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Handwriting, typography, illustratio...

Chesley, Ian.

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Handwriting, typography, illustration: The visual word of the Russian avant-garde.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Handwriting, typography, illustration: The visual word of the Russian avant-garde./
Author:	Chesley, Ian.
Description:	224 p.
Notes:	Adviser: John E. Malmstad.
Contained By:	Dissertation Abstracts International68-10A.
Subject:	Art History. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3285453
ISBN:	9780549278535

Handwriting, typography, illustration: The visual word of the Russian avant-garde.
Chesley, Ian.

Handwriting, typography, illustration: The visual word of the Russian avant-garde. - 224 p.

Adviser: John E. Malmstad.

Thesis (Ph.D.)--Harvard University, 2007.

This dissertation considers the rise of Russian avant-garde book design, experiments in visual forms of language, and their role in shaping the modern reading experience. Chapter 1 is about the Futurist poet Velimir Khlebnikov and his pseudo-scientific system of letters. Departing from the earlier model of the "letter as such," which claims a relationship of identity between writer and handwriting, Khlebnikov develops a theory of the relationship between writing and historical events. I argue that in his linguistic essays, Khlebnikov adopts the alter ego of the nineteenth-century writer and mathematician Sofia Kovalevskaia. She serves as a fictional lyrical subject that makes his theory of history both mathematical and literary. Chapter 2 is about Ilya Zdanevich (Iliazd), whose typographical designs represent the radical extreme of Russian Futurism. I examine his book designs, critical writings, and speeches for the way he uses typography to fashion a public self. In particular, Zdanevich's preoccupation with gender provides a point of entry into his opaque zaum' works. Zdanevich uses typography to explore how gender is mediated by, and can be shaped by, the creative use of visual language. Chapter 3 is about the painter, architect, typographer El Lissitzky. I argue that Lissitzky's experimental books represent a form of research into the distinction between written word and image. Far from a "limited design task," typography is the most important tool Lissitzky employs in order to explore the paradox of reading: that it is essentially a visual act, but that it is also predicated on a kind of blindness to the materiality of language.

ISBN: 9780549278535Subjects--Topical Terms:

635474
Art History.

Handwriting, typography, illustration: The visual word of the Russian avant-garde.
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005 20110525
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020 $a 9780549278535
035 $a (UMI)AAI3285453
035 $a AAI3285453
040 $a UMI $c UMI
100 1 $a Chesley, Ian. $3 1272398
245 1 0 $a Handwriting, typography, illustration: The visual word of the Russian avant-garde.
300 $a 224 p.
500 $a Adviser: John E. Malmstad.
500 $a Source: Dissertation Abstracts International, Volume: 68-10, Section: A, page: 4319.
502 $a Thesis (Ph.D.)--Harvard University, 2007.
520 $a This dissertation considers the rise of Russian avant-garde book design, experiments in visual forms of language, and their role in shaping the modern reading experience. Chapter 1 is about the Futurist poet Velimir Khlebnikov and his pseudo-scientific system of letters. Departing from the earlier model of the "letter as such," which claims a relationship of identity between writer and handwriting, Khlebnikov develops a theory of the relationship between writing and historical events. I argue that in his linguistic essays, Khlebnikov adopts the alter ego of the nineteenth-century writer and mathematician Sofia Kovalevskaia. She serves as a fictional lyrical subject that makes his theory of history both mathematical and literary. Chapter 2 is about Ilya Zdanevich (Iliazd), whose typographical designs represent the radical extreme of Russian Futurism. I examine his book designs, critical writings, and speeches for the way he uses typography to fashion a public self. In particular, Zdanevich's preoccupation with gender provides a point of entry into his opaque zaum' works. Zdanevich uses typography to explore how gender is mediated by, and can be shaped by, the creative use of visual language. Chapter 3 is about the painter, architect, typographer El Lissitzky. I argue that Lissitzky's experimental books represent a form of research into the distinction between written word and image. Far from a "limited design task," typography is the most important tool Lissitzky employs in order to explore the paradox of reading: that it is essentially a visual act, but that it is also predicated on a kind of blindness to the materiality of language.
590 $a School code: 0084.
650 4 $a Art History. $3 635474
650 4 $a Design and Decorative Arts. $3 1024640
650 4 $a Literature, Slavic and East European. $3 1022083
690 $a 0314
690 $a 0377
690 $a 0389
710 2 $a Harvard University. $3 528741
773 0 $t Dissertation Abstracts International $g 68-10A.
790 $a 0084
790 1 0 $a Malmstad, John E., $e advisor
791 $a Ph.D.
792 $a 2007
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3285453