 {"id":636,"date":"2023-06-22T20:50:38","date_gmt":"2023-06-22T18:50:38","guid":{"rendered":"https:\/\/blogs.univ-tlse2.fr\/slavica-boutique\/?post_type=product&#038;p=636"},"modified":"2023-06-23T10:50:52","modified_gmt":"2023-06-23T08:50:52","slug":"revue-n-56-la-memoire-formelle-des-avant-gardes-dans-la-creation-contemporaine-est-europeenne","status":"publish","type":"product","link":"https:\/\/blogs.univ-tlse2.fr\/slavica-boutique\/produit\/revue-n-56-la-memoire-formelle-des-avant-gardes-dans-la-creation-contemporaine-est-europeenne\/","title":{"rendered":"Revue n\u00b0 56 &#8211; La m\u00e9moire formelle des avant-gardes dans la cr\u00e9ation contemporaine est-europ\u00e9enne"},"content":{"rendered":"<p><strong><\/p>\n<h3>Avertissement<br \/>\nIntroduction I. <\/h3>\n<p><\/strong><br \/>\n<em>Florence Corrado-Kazanski<\/em> &#8211; M\u00e9moires plurielles des avant-gardes<br \/>\n<strong><\/p>\n<h3>Introduction II.<\/h3>\n<p><\/strong><br \/>\n<em>Florence Corrado-Kazanski &amp; Gabriela Ziakova <\/em>&#8211; La notion d&rsquo;avant-garde : situations <\/p>\n<p><strong><\/p>\n<h3>I. Formes en h\u00e9ritage<\/h3>\n<p><\/strong><br \/>\n<em>Maria Delaperri\u00e8re <\/em>&#8211; L&rsquo;avant-garde polonaise et la question de la forme<br \/>\n<em>Elena Gu\u00e9orgui\u00e9va<\/em> &#8211; Le retour du manifeste litt\u00e9raire au XXIe si\u00e8cle : le cas bulgare<br \/>\n<em>Stanilav Savitski<\/em> &#8211; Gen\u00e8se de la promenade comme genre de la performance dans le contexte de la culture non officielle des ann\u00e9es 1960 \u00e0 1980<\/p>\n<p><strong><\/p>\n<h3>II. M\u00e9moire des figures<\/h3>\n<p><\/strong><br \/>\n<em>Milena Arsich<\/em> &#8211; \u00ab Seul l\u2019insane m\u2019int\u00e9resse \u00bb : les r\u00e9miniscences g\u00e9n\u00e9riques et formelles de l\u2019oeuvre de Daniil Kharms dans la litt\u00e9rature russe r\u00e9cente<br \/>\n<em>Solenn Breton<\/em> &#8211; L\u2019enjeu de la m\u00e9moire de l\u2019\u00c2ge d\u2019argent chez les conceptualistes moscovites : l\u2019exemple du po\u00e8me de Dmitri Prigov \u00ab Mne golos byl \u00bb<br \/>\n<em>Iryna Romanova &amp; Alexander Friedman <\/em>&#8211; L\u2019\u00ab \u00c9va-lution \u00bb ou comment le tableau <em>\u00c9va<\/em> de Cha\u00efm Soutine est devenu le symbole de la contestation au B\u00e9larus<br \/>\nen 2020<\/p>\n<p><strong><\/p>\n<h3>III. Gestes d&rsquo;avant-garde<\/h3>\n<p> <\/strong><br \/>\n<em>Gabriela Ziakova<\/em> &#8211; \u00ab Parlez-vous avantgarda \u00bb ? Sus aux faux-amis, ersatz et <em>sensure<\/em><br \/>\n<em>Florence Corrado-Kazanski<\/em> &#8211;  Po\u00e9sie et subversion : le recueil <em>Nudelman<\/em> de Justyna Bargielska<br \/>\n<em>Emanuel Landolt<\/em> &#8211;  Le groupe Moukhomor : une avant-garde dans l\u2019avant-garde<br \/>\n<strong><\/p>\n<h3>Index onomastique<br \/>\nR\u00e9sum\u00e9s des articles<br \/>\nAbstracts<br \/>\nNotices sur les auteurs<br \/>\nRemerciements<br \/>\nNotes de lecture<\/h3>\n<p><\/strong><br \/>\n<em>Roger Comtet<\/em> &#8211; Elena Simonato, <em>Une cinqui\u00e8me Suisse au bord de la mer Noire. Nouvelle histoire document\u00e9e de la colonie suisse de Chabag 1822-1944<\/em><br \/>\n(2021),<br \/>\n<em>Ewa B\u00e9rard<\/em> &#8211; \u00c9lisabeth Essa\u00efan, <em>Le Prol\u00e9tariat ne se prom\u00e8ne pas nu. Moscou en projets<\/em> (2021)<br \/>\n<em>Fran\u00e7oise Lesourd<\/em> &#8211; Kathy Rousselet, <em>La Sainte Russie contre l\u2019Occident<\/em> (2022)<br \/>\n<em>Irina Tcherneva<\/em> &#8211; Emilia Koustova (\u00e9d.), <em>Combattre, survivre, t\u00e9moigner. Exp\u00e9riences sovi\u00e9tiques de la Seconde Guerre mondiale<\/em> (2020)<br \/>\n<em>Delphine Rumeau<\/em> &#8211; Myriam Truel, <em>Victor Hugo en Russie et en URSS<\/em> (2021)<br \/>\n<em>Dimitri Filimonov<\/em> &#8211; Maxime Audinet, <em>Russia Today (RT), Un m\u00e9dia d\u2019influence au service de l\u2019\u00c9tat russe<\/em> (2021)<br \/>\n<em>Serge Rolet<\/em> &#8211; Aur\u00e9lie Barjonet &amp; Karl Zieger (\u00e9d.), <em>Zola derri\u00e8re le rideau de fer<\/em> (2022)<br \/>\n<em>Dany Savelli<\/em> &#8211; Evgenij \u0160tejner, <em>V pu\u010dine brennogo mira. Japonskoe iskusstvo i ego kollekcioner Sergej Kitaev<\/em> (2022)<br \/>\n<em>Victoire Feuillebois<\/em> &#8211; Annick Morard, <em>Ourod : autopsie culturelle des monstres en Russie <\/em>(2019)<\/p>\n","protected":false},"excerpt":{"rendered":"<div data-marker=\"__QUOTED_TEXT__\"><b><span>Editeur scientifique : <\/span><\/b><em>Florence Corrado-Kazanski<\/em><\/div>\n<div data-marker=\"__QUOTED_TEXT__\"><strong>ISBN : <\/strong>979-10-93090-14-6<\/div>\n<div data-marker=\"__QUOTED_TEXT__\">289 p.<\/div>\n","protected":false},"featured_media":637,"template":"","meta":[],"product_brand":[],"product_cat":[],"product_tag":[],"class_list":{"0":"post-636","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","7":"first","8":"instock","9":"shipping-taxable","10":"purchasable","11":"product-type-simple"},"_links":{"self":[{"href":"https:\/\/blogs.univ-tlse2.fr\/slavica-boutique\/wp-json\/wp\/v2\/product\/636","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.univ-tlse2.fr\/slavica-boutique\/wp-json\/wp\/v2\/product"}],"about":[{"href":"https:\/\/blogs.univ-tlse2.fr\/slavica-boutique\/wp-json\/wp\/v2\/types\/product"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blogs.univ-tlse2.fr\/slavica-boutique\/wp-json\/wp\/v2\/media\/637"}],"wp:attachment":[{"href":"https:\/\/blogs.univ-tlse2.fr\/slavica-boutique\/wp-json\/wp\/v2\/media?parent=636"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"https:\/\/blogs.univ-tlse2.fr\/slavica-boutique\/wp-json\/wp\/v2\/product_brand?post=636"},{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/blogs.univ-tlse2.fr\/slavica-boutique\/wp-json\/wp\/v2\/product_cat?post=636"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/blogs.univ-tlse2.fr\/slavica-boutique\/wp-json\/wp\/v2\/product_tag?post=636"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}