New PDF release: Architecture of the Off-Modern

By Svetlana Boym

ISBN-10: 1616891033

ISBN-13: 9781616891039

Svetlana Boym's Architecture of the Off-Modern is an creative journey in the course of the background and afterlife of Vladimir Tatlin's mythical yet unbuilt Monument to the 3rd foreign of 1920. Boym strains the vicissitudes of Tatlin's tower, from its reception within the Nineteen Twenties to its privileged remember in "the reservoir of unofficial utopian desires" of the Soviet period. Boym bargains an alternate heritage of modernism, postulating the "architecture of experience" as a poetic version for "third-route" wondering know-how, heritage, and aesthetic tradition.

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Extra resources for Architecture of the Off-Modern

Example text

33. Kazimir Malevich, “On Tatlin,” in Novaia Generatsiia (Kharkov) 8 (1929); trans. 75 (Stockholm: Moderna Museet, 1968), 66. 34. Stephen Bann, introduction, in Global Conceptualism: Points of Origin, 1950–1980, exhibition catalogue (New York: Queens Museum of Art, New York, 1999), 73–84. 35. Ilya Ehrenburg, E pur se muove (Berlin: Gelicon, 1922), 18. 36. Ehrenburg, E pur se muove, 18–22. 37. Sergei Eisenstein, “Pathos” (1946), in Izbrannye proizvedeniia, vol. 3 (Moscow: 1964), 198. In English see “Pathos” in Nonindifferent nature, trans.

Throughout the 1920s Shklovsky developed his own conception of parallelism. The word “parallel” here may be misleading, especially from the conventional Euclidean perspective. ” Vladimir Nabokov, Lectures on Russian Literature, ed. Fredson Bowers (New York: Harcourt Brace Jovanovich/Bruccoli Clark, 1981), 58. Shklovsky’s literary parallelisms hesitate between irony, analogy, and allegory, all rhetorical figures based on doubleness, double entendre, or speaking otherwise. 27. Shklovsky, “Vstuplenie pervoe” in Khod konia: sbornik statei, 9–10.

For a detailed discussion, see Svetlana Boym, “Poetics and Politics of Estrangement: Victor Shklovsky and Hannah Arendt,” Poetics Today, vol. 26, no. 4 (2005), 581–611. 26. In his first revolutionary exercise in literary criticism, “The Resurrection of the Word” (1914), which he read on the stage of the Stray Dog Cabaret, Shklovsky describes the ornamental and nonfunctional arches of the nearby historicist eclectic building on Nevsky Avenue as examples of “architectural absurdity” and a habitual disregard for structures and functions.

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