Город пышный, город бедный...
Translation of Velimir Khlebnikov and Alexey Kruchenykh’s Victory Over the Sun with commentaries and closing remarks.
In addition to an exhaustive anthology with over fifty historical documents written between 1913 and 1964 translated directly from Russian - several of them previously unpublished - this publication includes essays and texts by Boris Groys, Manuel FontÃ¡n del Junco, Christina Kiaer, Ekaterina Degot, Fredric Jameson, Irina Leytes, Alessandro De Magistris, John Bowlt, Hubertus Gassner, Eckhart Gillen, Aage Hansen-LÃ¶ve, Michael Hagemeister and Evgeny Steiner. (From the editorial review).
The facsimile reproduction of Victory Over the Sun, the Russian text faced with a parallel English translation. This new translation is by an erudite master of the word, Evgeny Steiner. Even the innovative language and humour of Victor Khlebnikov’s Prologue, written largely in neologisms, are captured in Dr Steiner’s English rendition, as are alliteration and sound patterns. (Publisher’s Forword).
Anna Waclawek's book is an example of the new perspective on graffiti and street art. It focuses on the role or the graffiti and street art in urban visual environment and the role of urban space and urban visuality in production and perseption of these phenomena. The book introduces the system of codes and convention attached to street art and graffiti to the wide audience.
The annotated list of abbreviations and acronyms used in Russian and Soviet Avant-garde art and art institutions in the first third of the 20th century.
This article investigates the semiotic and general-teoretical aspects of Nikonova's poetic system in the context of avant-garde and neo- (post-)avanf-garde practices.
Introductory essay to translation of Velimir Khlebnikov and Alexey Kruchenykh’s Victory Over the Sun with commentaries and closing remarks.
Translation of Alexey Kruchenykh’s essay The Biography of the Moon with commentaries and closing remarks.
The second publication of the international art center Kunsthaus Bregenz Arena (Austria).
The article considers the Views of L. N. Tolstoy not only as a representative, but also as a accomplisher of the Enlightenment. A comparison of his philosophy with the ideas of Spinoza and Diderot made it possible to clarify some aspects of the transition to the unique Tolstoy’s religious and philosophical doctrine. The comparison of General and specific features of the three philosophers was subjected to a special analysis. Special attention is paid to the way of thinking, the relation to science and the specifics of the worldview by Tolstoy and Diderot. An important aspect is researched the contradiction between the way of thinking and the way of life of the three philosophers.
Tolstoy's transition from rational perception of life to its religious and existential bases is shown. Tolstoy gradually moves away from the idea of a natural man to the idea of a man, who living the commandments of Christ. Starting from the educational worldview, Tolstoy ended by creation of religious and philosophical doctrine, which were relevant for the 20th century.
This important new book offers the first full-length interpretation of the thought of Martin Heidegger with respect to irony. In a radical reading of Heidegger's major works (from Being and Time through the ‘Rector's Address' and the ‘Letter on Humanism' to ‘The Origin of the Work of Art' and the Spiegel interview), Andrew Haas does not claim that Heidegger is simply being ironic. Rather he argues that Heidegger's writings make such an interpretation possible - perhaps even necessary.
Heidegger begins Being and Time with a quote from Plato, a thinker famous for his insistence upon Socratic irony. The Irony of Heidegger takes seriously the apparently curious decision to introduce the threat of irony even as philosophy begins in earnest to raise the question of the meaning of being. Through a detailed and thorough reading of Heidegger's major texts and the fundamental questions they raise, Haas reveals that one of the most important philosophers of the 20th century can be read with as much irony as earnestness. The Irony of Heidegger attempts to show that the essence of this irony lies in uncertainty, and that the entire project of onto-heno-chrono-phenomenology, therefore needs to be called into question.
The article is concerned with the notions of technology in essays of Ernst and Friedrich Georg Jünger. The special problem of the connection between technology and freedom is discussed in the broader context of the criticism of culture and technocracy discussion in the German intellectual history of the first half of the 20th century.