By Viktor Shklovsky
All started in 1929 below the name "New Prose," and tremendously revised after Vladimir Mayakovsky's surprising loss of life, A Hunt for Optimism (1931) circles obsessively round a unmarried scene of interrogation within which a author is subjected to a exhibit trial for his unorthodoxy. utilizing a number of views, fragments, and aphorisms, and bearing the vulnerability of either the Russian Jewry and the anti-Bolshevik intelligentsia—who had unwittingly turn into the "enemies of the people"—Hunt satirizes Soviet censorship and the ineptitude of Soviet leaders with acerbic panache. regardless of feedback on the time that it lacked solidarity and used to be too "variegated" to be known as a in basic terms "Shklovskian book," Hunt is stylistically unpredictable, experimentally daring, and unapologetically ironic—making it one of many most interesting books in Shklovsky's physique of labor.
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Additional info for A Hunt for Optimism
While Anzaldúa develops much of the theoretical work expounding upon this concept in her later writing, it is appropriate to note here that she begins its articulation in Borderlands with her assertion of the Coatlicue state, to which some scholars continue to refer. But to clarify the expansion in terms, Walter Mignolo, in his introduction to the journal Nepantla provides a useful foundation for the expanded historical and political framework of the term: Nepantla is a Nahuatl word describing the “in-between situation” in which the Aztecs saw themselves in the sixteenth century, as they were placed in between ancient Aztec wisdom and the ongoing Spanish colonization … Nepantla, finally, and as the story of its emergence indicates, links the geohistorical with the epistemic with the subjective, knowledge with ethnicity, sexuality, gender, and nationality in power relations.
Eliade argued the primacy of religious myths and symbols as inseparable from rituals themselves. Ultimately, this unbroken connection provides more full understanding, experience, and expression of that which is sacred. The myth-making we do preserves the works of the gods, according to Eliade, and their recitation and re-enactment provide the kind of deep connection between the sacred story and the ritual itself insofar as it preserves human existence as part of a larger divine understanding of being.
How sturdy then are the bridges we must cross toward suggesting the applicability of a criticism, the core of which is in observed performance? Or to put the most obvious question forward, what is it that ritual study accomplishes that cultural studies and literary studies somehow do not? In response to the latter question, it is not so much a question of what either lacks; rather, by definition rituals © The Author(s) 2016 H. 1057/978-1-137-58854-8_2 21 22 H. ANDRONE are cultural and therefore part of cultural studies.
A Hunt for Optimism by Viktor Shklovsky