Anna Wexler Katsnelson
Biographic Data
| ID | 4135513 |
|---|---|
| NAME | Anna Wexler Katsnelson |
| GIVEN NAMES | Anna Wexler |
| FAMILY NAME | Katsnelson |
| SIGNATURE | KATSNELSON A W |
| VERIFIED | No |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 2 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2006 |
| LATEST PUBLICATION YEAR | 2011 |
| H-INDEX | 0 |
The Tramp in a Skirt
In this article, Anna Wexler Katsnelson focuses on Grigorii Aleksandrov's musical comedy,'Svetlyi put'(The Radiant Path, 1940) as a way of investigating the modes of screening laughter in the USSR in the 1930s and exploring the reasons for the film's gradual disavowal of laughter. The key questions posed by the article are why does laughter disappear from the nominally comedic, purposefully merrySvetlyi put'?Where is its affective energy redirect…
My Leader, Myself? Pictorial Estrangement and Aesopian Language in the Late Work of Kazimir Malevich
In the late 1920s, the Russian avant-garde artist Kazimir Malevich embarked on a new direction in art that eighty years later continues to perplex the art historical establishment: the artist formerly known for the radical abstraction of The Black Square returned to figuration. My analysis attempts to unpack this about-face and address the many questions that surround it. How does Malevich's late work relate to the regime of Socialist Realism? Wa…
No prominent works on this page.
My Leader, Myself? Pictorial Estrangement and Aesopian Language in the Late Work of Kazimir Malevich
In the late 1920s, the Russian avant-garde artist Kazimir Malevich embarked on a new direction in art that eighty years later continues to perplex the art historical establishment: the artist formerly known for the radical abstraction of The Black Square returned to figuration. My analysis attempts to unpack this about-face and address the many questions that surround it. How does Malevich's late work relate to the regime of Socialist Realism? Wa…
The Tramp in a Skirt
In this article, Anna Wexler Katsnelson focuses on Grigorii Aleksandrov's musical comedy,'Svetlyi put'(The Radiant Path, 1940) as a way of investigating the modes of screening laughter in the USSR in the 1930s and exploring the reasons for the film's gradual disavowal of laughter. The key questions posed by the article are why does laughter disappear from the nominally comedic, purposefully merrySvetlyi put'?Where is its affective energy redirect…
Aesthetics (2 works) · Art (2 works) · Literature (2 works) · Art history (1 work) · Art, Politics, and Modernism (1 work) · Avant garde (1 work) · Cinema and Media Studies (1 work) · Comedy (1 work) · Episteme (1 work) · Epistemology (1 work)