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Античность, авангард, тоталитаризм : к метаморфологии современного искусства. / Рыков, А.В.

In: Актуальные проблемы теории и истории искусства, Vol. 5, No. 5, 2015, p. 745-752.

Research output: Contribution to journal › Review article › peer-review

Harvard

Рыков, АВ 2015, 'Античность, авангард, тоталитаризм: к метаморфологии современного искусства', Актуальные проблемы теории и истории искусства, vol. 5, no. 5, pp. 745-752. https://doi.org/10.18688/aa155-8-82

APA

Рыков, А. В. (2015). Античность, авангард, тоталитаризм: к метаморфологии современного искусства. Актуальные проблемы теории и истории искусства, 5(5), 745-752. https://doi.org/10.18688/aa155-8-82

Vancouver

Рыков АВ. Античность, авангард, тоталитаризм: к метаморфологии современного искусства. Актуальные проблемы теории и истории искусства. 2015;5(5):745-752. https://doi.org/10.18688/aa155-8-82

Author

Рыков, А.В. / Античность, авангард, тоталитаризм : к метаморфологии современного искусства. In: Актуальные проблемы теории и истории искусства. 2015 ; Vol. 5, No. 5. pp. 745-752.

BibTeX

@article{7098767e96374401b371c90142846c76,
title = "Античность, авангард, тоталитаризм: к метаморфологии современного искусства",
abstract = "The paper examines the mechanisms of appropriation of antique heritage in avant-garde theory. Antiquity and classical art are the consepts constructed by the most eminent theorists of the new trends that play a significant role in our understanding of the symbolical structure of Modern Art. Political and philosophical connotations of the appropriations of this kind (to be exact - the creation of the new images of antiquity in avant-garde art and culture) are illustrated in the present article by the writings of Nikolay Punin - one of the leading Russian theorists of Modernism. Racist, nationalist, avant-garde and socialist components of Punin's works are distinguished as well as its connections with totalitarian aesthetics. Special attention is paid to the comparison of Punin's and Nietzsche's strategies of appropriation of antique. For the first time in the scientific literature Punin's theory of avant-garde is considered in the context of his politico-philosophical works, which united nationalist and racist myths of German “conservative revolution”, Russian, and Italian modernism.",
keywords = "Conservative revolution, Modernism, Nietzsche, Nikolay Punin, Russian avant-garde, Theory of avant-garde, Totalitarianism",
author = "А.В. Рыков",
year = "2015",
doi = "10.18688/aa155-8-82",
language = "русский",
volume = "5",
pages = "745--752",
journal = "Актуальные проблемы теории и истории искусства",
issn = "2312-2129",
publisher = "Издательство Санкт-Петербургского университета",
number = "5",

}

RIS

TY - JOUR

T1 - Античность, авангард, тоталитаризм

T2 - к метаморфологии современного искусства

AU - Рыков, А.В.

PY - 2015

Y1 - 2015

N2 - The paper examines the mechanisms of appropriation of antique heritage in avant-garde theory. Antiquity and classical art are the consepts constructed by the most eminent theorists of the new trends that play a significant role in our understanding of the symbolical structure of Modern Art. Political and philosophical connotations of the appropriations of this kind (to be exact - the creation of the new images of antiquity in avant-garde art and culture) are illustrated in the present article by the writings of Nikolay Punin - one of the leading Russian theorists of Modernism. Racist, nationalist, avant-garde and socialist components of Punin's works are distinguished as well as its connections with totalitarian aesthetics. Special attention is paid to the comparison of Punin's and Nietzsche's strategies of appropriation of antique. For the first time in the scientific literature Punin's theory of avant-garde is considered in the context of his politico-philosophical works, which united nationalist and racist myths of German “conservative revolution”, Russian, and Italian modernism.

AB - The paper examines the mechanisms of appropriation of antique heritage in avant-garde theory. Antiquity and classical art are the consepts constructed by the most eminent theorists of the new trends that play a significant role in our understanding of the symbolical structure of Modern Art. Political and philosophical connotations of the appropriations of this kind (to be exact - the creation of the new images of antiquity in avant-garde art and culture) are illustrated in the present article by the writings of Nikolay Punin - one of the leading Russian theorists of Modernism. Racist, nationalist, avant-garde and socialist components of Punin's works are distinguished as well as its connections with totalitarian aesthetics. Special attention is paid to the comparison of Punin's and Nietzsche's strategies of appropriation of antique. For the first time in the scientific literature Punin's theory of avant-garde is considered in the context of his politico-philosophical works, which united nationalist and racist myths of German “conservative revolution”, Russian, and Italian modernism.

KW - Conservative revolution

KW - Modernism

KW - Nietzsche

KW - Nikolay Punin

KW - Russian avant-garde

KW - Theory of avant-garde

KW - Totalitarianism

UR - http://www.scopus.com/inward/record.url?scp=85063823428&partnerID=8YFLogxK

U2 - 10.18688/aa155-8-82

DO - 10.18688/aa155-8-82

M3 - Обзорная статья

VL - 5

SP - 745

EP - 752

JO - Актуальные проблемы теории и истории искусства

JF - Актуальные проблемы теории и истории искусства

SN - 2312-2129

IS - 5

ER -

ID: 5804785