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  3. The Last Soviet Avant-Garde
  • Cited by 5
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    • Publisher:
      Cambridge University Press
      Publication date:
      02 September 2009
      05 June 1997
      ISBN:
      9780511519628
      9780521482837
      9780521028349
      DOI:
      https://doi.org/10.1017/CBO9780511519628
      Dimensions:
      (216 x 138 mm)
      Weight & Pages:
      0.46kg, 292 Pages
      Dimensions:
      (216 x 138 mm)
      Weight & Pages:
      0.391kg, 292 Pages
      • Subjects:
      Literature, Area Studies, Literary Theory, European Literature, European Studies
      Series:
      Cambridge Studies in Russian Literature
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    • Selected: Digital
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    Subjects:
    Literature, Area Studies, Literary Theory, European Literature, European Studies
    Series:
    Cambridge Studies in Russian Literature
    Information

    Book description

    This is a comprehensive study of a group of avant-garde Soviet writers active in Leningrad in the 1920s and 1930s who styled themselves OBERIU, 'The Association for Real Art'. Graham Roberts re-examines commonly held assumptions about OBERIU, its identity as a group, its aesthetics and its place within the Russian and European literary traditions. He focuses on the prose and drama of group members Daniil Kharms, Aleksandr Vvedensky, and Konstantin Vaginov; he also considers work by Nikolay Zabolotsky and Igor Bakhterev, as well as the group's most important 'fellow-traveller', Nikolay Oleinikov. He places OBERIU in the context of the aesthetic theories of the Russian formalists and the Bakhtin circle. Roberts concludes by showing how the self-conscious literature of OBERIU - its metafiction - occupies an important transitional space between modernism and postmodernism.

    Reviews

    ‘… a triumph of postmodern attitudes with regard to the Stalinist past.’

    Source: The Times Literary Supplement

    ‘This book reveals perhaps for the first time the significance and achievement of a number of writers more of less closely connected with the OBERIU group centred in Leningrad in the late 1920s and the 1930s.’

    Source: New Theatre Quarterly

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