Pushkin and the Futurists

Total Page:16

File Type:pdf, Size:1020Kb

Pushkin and the Futurists 1 A Stowaway on the Steamship of Modernity: Pushkin and the Futurists James Rann UCL Submitted for the Degree of Doctor of Philosophy 2 Declaration I, James Rann, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Acknowledgements I owe a great debt of gratitude to my supervisor, Robin Aizlewood, who has been an inspirational discussion partner and an assiduous reader. Any errors in interpretation, argumentation or presentation are, however, my own. Many thanks must also go to numerous people who have read parts of this thesis, in various incarnations, and offered generous and insightful commentary. They include: Julian Graffy, Pamela Davidson, Seth Graham, Andreas Schönle, Alexandra Smith and Mark D. Steinberg. I am grateful to Chris Tapp for his willingness to lead me through certain aspects of Biblical exegesis, and to Robert Chandler and Robin Milner-Gulland for sharing their insights into Khlebnikov’s ‘Odinokii litsedei’ with me. I would also like to thank Julia, for her inspiration, kindness and support, and my parents, for everything. 4 Note on Conventions I have used the Library of Congress system of transliteration throughout, with the exception of the names of tsars and the cities Moscow and St Petersburg. References have been cited in accordance with the latest guidelines of the Modern Humanities Research Association. In the relevant chapters specific works have been referenced within the body of the text. They are as follows: Chapter One—Vladimir Markov, ed., Manifesty i programmy russkikh futuristov; Chapter Two—Velimir Khlebnikov, Sobranie sochinenii v shesti tomakh, ed. by Rudol’f Duganov with Evgenii Arenzon; Chapter Three—Vladimir Maiakovskii, Polnoe sobranie sochinenii v trinadtsati tomakh, ed. by V. A. Katanian; Chapter Four—Vladimir Maiakovskii, Polnoe sobranie sochinenii v trinadtsati tomakh, ed. by V. A. Katanian, and Aleksei Kruchenykh, 500 novykh ostrot i kalamburov. Unless otherwise stated, all translations are my own. 5 Abstract The declared intention of the Russian Futurist poets to ‘throw Pushkin from the steamship of Modernity’, expressed in their manifesto Poshchechina obshchestvennomu vkusu, has come to define their attitude to Russia’s pre-eminent poet and the literature of the past in general. However, its ubiquity has led to a reductive approach to Futurism in the scholarship of Pushkin reception and Russian Modernism. This thesis will contribute to both fields, and to our understanding of Futurism, by showing how, contrary to their reputation, three signatories of Poshchechina—Velimir Khlebnikov, Vladimir Maiakovskii and Aleksei Kruchenykh—engaged with Pushkin and his legacy in complex ways throughout their careers. Pushkin will be shown to play an essential role in the strategies adopted by the Futurists to articulate their identities, both collectively and as individuals, and in the related project of the presentation of a radical new model of literary evolution. Close reading of specific works and broad theoretical contextualization will reveal two tendencies: iconoclasm, which continues to be an important, and sophisticated, aspect of Futurist identity, and a less obvious transformative impulse which treats Pushkin’s life and work as myths which can be adapted to help the poet respond to contemporary imperatives. After examining the development of a collective persona in the manifestos in the first chapter, I will devote a chapter each to the work of Khlebnikov, Maiakovskii and Kruchenykh, focusing on the way in which they use a specific motif or element of intertextuality to facilitate their self-expression. The notion of the poet as a sort of prophet will be analysed in relation to Khlebnikov’s conceptualization of time; Maiakovskii’s relationship with the state will be elucidated by examining his attitude to monuments and moving statues; Kruchenykh’s innovative use of quotation will be understood as a response to new forms of mass reception. 6 Table of Contents Introduction. Aleksandr Pushkin and the Steamship of Modernity ........................................ 8 Chapter One. The Futurist Manifestos: Pushkin and the Formation of Futurism................. 44 Pushkin and the Formation of the Futurist Identity ............................................................ 56 A New Model of Cultural Progress ....................................................................................... 