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Handwriting, typography, illustratio...

Chesley, Ian.

Handwriting, typography, illustration: The visual word of the Russian avant-garde.

紀錄類型:	書目-電子資源 : 單行本
正題名/作者:	Handwriting, typography, illustration: The visual word of the Russian avant-garde./
作者:	Chesley, Ian.
面頁冊數:	224 p.
附註:	Source: Dissertation Abstracts International, Volume: 68-10, Section: A, page: 4319.
Contained By:	Dissertation Abstracts International68-10A.
標題:	Literature, Slavic and East European. -
電子資源:	Download PDF (下載PDF全文)
ISBN:	9780549278535

Handwriting, typography, illustration: The visual word of the Russian avant-garde.
Chesley, Ian.

Handwriting, typography, illustration: The visual word of the Russian avant-garde. - 224 p.

Source: Dissertation Abstracts International, Volume: 68-10, Section: A, page: 4319.

Thesis (Ph.D.)--Harvard University, 2007.

This dissertation considers the rise of Russian avant-garde book design, experiments in visual forms of language, and their role in shaping the modern reading experience. Chapter 1 is about the Futurist poet Velimir Khlebnikov and his pseudo-scientific system of letters. Departing from the earlier model of the "letter as such," which claims a relationship of identity between writer and handwriting, Khlebnikov develops a theory of the relationship between writing and historical events. I argue that in his linguistic essays, Khlebnikov adopts the alter ego of the nineteenth-century writer and mathematician Sofia Kovalevskaia. She serves as a fictional lyrical subject that makes his theory of history both mathematical and literary. Chapter 2 is about Ilya Zdanevich (Iliazd), whose typographical designs represent the radical extreme of Russian Futurism. I examine his book designs, critical writings, and speeches for the way he uses typography to fashion a public self. In particular, Zdanevich's preoccupation with gender provides a point of entry into his opaque zaum' works. Zdanevich uses typography to explore how gender is mediated by, and can be shaped by, the creative use of visual language. Chapter 3 is about the painter, architect, typographer El Lissitzky. I argue that Lissitzky's experimental books represent a form of research into the distinction between written word and image. Far from a "limited design task," typography is the most important tool Lissitzky employs in order to explore the paradox of reading: that it is essentially a visual act, but that it is also predicated on a kind of blindness to the materiality of language.

ISBN: 9780549278535Subjects--Topical Terms:

1000006258
Literature, Slavic and East European.

Handwriting, typography, illustration: The visual word of the Russian avant-garde.
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500 $a Adviser: John E. Malmstad.
502 $a Thesis (Ph.D.)--Harvard University, 2007.
520 $a This dissertation considers the rise of Russian avant-garde book design, experiments in visual forms of language, and their role in shaping the modern reading experience. Chapter 1 is about the Futurist poet Velimir Khlebnikov and his pseudo-scientific system of letters. Departing from the earlier model of the "letter as such," which claims a relationship of identity between writer and handwriting, Khlebnikov develops a theory of the relationship between writing and historical events. I argue that in his linguistic essays, Khlebnikov adopts the alter ego of the nineteenth-century writer and mathematician Sofia Kovalevskaia. She serves as a fictional lyrical subject that makes his theory of history both mathematical and literary. Chapter 2 is about Ilya Zdanevich (Iliazd), whose typographical designs represent the radical extreme of Russian Futurism. I examine his book designs, critical writings, and speeches for the way he uses typography to fashion a public self. In particular, Zdanevich's preoccupation with gender provides a point of entry into his opaque zaum' works. Zdanevich uses typography to explore how gender is mediated by, and can be shaped by, the creative use of visual language. Chapter 3 is about the painter, architect, typographer El Lissitzky. I argue that Lissitzky's experimental books represent a form of research into the distinction between written word and image. Far from a "limited design task," typography is the most important tool Lissitzky employs in order to explore the paradox of reading: that it is essentially a visual act, but that it is also predicated on a kind of blindness to the materiality of language.
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