The Political Context of the Foundation Pit

Total Page:16

File Type:pdf, Size:1020Kb

The Political Context of the Foundation Pit Chapter 4 The Political Context of The Foundation Pit If Platonov is a Soviet writer, in the sense that his works always in some way originate in changes brought about by the October Revolution of 1917, The Foundation Pit is a response to a very specific moment in Soviet history: the transition from Leninism (which is to say, roughly, Bolshevik Party rule) in the 1920s to the distinctly different period of Stalinism, which ensued after 1928 when Joseph Stalin consolidated his control over a Party that, though hardly liberal by any definition, in the period since Lenin’s death in 1924 had at least had a plurality of powerful figures negotiating policies on its Central Committee. The political life of 1920s Soviet Russia thus parallels (in fact, underlies) the relative tolerance prevailing in its literary life. The 1920s were also a period of relative economic liberalism in the Soviet Union. In the interests of sheer political survival, during the civil war that followed the October Revolution the Bolsheviks had pursued a policy called “War Communism” which in fact fairly closely followed the measures outlined for the “dictatorship of the proletariat” in Marx’s and Engel’s Communist Manifesto: they nationalized banks and industry, forcibly requisitioned grain from peasants, subjected the populace to the control of a secret police force (the “Cheka,” whose Russian initials stood for the “Extraordinary Committee for the Battle Against Counterrevolution and Sabotage”), and imposed a number of radical measures such as (briefly) establishing equal pay for all and abolishing ranks in the military. Within a few years, however, the combined effects of revolution, war, and civil and economic upheaval had reduced the Soviet Union to a dire condition. Realizing that the economy needed to recover, in 1921 Lenin beat a tactical retreat from ruthless state intervention and introduced a series of measures called the New Economic Policy, or NEP. The Soviet state retained 83 Chapter Four control over the “commanding heights” of banks, railways, and heavy industry, but otherwise reintroduced profit as an economic motive and even allowed some forms of private ownership. One result was a distinct improvement in the supply of consumer goods, but NEP also produced a group of beneficiaries, the so-called “NEPmen,” who received concessions to run factories, stores, cafés, etc., and were roundly regarded with suspicion, at least by still-ardent supporters of the proletarian revolution. In Fedor Gladkov’s 1925 novel Cement, for example, the zealously pro-Bolshevik characters are morally affronted by the thought that their beloved cement factory, idle and half-looted after the civil war, might be leased as a concession; and for one character the opening of “cafés-chantants” epitomizes the horrors of this apparent capitulation to the bourgeosie (though the lesson of the day in Gladkov’s novel is that NEP is the product of the Party’s higher wisdom, and must be accepted). Even in Yuri Olesha’s 1927 Envy, a far more ambivalent cri de coeur of the old intelligentsia, the object of “envy,” both loathed and feared, is a plump NEPman named Andrei Babichev whose greatest achievement is to open a discount cafeteria. The events in Soviet social and political life on which Platonov draws in The Foundation Pit, however, belong not to the NEP era but to the second “revolution”—it was no less than that—undertaken by Stalin and the Party elite when, in an abrupt change from ambigui- ties of the 1920s, they inaugurated a Five-Year Plan involving an aggressive campaign to industrialize the economy as rapidly as possible, and, simultaneously, to collectivize Soviet agriculture. The motivations for this shift lay partly in Marxist ideology, which saw the fate of the proletariat—in essence, factory workers—as the central political cause of the modern era. Although Marx and Engels wrote harsh critiques of capitalism, they were no pastoralists and in fact admired the technological accomplishments of capitalism, even as they deplored what work in its factories had done to the working class. The Soviet perspective on the value of industrialization per se is interesting and complex. In their critiques of capitalism Marx and Engels primarily had advanced economies like those of England and the Ruhr valley of Germany in mind. They paid little attention to Russia and other 84 The Political Context of The Foundation Pit underdeveloped economies, and did not believe that the proletarian revolution would take place in the primitive conditions that prevailed in such places. Soviet ideology usually tried to get around this contra- diction between what Marx had said and the claims they wanted to make for their Revolution by citing the “furious pace” of industrialization (“burnyi rost kapitalizma”) in the years leading up to World War I rather than its actual level as the Revolution’s cause—the pace supposedly having concentrated the forces of capitalism to a greater degree even than that found in far more advanced industrialized economies. Stalin’s herculean effort to industrialize the country overnight can thus, in part, be understood as a way of catching up with the Marxist understanding of history, of erasing the embarrassing discrepancy between the Marxist view and Soviet reality.