The Cambridge Introduction to Russian Literature

Keith A. Livers, “Conquering the Underworld: The Spectacle of the Stalinist Metro,” ch. 4, Constructing the Stalinist Body: Fictional Representations of Corporeality in the Stalinist 1930s (New York: Lexington Books, 2004), pp. 189–236.

Svetlana Boym, “Moscow, the Russian Rome,” ch. 8, The Future of Nostalgia (New York: Basic Books, 2001), pp. 83–119.

Both stories are availableinEnglishinMikhail Bulgakov,Diaboliad and Other Stories, trans. Carl R. Proffer (Bloomington: Indiana University Press, 1972): pp. 3–47 and 159–74.

See Sabine I. Go¨lz, “Moscow for Flaneurs: Pedestrian Bridges, Europe Square, and Moskva-City,” Popular Culture 18.3 (2006): 573–605.

Nicolai Ouroussoff, “The Malling of Moscow: Imperial in Size and a View of the Kremlin,” New York Times (March 15, 2007). The architect-urban designer is British Modernist Norman Foster.

See Irina Gutman, “The Legacy of the Symbolist Aesthetic Utopia: From Futurism to Socialist Realism,” in Creating Life: The Aesthetic Utopia of Russian Modernism, ed. Irina Paperno and Joan Delaney Grossman (Palo Alto: Stanford University Press, 1994), pp. 167–96.

For debate over “Taylorism” and industrial futures, see Patricia Carden, “Utopia and Anti-Utopia: Aleksei Gastev and Evgeny Zamyatin,” Russian Review 46.1 (January 1987): 1–18.

Leon Trotsky, Literature and Revolution, trans. Rose Strunsky (Ann Arbor: University of Michigan Press, 1971), p. 132.

264 Notes to pages 193–205

8 The Stalin years

Jochen Hellbeck, Revolution on My Mind: Writing a Diary under Stalin (Cambridge, MA: Harvard University Press, 2006), pp. 282-83.

See Eric Naiman, Sex in Public: The Incarnation of Early Soviet Ideology (Princeton: Princeton University Press, 1997), pp. 135-36. For the debates over Meyerhold’s production of Tretyakov’s I Want a Child, see pp. 109-14.

See David L. Hoffmann, Stalinist Values: The Cultural Norms of Soviet Modernity [1917-1941] (Ithaca: Cornell University Press, 2003), p. 31.

Rufus W. Mathewson, Jr. was the pioneering Western scholar to take these doctrines and their effect on literature seriously; see his The Positive Hero in Russian Literature [1958], 2nd edn. (Palo Alto: Stanford University Press, 1975), especially ch. 8, “Marxism, Realism, and the Hero.”

Abram Tertz [Andrei Sinyavsky], “On Socialist Realism,” trans. George Dennis [1960], in Abram Tertz, The Trial Begins and On Socialist Realism (Berkeley: University of California Press, 1982), pp. 147-93, esp. 150. Further quoted phrases on pp. 181 and 182. The Russian word translated as Purpose, tsel', also means aim or goal, and resonates with words for wholeness and integrity [tsel'nost1].

“Soviet Literature. Address Delivered to the First All-Union Congress of Soviet Writers, August 17, 1934,” in Maxim Gorky, On Literature (Seattle: University of Washington Press, 1973), pp. 228-68.

Mathewson, The Positive Hero in Russian Literature, p. 122.

Petre Petrov, entry on “Socialist realism,” in Encyclopedia of Contemporary Russian Culture,

ed. Tatiana Smorodinskaya, Karen Evans-Romaine and Helena Goscilo (London: Routledge, 2006), pp. 575-77.

See the comprehensive discussion in Keith Livers, “Mikhail Zoshchenko: Engineering the Stalinist Body and Soul,” ch. 2, Constructing the Stalinist Body (Lanham, MD: Lexington Books, 2004), pp. 91-152.

For an excellent overview of the functions filled by this hero, see Sheila Fitzpatrick, “The World of Ostap Bender,” ch. 13, Tear off the Masks! Identity and Imposture in Twentieth-Century Russia (Princeton: Princeton University Press, 2005), pp. 575-77.

Fyodor Vasilievich Gladkov, Cement, trans. A. S. Arthur and C. Ashleigh (Evanston, IL: Northwestern University Press, 1994), “Autobiographical Note” [undated]. All references are to this edition.

Katerina Clark analyzes Gleb Chumalov as a mythical bogatyr (although not as a pravednik) in The Soviet Novel: History as Ritual (Bloomington: Indiana University Press, [1981] 2000), pp. 69-82.