David Farrell Krell's first work of fiction, Nietzsche: A Novel, was published by SUNY Press. Krell is Professor of Philosophy at DePaul University in Chicago.

"The book tackles a subject and a national literature that need and deserve wider recognition and a competent insertion into the mainstream of post-structuralist thought that Western literatures have enjoyed without comparable prejudice for over a quarter of a century." — Piotr Parlej, Russell Sage College

• Acknowledgments Introduction 1 NietzscheA Knight's Move: Nietzsche and the Genealogy of Russian FormalismRussian Modernism: A Merry ScienceThe Modernist Paradigm and the Digestion of History2 ParodyHistory as a Form of Parody/Parody as a Form of HistoryParody, Bodily Remains, and the Leftovers of HistoryTynianov and Bakhtin: Parody as a Malfunctioning Gramophone of HistoryOn DerRIDEOlogy: Nietzschean Laughter in Bakhtin and DerridaBakhtin and the Post-Structuralist ConditionWriting and Laughter: Bakhtin and Derrida3 IntervalThe Interval and the Structure of TemporalityMaiakovsky and the Remains of the Literary CanonThe Interval as the Origin of the Work of Art: Akhmatova, Mandel'stam, Pasternak4 GenreThe Literary Fact and the Law of GenreGenre: A Borderline of Literary SpaceGenre: A Borderline of Literary Time5 MausoleumThe Mummy: "The Most Glorious Victory of Form"Maiakovsky and the Ventriloquism of HistoryRussian Formalism and the Birth of the Mausoleum6 Museum"The Wax Effigy" and the Form/aldehyde of HistoryThe Kunstkamera : Museum in the Age of Mechanical ReproductionThe Circular Ruins of HistoryThe Spurs of the Monument"It Is a Dying History": After ModernismConclusion Notes Bibliography Index

David Farrell Krell's first work of fiction, Nietzsche: A Novel, was published by SUNY Press. Krell is Professor of Philosophy at DePaul University in Chicago.

"The book tackles a subject and a national literature that need and deserve wider recognition and a competent insertion into the mainstream of post-structuralist thought that Western literatures have enjoyed without comparable prejudice for over a quarter of a century." — Piotr Parlej, Russell Sage College

• Acknowledgments Introduction 1 NietzscheA Knight's Move: Nietzsche and the Genealogy of Russian FormalismRussian Modernism: A Merry ScienceThe Modernist Paradigm and the Digestion of History2 ParodyHistory as a Form of Parody/Parody as a Form of HistoryParody, Bodily Remains, and the Leftovers of HistoryTynianov and Bakhtin: Parody as a Malfunctioning Gramophone of HistoryOn DerRIDEOlogy: Nietzschean Laughter in Bakhtin and DerridaBakhtin and the Post-Structuralist ConditionWriting and Laughter: Bakhtin and Derrida3 IntervalThe Interval and the Structure of TemporalityMaiakovsky and the Remains of the Literary CanonThe Interval as the Origin of the Work of Art: Akhmatova, Mandel'stam, Pasternak4 GenreThe Literary Fact and the Law of GenreGenre: A Borderline of Literary SpaceGenre: A Borderline of Literary Time5 MausoleumThe Mummy: "The Most Glorious Victory of Form"Maiakovsky and the Ventriloquism of HistoryRussian Formalism and the Birth of the Mausoleum6 Museum"The Wax Effigy" and the Form/aldehyde of HistoryThe Kunstkamera : Museum in the Age of Mechanical ReproductionThe Circular Ruins of HistoryThe Spurs of the Monument"It Is a Dying History": After ModernismConclusion Notes Bibliography Index