* There may, however, have been an even deeper element in the Russian historical consciousness for which orthodox Marxist consi- derations served simply as a rationalization: the nation’s lingering sense of inferiority vis-à-vis “the West,” with whose economies (includuing military) and societies (to a lesser extent) it had been trying to catch up since tsar Peter the Great seized on this idea as the centrepiece of national policy in the early eighteenth century. Some- thing of this anxiety can be sensed in a literary work like Valentin Kataev’s Time, Forward, which portrays the frenetic efforts to pour the cement foundations for a smelter in the Ural mountains—a signi- ficant location, as it turns out, not only because one of the largest Five-Year Plan projects was the construction of a smelter at Magni- togorsk in the Urals but also because the Urals mark the boundary between European and Asian Russia (that is, Siberia and other east- ern territories annexed by Russian tsars beginning in the fifteenth century). The novel makes a point of reminding its readers that the site for the smelter lies beyond the Urals, in the “Pugachev steppes”; and when the workers at the plant at last meet the ambitious goal of cement-pouring that they have set themselves, it declares, at once * See Kotkin’s related remark that “The Soviet plan, with its proposals for astronomically large increases in industrial capacity, can be read as both an enraptured paean to industrialism and a terrified acknowledgement of industrial inferiority” (33). 85 Chapter Four nervously and triumphantly, “We will never again be Asia!” One senses the same complex of emotions in a famous speech by Stalin (which characters in Kataev’s novel recite) in which he cautions that “To slow down the tempo [of industrialization] means to lag behind. And those who lag behind are beaten. The history of Old Russia shows . that because of her backwardness she was constantly being defeated. By the Mongol Khans, by the Polish-Lithuanian gentry, by the Anglo-French capitalists . Beaten because of backwardness— military, cul tural, political, industrial, and agricultural backward- ness . We are behind the leading countries by fifty-one hundred years. We must make up this distance in ten years. Either we do it or we go under” (quoted in Ulam 340). The certain sense of anxiety which attends the characters’ decisions to make their foundation pit successively larger in Platonov’s tale—the sense that their task is undertaken less to realize a utopian opportunity than out of despe- ration—partakes of a similar complex of emotions. Whatever the ultimate motivations, industrialization had always been a goal of Soviet policy. In a famous statement Lenin asserted that “electrification plus Soviet power equals communism” (Riasanovsky 485; Platonov’s stories of the mid–1920s about efforts to bring electricity to the village are direct responses to Lenin’s initiative, as were his work for GOELRO, the state agency created to implement it and his pamphlet Elektrifikatsiia). Gosplan, the state planning agency, was created in 1921 in order to co-ordinate industrial policy, and it was the Fourteenth Party Congress in 1925, some four years before Stalin launched his initiative, which first issued the call for mass industrialization. In the struggle for power among leaders of the Communist Party which followed Lenin’s death in 1924, however, the proper approach to industrialization was a matter of heated debate. Leon Trotsky and his associates (the “left” wing of the party leadership, which included Lev Kamenev and Grigory Zinoviev) advocated rapid progress toward socialism, but in conjunction with the spread of the revolutionary movement abroad. The opposing “right” faction consisting of Nikolai Bukharin, Alexei Rykov, Mikhail Tomsky and their associates, advocated a gradualist approach to social and economic transformation because they 86 The Political Context of The Foundation Pit considered Russia to be still unprepared for mass industrialization; they thus defended the continuation of NEP (Cohen 19). Stalin initially sided with the gradualist Right against the Left. Then, as the first Five-Year Plan was set in motion and Stalin consolidated his position at the head of the Party, he turned the arguments of the Left against the Right (or the “rightist deviation,” as it now came to be called), lambasting the “Bukharin group” for the heresy of resistance to his program for rapid industrialization (Riasanovsky 477–9). He now injected an unprecedented sense of urgency into the process. Mocking his rival Trotsky’s theory of “permanent revolution,” which regarded the success of socialsim in other, more advanced countries as a prerequisite for its advance in Russia (a view Lenin had also expressed), Stalin instead promoted the alternative pursuit of “socialism in one country,” according to which the Soviet Union would blaze the path on its own (Riasanovsky 481).
