Building the Ratn-Farband: Monumentalizing the Soviet Utopian Project Through Yiddish Art and Literature
Building the Ratn-Farband: Monumentalizing the Soviet Utopian Project Through Yiddish Art and Literature
상세정보
- 자료유형
- 학위논문 서양
- 최종처리일시
- 20250211151423
- ISBN
- 9798382783529
- DDC
- 338
- 서명/저자
- Building the Ratn-Farband: Monumentalizing the Soviet Utopian Project Through Yiddish Art and Literature
- 발행사항
- [Sl] : Harvard University, 2024
- 발행사항
- Ann Arbor : ProQuest Dissertations & Theses, 2024
- 형태사항
- 203 p
- 주기사항
- Source: Dissertations Abstracts International, Volume: 85-12, Section: A.
- 주기사항
- Advisor: Zaritt, Saul.
- 학위논문주기
- Thesis (Ph.D.)--Harvard University, 2024.
- 초록/해제
- 요약This dissertation examines how members of the Eastern European Yiddish avant-garde integrated aspects of Jewish tradition with modernist aesthetics to monumentalize the ongoing task of establishing an industrial workers' utopia within the Soviet Union. In this context, Peretz Markish's early Soviet Yiddish texts function as literary monuments that reflect the tumultuous historical developments of the years following the Bolshevik Revolution and mimic the momentous architectural creations of the 1920s. The sculptor Iosif Chaikov's work on the Soviet pavilion at the 1937 Paris Exposition monumentalizes the ostensibly realized utopian dreams of the USSR.Chapter One foregrounds Markish's Mound (Di kupe), in which the Yiddish writer deploys his poetics to monumentalize Jewish suffering, both in the form of the poema and in the form of the titular Mound. The poema, written as a profaned Yom Kippur liturgy, ritualized Jewish suffering long after the physical evidence of pogrom violence had faded away. Markish creates a koyen-godl (or priestly) mode that implicates his readership in the poema's profane sacrilege. Within the text, the Mound acts as a physical monument, a reimagined Sinai, and a foundation from which Markish produces more overtly ideological work in line with Comintern values and the Soviet industrial utopian project. Chapter Two examines Markish's Forty-Year-Old Man (Der fertsikyeriker man) as an unrealized contribution to the canon of Comintern literature and the poet's attempt to substantiate a new mythology for the creation of an industrialized workers' utopia on the territory of the Soviet Union. Markish uses a prophetic mode, biblical symbolism and intertexts, and poetic form to present the Soviet project as prophecy yet to be fulfilled. I consider the implications of reading Markish's text as an alternative conjectural history that embodies the initial utopian aspirations of the forerunners of Soviet culture in the early 1920s. Chapter Three turns to the work of sculptor Iosif Chaikov, whose contributions to the Soviet World's Fair pavilions monumentalized the ideology of the USSR and presented it on an international stage. I examine Chaikov's propylaea leading to the Soviet pavilion at the 1937 Paris Exposition, which I interpret as a reimagined Temple consecrated by the hammer and sickle of Vera Mukhina's Worker and Kolkhoz Woman. My research evaluates whether Chaikov's work on the propylaea faithfully embodied the initial workers' utopian idealism of the Soviet Union.My dissertation is framed by an introduction explaining the role of the Eastern European Yiddish avant-garde in redefining aspects of Jewish cultural tradition, and a coda that resituates the legacy of Soviet Yiddish cultural production and examines its influence on the development of modern-day Jewish identities.
- 일반주제명
- Slavic studies
- 일반주제명
- Judaic studies
- 일반주제명
- Creative writing
- 일반주제명
- Literature
- 키워드
- Eastern European
- 키워드
- Poetics
- 키워드
- Yiddish writer
- 키워드
- Soviet pavilion
- 기타저자
- Harvard University Slavic Languages and Literatures
- 기본자료저록
- Dissertations Abstracts International. 85-12A.
