(New Delhi: Lalit Kala Akademi, 1985), unpaginated reprinted in Shanay Jhaveri, ed. The Indian artist Mrinalini Mukherjee (1949–2015) said that she wanted her sculptures to conjure “the feeling of awe when you walk into the small sanctum of a temple and look up to be held by an iconic presence.” 1 Nilima Sheikh, “In Conversation,” in Pantheon of Images, exh. Courtesy of the Mrinalini Mukerjee Foundation

Committee on Painting and Sculpture Funds, and acquired through the generosity of Marlene Hess and James D. Telling in Time (III): Chronology, Estrangement, and Stories of Literary History–Meir Sternberg,Tel Avivġ5.Mrinalini Mukherjee’s work does not easily fit any neat categories, whether “Post-Minimalism,” “Fiber art” or “craft.” Considering Yakshi (1984) in MoMA’s reinstalled galleries as one example of Mukherjee’s handwrought artistic practice, the essay highlights the influence of her cultural background on her methods and materials and examines the points of intersection and divergence between Mrinalini Mukherjee and other fiber artists. Lyn Hejinian and Russian Estrangement–Jacob Edmond, Otagoġ4. My Leader, Myself ? Pictorial Estrangement and Aesopian Language in the Late Work of Kazimir Malevich–Anna Wexler Katsnelson, Harvardġ3. The Politics of Estrangement: Tracking Shklovsky’s Device through Literary and Policing Practices–Cristina Vatulescu, Harvardġ2. Distortion and Theatricality: Estrangement in Diderot and Shklovsky–Tatiana Smoliarova, Columbiaġ1. Dostoevsky’s Estrangement–Nancy Ruttenburg, NYUġ0. Why the First-Wave Russian Literary Diaspora Embraced Shklovskian Estrangement–Greta N. The Politics of Estrangement: The Case of the Early Shklovsky–Galin Tihanov, LancasterĦ. Shklovsky’s ostranenie, Bakhtin’s vnenakhodimost’ (How Distance Serves anĪesthetics of Arousal Differently from an Aesthetics Based on Pain)–Caryl Emerson, Princetonĥ. Minding the Gap: Toward a Historical Poetics of Estrangement–Michael Holquist and Ilya Kliger, YaleĤ. Poetics and Politics of Estrangement: Victor Shklovsky and Hannah Arendt–Svetlana Boym, Harvardģ. Svetlana Boym is Curt Hugo Reisinger Professor of Slavic Languages and Literatures, and Professor of Comparative Literature, at Harvard University.Ģ. Meir Sternberg is Professor of Poetics and Comparative Literature at Tel Aviv University. Slobin, Tatiana Smoliarova, Meir Sternberg, Galin Tihanov, Cristina Vatulescu Svetlana Boym, Marietta Chudakova, Jacob Edmond, Caryl Emerson, Michael Holquist, Anna Wexler Katsnelson, Ilya Kliger, Nancy Ruttenburg, Greta N. The special issues end with a previously unpublished interview with Shklovsky, who looks back on a long and troubled career, speaking his mind about literary issues, Communist oppression, and friends and enemies, including Stalin.Ĭontributors. A third contributor explores estrangement in the work of Dostoyevsky.

Another discusses estrangement as seen in the visual artwork of the Russian painter and art theoretician Kazimir Malevich. One contributor considers Diderot's views on art alongside certain modern views on poetry. Other essays are historical surveys of estrangement theories and their diasporas during the last century. Two essays compare the ideas of Shklovsky with those of equally well-known thinkers-such as Hannah Arendt and Mikhail Bakhtin-regarding freedom and aesthetics. In essence, estrangement is a method of analyzing the artfulness, rather than the psychological meaning or logical message, of imaginative works of prose and poetry.Įach essay in these special issues proceeds from a different perspective. Also known as defamiliarization or disautomatization, estrangement originated as a form of literary and poetic theory within Russian formalism in 1917 and was elaborated largely through the work of Viktor Borisovich Shklovsky. Estrangement lies at the heart of human experience in art and life: how the familiar is made strange, perceptible, disturbing, as if never before encountered. These two special issues focus on estrangement, a concept that pervades twentieth-century literary study and related fields.

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Defamiliarization minimalist artists