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Internationalist Aesthetics offers a groundbreaking account of the crucial role that China played in the early Soviet cultural imagination. Reading across genres and media from reportage and biography to ballet and documentary film, Edward Tyerman shows how Soviet culture sought an aesthetics that could foster a sense of internationalist community.
List of contents
Acknowledgments
Introduction: China and Early Soviet Culture
1. Sight, Sound, and Similarity: Soviet Writers Travel to China
2. Translating China Onstage: Roar, China! and The Red Poppy
3. Through an Internationalist Lens: China in Early Soviet Cinema
4. Confessions and Collaborations: Authority, Agency and Factographic Internationalism in Den Shi-khua
Epilogue: International Literature, National Form, and Missed Connections
Notes
Bibliography and Sources
Index
About the author
Edward Tyerman is an associate professor in the Department of Slavic Languages and Literatures at the University of California, Berkeley.
Summary
Internationalist Aesthetics offers a groundbreaking account of the crucial role that China played in the early Soviet cultural imagination. Reading across genres and media from reportage and biography to ballet and documentary film, Edward Tyerman shows how Soviet culture sought an aesthetics that could foster a sense of internationalist community.
Additional text
This is a pathbreaking work. With great nuance and superbly insightful close readings, Internationalist Aesthetics shows the rise of this aesthetic, as well as its decline, and ponders its legacies for both Soviet culture and global cultural production.