Recommended publications
  • Tolstoy, Khlebnikov, Platonov and the Fragile Absolute of Russian Modernity
    Three Easy Pieces: Tolstoy, Khlebnikov, Platonov and the Fragile Absolute of Russian Modernity The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:37945016 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Three Easy Pieces: Tolstoy, Khlebnikov, Platonov and the Fragile Absolute of Russian Modernity A dissertation presented by Alexandre Gontchar to The Department of Slavic Languages and Literatures in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Slavic Languages and Literatures Harvard University Cambridge, Massachusetts January 2017 ©2017– Alexandre Gontchar All rights reserved. Dissertation Advisor: William M. Todd Alexandre Gontchar Three Easy Pieces: Tolstoy, Khlebnikov, Platonov and the Fragile Absolute of Russian Modernity Abstract This dissertation shows how three Russian authors estranged and challenged the notion of human freedom as self-determination—the idea that meaningful self-authorship is possible in view of the finitude that every human being embodies under different aspects of his existence, such as the individual and collective awareness of the inevitability of death, as well as the narrative inclusion of any existential project within multiple contexts of history, culture, and language, all of which are always given already. At first glance to be free is to transcend these multiple limits.
    [Show full text]
  • Platonov and the Soviet Natural World in the 1930S Carly Tozian Faculty Advisor
    Tozian 1 Challenging Stalinist Exploitation: Platonov and the Soviet Natural World in the 1930s Carly Tozian Faculty Advisor: Professor James Goodwin Honors Thesis in Russian Studies 20 April 2021 Tozian 2 Introduction The 1920s and 1930s were not a time of literary liberty in the Soviet Union, nor were they a time for environmental protection. Under Stalin, the literary world and the natural world suffered similar prescriptions of exploitation. Stalin implemented policies such as the First Five Year Plan and the Belomor canal project which had detrimental effects upon the natural landscape. These plans were tailored for political and economic gain, no matter the cost of human or other life. In the literary sphere, writers were published only if they agreed to represent the progression of society into the ideal socialist world by adhering to the genre of Socialist Realism. For this reason, many works from well-known writers remained unpublished from the beginning of the1930s until Stalin’s death in 1953, chief among them, Andrei Platonov. Those of his works that were not published in his lifetime include The Foundation Pit, his short novel “The Juvenile Sea,” as well as other film scripts and plays. His novella “For Future Use” was published, but immediately received harsh criticism from other writers and even from Stalin (Pit 156-7). Through his unique style, Platonov “documented” the experiences he witnessed during the time of the First Five Year plan and the implementation of other Stalinist policies throughout his fictional works. I argue that Platonov fashions his own “real” socialist realist method in contrast to the prescribed one, which was committed to the party line.
    [Show full text]
  • A Companion to Andrei Platonov's the Foundation
    A Companion to Andrei Platonov’s The Foundation Pit Studies in Russian and Slavic Literatures, Cultures and History Series Editor: Lazar Fleishman A Companion to Andrei Platonov’s The Foundation Pit Thomas Seifrid University of Southern California Boston 2009 Copyright © 2009 Academic Studies Press All rights reserved ISBN 978-1-934843-57-4 Book design by Ivan Grave Published by Academic Studies Press in 2009 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com iv Effective December 12th, 2017, this book will be subject to a CC-BY-NC license. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/. Other than as provided by these licenses, no part of this book may be reproduced, transmitted, or displayed by any electronic or mechanical means without permission from the publisher or as permitted by law. The open access publication of this volume is made possible by: This open access publication is part of a project supported by The Andrew W. Mellon Foundation Humanities Open Book initiative, which includes the open access release of several Academic Studies Press volumes. To view more titles available as free ebooks and to learn more about this project, please visit borderlinesfoundation.org/open. Published by Academic Studies Press 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com CONTENTS CHAPTER ONE Platonov’s Life . 1 CHAPTER TWO Intellectual Influences on Platonov . 33 CHAPTER THREE The Literary Context of The Foundation Pit . 59 CHAPTER FOUR The Political Context of The Foundation Pit . 81 CHAPTER FIVE The Foundation Pit Itself .
