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The ubiquitous »cultural turn« of the 1990s did not spare the thinkers of economics - however, at the same time, economic topics have gained a new importance in cultural studies. This volume focuses on cultures of economy in regions of former Yugoslavia as part of South-Eastern Europe, supported by theoretical perspectives. It examines narratives and poetics of economy in literature, film, and art, as well as in public discourse. The contributors spotlight different historical periods: the late 19th and the early 20th centuries, Socialist Yugoslavia and the transitional and neoliberal period since the 1990s.
Economy; Culture; Yugoslavia; Literature; Film; Art; Slavic Studies; Cultural Studies; Eastern European History; Economic History; Literary Studies --- 1900-2099 --- Balkan Peninsula --- Balkan Peninsula. --- Economic conditions --- Art. --- Cultural Studies. --- Culture. --- Eastern European History. --- Economic History. --- Film. --- Literary Studies. --- Literature. --- Slavic Studies. --- Yugoslavia.
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Der Begriff »Kanon« wird meist mit »Nationalkanon« gleichgesetzt. Die zunehmend globale Zirkulation von Kunst und Literatur macht es jedoch erforderlich, Kanonbildung nicht nur aus nationalkultureller, sondern vielmehr aus transkultureller Sicht zu erforschen. Die internationale Erfolgsgeschichte des Moskauer Konzeptualismus dient Dorine Schellens als Fallstudie, um das Potential von kulturwissenschaftlicher Netzwerkanalyse für eine transkulturelle Kanonforschung aufzuzeigen. Im Fokus steht ein Transfernetzwerk von Mittlerfiguren, Institutionen und Kunstwerken, das dazu beigetragen hat, dass sich der Moskauer Konzeptualismus zur einflussreichsten Gruppe innerhalb der russischen Gegenwartskunst entwickeln konnte.
Kulturtransfer; Netzwerk; Moskauer Konzeptualismus; Deutschland; Russland; Kulturgeschichte; Kunst; Literatur; Kulturtheorie; Kunsttheorie; Slavistik; Kulturwissenschaft; Network; Moscow Conceptualism; Germany; Russia; Cultural History; Art; Literature; Cultural Theory; Theory of Art; Slavic Studies; Cultural Studies --- Art. --- Cultural History. --- Cultural Studies. --- Cultural Theory. --- Germany. --- Literature. --- Moscow Conceptualism. --- Russia. --- Slavic Studies. --- Theory of Art.
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Collective Actions is one of the most significant artistic practices to emerge from Moscow Conceptualism. The group's enigmatic idea of 'Empty action' is the focal point for Marina Gerber's exploration of this practice in relation to labour in the late Soviet Union. Based on interviews with members of the group (Monastyrski, Panitkov, Alexeev, Makarevich, Elagina, Romashko, Hänsgen and Kiesewalter) she exposes the relation between their jobs, their individual art practices and their contribution to the collective in the context of post-Stalinist debates on labour and free time. Departing from the mundane fact that Collective Actions' practice took place in free time from work for the Soviet State, Gerber identifies Empty action as a form of 'art after work'.
Art, Modern --- Affichistes (Group of artists) --- Fluxus (Group of artists) --- Modernism (Art) --- Schule der Neuen Prächtigkeit (Group of artists) --- Zero (Group of artists) --- Moscow Conceptualism; Performance Art; Russia; Labour and Work; Free Time; Art; Cultural History; Music; Art History of the 20th Century; Media Aesthetics; Political Art; Slavic Studies; Fine Arts --- Art History of the 20th Century. --- Art. --- Cultural History. --- Fine Arts. --- Free Time. --- Labour and Work. --- Media Aesthetics. --- Music. --- Performance Art. --- Political Art. --- Russia. --- Slavic Studies. --- Art, Russian --- Art, Russian. --- Conceptual art --- Conceptual art. --- Labor in art. --- Leisure in art. --- History --- Kollektivnye deĭstvii͡a (Group of artists). --- 1900-1999. --- Russia (Federation)
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