By Craig Brandist
This publication examines the paintings of 5 Soviet prose writers - Olesha, Platonov, Kharms, Bulgakov and Vaginov - within the mild of the carnivalesque parts of Russian pop culture. It exhibits that whereas Bakhtin's account of carnival tradition sheds substantial mild at the paintings of those writers, they should be thought of on the subject of either the concrete different types of Russian and Soviet pop culture and the altering institutional framework of Soviet society within the Nineteen Twenties and 1930s.
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Extra resources for Carnival Culture and the Soviet Modernist Novel
FROM THE THEATRE TO THE NOVEL The mixing of these traditions with intellectual radicalism in the urban 'melting pot' was especially pronounced during the First World War and its revolutionary aftermath, but in the period of reaction beginning in 1912, before and at the beginning of the war, Russian jingoism threatened to swamp their endeavours. Some key figures initially supported the war. For Meyerhold, for example, the war presented a 44 Carnival Culture and the Soviet Modernist Novel time in which 'the contemporary theatre's playwright will surely find a point of contact with the country's emotion ...
For those who persevered, as in the immediate aftermath of the October Revolution, it was not to literary prose that the isolated intellectual writers turned but to the theatre. Literature and Urban Popular Culture 37 POPULAR THEATRE As Lars Kleberg argues, the theatre maintained its reputa- tion of being the most socially effective of all the arts for two reasons: The first is the idea of the theatre as an 'art of the moment' in which stage and auditorium, art and reality confront each other face to face on either side of the footlights.
While the 'fellow travellers' accepted the Revolution each in their own way, there was a characteristic trait in that acceptance. As Trotsky noted: They are all more or less inclined to look hopefully at the peasant over the head of the worker ... the literary work of the 'fellow travellers' is, in its way, a new Soviet populism, without the traditions of the old populism and - up to now - without political perspective. As regards a 'fellow traveller', the question always comes up - how far will he go?