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Stories of the Fictionally Subversive Soviet Woman of the 1980S A Hero in Our Time: Stories of the Fictionally Subversive Soviet Woman of the 1980s Item Type text; Electronic Thesis Authors Burns, Ladonna Michelle Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 15:33:09 Link to Item http://hdl.handle.net/10150/620724 A HERO IN OUR TIME: STORIES OF THE FICTIONALLY SUBVERSIVE SOVIET WOMAN OF THE 1980s by La Donna Burns ____________________________ Copyright © La Donna Burns 2016 A Thesis Submitted to the Faculty of the DEPARTMENT OF RUSSIAN AND SLAVIC STUDIES In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN RUSSIAN In the Graduate College THE UNIVERSITY OF ARIZONA 2016 1 STATEMENT BY AUTHOR The thesis titled A Hero in Our Time: Stories of the Fictionally Subversive Soviet Woman of the 1980s prepared by La Donna Burns has been submitted in partial fulfillment of requirements for a master’s degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under the rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: _______________________________ La Donna Burns APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: ___________________________________ ___________________________ Theresa Polowy Date Professor of Russian and Slavic Studies April 18, 2016 2 ACKNOWLEDGEMENTS “I can do all things through Christ who strengthens me” (Phil 4:13). Thank you to my mother because her nurturing spirit has watched over me; her relentless prayers have guided me on my journey; and her quiet but resilient resolve has given me the drive to take life by the horns. I would like to express a special appreciation to my initial advisor, Dr. Teresa Polowy, whose collaborative insights and suggestions provided a solid foundation and helped forge a path between my original proposal and this thesis. I am also grateful for my thesis committee who spent valuable time to help me finish this project. Thanks to D. George Gutsche for forging ahead as advisor and giving me key insights, and Benjamin Jens whose editing skills helped to make the thesis as sharp as possible. Also a word of thanks to Dr. John Leafgren and other committee members and Department staff whose directed enthusiasm and comments gave me focus needed to complete this project. I give credit to the entire Russian and Slavic Department at the University of Arizona for continuing to help me nurture my love for the Russian language and culture. Thank you to Murray for supporting me and allowing me to continue to foster my desire to continually learn. Thank you to Willi and Carolyn Collinsworth, Sue and Sandy Nafziger, and Wayne and Denise Pruitt for being surrogate parents to me, feeding me, listening to my pains, and praying and championing my well-being. Finally, the linguistic career path I have chosen to pursue in the academic setting is owed to my profession in the United States Air Force. I answered my nation’s call by working as an Airborne Cryptologic Russian Linguist. I now enjoy retirement after I have proudly served my country for 17 years. After 10,000-plus man-hours of classroom and self-study, testing, 3 translations and in-country immersions, many people I have not mentioned left an unforgettable stamp on my heart and indirectly have contributed to this work. 4 TABLE OF CONTENTS ABSTRACT . .6 INTRODUCTION. .7 CHAPTER ONE: The Traditional Russian Woman and Historical Gender Bias from 1917-1985 Attitudes and Culture (During the 1900s) . .14 The Ideal (Literary) Soviet Woman . 25 The (Literary) Subversive Soviet Woman . 27 CHAPTER TWO: The Change Glasnost’ . 29 Reforms and Policies . 31 CHAPTER THREE: The Appearance of the Scandalous Heroine of Her Time: Body Rhetoric and Culture Change The Stories and Their Protagonists . 38 Prose or Alternative Literature . 58 No Heroine Like Her . 61 CHAPTER FOUR: Review Conclusions . 82 WORKS CITED 5 ABSTRACT Citizens who lived in the Soviet Union in the early 1980s did so amid a changing political atmosphere. For their extreme patience, they were rewarded with new policies (after 1985) that promised less censorship and more openness from the government to the people. The Soviet woman received special attention and promises in the shape of new reforms in the social spheres of education and employment. As often happens with political change, there were unintended results. As the policy of glasnost’ or “openness” attempted to create and provide new possibilities for women, the unforeseen byproduct of the change was that a non-idyllic and even subversive female emerged in literature and society. This thesis will explore the prevailing cultural attitudes surrounding women before glasnost’, as well as glasnost’ itself and how its policies affected the cultural attitudes as they related to the traditional woman’s role in society. The thesis will also examine how glasnost’ enabled the literary debut of the subversive female character, and fostered this previously forbidden type and other prohibited topics. Finally, the discussion will turn to the immediate aftermath of glasnost’ with some observations about the stunted position of the Russian woman in literature, and in society, after the breakup of the Soviet Union. This thesis will include brief studies of published shorter works – all by contemporary female Soviet writers of the 1980s - and their fictional characters. As the gender specific deep- seated beliefs, proverbs, laws and anecdotes connected to the “suggested” ideal life of the virtuous Soviet females are analyzed, the thesis will show how these fictional characters’ behaviors directly and indirectly allowed Russian contemporary female writers to challenge taboo subjects within Russia through a new literary category of alternative women’s prose. 6 INTRODUCTION From a foreign viewpoint, it seems the Russian people have a special bond and love for literature. In Russian culture, as literature grew in popularity, it also assumed more importance as a means of educating the nation concerning political and social behaviors. Russia was not the first nor the only country to censor published works for the apparent common good of a nation, and during the Soviet era censorship was the norm, but varied in severity during different periods. When Mikhail Gorbachev assumed a position of leadership in the Soviet Union from 1985 to 1991, he introduced and implemented new policies which were known as perestroika (restructuring) and glasnost’ (openness). Glasnost’ promised Soviet citizens a myriad of government reforms designed to reduce corrupt dealings within the administration by providing a more transparent view of governmental activities. Specifically, glasnost’ called for the relaxation of censorship and offered literary freedoms not previously enjoyed (Malia, 421-437). Glasnost’ had the good intention of exposing dishonesty within the administrative ranks; but to the embarrassment of the authorities, it unexpectedly introduced and highlighted serious societal problems. The media and Soviet authors publicly uncovered severe social problems the government had long kept hidden. Previously hushed sources voiced their opinions on what was wrong in Soviet society. Films and literature, for example, showed more explicitly than ever before the dark side of Soviet reality – poverty, alienation, violence, alcoholism, drug addiction and depravity. Artistic works also revealed the second rate status of women in society. Amidst rants about the unmelodious life of the everyday routine, through prose, poems and short stories, the glasnost’ era female writer helped usher in this period of openness during the middle 1980s, and introduced an even more radical and imperfect heroine previously unseen in literature. This fictional character was quite the opposite of the dedicated, reliable and diligent 7 idealized woman characteristic of Socialist Realism. The new alternative woman was a female protagonist and a rebel with a cause to expose and a desire to address the ills of society. Through her often bold, unconventional and outrageous actions, the innovative alternative woman aimed to tackle the time-honored cultural attitudes that had long since dominated the social consciousness of the nation. Because of glasnost’, this subversive siren had an audience and a platform. Against the backdrop of glasnost’, an ‘alternative’ Russian female figure developed, one who often acted in rebellious, insubordinate, dissident and seditious ways. Her seemingly moment-by-moment destructive methods of resolving life crises thwarted her life goals. The subversive woman came into existence and attacked the traditions that restricted women’s roles and behavior. After the fall of the Soviet Union, because of the new developments in the modern Russian state, several female Russian authors and their works received the term “other” or “alternative” (Adlam, 3; Muff, 4). The writers themselves were still viewed as ‘deviant’ amid the new radical and revolutionary
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