Explore the vast range of titles available.

This article offers a theoretically nuanced and empirically grounded investigation into the paradoxical afterlife of classical versification within the poetic practices of the Russian and Soviet avant-garde. Challenging the persistent historiographic narrative that equates avant-garde poetics with an unequivocal rupture from tradition, the study demonstrates that canonical metrical forms—most notably iambic tetrameter—continued to operate as structurally productive, albeit critically reconfigured, elements within experimental verse. Drawing on a broad corpus encompassing poetic manifestos, verse texts, and prose writings by Vladimir Maiakovskii, Ilia Sel’vinskii, Semen Kirsanov, and Nikolai Aseev, the authors combine close formal analysis with quantitative prosodic modeling, including linguistic and speech models derived from Kolmogorov–Taranovsky verse theory. The article argues that avant-garde poets did not simply negate inherited metrics but subjected them to a process of internal recomposition, shifting attention from meter as a fixed scheme to rhythm as a dynamic, semantically charged construct. While rhythmic innovation is shown to be consciously engineered in verse, the analysis of verse-like fragments in prose reveals persistent, unconscious attachments to “classical” rhythmic patterns, particularly the Pushkinian alternating rhythm. This tension between declarative rejection and latent continuity illuminates the avant-garde’s distinctive mode of negotiating tradition: not abolishing it, but instrumentalizing it within a broader project of total artistic reorganization. The study thus reframes avant-garde prosody as a site where innovation and inheritance coexist in a state of productive contradiction, reshaping our understanding of modernist poetic technique.

The Vortex That Unites Us is a study of totality in Russian literature, from the foundation of the modern Russian state to the present day. Considering a diversity of texts that have in common chiefly their prominence in the Russian literary canon, Jacob Emery examines the persistent ambition in Russian literature to gather the whole world into an artwork. Emery reveals how the diversity of totalizing figures in the Russian canon—often in alliance with ideologies like the totalitarian state or enlightenment reason—strive for the frontiers of space and time in order to guarantee the coherence of the globe and the continuity of history. He expores subjects like romantic metaphors of supernatural possession; Tolstoy's conception of art as a vector of emotional contagion; the panoramic ambitions of the avant-garde to grasp the globe in a new poetic medium; efforts of Soviet utopians to harmonize the whole of social life along aesthetic lines; Mandelstam's evocation of writing as a transcendental authority that guarantees a grandiose historical rhythm even when manifested as authoritarian repression; and the mass market of cultural commodities in which the exiled Vladimir Nabokov found success with his novel Lolita. The Vortex That Unites Us reveals a common thread in the disparate works it explores, bringing into a single horizon a variety of typically siloed texts and aesthetic approaches. In all these cases, the medium of totality is the body, inspired by artistic vision and compelled by aesthetic response.

PurposeThe article aims to elucidate how embracing Tropicália's conceptual framework can foster a more fluid and adaptive approach to organizing, transcending traditional boundaries and embracing diversity, innovation and creativity. The analysis encompasses various facets of organizational dynamics, including holdership, professional praxis, organizational ambiance, knowledge dissemination and diversity promotion. By examining Tropicália's reverberations in these areas, this article seeks to provide insights and perspectives that can contribute to the literature on organizational theory and practice, offering a rejuvenated and contemporaneous approach to the art of organizing.Design/methodology/approachThis article explores the conceptual architecture of Tropicália, a Brazilian cultural and artistic movement, and its potential impact on contemporary organizational structures. By embracing Tropicália's essence, organizations can cultivate an adaptable and diverse ethos, free from traditional constraints. This analysis encompasses holdership as sustenance, professional praxis, organizational ambiance, knowledge dissemination and diversity promotion. Tropicália's potential to foster engagement, fuel innovation and shape an inclusive culture is examined. This article contributes a contemporary perspective to organizational theory, emphasizing the importance of integrating Tropicália's intellectual fabric for navigating the modern business landscape and fostering creativity and innovation.FindingsThe findings of this study highlight the potential impact of Tropicália on contemporary organizational practices. By embracing Tropicália's conceptual framework, organizations can foster a more fluid and adaptive approach to organizing, transcending traditional boundaries and embracing diversity, innovation and creativity. Tropicália's immersive and transformative esthetic experiences can create dynamic and inclusive organizational environments that encourage individual agency and stakeholder engagement. The analysis encompasses implications for holdership and management practices, organizational culture, collaboration and knowledge sharing, diversity and inclusion, innovation and creativity. Tropicália has the potential to foster employee engagement, drive innovation and create a more inclusive and adaptive organizational culture.Originality/valueThis article provides originality and value by exploring the potential ramifications of Tropicália on contemporary organizational esthetics. It offers a fresh and contemporary perspective on the art of organizing by drawing upon the unique conceptual framework of Tropicália. By embracing the principles of Tropicália, organizations can cultivate an organizational ethos that goes beyond traditional boundaries, fostering adaptability, diversity and innovation. The analysis encompasses aspects of organizational practices, including holdership, professional praxis, organizational culture and diversity and inclusiveness. The findings contribute to the existing literature on organizational theory and praxis, offering a rejuvenated perspective on organizing in the modern business landscape.

