LEADER 01514nam--2200481---450 001 990001303590203316 005 20200403163357.0 010 $a88-420-5380-5 035 $a000130359 035 $aUSA01000130359 035 $a(ALEPH)000130359USA01 035 $a000130359 100 $a20031216d2002----km-y0enga50------ba 101 $aita 102 $aIT 105 $a||||||||001yy 200 1 $aGuida a Heidegger$eermeneutica, fenomenologia, esistenzialismo, ontologia, teologia, estetica, etica, tecnica, nichilismo$fLeonardo Amoroso ... $ga cura di Franco Volpi 210 $aRoma$cLaterza$d2002 215 $aXVI, 389 p.$d22 cm 225 2 $aManuali Laterza 410 0$12001$aManuali Laterza 454 1$12001 461 1$1001-------$12001 600 0 $aHeidegger,$bMartin$xPensiero Filosofico$xSaggi 676 $a193 702 1$aAMOROSO,$bLeonardo 702 1$aVOLPI,$bFranco$f<1952-2009> 801 0$aIT$bsalbc$gISBD 912 $a990001303590203316 951 $aII.1.D. 3310(IV C 3676)$b171671 L.M.$cIV C$d00090401 951 $aFDC HEI$b6700 FIL 959 $aBK 969 $aUMA 969 $aFIL 979 $aMARIA$b10$c20031216$lUSA01$h1544 979 $aPATRY$b90$c20040406$lUSA01$h1732 979 $aCOPAT1$b90$c20050506$lUSA01$h0918 979 $aCOPAT3$b90$c20050704$lUSA01$h0831 979 $c20121027$lUSA01$h1548 979 $c20121027$lUSA01$h1606 979 $c20121027$lUSA01$h1610 996 $aGuida a Heidegger$9476187 997 $aUNISA LEADER 04766nam 2200709 a 450 001 9910457881603321 005 20200520144314.0 010 $a0-674-06289-2 024 7 $a10.4159/harvard.9780674062894 035 $a(CKB)2550000000074653 035 $a(CaPaEBR)ebrary10518213 035 $a(SSID)ssj0000551723 035 $a(PQKBManifestationID)11404098 035 $a(PQKBTitleCode)TC0000551723 035 $a(PQKBWorkID)10538223 035 $a(PQKB)10424984 035 $a(MiAaPQ)EBC3301003 035 $a(DE-B1597)178286 035 $a(OCoLC)768123028 035 $a(OCoLC)979626929 035 $a(DE-B1597)9780674062894 035 $a(Au-PeEL)EBL3301003 035 $a(CaPaEBR)ebr10518213 035 $a(EXLCZ)992550000000074653 100 $a20110616d2011 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aMoscow, the fourth Rome$b[electronic resource] $eStalinism, cosmopolitanism, and the evolution of Soviet culture, 1931-1941 /$fKaterina Clark 210 $aCambridge, Mass. $cHarvard University Press$d2011 215 $a1 online resource (431 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-674-05787-2 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tIntroduction: The Cultural Turn --$tChapter 1. The Author as Producer: Cultural Revolution in Berlin and Moscow (1930-1931) --$tChapter 2. Moscow, the Lettered City --$tChapter 3. The Return of the Aesthetic --$tChapter 4. The Traveling Mode and the Horizon of Identity --$tChapter 5. "World Literature"/ "World Culture" and the Era of the Popular Front (c. 1935-1936) --$tChapter 6. Face and Mask: Theatricality and Identity in the Era of the Show Trials (1936-1938) --$tChapter 7. Love and Death in the Time of the Spanish Civil War (1936-1939) --$tChapter 8. The Imperial Sublime --$tChapter 9. The Battle over the Genres (1937-1941) --$tEpilogue --$tNotes --$tAcknowledgments --$tIndex 330 $aIn the early sixteenth century, the monk Filofei proclaimed Moscow the "Third Rome." By the 1930's, intellectuals and artists all over the world thought of Moscow as a mecca of secular enlightenment. In Moscow, the Fourth Rome, Katerina Clark shows how Soviet officials and intellectuals, in seeking to capture the imagination of leftist and anti-fascist intellectuals throughout the world, sought to establish their capital as the cosmopolitan center of a post-Christian confederation and to rebuild it to become a beacon for the rest of the world. Clark provides an interpretative cultural history of the city during the crucial 1930's, the decade of the Great Purge. She draws on the work of intellectuals such as Sergei Eisenstein, Sergei Tretiakov, Mikhail Koltsov, and Ilya Ehrenburg to shed light on the singular Zeitgeist of that most Stalinist of periods. In her account, the decade emerges as an important moment in the prehistory of key concepts in literary and cultural studies today-transnationalism, cosmopolitanism, and world literature. By bringing to light neglected antecedents, she provides a new polemical and political context for understanding canonical works of writers such as Brecht, Benjamin, Lukacs, and Bakhtin. Moscow, the Fourth Rome breaches the intellectual iron curtain that has circumscribed cultural histories of Stalinist Russia, by broadening the framework to include considerable interaction with Western intellectuals and trends. 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