Символизм как эвфемизм. Григорий Стернин и журнал «Советское искусствознание»

Standard

Символизм как эвфемизм. Григорий Стернин и журнал «Советское искусствознание». / Рыков, Анатолий Владимирович.

в: ИСКУССТВОЗНАНИЕ, № 1, 01.06.2026, стр. 150-161.

Результаты исследований: Научные публикации в периодических изданиях › статья › Рецензирование

BibTeX

@article{3c5da47035d4483698763d22e7f70dff,

title = "Символизм как эвфемизм. Григорий Стернин и журнал «Советское искусствознание»",

abstract = "The paper considers theoretical legacy of the Russian art historian Grigory Sternin (1927–2013). The scholar{\textquoteright}s work is examined in the context of methodological innovations in Western science in the 1960s and 1970s and attempts to use this experience within the framework of the publishing policy of the “Soviet Art Studies” journal. The most radical component in Sternin{\textquoteright}s theoretical strategies is highlighted, breaking with “visual essentialism” and rehabilitating “literature” in its complex relationships with fine art. This most striking feature of the individual research style of the Russian art historian makes him a forerunner of “visual studies”. The article emphasizes that Sternin{\textquoteright}s interest in the textual embodiments of visuality was based on a (post)structuralist understanding of the sociology of art.",

author = "Рыков, {Анатолий Владимирович}",

year = "2026",

month = jun,

day = "1",

doi = "10.51678/2073-316X-2026-1-150-161",

language = "русский",

pages = "150--161",

journal = "ИСКУССТВОЗНАНИЕ",

issn = "2073-316X",

publisher = "Государственный институт искусствознания",

number = "1",

}

RIS

TY - JOUR

T1 - Символизм как эвфемизм. Григорий Стернин и журнал «Советское искусствознание»

AU - Рыков, Анатолий Владимирович

PY - 2026/6/1

Y1 - 2026/6/1

N2 - The paper considers theoretical legacy of the Russian art historian Grigory Sternin (1927–2013). The scholar’s work is examined in the context of methodological innovations in Western science in the 1960s and 1970s and attempts to use this experience within the framework of the publishing policy of the “Soviet Art Studies” journal. The most radical component in Sternin’s theoretical strategies is highlighted, breaking with “visual essentialism” and rehabilitating “literature” in its complex relationships with fine art. This most striking feature of the individual research style of the Russian art historian makes him a forerunner of “visual studies”. The article emphasizes that Sternin’s interest in the textual embodiments of visuality was based on a (post)structuralist understanding of the sociology of art.

AB - The paper considers theoretical legacy of the Russian art historian Grigory Sternin (1927–2013). The scholar’s work is examined in the context of methodological innovations in Western science in the 1960s and 1970s and attempts to use this experience within the framework of the publishing policy of the “Soviet Art Studies” journal. The most radical component in Sternin’s theoretical strategies is highlighted, breaking with “visual essentialism” and rehabilitating “literature” in its complex relationships with fine art. This most striking feature of the individual research style of the Russian art historian makes him a forerunner of “visual studies”. The article emphasizes that Sternin’s interest in the textual embodiments of visuality was based on a (post)structuralist understanding of the sociology of art.

UR - https://www.mendeley.com/catalogue/5678e486-9fc4-385b-a375-9595f245d687/

U2 - 10.51678/2073-316X-2026-1-150-161

DO - 10.51678/2073-316X-2026-1-150-161

M3 - статья

SP - 150

EP - 161

JO - ИСКУССТВОЗНАНИЕ

JF - ИСКУССТВОЗНАНИЕ

SN - 2073-316X

IS - 1

ER -

ID: 157134619