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conditional travellers (Pasternak, who formally came to visit his parents), f) political tourists (Mayakovsky and Yesenin). The list of types could go on.
Many of them will remain abroad - and not necessarily declaring themselves emigrants. Not all of them, by the way, wanted to be called emigrants at all (Ehrenburg writes well about this). Khodasevich's example in this case is very illustrative: it was not he who chose emigration, but his life abroad gradually turned into emigration. At a certain point his Soviet passport expired, and by that time he could no longer imagine or afford a return to the USSR. So we can say that the notion of emigration was reformatted during this trial period. Simplifying your metaphor to explain trial emigration: during the "free period of use" the "computer programme" itself changed. In English there is also a very important connotation of the word "trial" - ordeal. Trial emigration is both a trial of emigration and by emigration.
In this sense, I find it significant that many of those who have now left the Russian Federation call themselves relocants. Obviously, the semantic load of the word "emigrant" makes it undesirable for self-identification. And this in turn is very similar to what happened a hundred years ago.
See Roman's lecture on trial emigration in Babel Books Berlin
See transcript of Pavel's lecture on geoposition of speech for Pisa University (Voci Libere)
More details about #4 [Translit]: Printed matter in exile
UW Press: Charlottengrad
Charlottengrad examines the Russian émigré and exile community that found itself in Berlin during the first wave of emigration after the 1917 Revolution brought the tsarist government of Russia crashing down. Roman Utkin shows that the idea of a community aligned with Imperial Russia and hostile to the new Soviet government is far too simplistic. By closely studying the intellectual output of some of the hundreds of thousands of Russian émigrés ensconced in Berlin’s Charlottenburg neighborhood, Utkin reveals a picture of some of the world’s first stateless peoples struggling to understand their new identity as emigrants and exiles, balancing their sense of Russianness with their position in a modern, bustling Western city, and navigating their political and personal positionality toward a homeland that was no longer home.
We're announcing one more material from forthcoming #4 [Translit]: Printed matter in exile - dialog between Roman Utkin & Pavel Asrsenev on trial emigration & geoposition of speech, which is mainly unfolding around the former's recent book "Charlottengrad: Russian Culture in Weimar Berlin" and its contemporary resonances.
PA: And here we come to the most resonant notion today - trial emigration, as a free period of using a computer programme, during which you should either understand that you need it, or get used to it and then not be able to give it up, or perform some tasks and give up a long-term subscription. This notion is very modern by the adjective 'trial' (and therefore by the essence of the phenomenon), though it is not too modern by the noun 'emigration' - when it is no longer possible to name precisely the number of its wave, it is more willingly called "relocation".
At the same time, in my opinion, the notion of relocation, pointing to a purely geographical moment of the move, is meant to de-dramatise the experience of exile and deproblematise the "discursive relations with the homeland". However, the relocated out of the door returns to the window (of the browser) - with questions about geo-position: "Oh, you're just (not) from N. now you're talking? And why you're expressing yourself as is not from N.? So as not to sound too much from N.". Of course, if you don't know where you are going to live in the next few years, you can hold off on linguophilosophical reflection, but the problem is that social networks don't wait and force you to speak from one geo-position or another. And this determines a lot of things, starting with the choice of words - 1) "war" for those (emigrated) in Europe, 2) "special military operation" for those in Russia and those dependent on Putin's ideology, and 3) "all these events" for those who don't yet know whether they can get a visa or will have to return.
In other words, it seems that today Yerevan, Tbilisi and Istanbul fulfil the same role (perhaps differentiated according to their own affiliation to Europe) as Berlin did in the 1920s. And for the same reasons of diplomatic transit and migratory porosity. People go there as "fugitives" - terrified of what their country has started or out of some serious fear for their lives and freedom, but after some time and the emotion of terror (or reason for fear) they return, often in an even more depressed state, or move on towards further uncertainty.
All this fits your definition of "trial emigration" very well, even if it is called today more vaguely or indefinitely "relocation". My question to you, however, is this: did the trial emigration help your characters sober up their chances of (cultural) survival in emigration, or did it forever split their lives into two perspectives and competing scenarios? (that's also one of the effects of this seemingly innocuous procedure, isn't it?)
