The Art of Andrei Siniavsky

Slavic Review ◽  
1970 ◽  
Vol 29 (4) ◽  
pp. 663-681 ◽  
Author(s):  
Deming Brown
Keyword(s):  
Short Stories ◽  
Soviet Union ◽  
Socialist Realism ◽  
Literary Critic ◽  
The Soviet Union ◽  
Soviet Literature ◽  
Russian Author ◽  
Small Collection

The imprisonment of Andrei Siniavsky in 1965 stilled, in mid-career, the most original and enigmatic voice in contemporary Soviet literature. At the time of his arrest he was known in the USSR solely as a gifted, liberal literary critic and scholar. Abroad he was known as Abram Tertz, a mysterious Russian author—possibly not even a resident of the Soviet Union—who had written a brilliant, devastating critique of socialist realism, two short novels (The Trial Begins and Liubimov), six short stories, and a small collection of aphorisms (Unguarded Thoughts).

What Faith the God-Contemporary? Chingiz Aitmatov's Plakha

Slavic Review ◽  
1990 ◽  
Vol 49 (2) ◽  
pp. 213-226
Author(s):  
Anthony Olcott
Keyword(s):  
Soviet Union ◽  
Socialist Realism ◽  
The West ◽  
The Soviet Union ◽  
Central Asian ◽  
Soviet Literature

Chingiz Aitmatov has long been a powerful figure in Soviet literature, but few critics in the west or the Soviet Union have treated him as a serious writer. Many of the reasons why Aitmatov's reputation is not commensurate with his achievement are clear enough; the few westerners who have bothered with Aitmatov tend to agree that he offers "a somewhat new mix from the old patterns of Soviet literature with an admixture of Central Asian lore, but the game he is playing is as old as socialist realism itself.

Semyon Kotko and War and Peace

2020 ◽  
pp. 193-212
Author(s):  
Terry Dean
Keyword(s):  
Short Stories ◽  
Soviet Union ◽  
Socialist Realism ◽  
War And Peace ◽  
The Soviet Union ◽  
Compositional Elements ◽  
Almost All

Prokofiev was both a voracious reader and a compulsive writer—of letters, diaries, an extensive autobiography, and even of poems and short stories. His interest in text, and in particular in its dramatic impact, determined that, for almost all his operas, he was his own librettist. This allowed him not only control of all compositional elements but also realized his preference for setting passages of non-rhyming prose in a declamatory style, which he believed to be more realistic and dramatically effective. Nevertheless, upon his return to the Soviet Union, Prokofiev found that this approach to text sources was seldom compatible with the demands of Socialist Realism. The chapter explores his reliance on collaborators more familiar than he was with Soviet aesthetics, and it focuses, in particular, on his collaboration with his second wife, Mira Mendelson on the opera War and Peace, with reference to their manuscript notebooks.

The Marxist Literary Movement in India and Pakistan

1967 ◽  
Vol 26 (4) ◽  
pp. 649-664 ◽  
Author(s):  
Hafeez Malik
Keyword(s):  
Soviet Union ◽  
Communist Party ◽  
Central Committee ◽  
Socialist Realism ◽  
Modern Times ◽  
Literary Movement ◽  
The Soviet Union ◽  
Soviet Literature ◽  
Recent Origin ◽  
Art For Art's Sake

The conflict between the theory of art for art's sake and the theory of purposive art is not of recent origin. In modern times however the Soviet Union has made a comprehensive experiment with the theory of purposive art, subordinating all artistic endeavors to socialist realism and partiinost—the party spirit. This experiment began when the Central Committee of the Soviet Communist Party passed a resolution on April 23, 1932 creating a single Union of Soviet Writers (actually organized in 1934) and inviting the authors to join this Union while adhering to the doctrine of socialist realism in literature. Western literary critics have maintained that while the appreciable part of literature produced during the last thirty-five years “possesses artistic qualities of high worth” in its postwar development Soviet literature in general has simply become a “perfect propaganda instrument.”