    [Show full text]
  • Fifty Works of Fiction Libertarians Should Read
    Liberty, Art, & Culture Vol. 30, No. 3 Spring 2012 Fifty works of fiction libertarians should read By Anders Monsen Everybody compiles lists. These usually are of the “top 10” Poul Anderson — The Star Fox (1965) kind. I started compiling a personal list of individualist titles in An oft-forgot book by the prolific and libertarian-minded the early 1990s. When author China Miéville published one Poul Anderson, a recipient of multiple awards from the Lib- entitled “Fifty Fantasy & Science Fiction Works That Social- ertarian Futurist Society. This space adventure deals with war ists Should Read” in 2001, I started the following list along and appeasement. the same lines, but a different focus. Miéville and I have in common some titles and authors, but our reasons for picking Margaret Atwood—The Handmaid’s Tale (1986) these books probably differ greatly. A dystopian tale of women being oppressed by men, while Some rules guiding me while compiling this list included: being aided by other women. This book is similar to Sinclair 1) no multiple books by the same writer; 2) the winners of the Lewis’s It Can’t Happen Here or Robert Heinlein’s story “If This Prometheus Award do not automatically qualify; and, 3) there Goes On—,” about the rise of a religious-type theocracy in is no limit in terms of publication date. Not all of the listed America. works are true sf. The first qualification was the hardest, and I worked around this by mentioning other notable books in the Alfred Bester—The Stars My Destination (1956) brief notes.
    [Show full text]
  • Read Ebook {PDF EPUB} Soul by Andrei Platonov Andrei Platonov: the Genius Who Supported Communism but Mocked the Soviet System
    Read Ebook {PDF EPUB} Soul by Andrei Platonov Andrei Platonov: The genius who supported communism but mocked the Soviet system. Nobel Prize-winning poet Joseph Brodsky described Platonov as an “outstanding writer of our time”, and one of the major figures of 20th century literature, placing the blue-chip Soviet author alongside Marcel Proust, Franz Kafka, Robert Musil, William Faulkner and Samuel Beckett. But here is the thing, Platonov was someone who supported the Bolshevik Revolution and joined the Communist Party while his multi-layered, richly detailed books showed no mercy, exposing the totalitarian society built around a lie. Platonov’s characters buried themselves in communism but found no relief. Early career. The son of a railway worker was born in the town of Voronezh in 1899. Platonov was originally Andrei Klimentov. He created his pen name in 1920 to pay homage to his father, Platon Klimentov, who had some inventions to his credit. The oldest in a family of eleven children, Andrei took his first job as an errand-boy. He was 13. Around that age, he also began writing poetry. Following in his father’s footsteps, the teen worked as an engineer’s assistant for the South-Eastern railway, a symbol of Soviet industrial might at the time. One of Platonov’s most recurrent images, pointing metaphorically toward the theme of revolution and utopia, became that of the train or locomotive. Andrei Platonov, 1925. Like many other young people of his generation, Platonov welcomed the Revolution of October 1917 with palpable enthusiasm. When the Civil War broke out, he was a locomotive driver assistant on trains delivering ammunition to the Red Army.
    [Show full text]
  • The Novel at Work
    THE NOVEL AT WORK REFLECTIONS ON ART AND POLITICS IN SELECTED COUNTER-TOTALITARIAN NOVELS, 1920-70 Patricia Harris This thesis is submitted for the degree of Doctor of Philosophy at Murdoch University For books are not absolutely dead things, but do contain a potency of life in them to be as active as that soul was whose progeny they are; nay, they do preserve as in a vial the purest efficacy and extraction of that living intellect that bred them … Who kills a man kills a reasonable creature, God’s image; but he who destroys a good book, kills reason itself, kills the image of God, as it were in the eye. (John Milton, Areopagitica, 1644) I declare that this thesis is my own account of my own research. It contains as its main content work that has not previously been submitted for a degree at any university. Patricia Harris Acknowledgements Words fail when you most want them to succeed, and this is no exception. So my following attempts to express my gratitude for the wisdom, support and friendship of those who have assisted me through this thesis remain paltry and inadequate. May I first acknowledge the extraordinary skills and support of my supervisory team. To Professor Helena Grehan, my principal supervisor, thank you many times over for the care and patience with which you have watched over this project; your willingness to read draft after draft of half-finished work; your acute yet sympathetic readings of my arguments; and your willingness to be there in total, when fits of anxiety threatened to throw me off course.
