The New Russian Book

Pristed, Birgitte Beck

doi:10.1007/978-3-319-50708-8

Cited by 3 publications

(3 citation statements)

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“…This theme was expressed with different words, such as 'clarity', 'harmony'orthe'accordanceofformtomaterialandfunction'.Isuggestthat, byappealingtohonesty,designprofessionalswerelookingforasymbolic orderthatwoulduniteart,industryandconsumptioninawayappropri-ateforaSovietsocietyovercomingthetraumasofwarandlateStalin-era oppression.Atthedecisivetimeofdefiningthefuturetrajectoryofdecorativeart,honestyemergedasthecoreofthesocialistobject,thebasisfor itssymbolicmeaning,utilityandsocialimpact.Thenotionofan'honest' objectcanalsobeviewedinthecontextoftheintelligentsia'shungerfor 'objectivetruth'andsincerityafterStalin'sdeathandespeciallyafterthe XXthPartyCongress. 113 Criticismofexcessiveandpretentiousornamentationappearedinthe Soviet press even before the official attack on architectural excess. In September1954,thejournalSovetskaia Torgovlia (Soviet Trade)published anarticlebythearthistorianAleksandrSaltykov,inwhichheexplainedto workersthatagoodcommodityis'firstofallconvenient,solidanddurable'.AccordingtoSaltykov,commoditiesthatfailedtomeetthiscriterion hadtoberejectedaskitsch(khaltura)that'distortspeople'sideasofart andspoilsthetasteofbroadmasses', andshouldbeofficiallywithdrawn fromtradebytheUSSRCentralCouncilofProducers'Cooperatives.…”

Section: Excess and Tastementioning

confidence: 99%

“…112 This initiative wasnotcompletelyalientoSovietculture:thecollectionofconsumerand industrialwaste(mostlypaperandmetalscraps)forrecyclinghadbeen practisedintheUSSRsinceevenbeforetheSecondWorldWar,withthe twineconomicanddidacticpurposesofeducatingcitizensincontributing tothestate'sprosperity. 113 However,asBirgittePristedexplains,environmental concerns emerged within the official agenda for recycling paper fromthelate1950s. 114 Onecansupposethatasimilartendencydeveloped withregardtoothermaterials,suchasmetalandtextiles.…”

Section: Waste Into Profitmentioning

confidence: 99%

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Comradely objects

Karpova¹

2020

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Thisconferencebroughttogetherscholarsfromdifferent disciplinesandbecameaspaceforthrivingintellectualexchangethatwas crucialinthefinalstagesofmywriting. MypostdoctoralresearchinDenmarkgreatlybenefitedfromnumerous visits to the Designmuseum Danmark and its library. I thank the librariansAnjaLollegaardandSaraFruelundfortheirgeneroushelpwith findingrelevanttheoreticalliteratureandshowingsuchgreatinterestin mybook.IamalsogratefultoAndersV.MunchandHans-ChristianJensen fromtheUniversityofSouthernDenmarkandtoKristianHandbergfrom Copenhagen University for kindly giving me the opportunity to give a publictalkaboutSovietdesigntoaDanishaudience. Manycolleaguesfromthefieldsofdesignhistory,arthistory,Russian andSovietstudiesandothershavesupportedmyprojectinvariousways-providingvaluablefeedback,suggestingsecondarysources,andasking thought-provokingquestions.Mygratitudegoes,innoparticularorder,to KjetilFallan,

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Section: Excess and Tastementioning

confidence: 99%

Section: Waste Into Profitmentioning

confidence: 99%

Comradely objects

Karpova¹

2020

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Section: Waste Into Profitmentioning

confidence: 99%

From objects to design programmes

Karpova¹

2020

Comradely Objects

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From objects to design programmesJust as neodecorativism was generating the idea of a spiritually useful object,itsleadingproponent,BorisSmirnov,publishedhissuccinctArtist on the Nature of Things. 1 Itstitlealludestothefirst-centuryBCEpoemDe rerum naturabytheRomanpoetandphilosopherLucretius.Inthebook Smirnov discussed the traditions, techniques and symbolic meanings of thedesignofconsumerobjects.Inessence,itwasaworkofprofessional self-reflection.Smirnovpaidspecialattentiontotheemergenceofanew object,whichhedescribedas a complex creative-industrial [tvorcheski-proizvodstvennyi] process involving differentspecialists:scientists,engineersandartists.Theartist'sroleinthis processisverylarge.He 2 devisesatonceanobjectitselfandthewayitcan be used. An artist is a director [rezhisser] of the object's consumption; he organisestherelationshipbetweenauserandanobjectand,onthisbasis,he definesitsplaceandspecificityamongotherobjects,itsconsumerqualities. An artist should be broad-minded, cultured in his approach to a consumer object,whateverthepurposeofthisobjectis,andhoweversmallandinsignificantitmayseem. 3

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Material translation: How do variations in form and materiality influence the ways we read translated editions of a book?

Sørensen

2022

Orbis Litterarum

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This article proposes the term material translation as a concept to encompass the transfer of a book’s materiality in translation processes and its influence on meaning‐making in translated editions. Even though the importance of the materiality of literary works has been generally acknowledged, it continually plays a diminutive role in the field of literary Translation Studies, as well as in the practical handling of translation processes as performed by translators and publishing houses. The transfer of form and materiality, so the article argues, becomes especially significant when it comes to photo‐texts in which interactions between words, pictures, and layout impact strongly on meaning‐making processes. By comparing book spreads from German, English/American and Danish editions of Extremely Loud & Incredibly Close (2005) and Austerlitz (2001), the article shows how variations in materiality and formal composition influence possible interpretations in different languages. Drawing on semi‐structured interviews with experts related to the analysed works, the article discusses the causes of variations in materiality, ranging from practical decisions to varying conceptions of what exactly constitutes the object of translation. Whatever the underlying reasons, the article concludes that shifts in materiality occurring in translation processes generate vital shifts in meaning‐making, thereby significantly influencing readings in different languages.

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The New Russian Book

Cited by 3 publications

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Comradely objects

Comradely objects

From objects to design programmes

Material translation: How do variations in form and materiality influence the ways we read translated editions of a book?

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