Mikhail N. Epstein (Epshtein)
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BETWEEN PHILOSOPHIES: the EMERGENCE of a NEW INTELLECTUAL PARADIGM in RUSSIA by Alyssa J. Deblasio Bachelor of Arts, Villanova
BETWEEN PHILOSOPHIES: THE EMERGENCE OF A NEW INTELLECTUAL PARADIGM IN RUSSIA by Alyssa J. DeBlasio Bachelor of Arts, Villanova University, 2003 Master of Arts, University of Pittsburgh, 2006 Submitted to the Graduate Faculty of the School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2010 UNIVERSITY OF PITTSBURGH School of Arts and Sciences This dissertation was presented by Alyssa J. DeBlasio It was defended on May 14, 2010 and approved by Tatiana Artemyeva, Professor, Herzen State Pedagogical University (St. Petersburg, Russia), Department of Theory and History of Culture Vladimir Padunov, Associate Professor, University of Pittsburgh, Department of Slavic Languages and Literatures James P. Scanlan, Emeritus Professor, The Ohio State University, Department of Philosophy Dissertation Advisor: Nancy Condee, Associate Professor, Department of Slavic Languages and Literatures ii Copyright © by Alyssa J. DeBlasio 2010 iii BETWEEN PHILOSOPHIES: THE EMERGENCE OF A NEW INTELLECTUAL PARADIGM IN RUSSIA Alyssa J. DeBlasio, PhD University of Pittsburgh, 2010 This dissertation takes as its primary task the evaluation of a conflict of paradigms in Russian philosophical thought in the past decade. If until the early nineties Russian philosophers were often guilty of uncritically attributing to their domestic philosophy a set of characteristics that fell along the lines of a religious/secular binary (e.g. literary vs. analytic; continuous vs. ruptured), in recent years the same scholarship is moving away from the nineteenth-century model of philosophy as a “path” or “special mission,” as it has been called by Konstantin Aksakov, Aleksei Khomiakov, Ivan Kireevskii, and later, Nikolai Berdiaev, among others. -
SOVIET MYTHS in POST-SOVIET CULTURE by DARIA SERGUEYEVNA KABANOVA DISSERTATION Urbana, Illinois Doctoral Commit
SITES OF MEMORY: SOVIET MYTHS IN POST-SOVIET CULTURE BY DARIA SERGUEYEVNA KABANOVA DISSERTATION Submitted in partial fulfillment of requirements for the degree of Doctor of Philosophy in Comparative Literature with a minor in Cinema Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2011 Urbana, Illinois Doctoral Committee: Associate Professor Lilya Kaganovsky, Chair Professor Nancy Blake Associate Professor Anke Pinkert Associate Professor Richard Tempest ABSTRACT Do we treat 1990s as a gap, a rupture between the Soviet past and the post-Soviet present? Post-Soviet film and fiction certainly stage the break up of the Soviet Union and the end of Soviet rule in this way. Post-Soviet culture has left behind a certain set of Soviet cultural myths: the conquest of space, the normal functioning of Soviet life with clear sources of symbolic authority, the Soviet notion of heroism, etc. These myths have not been replaced with anything new. One can sense a real pause in films and texts from the late 80s and early 90s – as ideology, already exhausted by late socialism, takes a break. Eliot Borenstein speaks of the 1990s as a moment of a loss of national identity, of emasculation of Russian culture. Mikhail Epstein argues that the end of socialism created a loop in the time of national history, whereupon the Soviet future (communism) became the post-Soviet past. Aleksei Yurchak has shown that the utopian stability of the Soviet “forever” was lost in late socialism, staging a seemingly cataclysmic break up of the Soviet Union and its ideological constructs. -
The Legacy of Jewish-Russian Literature
General Introduction: The Legacy of Jewish-Russian Literature By Maxim D. Shrayer DUAL LITERARY IDENTITIES What are cultures measured by? Cultural contributions are difficult to quantify and even harder to qualify without a critical judgment in hand. In the case of verbal arts, and of literature specifically, various criteria of formal perfection and originality, significance in literary history, and aspects of time, place, and milieu all contribute to the ways in which one regards a writer’s contribution. In the case of Jewish culture in Diaspora, and specifically of Jewish writing created in non-Jewish languages adopted by Jews, the reckoning of a writer’s status is riddled with a set of powerful contrapositions. Above all else, there is the duality, or multiplicity, of a writer’s own iden- tity—both Jewish and German (Heinrich Heine) or French (Marcel Proust) or Russian (Isaac Babel) or Polish (Julian Tuwim) or Hungarian (Imre Kertész) or Brazilian (Clarice Lispector) or Canadian (Mordechai Richler) or American (Bernard