The New Russian Book

A Graphic Cultural History
 
 
Palgrave Macmillan (Verlag)
  • erschienen am 14. August 2018
 
  • Buch
  • |
  • Softcover
  • |
  • 364 Seiten
978-3-319-84469-5 (ISBN)
 
This book takes up the obtrusive problem of visual representation of fiction in contemporary Russian book design. By analyzing a broad variety of book covers, the study offers an absolutely unique material that illustrates a radically changing notion of literature in the transformation of Soviet print culture to a post-Soviet book market. It delivers a profound and critical exploration of Russian visual imaginary of classic, popular, and contemporary prose. Among all the carelessly bungled covers of mass-published post-Soviet series the study identifies gems from experimental designers. By taking a comparative approach to the clash of two formerly separate book cultures, the Western and the Soviet, that results both in a mixture of highbrow and lowbrow forms and in ideological re-interpretations of the literary works, this book contributes to opening an East-West dialogue between the fields of Russian studies, contemporary book and media history, art, design, and visual studies.
Softcover reprint of the original 1st ed. 2017
  • Englisch
  • Cham
  • |
  • Schweiz
Springer International Publishing
  • Für Beruf und Forschung
  • 47 farbige Abbildungen, 3 s/w Abbildungen
  • |
  • 47 Illustrations, color; 3 Illustrations, black and white; XVII, 343 p. 50 illus., 47 illus. in color.
  • Höhe: 210 mm
  • |
  • Breite: 148 mm
  • |
  • Dicke: 19 mm
  • 471 gr
978-3-319-84469-5 (9783319844695)
10.1007/978-3-319-50708-8
weitere Ausgaben werden ermittelt
Birgitte Beck Pristed is Assistant Professor in Russian Studies at the Department of Global Studies at Aarhus University, Denmark. She received her Ph.D. in 2014 from the Johannes Gutenberg-University of Mainz in Germany for her award-winning dissertation.
Acknowledgements.- Introduction.- 1. Research Design.- PART I: Russian Book Design from the Soviet Period to Present.- 2. The Soviet Hardback Revolution.- 3. Perestroika and Post-Soviet Re-Design.- 4. Russian Book Design Today.- PART II: Changing Values in Visual Representation of Literature.- 5. The Classic Returns: Anton Chekhov's Dama s sobachkoi.- 6. The Western World in a Russian Pocket? James Hadley Chase's Ves' mir v karmane.- 7. The Kaleidoscopic Images of Viktor Pelevin's Generation "P".- PART III: Three Generations of Russian Book Designers.- 8. Book Artist or Designer?.- 9. Arkadii Troianker: Nonconformist Book Experiments in Changing Media.- 10. Andrei Bondarenko: From the Bright Underground to Dark Clouds.- 11. Outlook on the Next Generation: Aleksandr Utkin's New Printed Classics.- Conclusion.- Notes.- Bibliography.
"The New Russian Book is an amazing cultural history of post-Soviet Russia analyzed through the ups and downs of its extraordinary graphic culture. The author introduces us to scores of Russian books published over the last few decades, cheap paperbacks and richly bound hardbacks, popular fiction and rare volumes, and helps us to discover the extraordinary story behind every cover and every binding. In her work, Beck Pristed brilliantly demonstrates how reading involves understanding with your hands as well as with your eyes." - Damiano Rebecchini, co-editor of Reading in Russia and of the forth-coming A History of Reading in Russia, Russia

This book takes up the obtrusive problem of visual representation of fiction in contemporary Russian book design. By analyzing a broad variety of book covers, the study offers an absolutely unique material that illustrates a radically changing notion of literature in the transformation of Soviet print culture to a post-Soviet book market. It delivers a profound and critical exploration of Russian visual imaginary of classic, popular, and contemporary prose. Among all the carelessly bungled covers of mass-published post-Soviet series the study identifies gems from experimental designers. By taking a comparative approach to the clash of two formerly separate book cultures, the Western and the Soviet, that results both in a mixture of highbrow and lowbrow forms and in ideological re-interpretations of the literary works, this book contributes to opening an East-West dialogue between the fields of Russian studies, contemporary book and media history, art, design, and visual studies.

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