78 Summary .............................................................................................................................. 93 Chapter Two. Velimir Khlebnikov: Transforming Pushkin’s Myth of the Prophet ............... 95 The Rational Prophet ......................................................................................................... 102 ‘Odinokii litsedei’ ............................................................................................................... 112 Pushkin and the Bull .......................................................................................................... 115 Acting, Action and Prophecy .............................................................................................. 125 The Prison House of History............................................................................................... 142 Summary ............................................................................................................................ 162 Chapter Three. Vladimir Maiakovskii: Pushkin, the Statue and the State in Maiakovskii’s Poetic Mythology ........................................................................................................ 164 The Myth of the Statue ...................................................................................................... 166 The Meeting of Poet and Leader ....................................................................................... 174 Poet, Citizen and Bureaucrat ............................................................................................. 190 Alternative Monuments in ‘Vo ves’ golos’ ......................................................................... 212 Mobilizing Pushkin ............................................................................................................. 221 Summary ............................................................................................................................ 244 Chapter Four. Aleksei Kruchenykh: Pushkin and the Futurist Poetics of Quotation .......... 246 Quotation in the Silver Age ................................................................................................ 248 500 novykh ostrot i kalamburov Pushkina ......................................................................... 266 7 The Theoretical Context ..................................................................................................... 282 Post Scriptum ..................................................................................................................... 306 Summary ............................................................................................................................ 314 Conclusion ............................................................................................................................. 315 Bibliography .......................................................................................................................... 323 Primary Sources: Futurists ................................................................................................. 323 Primary Sources: Pushkin ................................................................................................... 324 Other Primary Sources ....................................................................................................... 324 Secondary Sources ............................................................................................................. 326 8 Introduction Aleksandr Pushkin and the Steamship of Modernity ‘Throw Pushkin, Dostoevskii, Tolstoi and so on and so forth from the steamship of Modernity.’1 This ringing phrase, which appeared in the Futurist manifesto Poshchechina obshchesvtennomu vkusu (1912), has not only become emblematic of the Futurist movement as a whole, but has entered into the Russian language as ‘winged words’. The longevity and ubiquity of this slogan is a testament to the Futurists’ ability to present themselves in an original and memorable way. One might detect some irony in the fact that the phrase which is axiomatic of Futurism has not freed them from the past, but rather forever bound them together with the classics. While this is certainly true, we should not underestimate the Futurists’ own awareness of this contradiction. Without doubt the skill of their phrase-making and, to use a not entirely anachronistic analogy, brand management, has had a distorting effect on the understanding of the Futurists’ relationship with the classics and in particular their attitude to Russia’s pre-eminent poet, Aleksandr Pushkin.2 The eagerness with which this slogan has been read as an encapsulation of Futurist attitudes to the past is indicative of the lack of attention given to this relationship, both in scholarship and in the popular imagination. This is regrettable because a fuller comprehension of the way the Futurists positioned themselves in regard to their predecessors is fundamental to understanding the Futurists’