Malamud). Then there is the dividedly redoubled perspec- tive of a Diasporic Jew: both an in-looking outsider and an out-looking insider. And there is the language of writing itself, not always one of the writer’s native setting, not necessarily one in which a writer spoke to his or her own parents or non-Jewish childhood friends, but in some cases a second or third or forth language—acquired, mastered, and made one’s own in a flight from home.1 Evgeny Shklyar (1894–1942), a Jewish-Russian poet and a Lithuanian patriot who translated into Russian the text of the Lithuanian national anthem 1 In the context of Jewish-Russian history and culture, the juxtaposition between a “divided” and a “redoubled” identity goes back to the writings of the critic and polemicist Iosif Bikerman (1867–1941? 1942?), who stated in 1910, on the pages of the St. -
Terror and Transcendence in the Void: Viktor Pelevin's Philosophy Of
Terror and Transcendence in the Void: Viktor Pelevin’s Philosophy of Emptiness By © 2017 Rebecca Stakun M.A., University of Kansas, 2011 B.A., George Washington University, 2006 Submitted to the graduate degree program in Slavic Languages and Literatures and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chair: Vitaly Chernetsky ________________________________ Co-Chair: Maria Carlson ________________________________ Marc Greenberg ________________________________ Ani Kokobobo ________________________________ Bruce Hayes Date Defended: 4 August 2017 The Dissertation Committee for Rebecca Stakun certifies that this is the approved version of the following dissertation: Terror and Transcendence in the Void: Viktor Pelevin’s Philosophy of Emptiness ________________________________ Chair: Vitaly Chernetsky Date Accepted: 4 August 2017 ii Abstract This dissertation explores the Russian experience of the “void” left in the wake of the collapse of the Soviet Union as it is reflected in Viktor Pelevin’s Chapaev and Pustota (1996), Generation “P” (1999), The Sacred Book of the Werewolf (2004), and Empire “V” (2006). If, as postmodernist theory suggests, there can be no overarching cultural (or other) narratives, then in the aftermath of the Soviet Union’s collapse post-Soviet Russia found itself in a void, with no old, established national narrative and no new “Russian idea” to shape future identity. At the very moment when post-Soviet -
Epstein (Specific)
9/3/13 Epstein (specific) - The Place of Postmodernism in Postmodernity Home > Philosophy > 1997 After Postmodernism Conference > Epstein (specific) The Place of Postmodernism in Postmodernity Mikhail Epstein (Emory University, Atlanta) (from the book "Russian Postmodernism: New Perspectives on Late Soviet and Post-Soviet Culture" forthcoming in Berghahn Books, Providence, Oxford, 1998, transl. from Russian by Slobodanka Vladiv-Glover, ed. by Thomas Epstein) 1. Removing the Quotation Marks Post-postmodernism witnesses the re-birth of utopia after its own death, after its subjection to postmodernism's severe scepticism, relativism and its anti-utopian consciousness. Here is what several Moscow artists and art scholars of the post- Conceptual wave have said about the subject: "It is crucial that the problem of the universal be raised as a contemporary issue. I understand that it is a utopia. It is done completely consciously, yes, utopia is dead, so long live utopia. Utopia endows the individual with a more significant and a wider horizon" (Viktor Miziano). "The future of contemporary art is in the will to utopia, in the break-through into reality through a membrane of quotations, it is in sincerity and pathos" (Anatolii Osmolovsky). The subject here is the resurrection of utopia after the death of utopia, no longer as a social project with claims to transforming the world, but as a new intensity of life experience and a broader horizon for the individual. Trans- utopianism, trans-pathos are projections of the same "lyrical" need, which transcended its own negation in postmodernism. In considering the names that might possibly be used to designate the new era following "postmodernism," one finds that the prefix "trans'" stands out in a special way. -
The Origins and the Meaning of Russian Postmodernism
