...Maria Gough Drawing on archival and recently published documents, this essay examines the historical encounter of two major communist photomonteurs in Moscow in 1931—John Heartfield, visiting from Weimar Germany under the auspices of the Comintern, and Gustavs Klucis, a Latvian resident of the city...

... During his two-month sojourn in Moscow, from December 1926 to January 1927, intended to establish literary relations with his Soviet counterparts and secure the affections of Asja Lacis, his Latvian love interest, Walter Benjamin seems concerned with one thing: toy shopping. In Moscow Diary, which...

... Hungarian Private Collections . Moscow : Rudomino . Greenfield Jeanette . 2007 . The Return of Cultural Treasures . Cambridge : Cambridge University Press . Gubenko Nikolai . 1997 . “Interview” (in Russian) . Echo Moskvy , April 22 . echo.msk.ru/programs/beseda/12405...

... , no. 2 : 12 – 15 . Danto Arthur C. 2000 . The Madonna of the Future: Essays in a Pluralistic Art World . New York : Farrar, Straus and Giroux . Fuchs Eduard . 1898 . 1848 in der Caricatur . Munich : Ernst . Gassner Hubertus . 1992 . “Heartfield's Moscow...

...., Reichstagsbrand: Aufklärung einer histo- rischen Legende (Munich: Piper, 1986). 3. The most recent phase of the controversy concerns trial documents found in Moscow and preserved as Fond 551 in the Bundesarchiv in Berlin. Though these fi les do contain materials pre- viously unknown to historians...

... eastward through a Berlin border checkpoint to Moscow, where the Western traveler projects a veritably panoptic view of the other side of the Cold War. As far as the “Western world” is concerned, Koeppen encounters Amer- icans first as an occupying force in his own country, in the Rhine-Main...

... in Moscow. In six short poems, collectively known as “Nach dem Tod Meiner Mitarbeiterin M.S.” (“After the Death of My Collaborator M.S.”) and initially published as a single multipart poem, he memorialized her and expressed his grief. 4 This article uses these poems to examine Brecht’s sense...

... shape in their work by the mid-1920s. The relation between Dada and constructivism was central here, just as it became a bone of contention in a very different way during Heartfi eld’s 1931–32 visit to Moscow, treated in the next essay by Maria Gough. But unlike Heartfi eld, whose work during...

... the political utility of hate as it assumes a distinct literary form, namely, his 1932 study of satire, “Zur Frage der Satire” (“On the Question of Satire”). In this essay, published in the Moscow-based, German-language exile journal Internationale Literatur , edited by Lukács’s friend Johannes Becher during...

...) who are “duplicitous”: The Aesthetics includes references to the infamous Moscow “show trials,” where Jewish defendants such as Sinoviev, Kamenev, and Radek were charged with Trotskyism and accused of “treason” ( AR , 1:255). 39 Stahlmann, who bears Stalin’s name, and ironically appears as his...

... Main : Lang . McDermott Kevin Agnew Jeremy . 1997 . The Comintern: A History of International Communism from Lenin to Stalin . New York : St. Martin's . McMeekin Sean . 2003 . The Red Millionaire: A Political Biography of Willi Münzenberg, Moscow's Secret Propaganda Tsar...

... an abyss must be called an abyss, wealth called wealth, interest interest, and a terrible chasm must be named so. More than a year ago, in the winter of 1964–65, Chinese and African students staged a demonstration on Red Square in Moscow. The catalyst was the treatment the demonstrators had enjoyed...

... to be aesthetically con- servative and to reject artistic experimentation. Becher spent the years of the Third Reich in Soviet exile and flew from Moscow to Germany in early June 1945—little more than a month after Walter Ulbricht, paramount leader of the GDR until 1971, himself returned to Germany (also from...

... as “a potential barrier to making possible something like a Moscow-oriented, transnational republic of Letters.” 95 Moreover, with communist opposition to international fascism came a resurgence of the category of the nation that had played, until the late Weimar years, only a rather marginal role in how...

..., Ines, ed. 2015. Echoes of Exile: Moscow Archives and the Arts in Paris, 1933–1945. Berlin: de Gruyter. US Department of State. 1998. “Washington Conference Principles on Nazi-Confiscated Art.” www.state.gov/p/eur/rt/hlcst/122038.htm. Wulf, Joseph. 1963. Die bildenden Künste im Dritten...

... arrest and imprisonment. Activists have responded with a relay strategy in which single protesters take turns holding banners to avoid infringing strict laws on public protest. See Kimball, “Why Moscow’s Climate Strike Turnout Was Devastatingly Small.” 39. Balázs, Early Film Theory , 108...

... silent films were as sig- nificant to her as any from Berlin or Moscow. Miriam was a taskmaster, not only with students but with colleagues, including myself. She always said, precisely, what she thought of my work, 8  Dossier on Cinema and Experience so that I took both her criticisms...

....  “Acting and Editing.” Diagram from Lev Kuleshov’s book The Practice of Film Direction (Moscow, 1935). The curve stands for ebbs and flows in the intensity of acting, the notches on the direct line for cuts between shots. The montage rhythm of a film, Kuleshov’s diagram says, emerges from...

... sense, taught by the educational institutions, a sense injecting “secret meaning” into every political event and public act (cf. O, 471; E, 965). The mendacity of the Stalinist dictum that the Moscow subway is the only one in the world, for instance, does not automatically mean...