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Notes to Chapter 1 Notes Russian names in the text are given in a simplified form, but in the references below they are transliterated according to the Slavonic Review system. Notes to Chapter 1 1. A detailed documentation of October is in Sergej Eisenstein, Schriften, vol. 3, ed. H. J. Schlegel (Munich, 1975). Cf. the analysis by O. Roth­ Lindberg, 'Transformation as a Device in Eisenstein's Visual Language', in Lars Kleberg and Hakan Lovgren (eds), Eisenstein Revisited. A Collec­ tion of Essays (Stockholm, 1987), pp. 25-38. 2. See Mona Ozouf, Festivals and the French Revolution, trans. Alan Sheridan (Cambridge, Mass. and London, 1988) and A. Mazaev, Prazdnik kak sotsial'no-khudozhestvennoe iavlenie (Moscow, 1978). 3. 'Slap in the Face of Public Taste', in Anna Lawton (ed.), Russian Futurism through its Manifestos, 1912-1928 (Ithaca and London, 1988), pp. 51-2. 4. The aesthetic theory of the Russian avant-garde in relation to earlier and later developments is analysed in Boris Groys, Gesamtkunstwerk Stalin (Munich, 1988) (translation into English by Charles Rougle, The Total Art of Stalinism, Princeton University Press, 1991); Groys develops the same argument in his 'The Birth of Socialist Realism from the Spirit of the Russian Avant-Garde', in Hans Gunther (ed.), The Culture of the Stalinist Period (London, 1990), pp. 122--48. For the general theory of the autonomisation process and the avant-garde's subsequent project to abol­ ish the institution of art, see Peter Burger, Theory of the Avant-Garde, trans. Michael Shaw (Manchester, 1984). 5. Cf. Richard Taylor, 'From October to October: the Soviet Political System and its Films', in M. J. Clark (ed.), Politics and the Media (Oxford, 1979), pp. 31--42. 127 128 Notes Notes to Chapter 2 1. Sheila Fitzpatrick's The Commissariat ofEnlightenment (Cambridge, 1970) still provides the best account of Lunacharsky's and Narkompros's activi­ ties in the immediate post-revolutionary period. On the conflicts in cultural policy during the first years of the revolution, see Nils Ake Nilsson (ed.), Art, Society, Revolution: Russia 1917-1921 (Stockholm, 1979). 2. A. Lunacharskii, Sobranie sochinenii, vol. 7 (Moscow, 1967), p. 275. 3. Quoted in E. A. Dinershtein, 'Maiakovskii v fevrale-{lktiabre 1917 g.', Literatumoe nasledstvo, 65 (Moscow, 1956), p. 565. 4. Vladimir Maiakovskii, Polnoe sobranie sochinenii, vol. 12 (Moscow, 1959), p. 151. 5. Dinershtein, 'Maiakovskii v fevrale-{lktiabre 1917 g.', p. 565. 6. The first non-partisan history of Proletkult as a national organisation is Lynn Mally, Culture of the Future. The Proletkult Movement in Revolu­ tionary Russia (Berkeley, 1990). Most other studies on the Proletkult are strongly ideological. The Soviet historian V. V. Gorbunov criticises the movement for its left radicalism in V. I. Lenin i proletkul't (Moscow, 1974), whereas West German scholars praise it for those same tendencies; see P. Gorsen and E. KnOdler-Bunte (eds), Proletkult. Dokumentation vols 1-2 (Stuttgart - Bad Canstatt, 1974). A dispassionate and informative account of Bogdanov's life and works is D. Grille, Lenins Rivale (Cologne, 1966). On the philosophical issues, see Zenovia A. Sochor, Revolution and Culture: the Bogdanov-Lenin Controversy (Ithaca, 1988). 7. Quoted in Gorsen and KnOdler-Bunte, Proletkult, vol. 1, pp. 131-2. 8. Gorbunov, V. I. Lenin i Proletkul't, p. 59. 