{"title":"“老板”亲笔签名。a.e.曲柄乐队语义","authors":"Елена Н. Пенская (Elena N. Penskaya)","doi":"10.1016/j.ruslit.2022.04.002","DOIUrl":null,"url":null,"abstract":"<div><p>Kruchenykh’s archive should be considered a cultural institution and at the same time an artistic practice. However, the concept of “archive” in relation to Kruchenykh’s creative phenomenon is rather conditional, because its components are dispersed around various Russian and foreign private and state repositories.</p><p>Kruchenykh’s albums are a separate “archive in the archive”: a superarchive. This superarchive was of crucial importance for the literary process in Russia from the 1930s to the end of the 1960s. Kruchenykh’s archival practices were not only a “refuge”, a marginal niche, but they were also connected with official culture through various social and individual channels. The albums acquired new functions and became meeting places for authors and audiences. Events were documented in the form of chronicles, reports, and memoirs in the albums themselves.</p><p>This article looks at the reception of Kruchenykh’s archive in the light of the metaphorical performativity of the writer’s “archival behavior”.</p></div>","PeriodicalId":43192,"journal":{"name":"RUSSIAN LITERATURE","volume":"131 ","pages":"Pages 1-36"},"PeriodicalIF":0.3000,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"“Начальник автографов”. Семантика альбомного корпуса А.Е. Крученых\",\"authors\":\"Елена Н. Пенская (Elena N. Penskaya)\",\"doi\":\"10.1016/j.ruslit.2022.04.002\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"<div><p>Kruchenykh’s archive should be considered a cultural institution and at the same time an artistic practice. However, the concept of “archive” in relation to Kruchenykh’s creative phenomenon is rather conditional, because its components are dispersed around various Russian and foreign private and state repositories.</p><p>Kruchenykh’s albums are a separate “archive in the archive”: a superarchive. This superarchive was of crucial importance for the literary process in Russia from the 1930s to the end of the 1960s. Kruchenykh’s archival practices were not only a “refuge”, a marginal niche, but they were also connected with official culture through various social and individual channels. The albums acquired new functions and became meeting places for authors and audiences. Events were documented in the form of chronicles, reports, and memoirs in the albums themselves.</p><p>This article looks at the reception of Kruchenykh’s archive in the light of the metaphorical performativity of the writer’s “archival behavior”.</p></div>\",\"PeriodicalId\":43192,\"journal\":{\"name\":\"RUSSIAN LITERATURE\",\"volume\":\"131 \",\"pages\":\"Pages 1-36\"},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2022-07-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"RUSSIAN LITERATURE\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://www.sciencedirect.com/science/article/pii/S0304347922000473\",\"RegionNum\":3,\"RegionCategory\":\"文学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"LITERATURE, SLAVIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"RUSSIAN LITERATURE","FirstCategoryId":"1085","ListUrlMain":"https://www.sciencedirect.com/science/article/pii/S0304347922000473","RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LITERATURE, SLAVIC","Score":null,"Total":0}
“Начальник автографов”. Семантика альбомного корпуса А.Е. Крученых
Kruchenykh’s archive should be considered a cultural institution and at the same time an artistic practice. However, the concept of “archive” in relation to Kruchenykh’s creative phenomenon is rather conditional, because its components are dispersed around various Russian and foreign private and state repositories.
Kruchenykh’s albums are a separate “archive in the archive”: a superarchive. This superarchive was of crucial importance for the literary process in Russia from the 1930s to the end of the 1960s. Kruchenykh’s archival practices were not only a “refuge”, a marginal niche, but they were also connected with official culture through various social and individual channels. The albums acquired new functions and became meeting places for authors and audiences. Events were documented in the form of chronicles, reports, and memoirs in the albums themselves.
This article looks at the reception of Kruchenykh’s archive in the light of the metaphorical performativity of the writer’s “archival behavior”.
期刊介绍：
Russian Literature combines issues devoted to special topics of Russian literature with contributions on related subjects in Croatian, Serbian, Czech, Slovak and Polish literatures. Moreover, several issues each year contain articles on heterogeneous subjects concerning Russian Literature. All methods and viewpoints are welcomed, provided they contribute something new, original or challenging to our understanding of Russian and other Slavic literatures. Russian Literature regularly publishes special issues devoted to: • the historical avant-garde in Russian literature and in the other Slavic literatures • the development of descriptive and theoretical poetics in Russian studies and in studies of other Slavic fields.
求助内容：
应助结果提醒方式：
京公网安备 11010802042870号
