Communication and medial frontier crossings in the Jewish underground culture.
In this essay, the author examines Jewish art and literature in the context of the unofficial public sphere in the late Soviet Union. This Jewish cultural underground emerged within a specific communicative niche, which was the result of intensive private exchange, limited knowledge, and collectivel...
| Publicado en: | East European Jewish Affairs Vol. 48; no. 1; pp. 5 - 23 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Apr2018
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=129777385&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 129777385 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 13501674 UPE jtl: East European Jewish Affairs issn: 13501674 maglogo: Y pubinfo: dt: Apr2018 vid: 48 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 129777385 10.1080/13501674.2017.1419848 ppf: 5 ppct: 18 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.2MB tig: atl: Communication and medial frontier crossings in the Jewish underground culture. aug: au: Smola, Klavdia affil: Institute for Advanced Study, The “Cultural Foundations of Integration” Center of Excellence, Konstanz, Germany su: Communication & culture Jewish art & symbolism Jewish literature Art & culture Jews Samizdat Underground literature Soviet Union sug: subj: Soviet Union Communication & culture Jewish art & symbolism Jewish literature Art & culture Jews Samizdat Underground literature keyword: alternative lifeworld communicative context cross-medial links intertextuality Jewish underground culture late Soviet Union mediated Jewish tradition ab: In this essay, the author examines Jewish art and literature in the context of the unofficial public sphere in the late Soviet Union. This Jewish cultural underground emerged within a specific communicative niche, which was the result of intensive private exchange, limited knowledge, and collectively discovered sources. The space in which artists and authors shared both their “work surface” and their coffee table, and in which the cultural production coincided with its own reception and analysis, constituted the cradle of very specific aesthetic features: particular forms of intertextual and intermedial links, self-reference, as well as a blend of the alternative lifeworld and art. Moreover, the close contact with “non-Jewish” artists in the same creative and often physical space brought about a synthetic form of culture. However, unlike with the Jewish vanguard artists of the first third of the twentieth century (such as the famous Kultur-lige), this synthesis was also caused by the largely non-Jewish socialization of “new Jews” in the late Soviet Union. This paper will focus on the following questions: How did the communicative context - the partial ban on Jewish topics and the alternative, semi-private public sphere of the Jewish unofficial culture in the late Soviet era - come about, and how did these aspects influence its artifacts? pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of East European Jewish Affairs is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: East European Jewish Affairs holder: Taylor & Francis Ltd dt: @attributes: year: 2018 holdings: @attributes: islocal: N |
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