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PTD Template INHERITED DISCOURSE: STALINIST TROPES IN THAW CULTURE by Alexander Prokhorov BA, Moscow State University, 1987 MA, University of Pittsburgh , 1994 Submitted to the Graduate Faculty of The Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2002 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Alexander Prokhorov It was defended on April 26, 2002 and approved by Lucy Fischer Mark Altshuller Nancy Condee Vladimir Padunov Helena Goscilo Dissertation Director © Copyright by Alexander Prokhorov 2002 All Rights Reserved iii INHERITED DISCOURSE: STALINIST TROPES IN THAW CULTURE Alexander Prokhorov, PhD University of Pittsburgh, 2002 My dissertation argues that while Thaw cultural producers believed that they had abandoned Stalinist cultural practices, their works continued to generate, in revised form, the major tropes of Stalinist culture: the positive hero, and family and war tropes. Although the cultural Thaw of the 1950s and 60s embraced new values, it merely reworked Stalinist artistic practices. On the basis of literary and cinematic texts, I examine how these two media reinstantiated the fundamental tropes of Russo-Soviet culture. In the first two chapters, I discuss approaches to Thaw literature and film in Western and Soviet scholarship, and my methodology, which is best defined as cultural semiotics. Chapter Three discusses the instantiations of the positive hero in Thaw literature and film. As case studies I adduce Boris Pasternak's Doctor Zhivago (1957) and Grigorii Kozintsev's film adaptation of Hamlet (1964). Though both texts are considered “beyond” classical socialist realist aesthetics, I contend that they feed on major Stalinist tropes and dialogize and elaborate the Stalinist canon. The positive hero remains the major trope for constructing individual, and, above all, masculine, identity. The narrative of maturation into true consciousness remains central for the Thaw novel and film. The fact that the protagonists are insistently non-Soviet does not significantly alter discursive practices of Soviet culture and sooner reflects the interests of the intelligentsia who negotiated intellectual capital with the party elite. iv The fourth chapter examines how Thaw culture redefines the family and war tropes in trench prose and film melodrama. Whereas the family trope family trope is central for constructing Soviet national identity, the war trope represents the culture's mode of existence, casting Soviet values in confrontation with their ideological “opponents”: Non-Soviet natural laws, the elemental forces of market economy, and the spontaneous and irrational forces of human nature. Trench prose emerged as an unheroic and antimonumental way of representing the Great Patriotic War in response to the bombast of its Stalin era representations. Viktor Nekrasov's short novel In the Trenches of Stalingrad (1947)—a model of trench prose—was published before Stalin's death under the title Stalingrad and received the Stalin Prize. Thaw renditions of fundamental tropes were not completely alien to earlier Soviet culture: the new variants of the tropes stem from those established during the 1930s and 40s. The central cinematic genre of the Thaw was family melodrama. My analysis of an exemplar of this genre focuses on Mikhail Kalatozov's Cranes Are Flying (1957) recycling the family and war tropes in a story of betrayal and redemption. National identity loses its monumental and patriarchal overtones and is transferred to the more traditional feminine figure, who functions as a symbol of Russia. The female protagonist, Veronika, incarnates in her life- narrative the sufferings and salvation of the nation. In Cranes the war trope stops reiterating the confrontation between Soviet “us” and non-Soviet “them.” No longer external to the Soviet system, evil becomes part of the Soviet “us”: Veronika’s “stepbrother” first rapes and then betrays her. The fifth chapter treats the ironic reworkings of the major tropes in Soviet culture of the 1960s. My case studies consist of Vasilii Aksenov's short novel Ticket to the Stars (1961) and El'dar Riazanov's film Beware of a Car (1966). Irony, as one of the major taboos of socialist v realism, was absent during Stalinism and early Thaw culture but became an increasingly dominant mode of late Soviet “aesthetics.” I examine each text from the viewpoint of its inner system of values and in the context of the era's cultural politics. The dissertation traces the evolution of Soviet cultural tropes in literature and film of the Thaw: from the project of redefining them to the project of distancing from them. While the majority of writers on the period argue the radical departure of Thaw producers from the Stalinist