By Olga Livshin
Throughout the overdue Soviet interval, many educators, scientists and reporters believed that
traditional gender roles and norms had replaced, generating bodily or ethically susceptible males and correspondingly powerful ladies. the subsequent research follows the representations of this shift between Soviet nonconformist poets, writers and playwrights within the Nineteen Sixties, 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 guys to girls or the deterioration of men‘s our bodies because of difficulties comparable to alcoholism. by contrast, this learn indicates that during nonconformist literature, the overdue Soviet gender trouble used to be a response to the Stalinist unitary version of the ―steeled‖ guy, as expressed in tradition and paintings. Authors articulated replacement versions 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 power –
physically, mentally, spiritually, or as a mix of all 3 features? Did they decry these
changes or did they valorize them as possible choices to the Stalinist legacy of ―steeled‖ males? Did the authors position the accountability for the perceived emasculation of the Soviet guy at the nation or at the guy himself?
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Additional info for Alternative Masculinities in Late Soviet Nonconformist Literature, 1958-1991
P. 6. 72 On Bakhtin‘s function of the body in carnival, see Mikhail Bakhtin, Rabelais and His World, trans. Hélène Iswolsky (Cambridge, MA: MIT Press, 1968), p. 19 and passim. 69 56 ―Icarus‖ juxtaposes several narratives—from ancient Greece, Stalin‘s time, and the Thaw. Sapgir‘s Icarus is a composite creature in a literal as well as metaphorical sense: he is part sculpture, part machine, part man. The splicing of several narratives concerning the nexus between men and technology is postmodern in the sense outlined by Linda Hutcheon.
At the same time, much of the poem is also charmingly playful and light-hearted. Sapgir‘s humor and cheerful rambunctiousness serve him to celebrate the very spirit of the absurdity of late Soviet life. The strangeness of the male / monkey-like figure is presented with a certain savage energy, and the image of a happy monkey on top of a church is entertaining. Sapgir‘s readers have advanced both interpretations regarding humor in his works, sometimes within a single reading. 69 To this reader, however, there is no significant contradiction between the two views.
46 The women‘s plight is captured in the juxtaposition of the close, warm word ―husbands‖ with the men‘s impersonal fate of being ―devoured‖ by large-scale events in the USSR. Andrey Tsukanov argues that the destruction of the human being is an important element of the work of Igor Kholin, Sapgir‘s close friend and fellow Lianozovo poet. ‖ Specifically, he acts as one of the earliest writers to treat frankly the subject of the human costs of Stalinism. ―The Women‘s Village‖ was written three years before 1961, when the life of a labor camp inmate was described by Aleksandr Solzhenitsyn in One Day in the Life of Ivan Denisovich [Один день Ивана Денисовича] (published in Novyi mir in 1962).