04843nam 2200733 450 991046036900332120220118190822.00-231-54011-610.7312/lee-17352(CKB)3710000000497071(StDuBDS)EDZ0001285108(MiAaPQ)EBC4581057(DE-B1597)458412(OCoLC)922697921(OCoLC)979628954(DE-B1597)9780231540117(Au-PeEL)EBL4581057(CaPaEBR)ebr11242199(CaONFJC)MIL838454(EXLCZ)99371000000049707120160824h20152015 uy 0engur|||||||||||rdacontentrdacontentrdamediardacarrierThe ethnic avant-garde minority cultures and world revolution /Steven S. LeeNew York :Columbia University Press,2015.©20151 online resource illustrations (black and white)Modernist LatitudesPreviously issued in print: 2015.0-231-17352-0 Includes bibliographical references and index.Frontmatter --Contents --List of Illustrations --A Note on Transliteration --Introduction --1 Translating the Ethnic Avant-Garde --2 The Avant-Garde's Asia --3 From Avant-Garde to Authentic --4 Cold War Pluralism --Afterword --Acknowledgments --Notes --Bibliography --Credits and Permissions --IndexDuring the 1920s and 1930s, American minority artists and writers collaborated extensively with the Soviet avant-garde, seeking to build a revolutionary society that would end racial discrimination and advance progressive art. Making what Claude McKay called "the magic pilgrimage" to the Soviet Union, these intellectuals placed themselves at the forefront of modernism, using radical cultural and political experiments to reimagine identity and decenter the West. Shining rare light on these efforts, The Ethnic Avant-Garde makes a unique contribution to interwar literary, political, and art history, drawing extensively on Russian archives, travel narratives, and artistic exchanges to establish the parameters of an undervalued "ethnic avant-garde." These writers and artists cohered around distinct forms that mirrored Soviet techniques of montage, fragment, and interruption. They orbited interwar Moscow, where the international avant-garde converged with the Communist International. The book explores Vladimir Mayakovsky's 1925 visit to New York City via Cuba and Mexico, during which he wrote Russian-language poetry in an "Afro-Cuban" voice; Langston Hughes's translations of these poems while in Moscow, which he visited to assist on a Soviet film about African American life; a futurist play condemning Western imperialism in China, which became Broadway's first major production to feature a predominantly Asian American cast; and efforts to imagine the Bolshevik Revolution as Jewish messianic arrest, followed by the slow political disenchantment of the New York Intellectuals. Through an absorbing collage of cross-ethnic encounters that also include Herbert Biberman, Sergei Eisenstein, Paul Robeson, and Vladimir Tatlin, this work remaps global modernism along minority and Soviet-centered lines, further advancing the avant-garde project of seeing the world anew.Modernist latitudes.American literatureMinority authorsHistory and criticismAvant-garde (Aesthetics)United StatesHistory20th centuryAvant-garde (Aesthetics)Soviet UnionHistory20th centuryAmerican literatureRussian influencesIntercultural communicationUnited StatesHistory20th centuryIntercultural communicationSoviet UnionHistory20th centuryUnited StatesRace relationsHistory20th centurySoviet UnionRace relationsHistory20th centuryUnited StatesIntellectual life20th centurySoviet UnionIntellectual life1917-1970Electronic books.American literatureMinority authorsHistory and criticism.Avant-garde (Aesthetics)HistoryAvant-garde (Aesthetics)HistoryAmerican literatureRussian influences.Intercultural communicationHistoryIntercultural communicationHistory810.9/920693Lee Steven S(Steven Sunwoo),1978-1037215MiAaPQMiAaPQMiAaPQBOOK9910460369003321The ethnic avant-garde2458035UNINA