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Research paper thumbnail of Titoistische Ketzerei: Die Bogomilen als Antizipation des „dritten Weges“ Jugoslawiens

Zeitschrift für Slawistik, 2010

Only a few years after Yugoslavia was excluded from the Cominform, Tito and his ideologists adopt... more Only a few years after Yugoslavia was excluded from the Cominform, Tito and his ideologists adopted the term "third way" as a keyword to designate the Yugoslav politics between East and West. Originally, the term had been coined by the Soviets to denigrate what they perceived as an impossible compromise between Capitalism and Communism. Soon, Yugoslav politicians turned it into a positive slogan. In 1950, the Croatian writer Miroslav Krlezha organised a monumental exhibition of Yugoslav medieval art in the Palais de Chaillot in Paris. He presented the medieval Bosnian sect of the Bogomils with its special form of "socialism" as anticipation and a historical legitimation of Yugoslav sovereignty. Other theoreticians such as the Serbian writer Oto Bihalji-Merin compared Tito and his partisans to rebellious Bogomils. The essay retraces the development of that myth, touching also on cinema and later phases of political propaganda.

Research paper thumbnail of Abstraktion und Realismus im Literatur- und Kunstdiskurs der russischen Avantgarde

Slavic Review, 2008

even three generations of writers; doors open and close, other rooms are occupied, some door clos... more even three generations of writers; doors open and close, other rooms are occupied, some door close behind those who left forever. One of the most dramatic events took place in December 1905 when armed police invaded the tower. Several scholars point to a direct or indirect link with German philosophy (Philip Westbroek, "V Ivanov i 'novaia mifologia"'), German poetry (Konstantin Azadovskii, "Dve bashni—dva mifa: Stephan George and Viacheslav Ivanov"). Westbroek tries to assess the Shellingian "stamp" on Ivanov's formulation of myth, but he also argues that the poet transcended the Romantic influence and absorbed the new contemporary theories. Not only was Ivanov inspired by German philosophy, for example, Friedrich Nietzsche and Friedrich Shelling, but apparently his hermetic language regarding the symbol of the tower, according to a claim made by Svetlana D. Titarenko in her elaborate essay ("Ot arkhetipa k mify: Bashnia kak simvolicheskaia forma u Viach. Ivanova i K. G. Iunga") inspired Carl Jung in building his own tower in Switzerland in 1923. Her comparative analysis of how these two thinkers viewed the archetypal symbolism of the tower as a ritual space is profound. An additional section of 32 color plates—reproductions of portraits, photographs, and book covers is a great visual asset. Some articles are supplemented with drawings representing tower symbolism; especially interesting in this regard is Sergei Bogdanov's paper, "Babilonskaia bashnia i ee kul'turnaia semantika." It must be stressed that the book does justice to a great many topics: the tower is explored historically, symbolically, philosophically, as a narrative and a way of life, though it is hard to determine the criteria behind the sequence. Published quite attractively, but without an index and with some minor editorial oversights, the book opens with an introductory essay by Shishkin and ends with a very informative insert on the authors with their photos and an English-language summary. It is a genuine contribution, a spectacular panorama of the Russian Silver Age as seen from its highest point—Ivanov's Tower.

Research paper thumbnail of Titoistische Ketzerei: Die Bogomilen als Antizipation des „dritten Weges“ Jugoslawiens

Zeitschrift für Slawistik, 2010

Only a few years after Yugoslavia was excluded from the Cominform, Tito and his ideologists adopt... more Only a few years after Yugoslavia was excluded from the Cominform, Tito and his ideologists adopted the term "third way" as a keyword to designate the Yugoslav politics between East and West. Originally, the term had been coined by the Soviets to denigrate what they perceived as an impossible compromise between Capitalism and Communism. Soon, Yugoslav politicians turned it into a positive slogan. In 1950, the Croatian writer Miroslav Krlezha organised a monumental exhibition of Yugoslav medieval art in the Palais de Chaillot in Paris. He presented the medieval Bosnian sect of the Bogomils with its special form of "socialism" as anticipation and a historical legitimation of Yugoslav sovereignty. Other theoreticians such as the Serbian writer Oto Bihalji-Merin compared Tito and his partisans to rebellious Bogomils. The essay retraces the development of that myth, touching also on cinema and later phases of political propaganda.

Research paper thumbnail of Abstraktion und Realismus im Literatur- und Kunstdiskurs der russischen Avantgarde

Slavic Review, 2008

even three generations of writers; doors open and close, other rooms are occupied, some door clos... more even three generations of writers; doors open and close, other rooms are occupied, some door close behind those who left forever. One of the most dramatic events took place in December 1905 when armed police invaded the tower. Several scholars point to a direct or indirect link with German philosophy (Philip Westbroek, "V Ivanov i 'novaia mifologia"'), German poetry (Konstantin Azadovskii, "Dve bashni—dva mifa: Stephan George and Viacheslav Ivanov"). Westbroek tries to assess the Shellingian "stamp" on Ivanov's formulation of myth, but he also argues that the poet transcended the Romantic influence and absorbed the new contemporary theories. Not only was Ivanov inspired by German philosophy, for example, Friedrich Nietzsche and Friedrich Shelling, but apparently his hermetic language regarding the symbol of the tower, according to a claim made by Svetlana D. Titarenko in her elaborate essay ("Ot arkhetipa k mify: Bashnia kak simvolicheskaia forma u Viach. Ivanova i K. G. Iunga") inspired Carl Jung in building his own tower in Switzerland in 1923. Her comparative analysis of how these two thinkers viewed the archetypal symbolism of the tower as a ritual space is profound. An additional section of 32 color plates—reproductions of portraits, photographs, and book covers is a great visual asset. Some articles are supplemented with drawings representing tower symbolism; especially interesting in this regard is Sergei Bogdanov's paper, "Babilonskaia bashnia i ee kul'turnaia semantika." It must be stressed that the book does justice to a great many topics: the tower is explored historically, symbolically, philosophically, as a narrative and a way of life, though it is hard to determine the criteria behind the sequence. Published quite attractively, but without an index and with some minor editorial oversights, the book opens with an introductory essay by Shishkin and ends with a very informative insert on the authors with their photos and an English-language summary. It is a genuine contribution, a spectacular panorama of the Russian Silver Age as seen from its highest point—Ivanov's Tower.