By Craig Brandist
This publication 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 indicates that whereas Bakhtin's account of carnival tradition sheds massive gentle at the paintings of those writers, they should be thought of on the subject of either the concrete different types of Russian and Soviet pop culture and the altering institutional framework of Soviet society within the Twenties and 1930s.
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Additional info for Carnival Culture and the Soviet Modernist Novel
Plato's attitude is that of the intransigent reformer aiming to 'cut and reshape the living texture of reality - by force, from outside - according to some rigid and rigorous pattern'. The other hegemonic principle is like the antithetical 'Aristoteliap attitude' in which 'value is felt as inherent in reality, as the "indwelling" design which life strives to fulfil. 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 ...
The dramatic plot was to become the pretext for theatrical moments, each having an ironic relationship to, or even a deforming effect on, the plot. As with the com media, the play moved from mystery to farce and back again, fracturing the 'predetermined, closed-off and finalized'21 nature of the mystery playas much as that of the 'realistic' theatre. Breaking into the time of the everyday world from within the theatrical space, which the commedia had effected by improvisation and repartee with the audience, was to become a key element in the avantgarde attempt to intervene in the formation of everyday consciousness.
The important feature, in terms of our main concerns here, is the fact that Blok takes up the forms of the commedia dell'arte and, integrating them into the generic forms of 'high culture', charges them with a critical and analytical significance, which in their 'raw' form is absent. While the commedia had had a long history of moving between 'high' and 'low' cultures, it was now drawn anew into 'high' culture with consciously radical aims. tuK Blok brings three theatrical codes into contact which display a complete incomprehension of each other.
Carnival Culture and the Soviet Modernist Novel by Craig Brandist