RU: I agree with the assumption that the most similar to Berlin of 1922 would be Yerevan of 2022, i.e. people ended up in this city not because they aspired to go there, as they had always wanted to go there, but because of geographical, diplomatic, financial circumstances. The iconic Berlin of the "roaring twenties" was remarkably repugnant to most refugees from the former Russian Empire, judging by what they wrote about it in correspondence and autobiographical prose.
Thank you for pointing out separately the valence of "trial" and "emigration." One of my tasks was to show that the very notion of emigration acquired new meanings in the early 1920s. For before that, the "emigrant" was presented as a political emigrant in the first place, starting perhaps with Herzen and Bakunin. After the October Revolution, "white emigrants" emerged, and a few years later they were joined by people who left a) of their own free will (e.g., to engage in publishing), b) deported by the Soviet authorities (passengers of the so-called Philosopher's Steamship), and c) sent by the Soviet authorities (Khodasevich and Berberova), d) refugees (Shklovsky), e)
UW Press: Charlottengrad
Charlottengrad examines the Russian émigré and exile community that found itself in Berlin during the first wave of emigration after the 1917 Revolution brought the tsarist government of Russia crashing down. Roman Utkin shows that the idea of a community aligned with Imperial Russia and hostile to the new Soviet government is far too simplistic. By closely studying the intellectual output of some of the hundreds of thousands of Russian émigrés ensconced in Berlin’s Charlottenburg neighborhood, Utkin reveals a picture of some of the world’s first stateless peoples struggling to understand their new identity as emigrants and exiles, balancing their sense of Russianness with their position in a modern, bustling Western city, and navigating their political and personal positionality toward a homeland that was no longer home.
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Participation on distance available via https://us06web.zoom.us/j/82655938362
On 20th of June in Kombrai Bookstore (Didotou 34) the presentation of the new issue of TEFLON magazine (summer-autumn 2024) will happen. This issue is featuring Pavel Arsenev's poetry texts, published in translation to greek (Niki K). During the evening the discussion with Jazra Khaled will unfold around dissident russophone poetry, role poetry could play in activist actions against government state and behaviour of speech during the war and exile. The last issues of [Translit] will be presented to greek audience.
Facebook-event
Την Πέμπτη 20 Ιουνίου το περιοδικό ΤΕΦΛΟΝ υποδέχεται στο βιβλιοπωλείο Κομπραί τον Πάβελ Αρσένιεφ (Павел Арсеньев), μια από τις σημαντικότερες και πιο επιδραστικές φωνές της σύγχρονης ρωσόφωνης ποίησης.
Ο Πάβελ Αρσένιεφ (Λένινγκραντ, 1986) εδώ και δύο σχεδόν δεκαετίες επηρεάζει και (συν)διαμορφώνει την πορεία και τα χαρακτηριστικά της σύγχρονης ρωσόφωνης πολιτικής ποίησης. Από τις περιπλανήσεις του Γκι Ντεμπόρ στο Κρασνοντάρ και τα ταξίδια του Γιούρι Γκαγκάριν μέσα από τους σωλήνες ύδρευσης μέχρι την άνοδο του εθνικισμού και τις αντικυβερνητικές διαδηλώσεις στη Μόσχα, συνθέτει ένα κολάζ της σοβιετικής και σύγχρονης ρωσικής πραγματικότητας, στρέφει την προσοχή μας στην πολιτική πτυχή της διαμαρτυρίας και της ανυπακοής.
Ως αρχισυντάκτης του λογοτεχνικού περιοδικού ΤΡΑΝΣΛΙΤ (Транслит) έχει συμβάλει τα μέγιστα στην ανάδειξη της σύγχρονης αντεργκράουντ ρωσόφωνης ποίησης.
Διαβάστε στο νέο τεύχος του ΤΕΦΛΟΝ (καλοκαίρι-φθινόπωρο 2024) το μεγάλο αφιέρωμα στην ποίηση του Πάβελ Αρσένιεφ σε μετάφραση και επιμέλεια της Νίκης Κ.