9. Proletarskaia kul'tura, 6 (1919), p. 35. 10. The project to found the 'komfuty' (,communist-futurists') as a primary Party organisation in Petrograd was a rather pathetic attempt to assert the purely political significance of the avant-garde, and it was quickly dis­ missed by the Bolsheviks. See Bengt Jangfeldt, 'Russian Futurism 1917- 1919', in Nilsson (ed.), Art, Society, Revolution, pp. 116-17. 11. 'Levye - pravye', Isskustvo kommuny, 3 (1918), p. 1. 12. Brik's 'Khudozhnik-proletarii' appeared in Iskusstvo kommuny, 2 (1918), p. 1. Cf. Masha Enzenberger's detailed presentation and translation of texts by Brik in Screen, 3 (1974), pp. 35-81. A pioneering typological study of the interrelation between the avant-garde, Proletkult and 'intuitive realism' in the 1920s is Miroslav Drozda and Milan Hrala, Dvacdtd leta sovetske literdmf kritiky (Lef - Rapp - Pereval) (Prague, 1968). 13. V. I. Lenin, 'The Tax in Kind', Collected Works, vol. 32 (Moscow, 1965), p. 350. The economic and political crisis in Soviet Russia at the end of the Civil War is described in E. H. Carr, The Bolshevik Revolution 1917-1923, vols 1-3 (London, 1950-3) and Charles Bettelheim, Class Struggle in the USSR (New York, 1976). In Revolutionary Dreams. Utopian Vision and Experimental Life in the Russian Revolution (New York and Oxford, 1989), Richard Stites bases his description of a wide variety of utopian projects, including the Bolshevik one, on a wealth of primary and second­ ary sources. Mikhail Heller and Aleksandr Nekrich, Utopia in Power. A Notes 129 History of the USSR from 1917 to the Present, trans. Phyllis B. Carlos (London, 1986), criticises the Bolshevik revolution as the utopia of totali­ tarianism and the destruction of culture as such. 14. Lenin,. Polnoe sobranie sochinenii, vol. 32 (Moscow, 1965), p. 24 (my italics). 15. A. Kolontay, The Workers' Opposition in Russia (Chicago, 1921), p. 29. Cf. Mally, Culture of the Future, p. 195. 16. On the banning ofProletkult clubs, see Gorbunov, V. 1. Lenin i Proletkul't, p. 172; on Proletkult and the Worker's Opposition see R. V. Daniels, The Conscience of the Revolution (Cambridge, Mass., 1960), pp. 159-61, and Mally, Culture of the Future, pp. 214-15. 17. Leo Trotsky, Literature and Revolution, trans. Rose Stunsky (Ann Arbor, 1960). 18. The speech at the Komsomol Congress is in Lenin, Polnoe sobranie sochinenii, vol. 31 (Moscow, 1966) pp. 283-99. 19. Kasimir Malevich, Essays on Art, ed. by Troels Andersen, trans. Xenia Glowacki-Pros and Arnold McMillin, vol. 1 (Copenhagen, 1968), p. 94. On the concept of the avant-garde in politics and the arts, see Donald D. Egbert, Social Radicalism and the Arts. Western Europe (New York, 1970), p. 117 ff. 20. 'Puti proletariata v izobrazitel'nom iskusstve', Proletarskaia kul'tura, 13- 14 (1920), p. 73. 21. Anatoly Mazaev compares the situation to a pair of 'scissors' in which revolutionary enthusiasm was one blade, and material shortages and back­ wardness the other; the notion of production art was trapped in that scissors (A. Mazaev, Kontseptsiia 'proizvodstvennogo iskusstva' 20-kh godov (Mos­ cow, 1975), p. 44). The standard work on constructivism and production art is Christina Lodder, Russian Constructivism (New Haven, 1983). 22. 'V poriadke dnia', 1skusstvo i proizvodstvo, 1 (Moscow, 1922), p. 7. 23. Maiakovskii, Polnoe sobranie sochinenii, vol. 12 (Moscow, 1959), p. 510. Notes to Chapter 3 1. 