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The Poetics of Anachronism in Early Soviet Prose.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Poetics of Anachronism in Early Soviet Prose./
作者:	Klamann, Conor Cleary.
面頁冊數:	1 online resource (301 pages)
附註:	Source: Dissertations Abstracts International, Volume: 76-12, Section: A.
Contained By:	Dissertations Abstracts International76-12A.
標題:	Slavic literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3705288click for full text (PQDT)
ISBN:	9781321781922

The Poetics of Anachronism in Early Soviet Prose.
Klamann, Conor Cleary.

The Poetics of Anachronism in Early Soviet Prose. - 1 online resource (301 pages)

Source: Dissertations Abstracts International, Volume: 76-12, Section: A.

Thesis (Ph.D.)--Northwestern University, 2015.

Includes bibliographical references

This dissertation analyzes representations of anachronism in early Soviet fiction, with a focus on the period of Josef Stalin's first Five-Year Plan (1928-1932). It argues that the prominence of anachronistic figures in the artistic literature of these years was not simply a byproduct of the Soviet obsession with exposing "bourgeois remnants" hiding in post-revolutionary culture and society. Though the role of ideology should not be underestimated, anachronisms were prominent in Soviet fiction in large part because, like myth in western Modernism, they offered writers a way to describe the complex and often contradictory relationships between past and present in twentieth-century modernity. My first chapter is a study of Soviet psychological fiction. It investigates why this supposedly anachronistic genre and its emblematic anti-hero, "the Superfluous Man," became so popular in the 1920s and early 1930s. My second chapter addresses three writers-Osip Mandelshtam, Konstantin Vaginov, and Boris Pilnyak-who appropriated imagery and epithets associated with anachronism ("gravedigger," "museum," "living corpse," etc.) and used them for personal, non-propagandistic purposes. My third chapter addresses irony and anachronism in Andrei Platonov's novel Chevengur. Platonov's text, I argue, models a linear, Marxian historical process that eventuates in an "absolute present" in which anachronisms, after successive periods of heavy purging, are welcomed back into the Soviet fold. My research methodology emphasizes historical context. My first chapter uses Formalist genre theory to analyze a broad selection of Soviet novels, many of them now obscure, against the backdrop of Stalin's rise to power. My second chapter investigates the subtle but elaborate systems of allusion and irony that authors employed in order to undermine and repurpose the cliches of Soviet temporality. My last chapter presents a close reading of Platonov's novel in the context of his broader oeuvre and the German and Russian philosophers who influenced his thinking. In all three chapters, I support my claims with citations from a broad array of secondary and primary sources, including novels, poems, short stories, letters, memoirs, notebooks, manuscripts, periodicals, pamphlets, placards, textbooks, speeches, films, and diaries.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9781321781922Subjects--Topical Terms:

2144740
Slavic literature.
Subjects--Index Terms:

AnachronismIndex Terms--Genre/Form:

542853
Electronic books.

The Poetics of Anachronism in Early Soviet Prose.
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520 $a This dissertation analyzes representations of anachronism in early Soviet fiction, with a focus on the period of Josef Stalin's first Five-Year Plan (1928-1932). It argues that the prominence of anachronistic figures in the artistic literature of these years was not simply a byproduct of the Soviet obsession with exposing "bourgeois remnants" hiding in post-revolutionary culture and society. Though the role of ideology should not be underestimated, anachronisms were prominent in Soviet fiction in large part because, like myth in western Modernism, they offered writers a way to describe the complex and often contradictory relationships between past and present in twentieth-century modernity. My first chapter is a study of Soviet psychological fiction. It investigates why this supposedly anachronistic genre and its emblematic anti-hero, "the Superfluous Man," became so popular in the 1920s and early 1930s. My second chapter addresses three writers-Osip Mandelshtam, Konstantin Vaginov, and Boris Pilnyak-who appropriated imagery and epithets associated with anachronism ("gravedigger," "museum," "living corpse," etc.) and used them for personal, non-propagandistic purposes. My third chapter addresses irony and anachronism in Andrei Platonov's novel Chevengur. Platonov's text, I argue, models a linear, Marxian historical process that eventuates in an "absolute present" in which anachronisms, after successive periods of heavy purging, are welcomed back into the Soviet fold. My research methodology emphasizes historical context. My first chapter uses Formalist genre theory to analyze a broad selection of Soviet novels, many of them now obscure, against the backdrop of Stalin's rise to power. My second chapter investigates the subtle but elaborate systems of allusion and irony that authors employed in order to undermine and repurpose the cliches of Soviet temporality. My last chapter presents a close reading of Platonov's novel in the context of his broader oeuvre and the German and Russian philosophers who influenced his thinking. In all three chapters, I support my claims with citations from a broad array of secondary and primary sources, including novels, poems, short stories, letters, memoirs, notebooks, manuscripts, periodicals, pamphlets, placards, textbooks, speeches, films, and diaries.
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