και τότε πια έγινε ξεκάθαρο
τι συμβαίνει,
για ποιον λόγο, κάθε μέρα,
στο πληκτρολόγιό μου
τα πλήκτρα αρνούνταν,
αρνούνταν να πληκτρολογήσουν
rosika grammata
στην αρχή όλα έδειχναν
πως ήταν μια απλή βλάβη,
δεν φαινόταν να έχει πέσει νερό,
αλλά ο τεχνικός για κάποιον λόγο με ρώτησε
where are you from?
του είπα ότι είναι δύσκολο να του εξηγήσω,
αλλά σε γενικές γραμμές απ’ το λένινγκραντ,
για ευκολία ας πούμε ρώσος, όπως λένε,
αν και θα ’θελα να κάνω μια μικρή διευκρίνιση:
δεν εννοώ όπως εκείνοι, για παράδειγμα,
που ακούτε στο αεροδρόμιο
να ουρλιάζουν στη γλώσσα αυτή
στα παιδιά και στις συζύγους τους,
γενικώς δεν είναι κάτι που το διατρανώνω,
το κρατάω βαθιά μέσα μου,
υπό έλεγχο
Απόσπασμα από το ποίημα «Rosiko Pliktrologio»
[Translit] in Athens - [ Транслит ]
On 20th of June in Kombrai Bookstore (Didotou 34) the presentation of the new issue of TEFLON (summer-autumn 2024) magazine [...]
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Делимся записью заседания литературно-теоретического семинара, которым была открыта серия встреч с теоретически чувствительными поэтами. Первая из таких называлась "Коллективная драматургия голоса" и была посвящена докладу и дискуссии с Кети Чухров о перформартивности (поэтического) языка.
В дискуссии с поэтом и философом культуры Кети Чухров мы сосредоточились на обсуждении метода "передвижного театра", жанра "драматической поэмы" и рефлексии лингвистической перформативности в ее поэтической и теоретической работе. Как поэтическое искусство и драматическая поэма в частности может преодолеть рамки национального языка и стать мультилингвальным (и какой аудитории это адресовано)? Какова роль мелодических вставок, переключения действующих лиц на пение или собственное участие автора c мелодекламацией в ходе некоторых перформансов? Каково соотношение семиотических и миметических элементов в таком "перформинге"?
Тексты и выступления Кети Чухров
8 06 2024
Третье заседание Русского теоретико-литературного кружка 8 июня 2024 года. Доклад Кети Чухров "Коллективная драматургия голоса" и его обсуждение.
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On 18 June 2024, the Museum of Czech Literature opens a major international multimedia exhibition "Poetry & Performance. The Eastern European perspective" prepared by Tomas Glanc and Sabine Hänsgen in the Hvězda Summer Palace, where some of [Translit] authors are participating.
In the second half of the 20th century in Eastern Europe, language found itself in communicative and political ”captivity“. At least this is how many artists and poets from the region felt and responded creatively to this challenge. In doing so, they focused on the material and media aspects of language, creating performative situations for themselves and their audiences in which radical possibilities of linguistic expression could be tested, staged and experienced.
All of these challenges are still valid today, and many contemporary artists are building on the work of their predecessors, for whom the various forms of language’s impasse served as a source of inspiration.
The exhibition Poetry & Performance. The Eastern European Perspective, which has already been presented in various different forms in eight European countries, brings together visual and audio recordings of linguistic-poetic performances by nearly 90 artists from 11 Central and Eastern European countries. The subtitle of the exhibition suggests that it is in this region that, for decades, we have observed a sensitivity to power and, at the same time, to the fragility and vulnerability of language.
The exhibition works with thematic strands that are defined by a focus on several specific artistic practices: performance reading and writing, audio gestures, interventions in public spaces, cinematography, body poetry and language games.
