By Mikhail N. Epstein
This publication brings jointly for the 1st time in English the main writings of Mikhail Epstein, certainly one of post-Soviet Russia's such a lot well-liked theoreticians of cultural experiences and postmodernism. Written from a non-Western perspective but expert via a familiarity with Western literary concept, it deals a clean, lucid point of view at the postcommunist literary scene in addition to a pragmatic and theoretical advent to the recent self-discipline of Russian "culturology." After the long run can also be the 1st ebook to include the advance of latest Russian tradition in the framework of postmodernism, an idea whose program has been formerly constrained to the West.
The 4 sections of the e-book - Literature, Ideology, tradition, and method - replicate the interdisciplinary variety of postmodernism in modern Russia. Epstein explores such influential new trends in Russian literature as conceptualism, metarealism, "rear-garde" and discusses the formation of a post-Marxist ideological milieu characterised through a paradoxical mix of relativistic and totalitarian patterns.
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Extra info for After the future: the paradoxes of postmodernism and contemporary Russian culture
Thus, we do observe a process of succession, but I describe it as such only to show more clearly the striking shifts and ruptures manifest within this very process. It is these changes that radically distinguish the end of the poetic century from the middle years; precisely for that reason, the end becomes a link to the beginning. A Time of Ripening For quite some time, almost since the end of the 1960s, criticism has been searching our poetry for a new generation, has awaited and summoned it. But it did not appear.
Which has sponsored my research in the field of contemporary Russian philosophical thought. I am also grateful to the Research Committee of Emory University, whose awards allowed me to concentrate on my study in the summer of 1992 and to take an academic leave in the spring semester of 1993. Special thanks are due to Juliette Apkarian and my other colleagues at Emory University for their moral and organizational support. I am grateful to Ellen Berry, Tatiana Kaledina, Sally Laird, Walter Laqueur, Albena Lyutskanova, Priscilla Meyer, and Donald Weber for their generous help and kind advice during various stages of this project.
Petersburg in the late 1910s and through the 1920s, succeeded in establishing in the hearts and minds of intellectuals for generations to come recognition of the autonomy and internal integrity of art as a sphere of creative activity that must be studied independently of political, philosophical, religious, and psychological considerations. Under the oppressive circumstances of their time, which silenced all critics failing to espouse socialist realism, they were not able to establish the autonomy of literary studies as a discipline.