Download PDF by Craig Brandist: Carnival Culture and the Soviet Modernist Novel

By Craig Brandist

ISBN-10: 0312164025

ISBN-13: 9780312164027

ISBN-10: 1349251208

ISBN-13: 9781349251209

ISBN-10: 1349251224

ISBN-13: 9781349251223

This ebook examines the paintings of 5 Soviet prose writers - Olesha, Platonov, Kharms, Bulgakov and Vaginov - within the gentle of the carnivalesque components of Russian pop culture. It exhibits that whereas Bakhtin's account of carnival tradition sheds substantial gentle at the paintings of those writers, they should be thought of near to either the concrete kinds of Russian and Soviet pop culture and the altering institutional framework of Soviet society within the Nineteen Twenties and 1930s.

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When Bakhtin briefly discusses the emergence of carnival elements in the twentieth century he draws a distinction between the 'modernist grotesque', which 'has almost entirely lost its past memories [and] formalizes the heritage of carnival themes and symbols', and the 'realist grotesque', which is more conscious of its popular, folk rootsY Bely's novel is perhaps the extreme manifestation of the first trend. In Petersburg a particularly carnivalistic scene occurs at the masked ball where the free and familiar atmosphere of revelry and merriment is combined with a whole series of mesalliances: police spies mix with revolutionaries, the latter disguised as the former, while mirror-lined walls complicate 50 Carnival Culture and the Soviet Modernist Novel a situation in which everyone is masked and does not recognize anyone else.

The higher is not a mere negation and exclusion of the lower; it is a completion and fuller actualization of the lower. ,42 In discursive terms this means raising the partial insights of another's voice to new levels, organizing the mixture that is everyday consciousness to facilitate new and productive verbal production and inspiring 'independent ideological life': Internally persuasive discourse ... is, as it is affirmed through assimilation, tightly interwoven with 'one's own word' .... Its creativity and productiveness consists precisely in the fact that such a word awakens new and independent words, that it organizes masses of our words from within ....

The opposition between the plot and the theatrical moments which disrupted them was easily translated into the progress of narrative and digression. An unreliable narrative voice, suspension of linear time to force an interaction between characters, the foregrounding of the conventions of the realistic novel of the nineteenth century and the introduction of stock types (masks) into a genre that had relied on 'rounded characters' all served to carnivalize the novel. While in the theatre the hegemony of the dramatist had been replaced by that of the director, in the novel the hegemony of the author is replaced by that of an unheard editor, who arranges autonomous perspectives into an artistic whole.

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Carnival Culture and the Soviet Modernist Novel by Craig Brandist

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