![]() "synopsis" may belong to another edition of this title. Looking at Meyerhold’s theater, Tatlin’s and Khlebnikov’s architectural designs, Mayakovsky’s writings, and other works from the period, Vaingurt offers an innovative reading of an exceptionally complex moment in the formation of Soviet culture. The purposes of avant-garde technologies, she contends, are contemplative rather than constructive. including Wonderlands of the Avant-Garde: Technology and Arts in Russia of the 1920s (Northwestern University Press, 2013). Hardcover 159.85 Paperback 49.00 Available. Exploring this paradox, Vaingurt claims that the artists’ fusion of technology and aesthetics prevented their creations from being fully conscripted into the arsenal of political hegemony. Colleen McQuillen (Editor) Julia Vaingurt (Editor) FORMAT FORMAT. Despite their utilitarian intentions, however, most avant-gardists rarely created works regarded as practical instruments of societal transformation. ![]() In postrevolutionary Russia, as the Soviet government pursued rapid industrialization, avant-garde artists declared their intent to serve the nascent state and to transform life in accordance with their aesthetic designs. Longlist finalist, 2015 Historia Nova Prize for Best Book on Russian Intellectual and Cultural History ![]()
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