Recommended publications
  • A Legacy Regained: Niko and the Russian Avant-Garde
    A LEGACY REGAINED: NIKO AND THE RUSSIAN AVANT-GARDE PALACE EDITIONS Contents 8 Foreword Evgeniia Petrova 9 Preface Job de Ruiter 10 Acknowledgements and Notes to the Reader John E. Bowlt and Mark Konecny 13 Introduction John E. Bowlt and Mark Konecny Part I. Nikolai Khardzhiev and the Russian Avant Garde Remembering Nikolai Khardzhiev 21 Nikolai Khardzhiev RudolfDuganov 24 The Future is Now! lra Vrubel-Golubkina 36 Nikolai Khardzhiev and the Suprematists Nina Suetina 43 Nikolai Khardzhiev and the Maiakovsky Museum, Moscow Gennadii Aigi 50 My Memoir of Nikolai Khardzhiev Vyacheslav Ivanov 53 Nikolai Khardzhiev and My Family Zoya Ender-Masetti 57 My Meetings with Nikolai Khardzhiev Galina Demosfenova 59 Nikolai Khardzhiev, Knight of the Avant-garde Jean-C1aude Marcade 63 A Sole Encounter Szymon Bojko 65 The Guardian of the Temple Andrei Nakov 69 A Prophet in the Wilderness John E. Bowlt 71 The Great Commentator, or Notes About the Mole of History Vasilii Rakitin Writings by Nikolai Khardzhiev Essays 75 Autobiography 76 Poetry and Painting:The Early Maiakovsky 81 Cubo-Futurism 83 Maiakovsky as Partisan 92 Painting and Poetry Profiles ofArtists and Writers 99 Elena Guro 101 Boris Ender 103 In Memory of Natalia Goncharova and Mikhail Larionov 109 Vladimir Maiakovsky 122 Velimir Khlebnikov 131 Alexei Kruchenykh 135 VladimirTatlin 137 Alexander Rodchenko 139 EI Lissitzky Contents Texts Edited and Annotated by Nikolai Khardzhiev 147 Nikolai Khardzhiev Introductions to Kazimir Malevich's Autobiography (Parts 1 and 2) 157 Kazimir Malevieh Autobiography 172 Nikolai Khardzhiev Introduction to Mikhail Matiushin's The Russian Cubo-Futurists 173 Mikhail Matiushin The Russian Cubo-Futurists 183 Alexei Morgunov A Memoir 186 Nikolai Khardzhiev Introduction to Khlebnikov Is Everywhere! 187 Khlebnikov is Everywhere! Memoirs by Oavid Burliuk, Nadezhda Udaltsova, Amfian Reshetov, and on Osip Mandelshtam 190 Nikolai Khardzhiev Introduction to Lev Zhegin's Remembering Vasilii Chekrygin 192 Lev Zhegin Remembering Vasilii Chekrygin Part 11.
    [Show full text]
  • KNIFER, MANGELOS, VANIŠTA September 8 – October 3, 2015 1018 Madison Avenue, New York Opening Reception: Tuesday, September 8, 6 – 8 Pm
    KNIFER, MANGELOS, VANIŠTA September 8 – October 3, 2015 1018 Madison Avenue, New York Opening Reception: Tuesday, September 8, 6 – 8 pm NEW YORK, August 7, 2015 – Mitchell-Innes & Nash is pleased to present an exhibition of works by three of the founding members of the Gorgona Group: Julije Knifer, Mangelos and Josip Vaništa. The Gorgona Group – whose name references the monstrous, snake-haired creatures of classical Greek mythology – was a radical, Croatian art collective active in Zagreb from 1959 to 1966, which anticipated the Conceptual Art movement that emerged in several countries in Europe and America in the 1970s. Loosely organized and without a singular aesthetic ideology, the group was defined by the “gorgonic spirit,” which tended toward nihilism and „anti-art‟ concepts. The exhibition will take place in concurrence with MoMA‟s upcoming show, Transmissions: Art in Eastern Europe and Latin America, 1960 – 1980, and will feature a selection of paintings, works on paper and sculpture dating from 1947 to 1990 to be exhibited in the United States for the first time. The exhibition will be on view from September 8 through October 3, 2015 at 1018 Madison Avenue in New York. Julije Knifer was born in Osijek, Croatia in 1924 and died in Paris in 2004. While Knifer‟s work stems from the Russian school of Suprematist painters, his practice evolved towards an almost exclusive exploration of “the meander”: a geometric, maze-like form of Classical origins composed of intersecting horizontal and vertical lines. This motif appears in the second issue of Gorgona, the group‟s anti-review magazine, which was conceived by Knifer and designed so the pages produce an endless, meandering loop.
