Papers by Valentina Parisi
Paper published in: M. C. Pesenti and R. Marti (eds.), Libro manoscritto e libro a stampa nel mon... more Paper published in: M. C. Pesenti and R. Marti (eds.), Libro manoscritto e libro a stampa nel mondo slavo (XV-XX sec.), Slavica Ambrosiana, 5, Biblioteca Ambrosiana. Milano- Roma, Bulzoni Editore, 2015, pp. 151-165.
Anachronism or Media Innovation? Typoscript and its
ambiguous Status in Samizdat ‘Writing Scene’
It is common knowledge that the invention of the typewriter changed
writing habits and their perception by introducing elements of mechanization,
iterability and uniformity in the mise en page of the authorial
text. This technological shift led to an almost total obliteration of the
distance between manuscript and printed text, as Hermann Hesse remarked
in 1908. Such implications are crucial to the samizdat practice
that flourished in the USSR after Stalin’s death. Drawing on a number of
examples (N. Glazkov’s samsebjaizdat, B. Tajgin’s editions Be-Ta, Marina
Cvetaeva’s reprints made by Valentin Cvetkov), the article shows how
paratextual elements played a fundamental role in turning the typescript
from what would otherwise have been a private draft into an edited, selfpublished
artifact.
“Life has got out of its rails, everybody has forgotten his insignificant business, everything be... more “Life has got out of its rails, everybody has forgotten his insignificant business, everything became confused and was seized by just one goal, by one idea, the idea of war”, so Ivan Kliun described his first impressions as the 1914 war broke out. Still, Russian avant-garde artists and poets treated the new subject not only according to their personal aesthetical attitude (which would not be surprising), but, what is more significant, saw in the Great War a confirmation of their own creative strategies. On the one hand, Futurists claimed that their assault on philistine decency anticipated the military conflict, undermining the predominant conventions of beauty and measure (“Even before the war Futurists lived out of war and at war” the manifesto of the last Futurist exhibition “0.10” affirmed). On the other hand, pacifist writers such as the Symbolist poet Maximilian Voloshin perceived the outbreak of World War I as a tragic fulfillment of their apocaliptycal fears. Drawing on a number of examples, I will argue that the literary response to the Great War in Russian avant-garde circles was largely affected by the crisis that in 1914 both Futurists and Symbolists were confronted with; consequently, the war period, rather than being an opportunity for further evolution, represented a short phase of self-reassessment before the radical changes brought by the October Revolution.
Il punto non sta nella stampa, nei caratteri, non morirò, dunque posso viver anche senza; la dist... more Il punto non sta nella stampa, nei caratteri, non morirò, dunque posso viver anche senza; la distinzione tra creatori e imitatori questa del mondo è l'essenza.
Una performance di Dmitrij Prigov dal sito <http://www.prigov.ru>.
Books: by Valentina Parisi
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Papers by Valentina Parisi
Anachronism or Media Innovation? Typoscript and its
ambiguous Status in Samizdat ‘Writing Scene’
It is common knowledge that the invention of the typewriter changed
writing habits and their perception by introducing elements of mechanization,
iterability and uniformity in the mise en page of the authorial
text. This technological shift led to an almost total obliteration of the
distance between manuscript and printed text, as Hermann Hesse remarked
in 1908. Such implications are crucial to the samizdat practice
that flourished in the USSR after Stalin’s death. Drawing on a number of
examples (N. Glazkov’s samsebjaizdat, B. Tajgin’s editions Be-Ta, Marina
Cvetaeva’s reprints made by Valentin Cvetkov), the article shows how
paratextual elements played a fundamental role in turning the typescript
from what would otherwise have been a private draft into an edited, selfpublished
artifact.
Books: by Valentina Parisi
Anachronism or Media Innovation? Typoscript and its
ambiguous Status in Samizdat ‘Writing Scene’
It is common knowledge that the invention of the typewriter changed
writing habits and their perception by introducing elements of mechanization,
iterability and uniformity in the mise en page of the authorial
text. This technological shift led to an almost total obliteration of the
distance between manuscript and printed text, as Hermann Hesse remarked
in 1908. Such implications are crucial to the samizdat practice
that flourished in the USSR after Stalin’s death. Drawing on a number of
examples (N. Glazkov’s samsebjaizdat, B. Tajgin’s editions Be-Ta, Marina
Cvetaeva’s reprints made by Valentin Cvetkov), the article shows how
paratextual elements played a fundamental role in turning the typescript
from what would otherwise have been a private draft into an edited, selfpublished
artifact.