1. von Schlosser, 'Yom modernen Denkmalkultus', Vortrage der Bibliothek Warburg, 6 (Leipzig-Berlin 192611927), pp. 1-21. 2. Quoted from Futurist Manifestos, ed. and with an introduction by Umbro Apollonio (New York, 1973), p. 62. 3. 'Two Chekhovs' is in Maiakovskii, Polnoe sobranie sochinenii, vol. 1, pp. 294--301. For a discussion of Mayakovsky and the symbol of the statue, see Lars Kleberg, 'Notes on the Poem Vladimir Jl'ic Lenin', in Bengt langfeldt and Nils Ake Nilsson (eds), Vladimir Majakovskij. Memoirs and Essays (Stockholm, 1975), pp. 166-78, and Krystyna Pomorska, 'Mlljakovskij and the Myth of Immortality in the Russian Avant-Garde', in Nils Ake Nilsson (ed.), The Slavic Literatures and Modernism (Stock­ holm, 1987), pp. 49-69. 4. First Decrees of Soviet Power, compiled and with explanatory notes by Yuri Akhapkin (London, 1970), p. 120. 130 Notes 5. For a full discussion ofthe project, see John Bowlt, 'Russian Sculpture and Lenin's Plan of Monumental Propaganda', in H. A. Millon and L. Nochlin (eds), Art and Architecture in the Service of Politics (Cambridge, Mass., 1978), pp. 182-93. 6. Quoted in Bengt Jangfeldt, 'Notes on "Manifest Letucej Federacii Futuristov" and the Revolution of the Spirit', in Jangfeldt and Nilsson (eds), Vladimir Majakovskij, p. 156. 7. Maiakovskii, Polnoe sobranie sochinenii, vol. 2, p. 16. 8. See Bengt Jangfeldt, Majakovskij and Futurism 1917-1921 (Stockholm, 1976), pp. 51-2. On revolutionary iconoclasm in general, see Stites, Revo­ lutionary Dreams, pp. 61-78. 9. 'Den', kotoryi my khotim khranit' v pamjati', lskusstvo kommuny, 16 (1919), p. 1. On Punin, see Stites, Revolutionary Dreams, p. 50. 10. '0 pamiatnikakh', lskusstvo kommuny, 14 (1919), pp. 2-3. II. Tatlin's Monument is described in the catalogue of the Stockholm Museum of Modem Art (Vladimir Tatlin. Moderna Museets utstiillningskatalog [Stockholm, 1968]), in John Milner, Vladimir Tatlin and the Russian Avant-Garde (New Haven and London, 1983), and in Larissa Zhadova (ed.), Tatlin (London, 1988). 12. N. Punin, 'Monument to the III International', quoted in Zhadova, Tatlin, p.345. 13. 'The Work Ahead of Us', in Zhadova, Tatlin, p. 239. 14. See A. M. Vogt, Russische undJranzosische Revolutionsarchitektur 1789- 1917 (Cologne, 1974) and Lars Kleberg, 'Revolutionens symbolsprak i Frankrike och Tyskland', in Ronny Ambjornsson and Sverker R. Ek (eds), Franska revolutionen - bilder och myter (Stockholm, 1989), pp. 89-108. John Milner (Vladimir Tatlin and the Russian Avant-Garde, pp. 176-80) points to the Pythagorean or 'astrological' aspects of Tatlin' s tower, which only reinforce the parallel with French revolutionary architecture. 15. Maiakovskii, Polnoe sobranie sochinenii, vol. 2 (Moscow, 1957), pp. 149- 65. 16. 'Too Early to Celebrate' is in Maiakovskii, Polnoe sobranie sochinenii, vol. 2 (Moscow, 1956), pp. 21-2. On the pseudo-religious character of Mayakovsky's poetry and utopian projects in Russia in general, see Andrei Sinyavsky, Soviet Civilization, trans. Joanne Turnbull with the assistance of Nikolai Formozov (New York, 1990), pp. 4-13. 17. Sergei Tret'iakov, 1togo. Stikhi (Moscow, 1924), pp. 8-9. Notes to Chapter 4 1. Fritz Mierau's Erfindung und Korrektur. Tretjakows Asthetik der Operativitiit (Berlin-DDR, 1976) is a valuable source of information, although it shows the strong imprint of the time and place of its publica­ tion.
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