The last Soviet avant-garde - Info and Reading Options
OBERIU--fact, fiction, metafiction
By Graham Roberts
"The last Soviet avant-garde" was published by Cambridge University Press in 1997 - Cambridge, U.K, it has 274 pages and the language of the book is English.
“The last Soviet avant-garde” Metadata:
- Title: The last Soviet avant-garde
- Author: Graham Roberts
- Language: English
- Number of Pages: 274
- Publisher: Cambridge University Press
- Publish Date: 1997
- Publish Location: Cambridge, U.K
“The last Soviet avant-garde” Subjects and Themes:
- Subjects: ➤ Experimental Literature - History and criticism - Literature, Experimental - Obėriu - Russian literature - Russian literature, history and criticism
- Places: Soviet Union
- Time: 20th century
Edition Specifications:
- Pagination: xiii, 274 p. ;
Edition Identifiers:
- The Open Library ID: OL983449M - OL3273077W
- Online Computer Library Center (OCLC) ID: 35049561
- Library of Congress Control Number (LCCN): 96021152
- ISBN-10: 0521482836
- All ISBNs: 0521482836
AI-generated Review of “The last Soviet avant-garde”:
Snippets and Summary:
In this chapter I shall first make a number of general comments concerning Russian modernism and the avant-garde, and its challenge to elevated notions of the artist, before discussing the nature of that challenge in OBERIU fiction.
"The last Soviet avant-garde" Description:
The Open Library:
This is the first comprehensive study of the group of avant-garde Soviet writers active in Leningrad in the 1920s and 1930s who styled themselves OBERIU, 'The Association of Real Art'. Graham Roberts re-examines commonly held assumptions about OBERIU, its identity as a group, its aesthetics, and its place within the Russian and European literary traditions. He focuses on the prose and drama of group members Daniil Kharms, Aleksandr Vvedensky and Konstantin Vaginov; he also considers work by Nikolay Zabolotsky and lgor' Bakhterev, as well as the group's most important 'fellow-traveller', Nikolay Oleinikov, and he places OBERIU in the context of the aesthetic theories of the Russian Formalists and the Bakhtin Circle. Roberts concludes by showing how the self-conscious literature of OBERIU - its metafiction - occupies an important transitional space between modernism and postmodernism.
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