    [Show full text]
  • V. Makarov A. Guseynov A. Grigoryev
    ss3-2012:Ss4-2009.qxd 06.08.2012 21:52 Страница 252 E D I T O R I A L C O U N C I L V. MAKAROV A. GUSEYNOV Chairman Editor-in-Chief Academician of RAS Academician of RAS A. GRIGORYEV Deputy Editor-in-Chief M E M B E R S O F T H E C O U N C I L L. ABALKIN, Academician V. STEPIN, Academician A. DEREVYANKO, Academician V. TISHKOV, Academician T. ZASLAVSKAYA, Academician Zh. TOSHCHENKO, Corr. Mem., RAS V. LEKTORSKY, Academician A. DMITRIYEV, Corr. Mem., RAS A. NEKIPELOV, Academician I. BORISOVA, Executive Secretary G. OSIPOV, Academician Managing Editor: Oleg Levin; Production Manager: Len Hoffman SOCIAL SCIENCES (ISSN 0134-5486) is a quarterly publication of the Russian Academy of Sciences (RAS). The articles selected by the Editorial Council are chosen from books and journals originally prepared in the Russian language by authors from 30 institutes of the Russian Academy of Sciences. Statements of fact and opinion appearing in the journal are made on the responsibility of the authors alone and do not imply the endorsement of the Editorial Council. Reprint permission: Editorial Council. Address: 26, Maronovsky pereulok, Moscow, 119991 GSP-1, Russia. SOCIAL SCIENCES (ISSN 0134-5486) is published quarterly by East View Information Services: 10601 Wayzata Blvd., Minneapolis, MN 55305, USA. Vol. 43, No.3, 2012. Postmaster: Send address changes to East View Information Services: 10601 Wayzata Blvd., Minneapolis, MN 55305, USA. Orders are accepted by East View Information Services. Phone: (952) 252-1201; Toll-free: (800) 477-1005; Fax: (952) 252-1201; E-mail: [email protected] as well as by all major subscription agencies.
    [Show full text]
  • Platonov's Life
    Platonov’s Life Chapter 1 Platonov’s Life 1 For someone justly considered one of the major figures of twentieth- century literature, Platonov left behind a surprisingly meager collec- tion of written or other materials from which his biography can be reconstructed. The paucity of biographical materials in his case is mostly a legacy of the Stalin period of Soviet history in which he lived most of his life, when private documents could be turned into incriminating evidence in the event of a search by the agents of the NKVD (the Stalinist secret police). But even against this background the material is sparse. Platonov kept a series of notebooks in which he wrote down ideas for literary works and technical inventions, and these have been published in recent years; but they reveal almost nothing of his private life and even relatively little about the composition of his literary works. He is not known to have kept a diary, though many of his contemporaries did, sometimes prolifically (see, for example, those collected in Garros, et al., Intimacy and Terror. Soviet Diaries of the 1930s and those discussed in Hellbeck, Revolution on My Mind. Writing a Diary under Stalin). Some letters by and to him have survived and been published, but not very many. Reminiscences by some of his acquaintances have also been published, but few of their authors seems to have known Platonov particularly closely—or, since some of these reminiscences were published in the Soviet era, to have been willing to say much about Platonov’s views. At various times from the 1920s–1940s Platonov filled out questionnaires for one or another journal or literary organization, but the information in them is sometimes contradictory and we lack even a full account of his non-literary employment for various land-reclamation agencies in the 1920s and 1930s.
    [Show full text]
  • Art and Protest in Putin's Russia
    Art and Protest in Putin’s Russia The Pussy Riot protest and the subsequent heavy-handed treatment of the protes- tors grabbed headlines, but this was not an isolated instance of art being noticeably critical of the regime. As this book, based on extensive original research, shows, there has been gradually emerging over recent decades a signifi cant counter- culture in the art world which satirises and ridicules the regime and the values it represents, at the same time putting forward, through art, alternative values. The book traces the development of art and protest in recent decades, discusses how art of this kind engages in political and social protest, and provides many illustrations as examples of art as protest. The book concludes by discussing how important art has been in facilitating new social values and in prompting political protests. Lena Jonson is Senior Research Fellow and Head of the Russia Research Program at the Swedish Institute of International Affairs, Stockholm. Routledge Contemporary Russia and Eastern Europe Series 1 Liberal Nationalism in Central 8 The Development of Capitalism Europe in Russia Stefan Auer Simon Clarke 2 Civil-Military Relations in 9 Russian Television Today Russia and Eastern Europe Primetime drama and comedy David J. Betz David MacFadyen 3 The Extreme Nationalist Threat 10 The Rebuilding of Greater in Russia Russia The growing influence of Putin’s foreign policy towards the Western Rightist ideas CIS countries Thomas Parland Bertil Nygren 4 Economic Development in 11 A Russian Factory Enters