Translation and Transformation: English-Language Children's Literature in (Soviet) Russian Guise

2015 ◽  
Vol 8 (1) ◽  
pp. 1-16 ◽  
Author(s):  
Judith Inggs
Keyword(s):  
Children's Literature ◽  
Soviet Union ◽  
English Language ◽  
Children’S Literature ◽  
Socialist Realism ◽  
The Political ◽  
Philosophy Of Action ◽  
The Soviet Union ◽  
Free Translation ◽  
Soviet Russia

This article investigates the perceived image of English-language children's literature in Soviet Russia. Framed by Even-Zohar's polysystem theory and Bourdieu's philosophy of action, the discussion takes into account the ideological constraints of the practice of translation and the manipulation of texts. Several factors involved in creating the perceived character of a body of literature are identified, such as the requirements of socialist realism, publishing practices in the Soviet Union, the tradition of free translation and accessibility in the translation of children's literature. This study explores these factors and, with reference to selected examples, illustrates how the political and sociological climate of translation in the Soviet Union influenced the translation practices and the field of translated children's literature, creating a particular image of English-language children's literature in (Soviet) Russia.

Restating Classicist Monumentalism in Soviet Architecture, 1930s–early 1950s

2019 ◽  
pp. 64-88
Author(s):  
William C. Brumfield
Keyword(s):  
Soviet Union ◽  
Visual Culture ◽  
Critical Role ◽  
Socialist Realism ◽  
Avant Garde ◽  
Bolshevik Revolution ◽  
Stalin Era ◽  
Imperial Russia ◽  
Architectural Styles ◽  
The Soviet Union

This article examines the development of retrospective styles in Soviet architecture during the Stalin era, from the 1930s to the early 1950s. This highly visible manifestation of communist visual culture is usually interpreted as a reaction to the austere modernism of 1920s Soviet avant-garde architecture represented by the constructivist movement. The project locates the origins of Stalin-era proclamatory, retrospective style in prerevolutionary neoclassical revival architecture. Although functioning in a capitalist market, that neoclassical reaction was supported by prominent critics who were suspicious of Russia’s nascent bourgeoisie and felt that neoclassical or neo-Renaissance architecture could echo the glory of imperial Russia. These critics left Russia after the Bolshevik Revolution, but prominent architects of the neoclassicist revival remained in the Soviet Union. Together with the Academy of Architecture (founded 1933), these architects played a critical role in reviving classicist monumentalism—designated “socialist realism”—as the proclamatory style for the centralized, neoimperial statist system of the Stalin era. Despite different ideological contexts (prerevolutionary and Stalinist), retrospective styles were promulgated as models for significant architectural projects. The article concludes with comments on the post-Stalinist—and post-Soviet—alternation of modernist and retrospective architectural styles.

Exporting Soviet Culture: The Case of Agitprop Theater

Slavic Review ◽  
2003 ◽  
Vol 62 (2) ◽  
pp. 324-342 ◽  
Author(s):  
Lynn Mally
Keyword(s):  
Soviet Union ◽  
Socialist Realism ◽  
Popular Front ◽  
Political Strategy ◽  
Soviet Culture ◽  
Cultural Policies ◽  
New Methods ◽  
The Soviet Union ◽  
Theatrical Performance ◽  
Global Influence

In this article Lynn Mally examines the efforts of a Comintern affiliate called MORT (Mezhdunarodnoe ob“edinenie revoliutsionnykh teatrov) to export models of Soviet theatrical performance outside the Soviet Union. Beginning with the first Five-Year Plan, MORT was initially very successful in promoting Soviet agitprop techniques abroad. But once agitprop methods fell into disgrace in the Soviet Union, MORT abruptly changed its tactics. It suddenly encouraged leftist theater groups to move toward the new methods of socialist realism. Nonetheless, many leftist theater circles continued to produce agitprop works, as shown by performances at the Moscow Olympiad for Revolutionary Theater in 1933. The unusual tenacity of this theatrical form offers an opportunity to question the global influence of the Soviet cultural policies promoted by the Comintern. From 1932 until 1935, many foreign theater groups ignored MORT's cultural directives. Once the Popular Front began, national communist parties saw artistic work as an important tool for building alliances outside the working class. This decisive shift in political strategy finally undermined the ethos and methods of agitprop theater.

scholarly journals POZNAŃSKI „OKRĄGLAK” ORAZ WARSZAWSKI PAŁAC KULTURY – IDEOLOGICZNE PARADOKSY ARCHITEKTURY PO II WOJNIE ŚWIATOWEJ

1970 ◽  
pp. 81-91
Author(s):  
HANNA GRZESZCZUK-BRENDEL
Keyword(s):  
Soviet Union ◽  
Department Store ◽  
Socialist Realism ◽  
Communist Country ◽  
Top Down ◽  
The Soviet Union

