the transf...

Bekman Chadaga, Julia.

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The language of glass and the transformation of vision in modern Russia.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The language of glass and the transformation of vision in modern Russia./
Author:	Bekman Chadaga, Julia.
Description:	424 p.
Notes:	Source: Dissertation Abstracts International, Volume: 64-09, Section: A, page: 3321.
Contained By:	Dissertation Abstracts International64-09A.
Subject:	Literature, Slavic and East European. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3106614

The language of glass and the transformation of vision in modern Russia.
Bekman Chadaga, Julia.

The language of glass and the transformation of vision in modern Russia. - 424 p.

Source: Dissertation Abstracts International, Volume: 64-09, Section: A, page: 3321.

Thesis (Ph.D.)--Harvard University, 2003.

The founder of Russian versification was a glassmaking pioneer. In eighteenth-century Russia, the mirror became a symbol of law. Zamiatin's <italic>We</italic>, the first anti-utopia, takes place in a world made of glass. A preoccupation with glass is manifested at various discursive levels within Russian culture. My dissertation reveals a dynamic relationship between the functions of glass as a useful material and an inspirational metaphor in the cultural history of modern Russia. In a series of case studies, I place artifacts in dialogue with works by Lomonosov, Chernyshevsky, Zamiatin, Khlebnikov, Mandelstam, and Eisenstein and examine developments in literature in tandem with ones in the glass industry. My approach combines material culture studies, semiotics, and the analysis of literature, art, architecture, and film. I cover a span of time bracketed by events arising from the Petrine revolution in the eighteenth century and the Bolshevik revolution in the twentieth. Both revolutions ushered in new ways of seeing. Fittingly, in these time periods glass was of particular interest: it is a material that, more than any other, engages with the sense of sight. The capacity of glass to be both looked at and looked through evokes the possibility of two planes of existence. To a variety of thinkers, glass has thus suggested the presence of another reality. This helps to explain the role of glass houses in utopian visions, as do the democratic ideals associated with transparency and the desire to take on the luster that a glass case confers. The capacity of glass to capture and manipulate light was used historically to glorify those in power. The presence of glass in the material environment provoked transformations of the literary language. A number of Russian writers saw glass as a metaphor for language itself, because glass is a manmade, protean substance that functions as an invisible medium capable of transforming visible reality; furthermore, akin to language, it resists total appropriation. Glass has served a dual purpose in Russian culture: for the collective, it helped to nurture a self-image; and for the individual beholder, it was a model and a catalyst for the imagination.Subjects--Topical Terms:

1022083
Literature, Slavic and East European.

The language of glass and the transformation of vision in modern Russia.
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100 1 $a Bekman Chadaga, Julia. $3 1942531
245 1 0 $a The language of glass and the transformation of vision in modern Russia.
300 $a 424 p.
500 $a Source: Dissertation Abstracts International, Volume: 64-09, Section: A, page: 3321.
500 $a Adviser: Svetlana Boym.
502 $a Thesis (Ph.D.)--Harvard University, 2003.
520 $a The founder of Russian versification was a glassmaking pioneer. In eighteenth-century Russia, the mirror became a symbol of law. Zamiatin's <italic>We</italic>, the first anti-utopia, takes place in a world made of glass. A preoccupation with glass is manifested at various discursive levels within Russian culture. My dissertation reveals a dynamic relationship between the functions of glass as a useful material and an inspirational metaphor in the cultural history of modern Russia. In a series of case studies, I place artifacts in dialogue with works by Lomonosov, Chernyshevsky, Zamiatin, Khlebnikov, Mandelstam, and Eisenstein and examine developments in literature in tandem with ones in the glass industry. My approach combines material culture studies, semiotics, and the analysis of literature, art, architecture, and film. I cover a span of time bracketed by events arising from the Petrine revolution in the eighteenth century and the Bolshevik revolution in the twentieth. Both revolutions ushered in new ways of seeing. Fittingly, in these time periods glass was of particular interest: it is a material that, more than any other, engages with the sense of sight. The capacity of glass to be both looked at and looked through evokes the possibility of two planes of existence. To a variety of thinkers, glass has thus suggested the presence of another reality. This helps to explain the role of glass houses in utopian visions, as do the democratic ideals associated with transparency and the desire to take on the luster that a glass case confers. The capacity of glass to capture and manipulate light was used historically to glorify those in power. The presence of glass in the material environment provoked transformations of the literary language. A number of Russian writers saw glass as a metaphor for language itself, because glass is a manmade, protean substance that functions as an invisible medium capable of transforming visible reality; furthermore, akin to language, it resists total appropriation. Glass has served a dual purpose in Russian culture: for the collective, it helped to nurture a self-image; and for the individual beholder, it was a model and a catalyst for the imagination.
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856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3106614