    [Show full text]
  • Lasha Matiashvili in a Rich and Idiosyncratic Literary Tradition of The
    Brolly. Journal of Social Sciences 4 (1) 2021 ANDREY PLATONOV AND THE BIOPOLITICS OF FAILED COMMUNISM Lasha Matiashvili Associate Professor, Free University of Tbilisi, Georgia [email protected] Abstract. In what follows, I will interpret the works of post-revolutionary Russian writer Andrey Platonov through the lenses of critical theory and assume that there is a certain biopolitical element in his literature. Platonov’s fictional characters represent the "creaturely dimension" of "bare life" constructed by the Soviet governmental machine. They experience a shattering sense of longing for lost revolutionary ideals and manifest some kind of existential alert to the upcoming total colonization of private, as well as social life. What do the notions of "bare life" and "creaturely life" mean and how are these concepts interrelated? To what extent one can apply them to interpret the works of Andrey Platonov? "Bare life" is the conceptual construction, meaning an extra-juridical dimension of existence, produced by sovereign decision. It represents the zero degrees of life without a legal and political framework, where excluded subjects are, like other creatures, living in a natural environment under the constant sense of ontological insecurity. Platonov’s literary experiments are not mimetic reflections of reality. Apart from purely existential themes, his texts are imbued with the nihilistic atmosphere of Soviet social and political order and manifest the real and symbolic structure of power. Keywords: power, soviet literature, foundation pit, biopolitics, Platonov I. POOR CREATURES OF THE SOVIET POWER In a rich and idiosyncratic literary tradition of the totalitarian twentieth century, the Soviet government silenced many authors; among them was Andrey Platonov, whose main texts saw the daylight in Russian only during the period of Perestroika.
    [Show full text]
  • The Foundation Pit Itself
    Chapter 5 The Foundation Pit Itself A note on Platonov’s title: because the word “pit” in some English translations of the Bible appears as a synonym for hell or the underworld (see, for example, Psalms 16:10 and 49:9), the English title The Foundation Pit has a more ominous ring to it than does the original Russian, Kotlovan. Because it is part of the vocabularly of building, the word “kotlovan” has a more prospective ring to it. It denotes the pit or hole in which the foundation for a building is to be laid—and certainly motifs of the pit and the grave come into play in Platonov’s tale—but something like “The Building Site” would capture more of its at least provisional air of optimism. THE GENERIC CONTEXT OF PLATONOV’S TALE: THE ‘PRODUCTION NOVEL’ The events Platonov portrays in The Foundation Pit involving the excavation of a foundation pit as part of a plan to construct a “proletarian home” and the formation of a collective farm in the nearby countryside patently mimic the structure and thematic concerns of a type of novel that had become increasingly prominent in Soviet literature over the course of the 1920s: the “production” novel, whose staple theme was industrialization, which it typically represented as efforts of one kind or another to restart a factory idled by the civil war, to increase production dramatically within an existing factory, or heroically to create a vast new factory complex from scratch—all always as part of an effort to meet or 105 Chapter Five still better to exceed the Party’s economic plans (after 1928, the Five-Year Plan).
    [Show full text]
  • Western Canon
    Western Canon “If we read the Western Canon in order to form our social, political, or personal moral values, I firmly believe we will become monsters of selfishness and exploitation. To read in the service of any ideology is not, in my judgment, to read at all. The reception of aesthetic power enables us to learn how to talk to ourselves and how to endure ourselves. The true use of Shakespeare or of Cervantes, of Homer or of Dante, of Chaucer or of Rabelais, is to augment one’s own growing inner self. Reading deeply in the Canon will not make one a better or worse person, a more useful or more harmful citizen. All that the Western Canon can bring one is the proper use of one’s own solitude, that solitude whose final form is one’s confrontation with one’s own mortality.” − The Western Canon: The Books and School of the Ages, Harold Bloom The School of Resentment The late Harold Bloom (1930-2019), Professor of Humanities, Yale University, coined the term "The Schools of Resentment" (TSOR) in the 1970s to describe those who are preoccupied with political social activism and social change at the expense of aesthetic values. According to Bloom TSOR is associated with Marxist critical theory, including African American studies, Marxist literary criticism, New Historicist criticism, feminist criticism, and poststructuralism — specifically as promoted by Jacques Lacan (1901-1981), Jacques Derrida (1930-2004) and Michel Foucault (1926-1984). Bloom contends that TSOR threatens the nature of the canon itself and may lead to its eventual demise.
    [Show full text]