    [Show full text]
  • Locating Poems Inside the Quotidian | Axon: Creative Explorations
    Locating poems inside the quotidian | Axon: Creative Explorations https://www.axonjournal.com.au/issue-vol-9-no-1-may-2019/locating-... LOCATING POEMS INSIDE THE QUOTIDIAN Found poetry borrows from other writers – from different writings, artefacts, and sources – always attributing and referencing accurately. In this paper, regional daily newspapers and their front page headlines are privileged as primary texts, the Found Poetry performing as nonfiction lyrical collage, with applied rules, nestling beside them. Considering the notion that contemporary poetry ‘inhabits language’, this paper uses three forms of Found Poetry – erasure, free-form and research – to test and demonstrate both literally and metaphorically, its veracity. Implicitly nonfiction, these poems create a nuanced and rhythmic lineated transcript of Australian life, derived from regional legacy newspapers, while they endure. Furthermore, using a comparative textual method, the aesthetics of Found Poetry is established visually. This paper is the second in a series derived from the beginnings of a research project into Australian legacy newspaper stories and Found Poetry. The first was a sequence of prose poems; this second collection is lineated and contributes to the notion of poetry mediating and enriching our understanding of the reality of the everyday. Keywords: Found Poetry – Australian outback – lyrical collage – legacy newspapers – lineation Introduction There are many definitions of Found Poetry, understandably echoing each other. My definition is simply: Found Poetry is lyrical textual collage, with rules. The rules create a writing to constraint paradigm, which is as evocative as it is challenging. My research into this area is relatively new but there is one notion I am certain of from these early forays – poetry is as ubiquitous as language: our earliest sense of sound, in most countries globally, is lyrical or poetic, in culturally differentiated lullaby and song, hummed or whispered into our ears, if we are fortunate enough, by our mothers/parents/family.
    [Show full text]
  • THE ART of DREAMING by Carlos Castaneda
    THE ART OF DREAMING By Carlos Castaneda [Version 1.1 - Originally scanned, proofed and released by BELTWAY ] [If you correct any errors, please increment the version number and re-release.] AUTHOR'S NOTE: Over the past twenty years, I have written a series of books about my apprenticeship with a Mexican Yaqui Indian sorcerer, don Juan Matus. I have explained in those books that he taught me sorcery but not as we understand sorcery in the context of our daily world: the use of supernatural powers over others, or the calling of spirits through charms, spells, or rituals to produce supernatural effects. For don Juan, sorcery was the act of embodying some specialized theoretical and practical premises about the nature and role of perception in molding the universe around us. Following don Juan's suggestion, I have refrained from using shamanism, a category proper to anthropology, to classify his knowledge. I have called it all along what he himself called it: sorcery. On examination, however, I realized that calling it sorcery obscures even more the already obscure phenomena he presented to me in his teachings. In anthropological works, shamanism is described as a belief system of some native people of northern Asia-prevailing also among certain native North American Indian tribes-which maintains that an unseen world of ancestral spiritual forces, good and evil, is pervasive around us and that these spiritual forces can be summoned or controlled through the acts of practitioners, who are the intermediaries between the natural and supernatural realms. Don Juan was indeed an intermediary between the natural world of everyday life and an unseen world, which he called not the supernatural but the second attention.
    [Show full text]
  • The Primitivist Critique of Modernity: Carl Einstein and Walter Benjamin1
    The Primitivist Critique of Modernity: Carl Einstein and Walter Benjamin1 David Pan In the “Sirens” episode in Homer’s Odyssey, Odysseus, relying on nothing more than the wax in his sailors’ ears and the rope binding him to the mast of his ship, was able to hear the sirens’ song without being drawn to his death like all the sailors before him.2 Franz Kafka, finally giving the sirens their due, points out that their song could certainly pierce wax and would lead a man to burst all bonds. Instead of attributing Odysseus’ sur- vival to his cunning use of technical means, which he calls “childish mea- sures,”3 Kafka attributes it to the sirens’ use of an even more horrible weapon than their song: their silence. Believing his trick had worked, Odysseus did not hear their silence, but imagined he heard the sound of their singing, for no one could resist “the feeling of having triumphed over them by one’s own strength, and the consequent exaltation that bears down everything before it.”4 The sirens disappeared from Odysseus’per- ceptions, which were focused entirely on himself. Kafka concludes: “If the sirens had possessed consciousness, they would have been annihilated at that moment. But they remained as they had been; all that had hap- pened was that Odysseus had escaped them.”5 Max Horkheimer and Theodor Adorno have argued that this ancient 1. From Primitive Renaissance: Rethinking German Expressionism by David Pan. Copyright 2001 by the University of Nebraska Press. 2. Homer, Odyssey, Book 12, pp.166-200. 3.
