Comintern aesthetics / edited by Amelia M. Glaser and Steven S. Lee.
"Founded by Vladimir Lenin in 1919 to instigate a world revolution, the Comintern advanced not just the proletarian struggle but also a wide variety of radical causes, including those against imperialism and racism in settings as varied as Ireland, India, the United States, and China. Notorious...
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| Format: | eBook |
| Language: | English |
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Toronto ; Buffalo ; London :
University of Toronto Press,
[2020]
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Table of Contents:
- Cover
- Title Page
- Copyright
- Contents
- Illustrations
- Chronology: Comintern Aesthetics
- Between Politics and Culture
- Editors' Note
- Introduction: Comintern Aesthetics
- Space, Form, History
- Interwar/Postwar, East/West, Modernism/Realism
- Organization of the Volume
- NOTES
- PART ONE: Space: Geopoetics, Networks, Translation
- Chapter One: World Literature as World Revolution: Velimir Khlebnikov's Zangezi and the Utopian Geopoetics of the Russian Avant-Garde
- World Literature: Beyond the Nation and the Market
- The Utopian Geopoetics of the Russian Avant-Garde.
- Between Totalization and Rupture: The Mediating Function of Geopoetics
- 1920: Uneven Development and the Eastward Turn of the Comintern
- Khlebnikov in Baku, or the Utopian Geopoetics of Eurasia
- Khlebnikov's Zangezi and the Legacy of Tatlin
- Zangezi: A World-Text
- NOTES
- Chapter Two: Berlin-Moscow-Shanghai: Translating Revolution across Cultures in the Aftermath of the 1927 Shanghai Debacle
- NOTES
- Chapter Three: India-England-Russia: The Comintern Translated
- NOTES
- Chapter Four: Seeing the World Anew: Soviet Cinema and the Reorganization of 1930s Spanish Film Culture.
- The PCE and the Comintern in Context
- A Transversal Fascination: The Comintern and Intellectual Circles
- Learning Revolutionary Aesthetics
- the Appeal of Soviet Cinema in Spain
- Film Clubs and the Bourgeois Introduction of Soviet Films in Spain
- Soviet Cinema and the Synthesis of Education and Emotion
- Nuestro Cinema and the Organization of a New Spanish Film Culture
- Conclusion
- NOTES
- Chapter Five: The Panorama and the Pilgrimage: Brazilian Modernism, the Masses, and the Soviet Union in the 1930s.
- Patrícia Galvão: Print Culture, the Proletarian Novel, and a Global Mass Aesthetic
- Tarsila do Amaral: Painting and Pilgrimage
- Conclusion: Cinema and the Afterlives of the Soviet Avant-Gardes
- NOTES
- Chapter Six: Polycentric Cosmopolitans: Writing World Literature in Indonesia and Vietnam, 1920s to 1950s and Beyond
- World Republic of Letters or Writers' International?
- Polycentric Cosmopolitans
- The Question of Translation
- Mayakovsky in Hanoi, Gorky in Jakarta
- NOTES
- PART TWO: Form: Beyond Realism-versus-Modernism and Art-versus-Propaganda.
- Chapter Seven: Culture One and a Half
- The Communist Intranational
- An Engineer of the Human Soul
- NOTES
- Chapter Eight: Street Theatre and Subject Formation in Wartime China: Origins of a New Public Art
- Divergent Visions of a Public Theatre
- Moving from Stage to Street
- The Nation as Stage and Spectacle
- Conclusion: A Paradigmatic Course of Action
- NOTES
- Chapter Nine: In the Shadow of the Inquisition: The Spanish Civil War in Yiddish Poetry
- Introduction: Spain
- Past, Present, and Future
- Past
- Present
- Future
- Epilogue: Spain to the Second World War
- NOTES.