Русская поэзия в 1916 году: эпиграфы из модернистов
In chapter deals with Russian poetry in 1916.
About readers of Russian modernis and popular magazines, 1900 - 1910
The dissertation investigates the evolution of N. Gumilev's estimations of the main russian symbolists: V. Bryusov, F. Sologub, A. Belyj, Vyach. Ivanov, A. Blok.
Between 1907 and 1911, Imperial Austria experienced two major controversies concerning entanglements of science and religion. In 1907, the Innsbruck specialist in church law, Ludwig Wahrmund, publicly criticized the new ‘antimodernist’ and antiscientific trends of Catholic science, causing semester-long protests, fights, university closures and heated parliamentary debates. Antagonized in Innsbruck, Wahrmund relocated to Prague. The controversy triggered by his work, however, united students from across the monarchy in Wahrmund’s defence. In 1910, an analogous conflict arose in Cracow after Kazimierz Zimmermann was appointed professor of Catholic sociology. This time the protest against his teachings, although intensive, transgressed Galician boundaries only to a limited extent, failing to mobilize progressive student groups to go on the streets outside of the province. This article analyses the difference between protests against Wahrmund and Zimmermann from a spatial perspective. The author argues that the way both conflicts were received in politics and in local university cities indicates that there was an Imperial Austrian public sphere that transgressed national boundaries and linguistic divisions. Conflicts over contested topics, like the long-heated relationship between Church, science and higher education, were charged events that brought this public sphere to the fore. This translingual, imperial public sphere remained, however, hierarchically structured. A conflict in Innsbruck had more weight than one in Cracow, both within political discussions and in local presses.
Abstract: the article addresses the interrelations between Wyndham Lewis’s notion of the visual in literature and the poetics of his novel, “Tarr” (1918). Commonly accepted definition of visuality in Lewis’s literary texts as analogy between their certain poetic characteristics and the features of modern painting is supplemented by an analysis of the author’s philosophical criticism of the 1920–1930s concerning “philosophy of the eye” and “external method” in literature. Considering surface poetics in “Tarr” and its main artist-character’s representation in the view of visual philosophy allows to define the relationship between the novel as a unity and Lewis’s artistic theory as deeply problematic and one far from being an illustration.
In the article russian acmeism is considered in he context of the criticism of the 1910s
The article analyzes how modernism is represented in two Wyndham Lewis’s autobiographies, «Blasting and Bombardiering» (1937) and «Rude Assignment» (1950). The author’s reflection on modernism is considered within the context of his critical attitude towards the autobiographical in modernist novel and taking into account the changes in his autobiographical intentions from one book to the other. The article concludes that in Lewis’s far from experimental use of autobiography the latter acts as a means of definition, popularization and justification of his conception of modernism considered to be, just as his autobiographies, an act of detachment rather than exploration of subjectivity.