Roland Betancourt, Ph.D. (2014), Yale University, is Assistant Professor of Art History at the University of California, Irvine. He has published articles and essays on the intersection of Byzantine art, liturgy, and image theory, as well as on contemporary media and visual culture. His work and methodology focus on both Byzantine and contemporary discourses on the ontological valences of the image and its temporality.Maria Taroutina, Ph.D. (2013), Yale University, is Assistant Professor of Art History at Yale–NUS College in Singapore. She has published a number of articles and essays on the art and architecture of Imperial and early Soviet Russia and is currently working on the book, From the Tessera to the Square: Russian Modernism and the Russo-Byzantine Revival.

• ContentsAcknowledgments IXPreface XIList of Illustrations XVList of Contributors XIXExplanation of the Cover XXIIIPart 1Byzantium and ModernismIntroduction: Byzantium and Modernism 1Maria TaroutinaSection 1The Avant-Gardes and Their Counter Movements1 Modernism’s Byzantium Byzantium’s Modernism 15Robert S. Nelson2 Kazimir Malevich and the Liturgical Tradition of EasternChristianity 37Myroslava M. MudrakSection 2Modernism’s Precursors3 Arts and Crafts and the ‘Byzantine’: The Greek Connection 75Dimitra Kotoula4 Archaeology of Decadence: Uncovering Byzantium in VictorienSardou’s Theodora 102Elena N. BoeckSection 3Byzantine Tactics, Modernist Strategies in Architectural Discourse5 Abstraction’s Economy: Hagia Sophia in the Imaginary ofModern Architecture 135Tulay Atak6 Byzantine Architecture: A Moving Target? 163Robert OusterhoutPart 2The Slash as MethodIntroduction: The Slash as Method 179Roland BetancourtSection 4Reading across Time: Modern Subjects, Byzantine Objects7 Byzantium and the Modernist Subject: The Case of AutobiographicalLiterature 195Stratis Papaioannou8 One Fish Two Fish Red Fish Blue Fish: Byzantine Visual Structures inthe Light of Twentieth-Century Practice and Theory 212Anthony CutlerSection 5Byzantine New Media: The Photographic and Filmic Icon9 Iconicity of the Photographic Image: Theodore of Stoudios and AndreBazin 237Devin Singh10 Tarkovsky: Embodying the Screen 254Marie-José MondzainSection 6Presence, Representation, and the Gaze: The Byzantine at the Endsof Modernity11 ‘Action-Paradise’ and ‘Readymade Reliquaries’: Eccentric Histories in/of Recent Russian Art 271Jane A. Sharp12 Lacan and Byzantine Art: In the Beginning was the Image 311Rico Franses13 Beyond Representation/The Gift of Sight 330Charles BarberCODA14 We Have Never been Byzantine: On Analogy 349Glenn PeersSelect Bibliography 361Index 367

"[This book] offer[s] a multi-disciplinary view of subjects as varied as historiography, art history, architecture, stage design, psychoanalytic thought and theology."Joseph Masheck and Edmund Ryder, Art and Christianity, No. 88, Winter 2016 '' A remarkable and remarkably wide-ranging collection, then, and one that will provide at least some food for thought for anyone with an interest in the continuing contemporary cultural dialogue with Byzantium. In addition, it provides an essential springboard for further reflection on the themes it addresses, and its methdological breadth is encouraging, if at times disconcerting; but to be disconcerted is often valuable for stimulating thought, and that is one objective that this book accomplishes triumphantly''. Ivan Moody, in Journal of International Society for Orthodox Music vol.2 (2016).

Roland Betancourt, Ph.D. (2014), Yale University, is Assistant Professor of Art History at the University of California, Irvine. He has published articles and essays on the intersection of Byzantine art, liturgy, and image theory, as well as on contemporary media and visual culture. His work and methodology focus on both Byzantine and contemporary discourses on the ontological valences of the image and its temporality.Maria Taroutina, Ph.D. (2013), Yale University, is Assistant Professor of Art History at Yale–NUS College in Singapore. She has published a number of articles and essays on the art and architecture of Imperial and early Soviet Russia and is currently working on the book, From the Tessera to the Square: Russian Modernism and the Russo-Byzantine Revival.

• ContentsAcknowledgments IXPreface XIList of Illustrations XVList of Contributors XIXExplanation of the Cover XXIIIPart 1Byzantium and ModernismIntroduction: Byzantium and Modernism 1Maria TaroutinaSection 1The Avant-Gardes and Their Counter Movements1 Modernism’s Byzantium Byzantium’s Modernism 15Robert S. Nelson2 Kazimir Malevich and the Liturgical Tradition of EasternChristianity 37Myroslava M. MudrakSection 2Modernism’s Precursors3 Arts and Crafts and the ‘Byzantine’: The Greek Connection 75Dimitra Kotoula4 Archaeology of Decadence: Uncovering Byzantium in VictorienSardou’s Theodora 102Elena N. BoeckSection 3Byzantine Tactics, Modernist Strategies in Architectural Discourse5 Abstraction’s Economy: Hagia Sophia in the Imaginary ofModern Architecture 135Tulay Atak6 Byzantine Architecture: A Moving Target? 163Robert OusterhoutPart 2The Slash as MethodIntroduction: The Slash as Method 179Roland BetancourtSection 4Reading across Time: Modern Subjects, Byzantine Objects7 Byzantium and the Modernist Subject: The Case of AutobiographicalLiterature 195Stratis Papaioannou8 One Fish Two Fish Red Fish Blue Fish: Byzantine Visual Structures inthe Light of Twentieth-Century Practice and Theory 212Anthony CutlerSection 5Byzantine New Media: The Photographic and Filmic Icon9 Iconicity of the Photographic Image: Theodore of Stoudios and AndreBazin 237Devin Singh10 Tarkovsky: Embodying the Screen 254Marie-José MondzainSection 6Presence, Representation, and the Gaze: The Byzantine at the Endsof Modernity11 ‘Action-Paradise’ and ‘Readymade Reliquaries’: Eccentric Histories in/of Recent Russian Art 271Jane A. Sharp12 Lacan and Byzantine Art: In the Beginning was the Image 311Rico Franses13 Beyond Representation/The Gift of Sight 330Charles BarberCODA14 We Have Never been Byzantine: On Analogy 349Glenn PeersSelect Bibliography 361Index 367