In times of political crises, the relationship between poetry and performance takes on an exceptional urgency, as these seemingly peripheral artistic expressions can articulate connections that would otherwise remain unspoken. The opening will take place at the Hvězda Summer Palace on Monday, June 17 at 6 pm. It will be accompanied by one of the represented artists, Semyon Khanin, with a poetic meditation on his ”khaphon“ instrument and the performance ”Facing“ by Iryna Zahladko.
Journalists can visit the exhibition in company of the curators from 5 pm.
Among artists:
Pavel Arseňjev, Babi Badalov, Jurij Andruchovyč, Jelena Glazova, Raoul Hausmann, Henri Chopin, Kollektivnyje dějstvija, Jurij Leiderman / Andrej Siĺvestrov, Kirill Medveděv, Andrej Monastyrskij, Orbita (Semjon Chanin, Artur Punte, Vladimir Svetlov, Sergej Timofejev), Roman Osminkin, Dmitrij Prigov, Pussy Riot, Lev Rubinštejn, Mladen Stilinović, et al.
Accompanying programmes:
16 June, 16:00 Babi Badalov, site specific performance by the artist in the space of the Hvězda Summer Palace
29 Aug, 17:00 Guided tour of the exhibition with curator Tomáš Glanc
4 Sep, 19:00 Tantehorse: Fears, performative lecture. Concept, performance by Miřenka Čechová, Alice Koubová, music by Martin Tvrdý, visual design by Eva Chudomelová
19 Sep, 17:00 Guided tour of the exhibition with curator Tomáš Glanc
19 Sep, 18:00 Poetry & Perfomance & Protest: Russophone poetry in exile: ethics, political economy, community / Pavel Arsenyev, Roman Osminkin, Kirill Medvedev.
31 Aug, 15 Sep. 16:00 Making palindromes, workshop for children with Mariana Dočekalová
17 Oct, 17:00 Guided tour of the exhibition with curator Tomáš Glanc
26 Oct, 18:00 collective site-specific performance by Ondřej Macl, with the participation of the open platform Nothing Is a Problem Here, with an original view of the genius loci of the Hvězda Summer Palace and an exploration of the entire exhibition
Poetry & Performance. The Eastern European perspective_Praha.jpeg
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В конце мая 1908 года Лев Толстой попытался записать на подаренный ему лично Эдисоном фонограф возмущенное воззвание, реагируя на казнь крестьян в Херсонской губернии. Из этого ничего не вышло, ЛН стал задыхаться, голос разобрать на записи невозможно, но на выручку пришел старый медиум - и следующие дни Лев Николаевич провел за конторкой и статьей "Не могу молчать!".
Шеф-редактор НЛО Татьяна Вайзер обсуждает с главредом [Транслит] Павлом Арсеньевым его готовящуюся к изданию книгу «Физиологии языка и дискурсивная инфраструктура авангарда».
Если предпочитаете голоса, слушайте выпуск на nlo.media, а также в стриминговых сервисах.
Если предпочитаете текст, ждите книгу! Кроме этого, глава про Толстого, как и некоторые другие, уже публиковались отдельными статьями по-французски, см. «Je ne puis me taire !» – À propos d’une rencontre entre Tolstoï et un phonographe // ILCEA, 53 (2024).
Павел Арсеньев: литература и материальность голоса
Подкаст — павел арсеньев: литература и материальность голоса
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Repost from Новое литературное обозрение
В новом выпуске подкаста «Что изучают гуманитарии» Татьяна Вайзер говорит с поэтом и теоретиком литературы Павлом Арсеньевым о его готовящейся к изданию книге «Физиологии языка и дискурсивная инфраструктура авангарда».
Как связаны история литературы и история материальности? Каким образом появление новых технических средств, таких как звукозапись, влияет на развитие художественной техники? Как возможность «захватить» голос посредством фонографа влияла на художественное воображение писателей и поэтов? И каким образом в материальной истории литературы оказываются связаны письмо, голос и телесность?
🎧 Слушайте выпуск на nlo.media, а также в Apple и Google Podcasts, на Яндекс Музыке и в других стриминговых сервисах.
