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 robust girls. the next learn 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 guys to girls or the deterioration of men‘s our bodies as a result of difficulties equivalent to alcoholism. by contrast, this examine exhibits that during nonconformist literature, the overdue Soviet gender drawback 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, 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 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 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 info for Alternative Masculinities in Late Soviet Nonconformist Literature, 1958-1991
58 Ibid. 59 The women‘s culturally inappropriate behavior is yet another sign of the village‘s degeneration. Most importantly perhaps, neither Voznesensky nor Yevtushenko would dare to describe the village idiot with astonishingly negative imagery and disconcerting directness, as Sapgir does. As we are told already in the first lines of the poema, the man, a young herder, is a degenerate creature, lacking in human qualities: A whitish-eyed, white-browed, Tongue-tied idiot. He herds pigs in the ravine.
See Stites, Revolutionary Dreams, pp. 150-54. 76 Sapgir, Sobranie sochinenii (Vol. I), p. 52. 58 not want the human and the male, with its strong muscles (―мускулатура,‖ as perceived by the model), to disappear, to be covered up with the representation of the machine. This treatment of the theme of the man-machine is not only anti-Soviet but also anti-modern: the model values verisimilitude and the natural beauty of the body over the modernist impulse to create nonfigural, non-mimetic art that reflects a utopian vision, not immediate reality.
Or disappear, consumed by World War Two or construction in the cities. One might imagine that this absence of men would receive a sorrowful treatment in Sapgir‘s poetry. However, his work elicits a more complex reaction, one characterized by both the recognition of trauma and carefree, childish laughter. To take one example: ―My husband, may the Lord forgive me / Is a real monkey,‖ a female persona laments in a poem written in the early 1960s. ‖36 The husband is a Stakhanovite construction worker who receives a prize for swinging on his tail off the top of a cathedral for three days.