This study examines the mechanisms through which totalitarian regimes manipulate‎aesthetic taste to consolidate ideological control and enforce political ‎compliance. Drawing on comparative case studies of Nazi Germany, the‎ Soviet Union, Maoist China, North Korea, Fascist Italy, and other authoritarian ‎systems, the research demonstrates how such regimes strategically leverage ‎cultural, artistic, and aesthetic domains to construct homogenized narratives ‎aligned with their ideological imperatives. Theoretical engagement with‎ the works of Kant, Schopenhauer, Nietzsche, Adorno, Sontag, Rancière, and ‎others illuminates both the philosophical foundations and practical manifestations‎ of aesthetic standardization. The analysis further explores modes of‎ resistance that have contested such homogenization, including avant-garde ‎artistic movements, subcultural formations, individual acts of defiance, and‎ alternative aesthetic frameworks. By synthesizing historical evidence with interdisciplinary ‎theory, this study contributes to scholarly discourse on the intersection ‎of ideology, power, and aesthetics in totalitarian systems.

Throughout the late twentieth century, Eikoh Hosoe (b. 1933) and Rotimi Fani-Kayode (1955-1989) used photography to merge transnational modernisms with cultural and aesthetic aspects of the places where they forged their practices-Japan and the Black Atlantic world. Each worked from a position of postimperial dislocation, using visual and performative strategies to negotiate the trauma of modernity and the persistence of disease. In sharing an array of formal and procedural symmetries, these underexamined artists challenged the boundaries of how photography was understood while also elaborating the expanding boundaries of what is increasingly understood as global Surrealism.

Endre Tót (1937) maintained his critical vision throughout both the communist and postcommunist periods, using his works to challenge the totalitarian communist regime as a Central European and international artist. Due to the oppressive restrictions on artistic expression imposed by the socialist regime in Hungary, he was compelled to leave the country, relocating to West Germany in 1978. Tót, renowned for his conceptual art practices developed in response to the totalitarian regimes, has constructed an ideological counter-language, particularly through his graphical interventions in public space. Humor played a significant role in his art, serving as a powerful critique against authoritarian systems and as an optimistic response to repression. His approach influenced many, including Romanian artist Dan Perjovschi, demonstrating how humor could be employed as a counter-language against communist regimes. In addition, Tôt's works served as an artistic response to the oppressive censorship mechanisms of communist regime. Furthermore, his interventions, shaped by the graphic design aesthetics and text-based art he employed in his artistic practice, can be regarded not merely as a visual mode of expression but a subversive strategy against political authority. This study aims to examine how Tot constructed a distinct visual language in public space through typography, minimalism, and the use of text and language. Through his interventions in public space, he transformed graphic design into an ideological tool. Thus, his approach to text as a graphic image enabled him to reshape text-based art into an experimental form within the urban landscape. This study will analyze Tôt's aesthetic and typographic strategies in public space, examining how he intertwined graphic design language with political critique. Additionally, it will explore the role of his street actions in cultural transformation and investigate how his works evolved into a practice of resistance within conceptual and text-based art.

The Khrushchev Thaw allowed Poland a slightly larger margin of freedom in its cultural exchange with Western Europe than it had since the end of the Second World War. In this newly relaxed political climate, two models of Polish cultural diplomacy emerged in the West. The first constituted the official foreign policy of Poland’s communist authorities, while the other remained unofficial, relying on a network of contacts with Poland’s government-in-exile. An examination of contemporary Polish art exhibited in Paris during the 1950s and 1960s reveals this dichotomy. The first type of cultural patronage was coordinated in Paris by communist representatives of the Polish Embassy. The second emerged in Paris within Polish political émigré circles. Its key proponents were the Literary Institute (Instytut Literacki), including the intellectual and artistic milieu of the monthly journal Kultura (“Polish-based Culture”) and the Lambert Gallery (Galeria Lambert). State foreign policy, funded by the state budget and anchored in agreements between Poland and France on cultural cooperation determined the former, while the latter constituted an oppositional stance against the Eastern Bloc, deriving its strength from the resolve of Polish political émigré circles, their extensive network of sympathetic foreign contacts, and an understanding of the mechanics of the art market. The communist model sought to build a friendly image of Polish culture despite the apparent ideological rift between Eastern and Western Europe. The émigré approach stemmed from a refusal to accept the political division of Europe and involved searching the world of art for evidence of forces in Poland that opposed the political status quo. Finally, the patronage model adopted by communist authorities followed the state-imposed policy of favoring figurative art over Polish abstract art, whereas the model championed by émigré circles pursued the opposite strategy. It showcased unrestrained, spontaneous, and mostly abstract art. It evidenced an affinity for international trends in the art of the time, including abstract expressionism and, in particular, Parisian Art Informel. How can these two strands of cultural diplomacy co-exist? Which resonated more with international audiences?