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On présent aujourd'hui encore un essai dans la section théorique de #4 [Translit]: Printed matter in exile.
Boris Kliuchnikoff sur les "institutions de fuite"
La politique russe actuelle doit être critiquée comme partie du tournant fasciste observé depuis la crise de 2016. L'invasion agressive de l'Ukraine a finalement transformé la Russie en dictature militaire. Parallèlement, la transformation du champ artistique dans ces conditions et les migrations forcées nous obligent à étudier l'expérience des précédentes guerres avec fascisme et la résistance à celui-ci. Par exemple, le mouvement internationaliste surréaliste a proposé de nombreux projets d'associations antifascistes qui développeraient des principes anti-impérialistes d'associations artistiques.
À travers le dialogue entre Walter Benjamin et Pierre Klossowski, on peut voir comment le tournant vers Charles Fourier et son version du socialisme pour ces auteurs crée la possibilité d'une nouvelle communauté. Cette communauté est capable de saisir l'utopie « artisanale » qui persiste au sein de la société industrielle. Les alliances dans lesquelles l'imagination d'un monde non impérial est soutenue et diffusée forment ainsi des projets alternatifs d'institutiotion et d'autres modes de coexistence, où l'art et la créativité disposent d'un réseau qui les oppose à l'idéologie nationale ou impériale des musées et des institutions d'art contemporain.
Benjamin et Klossowski cherchaient tous deux une alternative à la forme fasciste du Mitsein aussi que au projet soviétique. Leur point de vue peut donc être comparé à la tentative plus orthodoxe mais également antifasciste de Breton et Trotsky de former une association artistique révolutionnaire. C'est la polémique entre ces deux types d'initiatives institutionnelles migratoires antifascistes qui mérite qu'on s'y attarde dans la situation actuelle.
Details sur #4 [Translit]: Printed matter in exile
Параллельно франкоязычной публиками в бумажном выпуске на сайте [Транслит] появится русскоязычная версия эссе Бориса Клюшникова об "институциях бегства".
Сегодня российскую политику необходимо критиковать как часть фашистского поворота, наблюдаемого после кризиса 2016-ого года. Агрессивное вторжение в Украину окончательно превратило Россию в военную диктатуру. Трансформация художественного поля в этих условиях, а также вынужденная миграция заставляют нас изучать опыт предыдущих войн с фашизмом и сопротивления ему. Так, Сюрреалистический Интернационал предлагал множество проектов анти-фашистских объединений, в которых разрабатывались анти-империалистические принципы художественных ассоциаций.
На примере диалога Вальтера Беньямина и Пьера Клоссовски можно увидеть то, каким образом поворот к Шарлю Фурье и его социализму влечений для обоих этих авторов создает возможность нового сообщества. Это сообщество способно уловить "ремесленную" утопию, сохраняющуюся внутри индустриального общества. Альянсы, в которых воображение о неимперском мире поддерживается и распространяется, формируют тем самым альтернативные проекты институционализации и иные способы со-существования, где у искусства и творчества появляется сеть, обращенная против национальной или имперской идеологии музеев и институтов современного искусства.
И Беньямин, и Клоссовски искали форму mitsein, альтернативную как фашистскому, так и советскому проекту. Поэтому их взгляд может быть сравнен с более ортодоксальной, но также анти-фашистской попыткой Бретона и Троцкого сформировать революционную художественную ассоциацию. Именно полемике между двумя этими типами антифашистских миграционных институционных усилий стоит уделить внимание в нынешней ситуации.
Подробнее о #4 [Translit]: Printed matter in exile
Michele Bubacco, Parata d’identita (Identity Parade), 2009.png
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Video of editorial committee appeared on our website. On 18th of Mai, in Berlin the [Translit] editorial committee took place, welcomed by Penka Rare Books & Archives at Halfsister space.
In addition to the historiography of Eastern European press in emigration and the digitization of archives today, there are also new experiences of emigration, including those of editorial teams, and their attempts to continue publishing in exile.
