Описание: The Religious-Philosophical Seminar, meeting in Leningrad between 1974-1980, was an underground study group where young intellectuals staged debates, read poetry and circulated their own typewritten journal, called ‘37’. The group and its journal offered a platform to poets who subsequently entered the canon of Russian verse, such as Viktor Krivulin (1944-2001) and Elena Shvarts (1948-2010). Josephine von Zitzewitz’s new study focuses on the Seminar’s identification of culture and spirituality, which allowed Leningrad’s unofficial culture to tap into the spirit of Russian modernism, as can be seen in ‘37’. This book is thus a study of a major current in twentieth-century Russian poetry, and an enquiry into the intersection between literary and spiritual concerns. But it also presents case studies of five poets from a special generation: not only Krivulin and Shvarts, but also Sergei Stratanovskii (1944-), Oleg Okhapkin (1944-2008) and Aleksandr Mironov (1948-2010).
Автор: Zitzewitz Karin Название: Art of Secularism ISBN: 1849042950 ISBN-13(EAN): 9781849042956 Издательство: Неизвестно Рейтинг: Цена: 3621 р. Наличие на складе: Поставка под заказ.
Описание: A study of the entanglement of visual art with secularism in the wake of the rise of Hindu nationalism in India, tracking the emergence of the artist as an exemplary secular subject.
Описание: Written in the wake of the widely publicised attacks by Hindu nationalist activists on the late M. F. Husain, India's most famous artist and a prominent Muslim, The Art of Secularism addresses the entanglement of visual art with political secularism. The crisis in secularism in India, commonly associated with the rise of Hindu nationalism in the 1980s, transformed the meaning of art. It challenged the relationships between modernism, national culture, secularism and modernity that had been built since India's independence in 1947. The Art of Secularism describes how four renowned artists--M. F. Husain, K. G. Subramanyan, Gulammohammed Sheikh, and Bhupen Khakhar--developed their practice in an era when secular nationalism grappled with the recent re-enchantment of signs. Combining close readings of these artists' work with ethnography of the art worlds of Mumbai and Vadodara, Karin Zitzewitz describes both the everyday forms of cosmopolitanism in the Indian art world and the increasing vulnerability of art world spaces to cultural regulation. She also presents the shifting conditions of the production and exhibition of art within the particularly urgent, varied, and sophisticated public debates about secularism in India, in which artists have been increasingly prominent interlocutors.
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