Voiceless Vanguard: The Infantilist Aesthetic of the Russian Avant-Garde
Northwestern University Press, 2014
eISBN: 978-0-8101-6772-8 | Cloth: 978-0-8101-2984-9
Library of Congress Classification PG3026.E98W45 2014
Dewey Decimal Classification 891.709004
eISBN: 978-0-8101-6772-8 | Cloth: 978-0-8101-2984-9
Library of Congress Classification PG3026.E98W45 2014
Dewey Decimal Classification 891.709004
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | TOC | REQUEST ACCESSIBLE FILE
ABOUT THIS BOOK
Winner, 2015 International Research Society in Children's Literature (IRSCL) Book Award
Voiceless Vanguard: The Infantilist Aesthetic of the Russian Avant-Garde offers a new approach to the Russian avant-garde. It argues that central writers, artists, and theorists of the avant-garde self-consciously used an infantile aesthetic, as inspired by children’s art, language, perspective, and logic, to accomplish the artistic renewal they were seeking in literature, theory, and art. It treats the influence of children’s drawings on the Neo-Primitivist art of Mikhail Larionov, the role of children’s language in the Cubo-Futurist poetics of Aleksei Kruchenykh, the role of the naive perspective in the Formalist theory of Viktor Shklovsky, and the place of children’s logic and lore in Daniil Kharms’s absurdist writings for children and adults. This interdisciplinary and cultural study not only illuminates a rich period in Russian culture but also offers implications for modernism in a wider Western context, where similar principles apply.
Voiceless Vanguard: The Infantilist Aesthetic of the Russian Avant-Garde offers a new approach to the Russian avant-garde. It argues that central writers, artists, and theorists of the avant-garde self-consciously used an infantile aesthetic, as inspired by children’s art, language, perspective, and logic, to accomplish the artistic renewal they were seeking in literature, theory, and art. It treats the influence of children’s drawings on the Neo-Primitivist art of Mikhail Larionov, the role of children’s language in the Cubo-Futurist poetics of Aleksei Kruchenykh, the role of the naive perspective in the Formalist theory of Viktor Shklovsky, and the place of children’s logic and lore in Daniil Kharms’s absurdist writings for children and adults. This interdisciplinary and cultural study not only illuminates a rich period in Russian culture but also offers implications for modernism in a wider Western context, where similar principles apply.
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