Сто лет русского авангарда
The paper is dealt with theory and practice of screenplay elaborated within the conceptual framework of Russian Formalist School in Humanities, in particular with the legacy of Yuri Tynjanov.
In addition to an exhaustive anthology with over fifty historical documents written between 1913 and 1964 translated directly from Russian - several of them previously unpublished - this publication includes essays and texts by Boris Groys, Manuel FontÃ¡n del Junco, Christina Kiaer, Ekaterina Degot, Fredric Jameson, Irina Leytes,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 starting point of reference in the article is the iconological analysis, as it was formulated by Aby Warburg (1866-1929). In contrast to those, who claim that only one of two selected by A. Warburg aspects of the method – «apollonian» and «dionisian» – was developed, the thesis of the article, based on the material concerned with the questions of history of medicine, published in the «Journal of Warburg and Courtauld Institutes», outlines the stability of the method in its diversity. The emphasizing of two tendencies, following the development of the iconology: one of them was offered by Erwin Panofsky (1892-1968) and was developed in the direction of increasing the proportion of the structuralism theory, the other, the variation of the history of ideas, was focused on the investigation of magic and hermetic practice – confirms the thesis.
The article discusses a little-studied aspect of the history of the Russian émigré Eurasianist movement of the 1920s and 1930s: namely, an attempt to develop holistic “Eurasianist” jurisprudence. The task proved to be much more complex than merely applying Eurasianist ideology to the field of law, as the latter was not a single phenomenon, and had different institutional and especially conceptual dimensions. Eurasianists themselves differed in their approaches to law. These distinctions were based on metalegal grounds, whether in phenomenological sources of the works of Nikolai Alekseev, who argued for legal individualism, or alleinheit theory in the writings of Leo Karsavin, or positivist theory informing the approach by Nikolai Dunaev. Based on Eurasianists’ published works and unpublished archival materi- als, this article argues for the fundamentally contradictory legal views by members of the Eurasianist movement. These contradictions suggest that it was impossible to create a particular “Eurasianist” legal theory on the basis of their writings.
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.
International art criticism. Review of the exhibition "Special Fund, 1937-1939," National Art Museum of Ukraine, Kiev.
The second publication of the international art center Kunsthaus Bregenz Arena (Austria).
The present article continues the investigation of the Soqotri verbal system undertaken by the Russian-Soqotri fieldwork team. The article focuses on the so-called “weak” and “geminated” roots in the basic stem. The investigation is based on the analysis of full paradigms (perfect, imperfect and jussive) of more than 170 “weak” and “geminated” Soqotri verbs.