TITLE: The Origins and the Meaning of Russian Postmodernism AUTHOR: Michael Epstein THE NATIONAL COUNCIL FOR SOVIET AND EAST EUROPEAN RESEARCH 1755 Massachusetts Avenue, N.W. Washington, D.C. 20036 PROJECT INFORMATION:* CONTRACTOR: Emory University PRINCIPAL INVESTIGATOR: Michael Epstein COUNCIL CONTRACT NUMBER: 807-21 DATE: July 16, 1993 COPYRIGHT INFORMATION Individual researchers retain the copyright on work products derived from research funded by Council Contract. The Council and the U.S. Government have the right to duplicate written reports and other materials submitted under Council Contract and to distribute such copies within the Council and U.S. Government for their own use, and to draw upon such reports and materials for their own studies; but the Council and U.S. Government do not have the right to distribute, or make such reports and materials available outside the Council or U.S. Government without the written consent of the authors, except as may be required under the provisions of the Freedom of Information Act 5 U.S.C. 552, or other applicable law. The work leading to this report was supported by contract funds provided by the National Council for Soviet and East European Research. The analysis and interpretations contained in the report are those of the author. NCSEER NOTE This is the third paper in a series based upon the author's research project on Russian philosophical and humanistic thought since 1950. The first was titled New Sects: The Varieties of Religious-Philosophical Consciousness in Russia 1970's - 1980's. distributed by the Council on April 5, 1993. The second was titled The Significance of Russian Philosophy, distributed on July 14, 1993. -
Twentieth-Century Russian Poetry
TWENTIETH-CENTURY RUSSIAN POETRY Reinventing the Canon EDITED BY KATHARINE HODGSON, JOANNE SHELTON AND ALEXANDRA SMITH To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/294 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. ONLINE SURVEY In collaboration with Unglue.it we have set up a survey (only ten questions!) to learn more about how open access ebooks are discovered and used. We really value your participation, please take part! CLICK HERE Twentieth-Century Russian Poetry Reinventing the Canon Edited by Katharine Hodgson, Joanne Shelton and Alexandra Smith https://www.openbookpublishers.com © 2017 Katharine Hodgson, Joanne Shelton and Alexandra Smith. Copyright of each chapter is maintained by the author. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Katharine Hodgson, Joanne Shelton and Alexandra Smith (eds.). Twentieth-Century Russian Poetry: Reinventing the Canon. Cambridge, UK: Open Book Publishers, 2017. https://doi. org/10.11647/OBP.0076 In order to access detailed and updated information on the license, please visit https://www. openbookpublishers.com/product/294#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/ by/4.0/ All external links were active at the time of publication and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at https://www. -
The Philosophical Implications of Russian Conceptualism
Journal of Eurasian Studies 1 (2010) 64–71 Contents lists available at ScienceDirect Journal of Eurasian Studies journal homepage: www.elsevier.com/locate/euras The philosophical implications of Russian conceptualism Mikhail Epstein Emory University, Atlanta, USA article info abstract Article history: The formation of Russian postmodernist thought can be traced to the theoretical works of Received 12 May 2009 Andrei Siniavsky, in particular to his treatise ‘‘On Socialist Realism’’ (1959). Instead of Accepted 30 June 2009 Available online 23 December 2009 praising socialist realism as the ‘‘truthful reflection of life’’ (as did official Soviet criticism), or condemning it as a ‘‘distortion of reality and poor ideologized art’’ (as did dissident and liberal Western criticism), Siniavsky suggested the artistic utilization of the signs and images of socialist realism, while introducing a playful distance from their ideological content. This project was realized in the 1970s and 1980s in the form of Sots-Art and Conceptualism, influential artistic and intellectual movements that transformed the Soviet ideological system into material for parody and pastiche, often characterized also by a lyrical and nostalgic attitude. Conceptualism is not merely an artistic trend; its philosophical significance is revealed in the art and programmic statements of Ilya Kabakov and Vitaly Komar and Aleksandr Melamid, in Alexander Zinoviev’s fiction, in Dmitry Prigov’s poetry, articles and manifestos, and in Boris Groys’s theoretical works. As a philosophy, Conceptualism -
In Marx's Shadow