A – department store commonly referred to as “Okrąglak” (“The Rotunda”) in Poznań and the Palace of Culture and Science in Warsaw, both completed in 1955, represent features of two opposing styles. This leads to further reflections on modernism and socialist realism as demonstrated by the – two buildings. The modern features of the tower of the Palace of Culture and Science have been outshined with the national form and communist contents clearly reflecting Poland’s subordination to the Soviet Union. References to the pattern, the Palace of the Soviets, defined the top-down accepted model of progress. The department store (“Okrąglak”), designed in 1948, was also meant to demonstrate modernity of commerce in a communist country. However, its form designed by Marek Leykam represents a more universal concept of progress free from any designations.

Žurnāla „Inostrannaja Literatura” rezonanse Latvijas literārajā telpā politiskā atkušņa laikā

2021 ◽  
pp. 137-146
Author(s):  
Zanda Gūtmane
Keyword(s):  
Soviet Union ◽  
Socialist Realism ◽  
Communist Regime ◽  
New Historicism ◽  
Foreign Literature ◽  
Nikita Khrushchev ◽  
The Soviet Union ◽  
Russian Literary ◽  
Thaw Period

The paper is devoted to a parallel description of the literary processes in the Soviet Union and Soviet Latvia during Nikita Khrushchev’ reign, also known as the period of political thaw or the liberalisation of the communist regime (1953–1964). The main object of the research is the literary magazine Inostrannaja literatura (Иностранная литература), issued in the Soviet Union since 1955, dedicated to foreign literature and its translations; the principles of creating its content and structure during the political thaw period. The aim of the research: with concrete examples, to show the role of this legendary Russian literary periodical in the Iron Curtain period, expansion of freedom of thought, decanonization of socialist realism dogmas in general in the USSR, and also in the Latvian SSR. The methodological basis of the research consists of a comparative literature approach and a new historicism position that the literary text is important in studying different lines of history. The analysis of the publications clearly shows the replacement of the so-called periods of thaw and freezing. The article proves that the appearance of translations, reviews, previews, and research articles of foreign literature in this journal is closely connected with various political peripeteia of the USSR. In Latvia, there is a great resonance of Inostrannaja literatura, and it had an eventual influence on overcoming the dogmas of socialist realism in Latvian literature. The publications about the journal in Latvian literary editions and the study of the reception of one text example, a comparison of various editions of the writer Ēvalds Vilks’s (1923–1976) story “Twelve Kilometers”, prove it.

The Great Opportunistic Repression

2020 ◽  
Author(s):  
Simon Wickhamsmith
Keyword(s):  
Soviet Union ◽  
Socialist Realism ◽  
The Soviet Union ◽  
Cult Of Personality ◽  
Creative Artists

The chapter gives an account of the trials in October 1937 of the leading writers S. Buyannameh and M. Yadamsüren and shows the effect of the Soviet-style purges on literature at the time. Accusations of spying for the Japanese and of other counterrevolutionary activity meant that very few intellectuals and creative artists were untouched by the trials. Those who were – including writers such as D. Sengee, who was openly supportive of the Party’s trajectory – benefited by replacing those who were executed as well as those who had been removed from their positions. Among some younger writers, an interest in Socialist Realism resulted in an increase in texts about industrialization, the Young Pioneers, the ‘friendship’ between Mongolia and the Soviet Union, and the growing cult of personality surrounding Choibalsan.

A Closer Union

2020 ◽  
Author(s):  
Simon Wickhamsmith
Keyword(s):  
Soviet Union ◽  
Political Development ◽  
Socialist Realism ◽  
Soviet Policy ◽  
The Soviet Union ◽  
Practical Support ◽  
Great Patriotic War

The Great Repression left Mongolian letters without many of its leading voices, but this also enabled the Party to revive literature in a way more favorable to its ideological trajectory. The first Congress of Mongolian Writers, held in the spring of 1948, was the culmination of a decade’s political development in which writers were encouraged to write about the benefit of labor (D. Sengee’s ‘The Shock Workers’ [Udarnik, 1941] and Ts. Damdinsüren’s ‘How Soli Changed’ [Soli solison ni, 1945]) and so develop a Mongolian Socialist Realism. Through a closer connection with Soviet policy, helped by Mongolia’s moral and practical support of the Soviet Union during the Great Patriotic War, the Writers’ Congress helped to define the ideological basis for Mongolian literature for the next three decades.

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