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The Soviet Industrial Sublime: The A...

Kupensky, Nicholas Kyle.

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The Soviet Industrial Sublime: The Awe and Fear of Dneprostroi, 1927-1932.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Soviet Industrial Sublime: The Awe and Fear of Dneprostroi, 1927-1932./
作者:	Kupensky, Nicholas Kyle.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2017,
面頁冊數:	338 p.
附註:	Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.
Contained By:	Dissertation Abstracts International78-11A(E).
標題:	Slavic literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10631633
ISBN:	9780355018288

The Soviet Industrial Sublime: The Awe and Fear of Dneprostroi, 1927-1932.
Kupensky, Nicholas Kyle.

The Soviet Industrial Sublime: The Awe and Fear of Dneprostroi, 1927-1932. - Ann Arbor : ProQuest Dissertations & Theses, 2017 - 338 p.

Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.

Thesis (Ph.D.)--Yale University, 2017.

This dissertation analyzes the cinema, literature, and photography about the construction of the Dnieper Hydroelectric Station (Dneprostroi), a massive building project located in Zaporozh'e, Ukraine that included the largest dam and most powerful hydroelectric station in Europe, a lock that made the Dnieper river navigable from the Baltic to the Black Sea, an industrial city of metallurgical, manufacturing, and chemical plants, and a utopian Socialist City (Sotsgorod) that housed the city's workers. Over the course of its construction (1927-1932), Dneprostroi became a place of pilgrimage for thousands of tourists, many of whom reported that they were overwhelmed by the magnitude of the project, the might of the machines used on the worksite, and the heroic feats of the workers who sacrificed their bodies -- and, at times, their lives -- to complete the dam on time. I argue that these responses are part of a dominant, if fleeting, aesthetic tradition in the 1920s and 1930s, or what I call the Soviet industrial sublime.

ISBN: 9780355018288Subjects--Topical Terms:

2144740
Slavic literature.

The Soviet Industrial Sublime: The Awe and Fear of Dneprostroi, 1927-1932.
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500 $a Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.
500 $a Adviser: Katerina Clark.
502 $a Thesis (Ph.D.)--Yale University, 2017.
520 $a This dissertation analyzes the cinema, literature, and photography about the construction of the Dnieper Hydroelectric Station (Dneprostroi), a massive building project located in Zaporozh'e, Ukraine that included the largest dam and most powerful hydroelectric station in Europe, a lock that made the Dnieper river navigable from the Baltic to the Black Sea, an industrial city of metallurgical, manufacturing, and chemical plants, and a utopian Socialist City (Sotsgorod) that housed the city's workers. Over the course of its construction (1927-1932), Dneprostroi became a place of pilgrimage for thousands of tourists, many of whom reported that they were overwhelmed by the magnitude of the project, the might of the machines used on the worksite, and the heroic feats of the workers who sacrificed their bodies -- and, at times, their lives -- to complete the dam on time. I argue that these responses are part of a dominant, if fleeting, aesthetic tradition in the 1920s and 1930s, or what I call the Soviet industrial sublime.
520 $a I focus on how the Soviet industrial sublime is articulated in the work of three artists who visited Dneprostroi and analyze how their art about the project produced powerful feelings of unity and shared purpose that crossed class, gender, and national lines. In Chapter One, I examine Dziga Vertov's material sublime in his documentary film The Eleventh Year (Odinnadtsatyi, 1928), a work which was produced in the first year of Dneprostroi's construction and attempts to imagine how the project will one day have transformative effects on Ukraine, the Soviet Union, and even the rest of the world. In Chapter Two, I analyze how Fyodor Gladkov employed -- then abandoned -- a rhetorical sublime to represent the dam in lofty, mellifluous language in his collection of journalistic sketches Letters about Dneprostroi (Pis'ma o Dneprostroe, 1931) and production novel Energy (Energiia, 1932). In Chapter Three, I investigate how the American photographer Margaret Bourke-White's photo-essay "Soviet Panorama" (1931) and travel narrative Eyes on Russia (1931) express an egotistical sublime, which associated the symbolic and political power of the project with her own personality. And in Chapter Four, I survey representations of the Dnieper Hydroelectric Station (DneproGES) that celebrated the completion of the project as if it were a successful military campaign, or what I call its monumental sublime. At the same time, I contend that the Soviet industrial sublime was not only an aesthetic tradition but had an impact on Soviet politics and society. In the final chapter, I question why the dam's opening ceremony, which took place on October 10, 1932, enchanted the attendees of the event, but the massive famine that was devastating the surrounding countryside was passively ignored or actively concealed.
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