Slot: 29A-3 Dec.
29, 8:00 a.m. – 10:00 a.m.
Panel: The Peripheral Genre in Soviet Culture
Chair: Marina Madorskaya, University of Michigan
Title: Guitar Poetry and Anekdot as Anti-Genres
of Soviet Literature
Author: Rossen Djagalov, Yale University
The official method of Socialist Realism
imposed on Soviet letters during the years of high Stalinism regulated and
rigidified the relationship among genres. The epicized Soviet novel no longer
had much in common with Bakhtin's idealized anti-genre, with its potential to
assimilate, parody, and otherwise wage war against other genres. This paper
argues that Bakhtinian novelness did not disappear but found temporary refuge,
among other places, in the hitherto peripheral genre of guitar poetry. Taken as
a whole, the poems of Okudzhava, Vysotsky and Galich not only demonstrate a
generic heterogeneity unusual for the period as well as a capacity to parody
official forms; they also profoundly challenge the highly hierarchical
relationship among author, hero and audience maintained by Socialist realism.
The orality of guitar poetry allowed it a greater measure of liberty from the
ideological pressure that regulated the written word. Thus, when censorship—the
mechanism through which ideology was applied to Soviet letters—subsided in the
late 1980 and early 1990s, and the larger system of literary genres reclaimed
its former dynamism, guitar poetry returned to the literary periphery, from
where it had emerged in the late 1950s.
If thinkers of
the Gramscian tradition are right to think of genre as an instrument of social
repression at the hands of the dominant ideology (cultural hegemony), the
unofficial guitar poetry, anekdot
and Sots-art functioned as anti-genres in both senses of the word,
anti-(other)genre(s) and anti-Soviet. Around them, alternative public spheres
emerged, in the form of the Soviet kitchen, of the artist's studio, the
campfire or the slet.
Originating in the Soviet intellectual and creative classes, these anti-genres
collectively represented a counter-language that deconstructed the logocracy (a
system based on the power and consistent use of words rather than ideology,
Arlen Blium's term) into which the Stagnation-era Soviet Union had evolved.
Title: Bashlachev, Mirzayan, and the Limits of
Melopoetic Genres
Author: Constantine Rusanov, Yale University
Soviet folk and rock poetry have received
considerable scholarly attention during the past several years. However, little
has been written as regards their relationship to each other or their position
vis-à-vis the spoken poetic word, i.e., verse unaccompanied by music. As a
consequence, the limits of the two genres are defined vaguely if at all, most
of the studies providing only intrinsic analyses of separate poet-performers’ texts or of their
works’ reception.
This paper
attempts to define the limits of melopoetic genres, primarily focusing on the
output of the poet/bard/rock-musician Aleksandr Bashlachev. Bashlachev is
situated at the very crossroads of folk and rock, and his name is inscribed in
the pantheon of both traditions. A borderline case, Bashlachev’s output is
especially illuminating insofar as folk and rock pundits, both claiming him as
a model, evaluate his work according to different criteria. This difference in
emphases will help delineate the specificity of each melopoetic genre. The area
of overlap will, on the other hand, provide a frame of reference for the
definition of, perhaps, a third, hybrid, genre – that of folk-rock poetry.
The paper draws
on some of Aleksandr Mirzayan’s theoretical pronouncements. A prominent
poet/bard himself, Mirzayan has lectured extensively on the interrelationship
of word, music, and intonation and on the cross-fertilization of the so-called
melopoetic and classical poetic traditions. Based on Mirzayan’s theoretical statements
as well as his and Bashlachev’s output, the paper attempts to map out a
hierarchy/family-tree of melopoetic genres, paying close attention to the
dynamics of interchange and hybridization.
Title: Generic Behavior: Mit′ki and the Public
Sphere
Author: Seth Graham, University College London
Established in the early 1980s by a group
of Leningrad artists, the multi-media collective Mit′ki (named in honor of one
of the founders, Dmitrii Shagin) achieved a measure of renown during
perestroika, and (somewhat surprisingly) continues to exist today (http://www.kulichki.com/mitki/). From their inception the Mit′ki have
not merely engaged in collaborative art, music, and literary projects; they
elaborated a comprehensive model of behavior and speech based on a particular
aesthetic located on the cusp of the tongue-in-cheek and the sincere, of
iconoclasm and humility.
This paper
examines the place of the Mit′ki among other such poly-generic, multi-media
collectives in the USSR and elsewhere in the Eastern Bloc, and concludes that
such phenomena represent a redefinition—specific to the socio-cultural
atmosphere of the time—of the concept of “genre.” Also of interest in the context of this panel are the
following issues: If the Mit′ki were firmly rooted in the rarefied atmosphere
of the Leningrad creative intelligentsia, can it be said to have any
relationship to the “public sphere”?
Why did the collective survive the end of Soviet power? In addressing these points, the paper
draws on and engages with the work of Alexei Yurchak, Boris Briker and Anatoly
Vishevsky, as well as Linda Hutcheon’s writings on the nature of irony and
parody.
References
Briker, Boris, and Anatolii Vishevskii. “Iumor
v populiarnoi kul′ture sovetskogo intelligenta 60-x—70-x godov.” Wiener
Slawistischer Almanach
24 (1989): 147-70.
Hutcheon, Linda. Irony’s Edge: The
Theory and Politics of Irony.
London: Routledge, 1994.
Yurchak, Alexei. Everything Was Forever, Until It Was
No More: The Last Soviet Generation. Princeton: Princeton UP, 2006.