"[This book] offer[s] a multi-disciplinary view of subjects as varied as historiography, art history, architecture, stage design, psychoanalytic thought and theology."Joseph Masheck and Edmund Ryder, Art and Christianity, No. 88, Winter 2016 '' A remarkable and remarkably wide-ranging collection, then, and one that will provide at least some food for thought for anyone with an interest in the continuing contemporary cultural dialogue with Byzantium. In addition, it provides an essential springboard for further reflection on the themes it addresses, and its methdological breadth is encouraging, if at times disconcerting; but to be disconcerted is often valuable for stimulating thought, and that is one objective that this book accomplishes triumphantly''. Ivan Moody, in Journal of International Society for Orthodox Music vol.2 (2016).

Roland Betancourt, Ph.D. (2014), Yale University, is Assistant Professor of Art History at the University of California, Irvine. He has published articles and essays on the intersection of Byzantine art, liturgy, and image theory, as well as on contemporary media and visual culture. His work and methodology focus on both Byzantine and contemporary discourses on the ontological valences of the image and its temporality.Maria Taroutina, Ph.D. (2013), Yale University, is Assistant Professor of Art History at Yale–NUS College in Singapore. She has published a number of articles and essays on the art and architecture of Imperial and early Soviet Russia and is currently working on the book, From the Tessera to the Square: Russian Modernism and the Russo-Byzantine Revival.

• ContentsAcknowledgments IXPreface XIList of Illustrations XVList of Contributors XIXExplanation of the Cover XXIIIPart 1Byzantium and ModernismIntroduction: Byzantium and Modernism 1Maria TaroutinaSection 1The Avant-Gardes and Their Counter Movements1 Modernism’s Byzantium Byzantium’s Modernism 15Robert S. Nelson2 Kazimir Malevich and the Liturgical Tradition of EasternChristianity 37Myroslava M. MudrakSection 2Modernism’s Precursors3 Arts and Crafts and the ‘Byzantine’: The Greek Connection 75Dimitra Kotoula4 Archaeology of Decadence: Uncovering Byzantium in VictorienSardou’s Theodora 102Elena N. BoeckSection 3Byzantine Tactics, Modernist Strategies in Architectural Discourse5 Abstraction’s Economy: Hagia Sophia in the Imaginary ofModern Architecture 135Tulay Atak6 Byzantine Architecture: A Moving Target? 163Robert OusterhoutPart 2The Slash as MethodIntroduction: The Slash as Method 179Roland BetancourtSection 4Reading across Time: Modern Subjects, Byzantine Objects7 Byzantium and the Modernist Subject: The Case of AutobiographicalLiterature 195Stratis Papaioannou8 One Fish Two Fish Red Fish Blue Fish: Byzantine Visual Structures inthe Light of Twentieth-Century Practice and Theory 212Anthony CutlerSection 5Byzantine New Media: The Photographic and Filmic Icon9 Iconicity of the Photographic Image: Theodore of Stoudios and AndreBazin 237Devin Singh10 Tarkovsky: Embodying the Screen 254Marie-José MondzainSection 6Presence, Representation, and the Gaze: The Byzantine at the Endsof Modernity11 ‘Action-Paradise’ and ‘Readymade Reliquaries’: Eccentric Histories in/of Recent Russian Art 271Jane A. Sharp12 Lacan and Byzantine Art: In the Beginning was the Image 311Rico Franses13 Beyond Representation/The Gift of Sight 330Charles BarberCODA14 We Have Never been Byzantine: On Analogy 349Glenn PeersSelect Bibliography 361Index 367

"[This book] offer[s] a multi-disciplinary view of subjects as varied as historiography, art history, architecture, stage design, psychoanalytic thought and theology."Joseph Masheck and Edmund Ryder, Art and Christianity, No. 88, Winter 2016 '' A remarkable and remarkably wide-ranging collection, then, and one that will provide at least some food for thought for anyone with an interest in the continuing contemporary cultural dialogue with Byzantium. In addition, it provides an essential springboard for further reflection on the themes it addresses, and its methdological breadth is encouraging, if at times disconcerting; but to be disconcerted is often valuable for stimulating thought, and that is one objective that this book accomplishes triumphantly''. Ivan Moody, in Journal of International Society for Orthodox Music vol.2 (2016).