In Marx’s Shadow Knowledge, Power, and Intellectuals in Eastern Europe and Russia Edited by Costica Bradatan and Serguei Alex. Oushakine L EXINGTON BOOKS A division of ROWMAN & LITTLEFIELD PUBLISHERS, INC. Lanham • Boulder • New York • Toronto • Plymouth, UK 009_798_01_Front.indd9_798_01_Front.indd iiiiii 22/23/10/23/10 77:32:39:32:39 AMAM Published by Lexington Books A division of Rowman & Littlefield Publishers, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 http://www.lexingtonbooks.com Estover Road, Plymouth PL6 7PY, United Kingdom Copyright © 2010 by Lexington Books All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data In Marx’s shadow : knowledge, power, and intellectuals in Eastern Europe and Russia / edited by Costica Bradatan and Serguei Alex. Oushakine. p. cm. ISBN 978-0-7391-3624-9 (cloth : alk. paper) — ISBN 978-0-7391-3626-3 (electronic) 1. Europe, Eastern—Intellectual life. 2. Soviet Union—Intellectual life. 3. Russia (Federation) —Intellectual life. 4. Intellectuals—Europe, Eastern. 5. Intellectuals—Soviet Union. 6. Intellectuals—Russia (Federation) 7. Power (Social sciences)—Europe, Eastern. 8. Power (Social sciences)—Soviet Union. 9. Power (Social sciences)—Russia (Federation) I. Bradatan, Costica. II. Ushakin, S. (Sergei), 1966– DJK50.I49 2010 305.552094709045—dc22 2009048380 ϱ ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. -
Predictionary
PreDictionary PreDictionary is a dictionary of would-be words that are designed to fill gaps in language and generate new concepts and meanings. Focused on the creative potential of a neologism and a dictionary entry, this book is dedicated to both poetry and poetics. The concept of lexicopoeia comes from Ralph Emerson: "Every word [lexis] was once a poem." To keep language alive, we must constantly reinvent, rejuvenate, and reanimate it – to imbue it with poetry. This means, in particular: to give birth to new words. One freshly coined word, a “lexicopoem” is the most concise genre of literature, more terse than even an aphorism. The main part of the book includes 150 entries in 14 thematic sections. All new words are supplied with definitions and examples of usage. The theoretical parts, Introduction and Afterword, discuss the word- and dictionary- building process in relation to the needs of language development. The author sees the transition from the analysis to the synthesis of language as a most promising path of innovation in contemporary “post-analytic” philosophy and linguistics. Mikhail N. Epstein (Epshtein) is a literary theorist and critical thinker and is Samuel Candler Dobbs Professor of Cultural Theory and Russian Literature at Emory University (Atlanta, USA). His area includes Western and Russian postmodernism; new methods and interdisciplinary approaches in the humanities; semiotics and language evolution; ideas and electronic media. Born in Moscow in 1950, he moved to the USA in 1990. He was the founder and director of the Moscow Laboratory of Contemporary Culture, Experimental Center of Creativity (1988). He was Fellow at the Woodrow Wilson International Center for Scholars (Washington, DC, 1990 – 1991), Center for Humanistic Inquiry at Emory University (2002 – 2003), The Institute of Advanced Study at Durham University (England, 2011), working on projects related to the study of ideology, language, philosophy, and the future of the humanities. -
Representations of America in Russian Literary Essays, 1991-2004
The Essayistic Vision: Representations of America in Russian Literary Essays, 1991-2004 by Sergiy A. Sychov A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Slavic Languages and Literature) in The University of Michigan 2009 Doctoral Committee: Associate Professor Herbert J. Eagle, Chair Associate Professor Olga E. Maiorova Associate Professor Michael L. Makin Associate Professor Alaina M. Lemon © Sergiy A. Sychov 2009 Acknowledgements I could not have written this dissertation without guidance and support from a number of people. I am especially grateful to my advisor, Professor Herbert Eagle, whose wisdom, exceptional intellectual generosity, and collegial spirit turned the task that occasionally looked insurmountable into an experience that was as manageable and meaningful as it was rewarding. My sincere gratitude goes to the members of my dissertation committee: Alaina Lemon, Olga Maiorova, and Michael Makin. Without their insightful comments and rigorous criticism, this work would be much less coherent, if at all. Particularly, I am grateful to them for finding time amidst their busy summer research schedule to help me with final drafts of the dissertation. I am also greatly indebted to Andreas Schönle, whose guidance at the early stages of this project was invaluable. Funding for research and writing was provided by the Horace Rackham Graduate School and the Department of Slavic Languages and Literatures. I am grateful to Sylvia Suttor, Sheri Sytsema-Geiger, Amanda Apostol, Manal Baker, and Jennifer White for their kindness and logistical support. Many thanks to Louis Ciccarelli of the Sweetland Writing Center at the University of Michigan for excellent writing advice and good humor.