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Enchanted by the spectacle of death: Forms of the *end in Leningrad culture (1917-1934).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Enchanted by the spectacle of death: Forms of the *end in Leningrad culture (1917-1934)./
Author:	Barskova, Polina Yuryevna.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2006,
Description:	254 p.
Notes:	Source: Dissertations Abstracts International, Volume: 68-12, Section: A.
Contained By:	Dissertations Abstracts International68-12A.
Subject:	Slavic literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3253764
ISBN:	9781109920482

Enchanted by the spectacle of death: Forms of the *end in Leningrad culture (1917-1934).
Barskova, Polina Yuryevna.

Enchanted by the spectacle of death: Forms of the *end in Leningrad culture (1917-1934). - Ann Arbor : ProQuest Dissertations & Theses, 2006 - 254 p.

Source: Dissertations Abstracts International, Volume: 68-12, Section: A.

Thesis (Ph.D.)--University of California, Berkeley, 2006.

This item must not be sold to any third party vendors.

This dissertation analyzes various aspects of the creative intelligentsia's reaction to the traumatic demise of pre-revolutionary Russian culture in Petrograd and Leningrad during the first decade of Soviet power. Drawing on Maurice Blanchot's idea of the "productivity of disaster," I propose reading the "end of Petersburg" as a unique era of cultural production capable of producing new and creative ways to "digest" historical trauma. In an act of aesthetic opposition to Moscow's central power, the artists of Leningrad chose to subvert the decline of their milieu and culture by representing their grim situation as a new and transgressive beauty. My study seeks to reveal and assess their creative strategies. I argue that the discourse of the "end of Petersburg" operated through the constructive metaphors of fragmentation, isolation, and marginalization with its variants and antitheses. More importantly, this discourse re-activated cultural modes of the past, including a peculiar combination of decadence, naturalism and realism. I frame this study using the idea of "Soviet decadence" and argue that the texts constituting Soviet decadence attempted to superimpose the stylistic paradigm of European fin de siecle decadence upon their authors' experience of the new Soviet reality. Such a move was made possible by a deep-seated affinity between the aesthetic premises of the decadent mode at the end of the nineteenth century and in post-revolutionary Russia: both decadent moments may be read as ways of bridging the gap between historical epochs through cultural experimentation. The ultimate goal of this project is to problematize the existing reading of the "end of Petersburg" as period of creative hibernation by demonstrating that the artistic quest for new forms of continuity resulted in the outburst of the Soviet Leningrad modernist text in the 1920s.

ISBN: 9781109920482Subjects--Topical Terms:

2144740
Slavic literature.
Subjects--Index Terms:

Aestheticization

Enchanted by the spectacle of death: Forms of the *end in Leningrad culture (1917-1934).
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245 1 0 $a Enchanted by the spectacle of death: Forms of the *end in Leningrad culture (1917-1934).
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300 $a 254 p.
500 $a Source: Dissertations Abstracts International, Volume: 68-12, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
500 $a Advisor: Matich, Olga.
502 $a Thesis (Ph.D.)--University of California, Berkeley, 2006.
506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a This dissertation analyzes various aspects of the creative intelligentsia's reaction to the traumatic demise of pre-revolutionary Russian culture in Petrograd and Leningrad during the first decade of Soviet power. Drawing on Maurice Blanchot's idea of the "productivity of disaster," I propose reading the "end of Petersburg" as a unique era of cultural production capable of producing new and creative ways to "digest" historical trauma. In an act of aesthetic opposition to Moscow's central power, the artists of Leningrad chose to subvert the decline of their milieu and culture by representing their grim situation as a new and transgressive beauty. My study seeks to reveal and assess their creative strategies. I argue that the discourse of the "end of Petersburg" operated through the constructive metaphors of fragmentation, isolation, and marginalization with its variants and antitheses. More importantly, this discourse re-activated cultural modes of the past, including a peculiar combination of decadence, naturalism and realism. I frame this study using the idea of "Soviet decadence" and argue that the texts constituting Soviet decadence attempted to superimpose the stylistic paradigm of European fin de siecle decadence upon their authors' experience of the new Soviet reality. Such a move was made possible by a deep-seated affinity between the aesthetic premises of the decadent mode at the end of the nineteenth century and in post-revolutionary Russia: both decadent moments may be read as ways of bridging the gap between historical epochs through cultural experimentation. The ultimate goal of this project is to problematize the existing reading of the "end of Petersburg" as period of creative hibernation by demonstrating that the artistic quest for new forms of continuity resulted in the outburst of the Soviet Leningrad modernist text in the 1920s.
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