By Olga Livshin
Through the overdue Soviet interval, many educators, scientists and reporters believed that
traditional gender roles and norms had replaced, generating bodily or ethically vulnerable males and correspondingly powerful ladies. the next examine follows the representations of this shift between Soviet nonconformist poets, writers and playwrights within the Sixties, Nineteen Seventies and Nineteen Eighties.
Social scientists have argued that those perceived alterations have been defined of their time as
the results of demographic imbalance of fellows to girls or the deterioration of men‘s our bodies because of difficulties equivalent to alcoholism. by contrast, this learn indicates that during nonconformist literature, the overdue Soviet gender hindrance used to be a response to the Stalinist unitary version of the ―steeled‖ guy, as expressed in tradition and artwork. Authors articulated replacement types of masculinity as a part of a bigger critique of Soviet, basically Stalinist, civilization.
This dissertation analyzes the prose works of Venedikt Erofeev and Yuz Aleshkovsky,
the poetry of Genrikh Sapgir and Nina Iskrenko, and the prose and performs of Lyudmila
Petrushevskaya. How did those authors build male weak spot and feminine energy –
physically, mentally, spiritually, or as a mix of all 3 elements? Did they decry these
changes or did they valorize them as choices to the Stalinist legacy of ―steeled‖ males? Did the authors position the accountability for the perceived emasculation of the Soviet guy at the kingdom or at the guy himself?
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Additional resources for Alternative Masculinities in Late Soviet Nonconformist Literature, 1958-1991
L. N. Lipovetskii, Sovremennaia russkaia literatura (Vol. 1) (Moscow: URSS, 2001), pp. 258-260. 42 Kulakov, Poeziia kak fakt, p. 327. 40 42 The Lianozovo esthetic displays a general concern with truth-seeking and authentic narration, endeavors that were highly characteristic of Khrushchev‘s Thaw. Two of the seminal critical texts of the Thaw, Vladimir Pomerantsev‘s ―On Sincerity in Literature [Об искренности в литературе]‖ and Olga Berggolts‘ ―A Conversation About the Lyric [Разговор о лирике],‖ rejected the tenets of Socialist Realism in favor of ―genuine‖ emotions and narration about the here-and-now.
To give a few examples, the pronatalist policies of the 1940s led to the publication of handbooks on child-bearing that made numerous yet veiled references to human reproductive biology, and gymnasts, lightly dressed and taking place in sports parades, were a familiar sight. See Mark Banting, Catriona Kelly and James Riordan, ―Sexuality,‖ in Russian Cultural Studies: An Introduction (Oxford and New York: Oxford University Press, 1998), p. 330 and passim. The Thaw ―official‖ culture made more specific and legitimizing references to both pre-marital and extramarital eroticism.
This trend has not gone unnoticed. Most existing research on this topic frames the works of late Soviet author with the use of Mikhail Bakhtin‘s notion of the carnival. ‖26 A related concept, the Bakhtinian grotesque body, emphasizes the joining of bodies in drinking, eating and copulation. The orifices of the grotesque body are open, and this body is a single, uninterrupted, communal body that gives birth, dies and regenerates. Scholars apply this approach to late Soviet literature‘s imaginative dissolution of official hierarchies and dogmatic discourses in official Soviet culture as well as the Russian literary tradition.