    [Show full text]
  • National Arts Centre Orchestra Alexander Shelley, Music Director
    CANADA’S NATIONAL ARTS CENTRE ORCHESTRA ALEXANDER SHELLEY, MUSIC DIRECTOR Announces auditions for the following vacancy: Section Cello effective the 2018-2019 Season or earliest availability National auditions for Section Cello will be held in Ottawa March 19, 20 & 21, 2018. National auditions are open to Canadian Citizens and Permanent Residents of Canada only. Season: 46 weeks including concerts, broadcasts, opera, ballet, recordings, tours and 5 weeks paid vacation Salary: Minimum scale, 2017-2018: $1,963 per week The members of the National Arts Centre Orchestra are Canadian members of the American Federation of Musicians. Highly qualified applicants are asked to send a ONE PAGE resume by email (Word doc or pdf files only) to be received no later than February 1, 2018 to: [email protected] Information concerning audition requirements posted on NAC website http://www.nac-cna.ca/auditions or please call (613) 947-7000 ext. 342, fax (613) 947- 8623, or e-mail to the address above. Section Cello AUDITION REPERTOIRE SOLO: 1) One movement from a Bach solo cello suite 2) Haydn: either Cello Concerto in D or Cello Concerto in C (1st movement with cadenza of choice) 3) plus either Dvorak: Cello Concerto (1st movement) or Schumann: Cello Concerto (1st movement) Please bring the piano part since an accompanist will be provided. ORCHESTRAL EXCERPTS: BEETHOVEN: Symphony No. 5 (2nd movt: m.1 to m.10; m.49 to m.59; m.98 to m.106;3rd movt Trio: m.140 to m.213 no repeat) BRAHMS: Symphony No. 2 (2nd movt: m.1 to m.
    [Show full text]
  • Cubism (Surface—Plane), 1912
    perished because of a negative and exclusive solution to the question of shading. Our age is obliged by force of circumstances to finish what our predeces- sors passed on to us. The path of search in this direction is broad, its bends are diverse, its forks numerous; the solutions will be many. Among them, those connected in our art with the name of A. Exter will remain as an ex- ample of courage, freedom, and subtlety. The upsurge of strength and courage in the plastic arts wanes neither beyond the Rhine nor at home, and it is expressed in the high level of pure painting unprecedented in our coun- try, a phenomenon that is characteristic of its contemporary state. DAVID BURLIUK Cubism (Surface—Plane), 1912 For biography see p. 8. The text of this piece, "Kubizm," is from an anthology of poems, prose pieces, and articles, Poshchechina obshchestvennomu vkusu [A Slap in the Face of Public Taste] (Moscow, December 1912 [according to bibl. R350, p. 17, although January 1913, according to KL], pp. 95-101 [bibl. R275]. The collection was prefaced by the famous declaration of the same name signed by David Burliuk, Velimir Khlebni- kov, Aleksei Kruchenykh, and Vladimir Mayakovsky and dated December 1912. The volume also contained a second essay by David Burliuk on texture [bibl. R269], verse by Khlebnikov and Benedikt Livshits, and four prose sketches by Vasilii Kan- dinsky [for further details see bibl. 133, pp. 45-50]. Both the essay on cubism and the one on texture were signed by N. Burliuk, although it is obvious that both were written by David and not by Nikolai (David's youngest brother and a poet of some merit).
