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Documentary Aesthetics in the Long 1960s in Eastern Europe and Beyond
Series: - Studies in Slavic Literature and Poetics, Volume: 67
- Studies in Slavic Literature and Poetics Online, Volume: 67
This book is the first to deal with documentary aesthetic practices of the post-war period in Eastern Europe in a comparative perspective. The contributions examine the specific forms and modes of documentary representations and the role they played in the formation of new aesthetic trends during the cultural-political transition of the long 1960s. This documentary first-hand approach to the world aimed to break up unquestioned ideological structures and expose tabooed truths in order to engender much-needed social changes. New ways of depicting daily life, writing testimony or subjective reportage emerged that still shape cultural debates today.
Clemens Günther, Ph.D, Freie Universität Berlin, is a postdoctoral research fellow at the Institute for East European Studies. His research interests comprise the late and post-Soviet historical novel, the cultural history of cybernetics, climate fiction, and the ecological poetics of Russian realism.
Matthias Schwartz, Ph.D, is co-head of the program area World Literature at the Leibniz Center for Literary and Cultural Research (ZfL) in Berlin, Germany. His research interests include Eastern European socialist and post-socialist literatures, memory cultures, and popular cultures in a comparative perspective.
Matthias Schwartz, Ph.D, is co-head of the program area World Literature at the Leibniz Center for Literary and Cultural Research (ZfL) in Berlin, Germany. His research interests include Eastern European socialist and post-socialist literatures, memory cultures, and popular cultures in a comparative perspective.
Contents
Acknowledgements
List of Figures
Notes on Contributors
Introduction
Firsthand Time
Clemens Günther and Matthias Schwartz
1 “Document of the Soul:” Varlam Shalamov’s Documentary Writing in a Contemporary Context
Franziska Thun-Hohenstein
2 A Dreyfus Affair for Soviet Children: on the Encoded Poetics of Aleksandra Brushtein’s Documentary Prose
Natasha Gordinsky
3 Supplementing Evidence: Danilo Kiš’s Poet(h)ics in the Context of Yugoslav Documentarism of the 1960s
Tatjana Petzer
4 Hands of Time and Large Numbers in Alexander Kluge’s (Post-)Documentary Literature
Gunther Martens
5 Celebration and Abstraction: the Documentary Mode of Jonas Mekas’s Diary Films
Christian Zehnder
6 Documentary and Poetics Interwoven: Mikhail Kalik’s Cinema
Elena Nekrasova
7 The Technique of Documenting: on the Early Reportages of Ryszard Kapuściński and Hanna Krall
Matthias Schwartz
8 “Dramas of the Fact:” Soviet Conceptualisations of Documentary Theatre in the 1960s
Anna Hodel
9 “Instead of Approximate Precision—Precise Approximation:” Ian Satunovskii’s Poor Poetry
Georg Witte
10 Reproductions without an Original: the Self-Published Aesthetics of Cold War-Era Copies
Sarah A. Burgos
11 The Trials of Documenting: Frida Vigdorova’s Notes of the Brodsky Court Proceedings
Anja Tippner
12 The Poetry of Mikhail Sokovnin: an Aesthetic Opposition to the “Literature of Fact”
Ilya Kukulin
13 “Discourses of Sobriety:” Documentary Aesthetics in Conceptual Art in the United States
Renate Wöhrer
Index
Acknowledgements
List of Figures
Notes on Contributors
Introduction
Firsthand Time
Clemens Günther and Matthias Schwartz
Part 1: Exposing a Painful Past: Modes of Testimony
1 “Document of the Soul:” Varlam Shalamov’s Documentary Writing in a Contemporary Context
Franziska Thun-Hohenstein
2 A Dreyfus Affair for Soviet Children: on the Encoded Poetics of Aleksandra Brushtein’s Documentary Prose
Natasha Gordinsky
3 Supplementing Evidence: Danilo Kiš’s Poet(h)ics in the Context of Yugoslav Documentarism of the 1960s
Tatjana Petzer
4 Hands of Time and Large Numbers in Alexander Kluge’s (Post-)Documentary Literature
Gunther Martens
Part 2: Discovering the Self and the Other: Modes of Expressing Individuality
5 Celebration and Abstraction: the Documentary Mode of Jonas Mekas’s Diary Films
Christian Zehnder
6 Documentary and Poetics Interwoven: Mikhail Kalik’s Cinema
Elena Nekrasova
7 The Technique of Documenting: on the Early Reportages of Ryszard Kapuściński and Hanna Krall
Matthias Schwartz
Part 3: Refining the Senses: Modes of Self-Reflective Artistic Practices
8 “Dramas of the Fact:” Soviet Conceptualisations of Documentary Theatre in the 1960s
Anna Hodel
9 “Instead of Approximate Precision—Precise Approximation:” Ian Satunovskii’s Poor Poetry
Georg Witte
10 Reproductions without an Original: the Self-Published Aesthetics of Cold War-Era Copies
Sarah A. Burgos
Part 4: Exploring the Everyday: Modes of Perceiving Social Issues
11 The Trials of Documenting: Frida Vigdorova’s Notes of the Brodsky Court Proceedings
Anja Tippner
12 The Poetry of Mikhail Sokovnin: an Aesthetic Opposition to the “Literature of Fact”
Ilya Kukulin
13 “Discourses of Sobriety:” Documentary Aesthetics in Conceptual Art in the United States
Renate Wöhrer
Index
Anyone concerned with post-war Eastern European and Cold War culture and aesthetics, ranging from academic specialists, culturally interested on-specialists to college departments and libraries.