cultural practices, I argue for the understanding of the Thaw as the period sharing basic cultural tropes with Stalinism while their specific instantiations in various modes of cultural production became different due to the changes in cultural capital, technologies, and values. vi ACKNOWLEDGEMENTS Most of the people to whom I owe my gratitude are not only my colleagues but my close friends. First and foremost I would like to thank Helena Goscilo for her friendly advice, encouragement, and indefatigable support. I have exchanged so many ideas with Helena that, in spirit of Bakhtinian dialogism, I can no longer claim that they are entirely mine. With all my heart I thank Helena for teaching me both to write and to theorize culture beyond common places and borders of the established field. She transformed the trying years of writing this thesis into a rewarding intellectual dialogue. I want to thank my readers, Mark Altshuller, Nancy Condee, Lucy Fischer, and Vladimir Padunov. Volodia’s proseminar still remains the most intellectually revealing and theoretically rigorous course that I have ever taken. It is this course that made me change my career from applied linguistics to cultural and film studies. I have been privileged to learn from and to write for Nancy Condee in her courses on Russo-Soviet culture, which provided the conceptual framework for this thesis. I am grateful to Lucy Fischer who introduced me to film theory and criticism and served as a patient mentor and reader throughout my studies at the University of Pittsburgh. My next thanks are to Mark Altshuller and Elena Dryzhakova, whose seminars and book about the Thaw ignited my dialogic imagination and triggered my own writing about the late Soviet culture. Many thanks to my mentors and colleagues from whose courses, comments, or writings I was honored to learn: David Birnbaum, Katerina Clark, Evgenii Dobrenko, Mikhail Iampolskii, Marcia Landy, Jane Feuer, Susan Larsen, Mark Lipovetskii, Maia Turovskaia, Josephine Woll, and Neia Zorkaia. I also want to thank the late Fred Koloc, whose catholicity allowed me to work at the University in Pittsburgh and complete this dissertation. My fellow graduate students and family also provided invaluable support. I am especially grateful to my beloved wife and colleague Elena Prokhorova, and friends Michael Brewer, Seth Graham, Jerry McCausland, and Petre Petrov for intellectual dialogue and intertextual links, without which this dissertation would not be possible. In the end this dissertation is dedicated to my parents. I still remember the time my mother wrote her Ph.D.: her perseverance and sagacity always encouraged my effort. Finally, I want to thank my daughter Dasha for learning at her early age the word “dissertation” and asking me whether I finished it yet. vii TABLE OF CONTENTS Chapter One. The Thaws: Narratives and Approaches........................................................... 1 1. Reading the Literary Thaw.....................................................................................................3 1.1. Vigilant Witnesses...........................................................................................................3 1.2. Ironic Witnesses ..............................................................................................................7 1.3. Post-Stalinist Literature through the Looking Glass of the Totalitarian Model............14 1.4. Revising the Totalitarian Model in the 1960s and 70s..................................................21 2. Points of View on Thaw Film ..............................................................................................30 2.1. Looking for the Sincerity of Film Language.................................................................30 2.2. Viewing Thaw Film in the West ...................................................................................39 Chapter Two. Methodology, Conceptual Apparatus, and the Object of the Dissertation. .. 43 1. Key Word #1: Trope ............................................................................................................43 2. Key Word #2: Culture..........................................................................................................46 3. Key Word #3: Melodrama (Between The Aesthetics of Melodrama and The Aesthetics of Attraction). ................................................................................................................................51 4. Key Word #4: Cinemasculinity: From Stalinism to the Thaw.............................................67 5. Key Word #5. Socialist Realism .........................................................................................82 6. Key Word #6:
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