    [Show full text]
  • The Futurist Moment : Avant-Garde, Avant Guerre, and the Language of Rupture
    MARJORIE PERLOFF Avant-Garde, Avant Guerre, and the Language of Rupture THE UNIVERSITY OF CHICAGO PRESS CHICAGO AND LONDON FUTURIST Marjorie Perloff is professor of English and comparative literature at Stanford University. She is the author of many articles and books, including The Dance of the Intellect: Studies in the Poetry of the Pound Tradition and The Poetics of Indeterminacy: Rimbaud to Cage. Published with the assistance of the J. Paul Getty Trust Permission to quote from the following sources is gratefully acknowledged: Ezra Pound, Personae. Copyright 1926 by Ezra Pound. Used by permission of New Directions Publishing Corp. Ezra Pound, Collected Early Poems. Copyright 1976 by the Trustees of the Ezra Pound Literary Property Trust. All rights reserved. Used by permission of New Directions Publishing Corp. Ezra Pound, The Cantos of Ezra Pound. Copyright 1934, 1948, 1956 by Ezra Pound. Used by permission of New Directions Publishing Corp. Blaise Cendrars, Selected Writings. Copyright 1962, 1966 by Walter Albert. Used by permission of New Directions Publishing Corp. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1986 by The University of Chicago All rights reserved. Published 1986 Printed in the United States of America 95 94 93 92 91 90 89 88 87 86 54321 Library of Congress Cataloging-in-Publication Data Perloff, Marjorie. The futurist moment. Bibliography: p. Includes index. 1. Futurism. 2. Arts, Modern—20th century. I. Title. NX600.F8P46 1986 700'. 94 86-3147 ISBN 0-226-65731-0 For DAVID ANTIN CONTENTS List of Illustrations ix Abbreviations xiii Preface xvii 1.
    [Show full text]
  • Juan Latino and the Dawn of Modernity
    Juan Latino and the Dawn of Modernity May, 2017 Michael A. Gómez Professor of History and Middle Eastern and Islamic Studies New York University Juan Latino’s first book is in effect a summons not only to meditate upon the person and his work, but to reconsider the birth of a new world order from a vantage point both unique and unexpected, to view the beginning of a global transformation so thoroughgoing in its effect that the world continues to wrestle with its implications, its overall direction yet determined by centuries-old centripetal forces. The challenge, therefore in seeing the world through the eyes of Juan Latino is to resist or somehow avoid the optic of the present, since we know what has transpired in the nearly five hundred year since the birth of Juan Latino, and that knowledge invariably affects, if not skews our understanding of the person and his times. Though we may not fully succeed, there is much to gain from paying disciplined attention to matters of periodization in the approximation of Juan Latino’s world, in the effort to achieve new vistas into the human condition. To understand Juan Latino, therefore, is to grapple with political, cultural, and social forces, global in nature yet still in their infancy, which created him. To grasp the significance of Juan Latino is to come to terms with contradiction and contingency, verity and surprise, ambiguity and clarity, conformity and exceptionality. In the end, the life and times of Juan Latino constitute a rare window into the dawn of modernity. Celebrated as “the first person of sub-Saharan African descent to publish a book of poems in a western language” (a claim sufficiently qualified as to survive sustained scrutiny), Juan Latino, as he came to be known, was once “Juan de Sessa,” the slave of a patrician family, who came to style himself as “Joannes Latīnūs,” often signing his name as “Magīster Latīnūs.”i The changing, shifting nomenclature is as revealing as it is obfuscating.