But what, in fact, does exile mean today, when one can be in 24/7 electronic communication with “the other side”. This is something that emigration in previous eras didn’t have, which is why it was perhaps more site-specific and more oriented towards printed matter, this great organizer of the community. What changes in the cultural worker’s experience of exile the presence of zoom and therefore the possibility of zooming daily into contexts in which s.he for some reason cannot be physically present?
While in the current emigration experience from Eastern Europe in general, the notion of “relocation” seems to be quite symptomatic for and indicative of attempts to de-dramatize and de-problematize the experience of emigration on the individual level (not actually to call it that), then for editorial team the questions of discursive relations with the “homeland” persist in new ethics of geo-positioning of speech, print and archive. From where are we speaking and for what audience? Are we temporally in exile (and soon will come back to reconstruct our country)? Or it is definitive, for the rest of our lives, and, therefore, we need to assimilate and to develop some discursive tactics of printing in and from exile? Where we prefer to keep the archives?
This editorial committee of [Translit] reported on and analyse different individual tactics of linguistic exile and the “functional schism” that occurred between those who stayed and those who left of the editorial board of [Translit] magazine (existed in S-Petersburg from 2005 to 2022, starting from 2023 published in Marseille).
Participants of the talk — members of editorial board and/or authors of forthcoming issue «Printed matter in exile»:
Pavel Arsenev on geoposition of speech and media assimetry in contemporary emigration.
Isabel Jacobs on Poplavsky, Bataille and exilic ecologies of friendship in the interwar period. Among the participants of the discussion will be
Keti Chukhrov, the author of «The Global Congress of Post-prostitution Theory«, a dramatic poem written in English and staged at Steirische Herbst 2019, which will be published in the forthcoming [Translit] issue.
More about #4 [Translit]: Printed matter in exile
Few photos from the event
[Translt] editorial committee @Penka books & archives
On 18th of Mai, in Berlin the [Translit] editorial committee will take place, welcomed by Penka Rare Books & Archives. In addition to the historiography of Eastern European press in emigration and the digitization of archives today, there are also new experiences of emigration, including those of editorial teams, and their attempts to continue publishing in exile. But what, in fact, does exile mean today, when one can be in 24/7 electronic communication with “the other side”. This is something that emigration in previous eras didn’t have, which is why it was perhaps more site-specific and more oriented towards printed matter, this great organizer of the community. What changes in the cultural worker’s experience of exile the presence of zoom and therefore the possibility of zooming daily into contexts in which s.he for some reason cannot be physically present? While in the current emigration experience from Eastern Europe in general, the notion of “relocation” seems to be quite symptomatic for and indicative of attempts to de-dramatize and de-problematize the experience of emigration on the individual level (not actually to call it that), then for editorial team the questions of discursive relations with the “homeland” persist in new ethics of geo-positioning of speech, print and archive. From where are we speaking and for what audience? Are we temporally in exile (and soon will come back to reconstruct our country)? Or it is definitive, for the rest of our lives, and, therefore, we need to assimilate and to develop some discursive tactics of printing in and from exile? Where we prefer to keep the archives? This editorial committee of [Translit] is intended to report on and analyse different individual tactics of linguistic exile and the “functional schism” that occurred between those who stayed and those who left of the editorial board of [Translit] magazine (existed in S-Petersburg from 2005 to 2022, starting from 2023 published in Marseille). Participants of the talk — members of editorial board and/or authors of forthcoming issue «Printed matter in exile» Pavel Arsenev on geoposition of speech and media assimetry in contemporary emigration. Isabel Jacobs on Poplavsky, Bataille and exilic philosophies of friendship in the interwar period. Among the participants of the discussion will be Keti Chukhrov, the author of «The Global Congress of Post-prostitution Theory«, a dramatic poem written in English and staged at Steirische Herbst 2019, which will be published in the forthcoming [Translit] issue. Begining at 18.00, Halfsister space (Torgauer Str., 1) Event on facebook
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Boshqa reja tanlang
Joriy rejangiz faqat 5 ta kanal uchun analitika imkoniyatini beradi. Ko'proq olish uchun, iltimos, boshqa reja tanlang.