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By Olga Livshin

Through the overdue Soviet interval, many educators, scientists and newshounds believed that
traditional gender roles and norms had replaced, generating bodily or ethically vulnerable males and correspondingly powerful girls. the subsequent 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 adjustments have been defined of their time as
the results of demographic imbalance of guys to ladies or the deterioration of men‘s our bodies because of difficulties reminiscent of alcoholism. by contrast, this learn exhibits that during nonconformist literature, the past due Soviet gender obstacle was once a response to the Stalinist unitary version of the ―steeled‖ guy, as expressed in tradition and artwork. Authors articulated substitute types of masculinity as a part of a bigger critique of Soviet, essentially 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 point and feminine energy –
physically, mentally, spiritually, or as a mix of all 3 features? 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 nation or at the guy himself?

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Extra resources for Alternative Masculinities in Late Soviet Nonconformist Literature, 1958-1991

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63-65 and passim. 35 Another reason for which the portrayal of the physically weak, self-undermining Soviet man is frequent in late Soviet literature is that this image is informed by the disruptive esthetics of much late Soviet nonconformist literature. 35 However, Savitsky‘s interpretation does not account for the criticism that nonconformist authors unleash at their male characters. Male deviance is not an unquestionable value in these literary worlds. For example, men‘s drinking is neither consistently viewed a path to higher awareness of self, nor is it viewed as valuable expressions of defiance.

76 The model views the sculpture as constructed from motor parts, not larger-than-life ―steel armswings‖ but mere rubbish; he would have preferred to have his body represented in art. A. , Chelovek i ego vremia. Zhizn’ i rabota Avgusta Rubanova (Moscow: Wolters Kluwer, 2006), p. 124. : Oxford University Press, 1988), p. 154. In Soviet literature, Stites points out, the image of the machine-like man with ―muscles of steel,‖ takes shape in Alexei Gastev‘s poetry. See Stites, Revolutionary Dreams, pp.

His postwar life was rich in poetry, but even more modest in food, clothing and vivid impressions. ‖ Kropivnitsky and Sapgir acquired food with Kropivnitsky‘s ration cards, which were termed ―УДП‖ (―increased 37 Viktor Krivulin, ―Golos i pauza Genrikha Sapgira,‖ in Genrikh Sapgir, Leto s angelami (Moscow: Novoe literaturnoe obozrenie, 2000), p. 7. G. , Velikii Genrikh. Sapgir. O Sapgire (Moscow: RGGU, 2003), p. 250. ‖39 In his memoir about Kropivnitsky, Sapgir relates Kropivnitsky‘s esthetic to the extreme plainness of everyday life in Lianozovo: ―Poverty, almost destitution, accompanied his life and my youth […].

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