How the Soviet Man Was Unmade: Cultural Fantasy and Male Subjectivity under Stalin
In Stalinist Russia, the idealized Soviet man projected an image of strength, virility, and unyielding drive in his desire to build a powerful socialist state. In monuments, posters, and other tools of cultural production, he became the demigod of Communist ideology. But beneath the surface of this...
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | Englisch |
| Veröffentlicht: |
Pittsburgh PA
University of Pittsburgh Press
2008
|
| Schriftenreihe: | Pitt Russian East European
|
| Schlagwörter: | |
| Links: | https://ebookcentral.proquest.com/lib/khifiit/detail.action?docID=2038836 |
| Zusammenfassung: | In Stalinist Russia, the idealized Soviet man projected an image of strength, virility, and unyielding drive in his desire to build a powerful socialist state. In monuments, posters, and other tools of cultural production, he became the demigod of Communist ideology. But beneath the surface of this fantasy, between the lines of texts and in film, lurked another figure: the wounded body of the heroic invalid, the second version of Stalin's New Man. In How the Soviet Man Was Unmade, Lilya Kaganovsky exposes the paradox behind the myth of the indestructible Stalinist-era male. In her analysis of social-realist literature and cinema, she examines the recurring theme of the mutilated male body, which appears with startling frequency. Kaganovsky views this representation as a thinly veiled statement about the emasculated male condition during the Stalinist era. Because the communist state was "full of heroes," a man could only truly distinguish himself and attain hero status through bodily sacrifice-yet in his wounding, he was forever reminded that he would be limited in what he could achieve, and was expected to remain in a state of continued subservience to Stalin and the party. Kaganovsky provides an insightful reevaluation of classic works of the period, including the novels of Nikolai Ostrovskii (How Steel Was Tempered) and Boris Polevoi (A Story About a Real Man), and films such as Ivan Pyr'ev's The Party Card, Eduard Pentslin's The Fighter Pilots, and Mikhail Chiaureli's The Fall of Berlin, among others. The symbolism of wounding and dismemberment in these works acts as a fissure in the facade of Stalinist cultural production through which we can view the consequences of historic and political trauma |
| Beschreibung: | Description based on publisher supplied metadata and other sources |
| Umfang: | 1 online resource (241 pages) |
| ISBN: | 9780822973430 9780822943211 |
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| spelling | Kaganovsky, Lilya Verfasser aut How the Soviet Man Was Unmade Cultural Fantasy and Male Subjectivity under Stalin Pittsburgh PA University of Pittsburgh Press 2008 © 2008 1 online resource (241 pages) txt rdacontent c rdamedia cr rdacarrier Pitt Russian East European Description based on publisher supplied metadata and other sources In Stalinist Russia, the idealized Soviet man projected an image of strength, virility, and unyielding drive in his desire to build a powerful socialist state. In monuments, posters, and other tools of cultural production, he became the demigod of Communist ideology. But beneath the surface of this fantasy, between the lines of texts and in film, lurked another figure: the wounded body of the heroic invalid, the second version of Stalin's New Man. In How the Soviet Man Was Unmade, Lilya Kaganovsky exposes the paradox behind the myth of the indestructible Stalinist-era male. In her analysis of social-realist literature and cinema, she examines the recurring theme of the mutilated male body, which appears with startling frequency. Kaganovsky views this representation as a thinly veiled statement about the emasculated male condition during the Stalinist era. Because the communist state was "full of heroes," a man could only truly distinguish himself and attain hero status through bodily sacrifice-yet in his wounding, he was forever reminded that he would be limited in what he could achieve, and was expected to remain in a state of continued subservience to Stalin and the party. Kaganovsky provides an insightful reevaluation of classic works of the period, including the novels of Nikolai Ostrovskii (How Steel Was Tempered) and Boris Polevoi (A Story About a Real Man), and films such as Ivan Pyr'ev's The Party Card, Eduard Pentslin's The Fighter Pilots, and Mikhail Chiaureli's The Fall of Berlin, among others. The symbolism of wounding and dismemberment in these works acts as a fissure in the facade of Stalinist cultural production through which we can view the consequences of historic and political trauma Geschichte 1900-2000 Geschichte 1924-1953 gnd rswk-swf Film Geschichte Masculinity in literature Masculinity in motion pictures Men in literature Men in motion pictures Motion pictures -- Soviet Union -- History Russian literature -- 20th century -- History and criticism Socialist realism -- Soviet Union Socialist realism in literature Mann Motiv (DE-588)4123709-2 gnd rswk-swf Männerbild (DE-588)4139085-4 gnd rswk-swf Sowjetunion Sowjetunion (DE-588)4077548-3 gnd rswk-swf Sowjetunion (DE-588)4077548-3 g Männerbild (DE-588)4139085-4 s Geschichte 1924-1953 z 1\p DE-604 Mann Motiv (DE-588)4123709-2 s 2\p DE-604 Erscheint auch als Druck-Ausgabe Kaganovsky, Lilya How the Soviet Man Was Unmade : Cultural Fantasy and Male Subjectivity under Stalin 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk 2\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Kaganovsky, Lilya How the Soviet Man Was Unmade Cultural Fantasy and Male Subjectivity under Stalin Film Geschichte Masculinity in literature Masculinity in motion pictures Men in literature Men in motion pictures Motion pictures -- Soviet Union -- History Russian literature -- 20th century -- History and criticism Socialist realism -- Soviet Union Socialist realism in literature Mann Motiv (DE-588)4123709-2 gnd Männerbild (DE-588)4139085-4 gnd |
| subject_GND | (DE-588)4123709-2 (DE-588)4139085-4 (DE-588)4077548-3 |
| title | How the Soviet Man Was Unmade Cultural Fantasy and Male Subjectivity under Stalin |
| title_auth | How the Soviet Man Was Unmade Cultural Fantasy and Male Subjectivity under Stalin |
| title_exact_search | How the Soviet Man Was Unmade Cultural Fantasy and Male Subjectivity under Stalin |
| title_full | How the Soviet Man Was Unmade Cultural Fantasy and Male Subjectivity under Stalin |
| title_fullStr | How the Soviet Man Was Unmade Cultural Fantasy and Male Subjectivity under Stalin |
| title_full_unstemmed | How the Soviet Man Was Unmade Cultural Fantasy and Male Subjectivity under Stalin |
| title_short | How the Soviet Man Was Unmade |
| title_sort | how the soviet man was unmade cultural fantasy and male subjectivity under stalin |
| title_sub | Cultural Fantasy and Male Subjectivity under Stalin |
| topic | Film Geschichte Masculinity in literature Masculinity in motion pictures Men in literature Men in motion pictures Motion pictures -- Soviet Union -- History Russian literature -- 20th century -- History and criticism Socialist realism -- Soviet Union Socialist realism in literature Mann Motiv (DE-588)4123709-2 gnd Männerbild (DE-588)4139085-4 gnd |
| topic_facet | Film Geschichte Masculinity in literature Masculinity in motion pictures Men in literature Men in motion pictures Motion pictures -- Soviet Union -- History Russian literature -- 20th century -- History and criticism Socialist realism -- Soviet Union Socialist realism in literature Mann Motiv Männerbild Sowjetunion |
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