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By Irena R. Makaryk;Virlana Tkacz
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Extra resources for Modernism in Kyiv : Jubilant Experimentation
As John E. Bowlt observes, the avant-garde, while usually identified as Russian, was, in substance, a movement or group of ideas drawing upon many national ingredients – Armenian, Georgian, Jewish, Polish, Russian, and especially Ukrainian. Suffice it to recall that most of the stellar players in the so called Russian avant-garde (the Burliuk brothers and sisters, Exter, Mikhail Larionov, Aristarkh Lentulov, Kazimir Malevich, Vladimir Tatlin) were Ukrainian by birthright or adoption to understand the extent to which the Russian avantgarde was as much Ukrainian as anything else ...
3 This brief chapter will sketch out some of the terminological groundwork for the following essays that prismatically examine Kyiv’s artistic life from approximately 1905 to the late 1920s, when more and more state controls were imposed on artistic activity, curtailing, impeding, and, finally bringing all experimentation to a halt. 171 on Mon, 19 Oct 2015 18:25:30 UTC All use subject to JSTOR Terms and Conditions Modernism in Kyiv: Jubilant Experimentation 17 For many scholars, the Great War was the uncontested cataclysmic event that shaped the nature of modernisms.
Three novels played particularly important roles in such a discourse. The Pit (Yama) by Aleksandr Kuprin targets the moral decay epitomized in prostitution in the urban milieu at the turn of the century; The White Guard by Mikhail Bulgakov captures the tragic world of revolutionary Kyiv in 1918; while The City by Valerian Pidmohylny traces the progress of a young Ukrainian who comes from the village to conquer the city in the mid-1920s. At the same time as representing three different groups and their different perceptions of Kyiv, these novels also represent different ages – the late imperial period, the civil war, and the early Soviet era.