The Reflex Republic: Physiologies of Art in the Early Soviet Union.
In the immediate wake of the Russian Revolution, Pavlovian reflex conditioning was rapidly elevated to a universal materialist model for understanding and manipulating human behavior, including the production and reception of art. This article explores the little-known history of the "reflexology of...
| Publicado en: | October no. 188; pp. 149 - 175 |
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| Formato: | Artículo |
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MIT Press
Spring2024
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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=178337156&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 178337156 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 01622870 OCT jtl: October issn: 01622870 maglogo: N pubinfo: dt: Spring2024 iid: 188 pid: 776 pub: MIT Press artinfo: ui: 178337156 10.1162/octo_a_00519 ppf: 149 ppct: 26 formats: fmt: @attributes: type: P size: 20.2MB tig: atl: The Reflex Republic: Physiologies of Art in the Early Soviet Union. aug: au: Vollgraff, Matthew su: Eisenstein, Sergei, 1898-1948 Cultural production Drama Motion pictures Human behavior Soviet Union sug: subj: Soviet Union Eisenstein, Sergei, 1898-1948 Cultural production Drama Motion pictures Human behavior ab: In the immediate wake of the Russian Revolution, Pavlovian reflex conditioning was rapidly elevated to a universal materialist model for understanding and manipulating human behavior, including the production and reception of art. This article explores the little-known history of the "reflexology of art," a movement that applied physiological concepts and techniques to drama, cinema, and literature with the aim of molding atomized individual subjectivities into a corporeal collective. This movement—which involved figures like Vsevolod Meyerhold, Sergei Eisenstein, and Sergei Tret'iakov—formed part of the highly politicized dialogue between science, politics and the arts in the 1920s. By reconstructing the critical discourse around the reflexology of art within the cultural production of the early Soviet state, the article sheds light on the contradictory impulses animating an avant-garde caught between deterministic visions of social engineering and the subversive passions of revolution. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of October is the property of MIT Press 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: October holder: MIT Press dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
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