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
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■1001 ▼aGinsberg, Roy Farrell.▼0(orcid)0009-0005-0736-4207
■24510▼aBuilding the Ratn-Farband: Monumentalizing the Soviet Utopian Project Through Yiddish Art and Literature
■260 ▼a[Sl]▼bHarvard University▼c2024
■260 1▼aAnn Arbor▼bProQuest Dissertations & Theses▼c2024
■300 ▼a203 p
■500 ▼aSource: Dissertations Abstracts International, Volume: 85-12, Section: A.
■500 ▼aAdvisor: Zaritt, Saul.
■5021 ▼aThesis (Ph.D.)--Harvard University, 2024.
■520 ▼aThis dissertation examines how members of the Eastern European Yiddish avant-garde integrated aspects of Jewish tradition with modernist aesthetics to monumentalize the ongoing task of establishing an industrial workers' utopia within the Soviet Union. In this context, Peretz Markish's early Soviet Yiddish texts function as literary monuments that reflect the tumultuous historical developments of the years following the Bolshevik Revolution and mimic the momentous architectural creations of the 1920s. The sculptor Iosif Chaikov's work on the Soviet pavilion at the 1937 Paris Exposition monumentalizes the ostensibly realized utopian dreams of the USSR.Chapter One foregrounds Markish's Mound (Di kupe), in which the Yiddish writer deploys his poetics to monumentalize Jewish suffering, both in the form of the poema and in the form of the titular Mound. The poema, written as a profaned Yom Kippur liturgy, ritualized Jewish suffering long after the physical evidence of pogrom violence had faded away. Markish creates a koyen-godl (or priestly) mode that implicates his readership in the poema's profane sacrilege. Within the text, the Mound acts as a physical monument, a reimagined Sinai, and a foundation from which Markish produces more overtly ideological work in line with Comintern values and the Soviet industrial utopian project. Chapter Two examines Markish's Forty-Year-Old Man (Der fertsikyeriker man) as an unrealized contribution to the canon of Comintern literature and the poet's attempt to substantiate a new mythology for the creation of an industrialized workers' utopia on the territory of the Soviet Union. Markish uses a prophetic mode, biblical symbolism and intertexts, and poetic form to present the Soviet project as prophecy yet to be fulfilled. I consider the implications of reading Markish's text as an alternative conjectural history that embodies the initial utopian aspirations of the forerunners of Soviet culture in the early 1920s. Chapter Three turns to the work of sculptor Iosif Chaikov, whose contributions to the Soviet World's Fair pavilions monumentalized the ideology of the USSR and presented it on an international stage. I examine Chaikov's propylaea leading to the Soviet pavilion at the 1937 Paris Exposition, which I interpret as a reimagined Temple consecrated by the hammer and sickle of Vera Mukhina's Worker and Kolkhoz Woman. My research evaluates whether Chaikov's work on the propylaea faithfully embodied the initial workers' utopian idealism of the Soviet Union.My dissertation is framed by an introduction explaining the role of the Eastern European Yiddish avant-garde in redefining aspects of Jewish cultural tradition, and a coda that resituates the legacy of Soviet Yiddish cultural production and examines its influence on the development of modern-day Jewish identities.
■590 ▼aSchool code: 0084.
■650 4▼aSlavic studies
■650 4▼aJudaic studies
■650 4▼aCreative writing
■650 4▼aLiterature
■653 ▼aEastern European
■653 ▼aPoetics
■653 ▼aYiddish writer
■653 ▼aSoviet pavilion
■690 ▼a0614
■690 ▼a0751
■690 ▼a0203
■690 ▼a0401
■71020▼aHarvard University▼bSlavic Languages and Literatures.
■7730 ▼tDissertations Abstracts International▼g85-12A.
■790 ▼a0084
■791 ▼aPh.D.
■792 ▼a2024
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T17161632▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