    [Show full text]
  • Henryk Berlewi
    HENRYK BERLEWI HENRYK © 2019 Merrill C. Berman Collection © 2019 AGES IM CO U N R T IO E T S Y C E O L L F T HENRYK © O H C E M N 2019 A E R M R R I E L L B . C BERLEWI (1894-1967) HENRYK BERLEWI (1894-1967) Henryk Berlewi, Self-portrait,1922. Gouache on paper. Henryk Berlewi, Self-portrait, 1946. Pencil on paper. Muzeum Narodowe, Warsaw Published by the Merrill C. Berman Collection Concept and essay by Alla Rosenfeld, Ph.D. Design and production by Jolie Simpson Edited by Dr. Karen Kettering, Independent Scholar, Seattle, USA Copy edited by Lisa Berman Photography by Joelle Jensen and Jolie Simpson Printed and bound by www.blurb.com Plates © 2019 the Merrill C. Berman Collection Images courtesy of the Merrill C. Berman Collection unless otherwise noted. © 2019 The Merrill C. Berman Collection, Rye, New York Cover image: Élément de la Mécano- Facture, 1923. Gouache on paper, 21 1/2 x 17 3/4” (55 x 45 cm) Acknowledgements: We are grateful to the staf of the Frick Collection Library and of the New York Public Library (Art and Architecture Division) for assisting with research for this publication. We would like to thank Sabina Potaczek-Jasionowicz and Julia Gutsch for assisting in editing the titles in Polish, French, and German languages, as well as Gershom Tzipris for transliteration of titles in Yiddish. We would also like to acknowledge Dr. Marek Bartelik, author of Early Polish Modern Art (Manchester: Manchester University Press, 2005) and Adrian Sudhalter, Research Curator of the Merrill C.
    [Show full text]
  • Metamodernism, Or Exploring the Afterlife of Postmodernism
    “We’re Lost Without Connection”: Metamodernism, or Exploring the Afterlife of Postmodernism MA Thesis Faculty of Humanities Media Studies MA Comparative Literature and Literary Theory Giada Camerra S2103540 Media Studies: Comparative Literature and Literary Theory Leiden, 14-06-2020 Supervisor: Dr. M.J.A. Kasten Second reader: Dr.Y. Horsman Master thesis submitted in accordance with the regulations of Leiden University 2 Table of Contents Acknowledgments ................................................................................................................................. 3 Introduction ........................................................................................................................................... 4 CHAPTER 1: Discussing postmodernism ........................................................................................ 10 1.1 Postmodernism: theories, receptions and the crisis of representation ......................................... 10 1.2 Postmodernism: introduction to the crisis of representation ....................................................... 12 1.3 Postmodern aesthetics ................................................................................................................. 14 1.3.1 Sociocultural and economical premise ................................................................................. 14 1.3.2 Time, space and meaning ..................................................................................................... 15 1.3.3 Pastiche, parody and nostalgia ............................................................................................
    [Show full text]
  • TEEN ZINE Fall 2014 Issue 1 Collage by Haneen E
    Pasadena Public Library Made by teens for teens TEEN ZINE Fall 2014 Issue 1 Collage by Haneen E. (TAB) Cover art by Medar de la Cruz Page layouts by the 2014 Teen Advisory Board (TAB), Jane Gov, and Kevin Crain Contents Librarian’s message 2 Page 3 Book Festival 3 Flash Fiction 5 Art Contest 7 Page 7 Open Mic Night 9 Poems 10 Roaring 20s Night 15 Photo Contest 16 DIY Clocks 17 Page 15 Top Ten Picks 20 Book Reviews 24 Book Clubs 27 Banned Books 30 Teen Advisory Board 32 Page 17 Page 16 1 Librarian’s message Welcome readers: This is our very first Teen Zine! Everything featured in this issue was either selected or created by our library teens, or it is in celebration of teens, teen literature, or teen ser- vices at Pasadena Public Library. All art and writing in this issue was written, created, or prompted by one of our teen pro- grams. The Teen Advisory Board has made many contributions to this zine including book selections, artwork, writing, and the very layout itself. I am thankful for the multitude of very talented and supportive individuals who helped make this hap- pen! Jane Gov, Youth Services Librarian [email protected] Cool Sites for Available 24/7! Free resources for homework, college, career, web editing, creating online content, art, creative writing, games, self help, book lists, and more! Visit http://cityofpasadena.libguides.com/webteen 2 Pasadena Teen Book Festival On April 26, nearly 150 guests gath- ered at Central Library to meet, get books signed, and hear 20 YA and middle grade authors speak at the 2014 Pasade- Andrew Smith signing a copy of his book, Grasshopper Jungle.
    [Show full text]