Andrew Kahn, Mark Lipovetsky, Irina Reyfman, and Stephanie Sandler
- Published in print:
- 2018
- Published Online:
- May 2018
- ISBN:
- 9780199663941
- eISBN:
- 9780191770463
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199663941.003.0031
- Subject:
- Literature, World Literature
Part V explores the relationship between the dramatic history of the twentieth century and the transformations of Russian literary culture and poetics, arguing that the story is one of unexpected ...
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Part V explores the relationship between the dramatic history of the twentieth century and the transformations of Russian literary culture and poetics, arguing that the story is one of unexpected continuities as much as rupture. The Part outlines the development of Russian modernism and the avant-garde in the Silver Age (1890s–1917), moving on to the avant-garde poetics and institutions reinvented in late Soviet (1960s–early 1980s), and treating underground and post-Soviet literature (since 1991), as well as the émigré literature of Russia Abroad. Émigré and Soviet literature are shown to follow some similar patterns and themes, just as official and underground literature alike explore ways to represent the century’s catastrophes, and to test the responsibilities of the intelligentsia. The desire to break with the past emerges as a theme, as does a struggle over forms of cultural continuity. Women writers play key roles across multiple time periods, locales, and aesthetic forms. Part V analyzes the workings of political and aesthetic censorship during the domination of Socialist Realism, and it explores poetry as a discourse of subjectivity. It includes attention to utopian/dystopian and national narratives, and ends with an account of the intelligentsia’s cultural and historical self-identification.Less
Part V explores the relationship between the dramatic history of the twentieth century and the transformations of Russian literary culture and poetics, arguing that the story is one of unexpected continuities as much as rupture. The Part outlines the development of Russian modernism and the avant-garde in the Silver Age (1890s–1917), moving on to the avant-garde poetics and institutions reinvented in late Soviet (1960s–early 1980s), and treating underground and post-Soviet literature (since 1991), as well as the émigré literature of Russia Abroad. Émigré and Soviet literature are shown to follow some similar patterns and themes, just as official and underground literature alike explore ways to represent the century’s catastrophes, and to test the responsibilities of the intelligentsia. The desire to break with the past emerges as a theme, as does a struggle over forms of cultural continuity. Women writers play key roles across multiple time periods, locales, and aesthetic forms. Part V analyzes the workings of political and aesthetic censorship during the domination of Socialist Realism, and it explores poetry as a discourse of subjectivity. It includes attention to utopian/dystopian and national narratives, and ends with an account of the intelligentsia’s cultural and historical self-identification.
