tgoop.com/translit_mag/374
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Collective volume "(Counter-)Archive: Memorial Practices of the Soviet Underground" is just issued in Palgrave this month.
The volume contains Pavel Arsenev's auto-testimonial reflection “Poetry Was Forever, Until It Was No More: On the New Temporality and Media-Context of the Contemporary Cultural Movement", which is based on theoretical intuitions first expressed in #22 [Translit]: Stagnation / fast communication
This contribution claims that the acceleration of electronic exchanges and amortization of political change became deeply imbricated during the last decades in Russia. By the end of the 2010s, discussions around activist or utilitarian poetry gave way to non-conformism, aesthetic resistance, and stylistic dissidentism. The new defense state is defined by two key dimensions: mediated temporality and an institutional milieu of “new stagnation” (“neozastoi”). The epoch of political reaction inspires poets to look toward an idealized and rather “postponed” future, instead of pragmatic interactions in the here-and-now. This moment leads not only to a seemingly familiar feeling of slowed time but also to institutional divisions into the “official” and the “unofficial.” But in contrast to that institutional temporality and the structure of literary space, familiar as Soviet stagnation, the “new stagnation” was accompanied by a new climate and phenomena of media acceleration. After a short theoretical introduction, the text focuses on three auto-reflective cases, which provide evidence that this new situation has greatly influenced, first of all, the (self)archival practices to which cultural actors normally turn, having a) being filmed; b) geographically migrated, and; c) undergone a professional conversion—to the adjacent domain of Slavic Studies and, thus, being transformed from object to subject of research.
Entire text of the article
Among others volume includes articles by Vadim Zakharov, Sabine Hänsgen, Ann Komaromi, Ilja Kukuj and Klavdia Smola.
This book is the first major study exploring archival and memorial practices of the Soviet unofficial culture. The creation of counter-archives was one of the most important forms of cultural resistance in the Soviet Union. Unofficial artists and poets had to reinvent the possibilities of maintaining art and literature that “did not exist”. Against the background of archival theories and memory studies, the volume explores how the culture of the Soviet underground has become one of the most striking cases of scholarly and artistic (self-)archiving, which – although being half-isolated from the outer world – reflected intellectual and artistic trends characteristic of its time. The guiding question of the volume is how Soviet unofficial culture (de)constructed social memory by collecting, archiving and memorizing tabooed culture of the past and present.
Contents and details about the volume
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