{"id":103,"date":"2017-04-27T23:44:24","date_gmt":"2017-04-28T03:44:24","guid":{"rendered":"http:\/\/warfrenzy.princeton.edu\/?p=103"},"modified":"2017-04-27T23:44:24","modified_gmt":"2017-04-28T03:44:24","slug":"princeton-conjunction-2014","status":"publish","type":"post","link":"https:\/\/warfrenzy.princeton.edu\/?p=103","title":{"rendered":"Princeton Conjunction \u2013 2014"},"content":{"rendered":"

\"PC2014_Sotsromantizm_reduced<\/em><\/a>Princeton Institute for International and Regional Studies
\n<\/a>Program in Russian, East European, and Eurasian Studies<\/a><\/p>\n

ROMANTIC SUBVERSIONS OF SOVIET <\/b>ENLIGHTENMENT:
\n<\/b>Questioning Socialism\u2019s Reason<\/em><\/a><\/p>\n

One year after Nikita Khrushchev\u2019s famous \u201csecret speech,\u201d Voprosy Literatury (Literary Issues<\/i>), a new Soviet journal dedicated entirely to topics in literary theory, history, and criticism, published an essay that initiated a long-term intellectual discussion. In her article, Anna Elistratova, an expert on the English romantic novel, directly challenged the aesthetic doctrine of the post-Stalin period by asking, \u201cWhen it comes to the artistic perception of the world, can we really say that realism is historically the only effective method we should rely on?\u201d Was it not time to admit, the essay continued, that the legacy of romanticism, with its humanistic dreams and rebellious outbursts, could still offer an important source of inspiration for progressive socialist art?<\/a><\/p>\n

This initial challenge to the hegemony of realist art was followed by a series of heated debates in 1963-1968 and 1971-1973. Drawing on European and Russian aesthetic traditions, participants of the debates highlighted such characteristics of romanticism as its propensity \u201cto stare at the darkness in order to discern new directions\u201d and its emphasis on the \u201cabsolute autonomy and uniqueness of the individual.\u201d Within a few decades, the status of romanticism had radically changed. From \u201cliterature\u2019s ballast,\u201d romanticism\u00a0evolved into a symptom of \u201csocial emancipation.\u201d By the 1980s, dismissive descriptions of romanticism as \u201cpassive, conservative, and reactionary\u201d had ceded to a vision of it as a \u201crevolution in arts\u201d that privileges dynamism, becoming, and spontaneity.<\/a><\/p>\n

Today it is hard not to read these literary debates as an attempt to reframe the role of the humanities in the USSR in the wake of the Terror, World War II, and Stalinism. Ostensibly an esoteric philological enterprise, these late-Soviet discussions used romanticism as a historically available framework that could generate alternative versions of identity, spiritual values, social communities, and relations to the past.<\/a><\/p>\n

Philological explorations of romantic tropes, of course, were only one expression of a broader interest in reclaiming romanticism. In the 1960s, newly publicized texts by Isaak Babel, Andrei Platonov, and Boris Pil\u2019niak helped to reframe the Bolshevik Revolution, giving Communist Utopia one more chance.\u00a0 The reappearance of revolutionary romanticism was paralleled by a host of other trends. Late Soviet cinematic adaptations of Shakespeare and the theatrical productions of Alexander Vampilov and Viktor Rozov highlighted the figure of the \u201cproblematic hero,\u201d deeply attuned to psychological nuance and the complications of being in the world.\u00a0 Interest in the occult and the mystical (facilitated by the publication of Mikhail Bulgakov\u2019s Master and Margarita<\/i> in 1966) provided yet another ground for destabilizing normative socialist-realist canons. A structurally similar escape from the rationality of Stalinist neoclassicism was manifest in various attempts to articulate a feeling of kinship with the natural world: from the vagabond aesthetics of \u2018tourism in the wilds\u2019 and the bardovskii<\/i> chanson to the village prose movement, with its insistence on cultural rootedness and national belonging.<\/a><\/p>\n

Throughout the Soviet Union, romantic nationalists offered alternatives to the unifying and universalizing notion of the \u201cSoviet people\u201d via reinterpretations of folkloric motifs (in Sergei Paradzhanov\u2019s films), revitalization of the historical novel (through the novels of Vladimir Korotkevich), revisions of ancient history (in Lev Gumilev\u2019s exploration of ethnogenesis), or reconceptualization of Marxism (in Yulian Bromley\u2019s theory of ethnos).\u00a0 The rhetorical force of romanticism had a profound impact on such key late-Soviet phenomena as the communard movement in education, major construction projects in Siberia (e.g. in Bratsk), or Soviet fascination with taming the atom and conquering the cosmos.<\/a><\/p>\n

Instead of reducing these romantic interventions to the status of non-conformist versions of dominant Soviet aesthetics, our conference proposes to view sotsromantizm<\/i> as an autonomous (and relatively coherent) form of historical imagination. <\/em>This<\/em> politico-poetical<\/em> configuration brought together dispersive impulses, anarchic inclinations, psychological introspection, and metaphorical structuring in order to repudiate the basic Soviet conventions of normative rationality and mimetic sotsrealism.\u00a0 In short, this conference will approach the romantic imagination in the late Soviet period as a form of critical engagement with \u201cactually existing\u201d socialism.<\/a><\/p>\n

While many\u00a0 recent studies of late socialism are structured around metaphors of absence and detachment, we want to shift attention to concepts, institutions, spaces, objects, and identities that enabled (rather than prevented) individual and collective involvement with socialism. Sotsromantizm<\/i> offers a ground from which to challenge the emerging dogma that depicts late Soviet society as a space where pragmatic cynics coexisted with useful idiots of the regime. The romantic sensibility sought to discover new spaces for alternative forms of affective attachment and social experience; it also helped to curtail the self-defeating practices of disengagement and indifference.<\/a><\/p>\n

The conference aims at analyzing the double nature ofsotsromantizm<\/i>, understood both as a critique of the Soviet Enlightenment and as an alternative form of Soviet socialism.<\/a><\/p>\n

Program committee<\/b>:<\/a><\/p>\n

Serguei Oushakine<\/b>, Chair (Princeton University)<\/a>
\nMarijeta Bozovic<\/b> (Yale University)<\/a>
\nHelena Goscilo<\/b> (The Ohio State University)<\/a>
\nMark Lipovetsky<\/b> (The University of Colorado at Boulder)<\/a>
\nVera Tolz-Zilitinkevic <\/b>( The University of Manchester)<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Princeton Institute for International and Regional Studies Program in Russian, East European, and Eurasian Studies ROMANTIC SUBVERSIONS OF SOVIET ENLIGHTENMENT: Questioning Socialism\u2019s Reason One year after Nikita Khrushchev\u2019s famous \u201csecret speech,\u201d Voprosy Literatury (Literary Issues), a new Soviet journal dedicated entirely to topics in literary theory, history, and criticism, published an essay that initiated a … Continue reading “Princeton Conjunction \u2013 2014”<\/span><\/a><\/p>\n","protected":false},"author":1801,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[],"tags":[],"class_list":["post-103","post","type-post","status-publish","format-standard","hentry"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p85oAQ-1F","_links":{"self":[{"href":"https:\/\/warfrenzy.princeton.edu\/index.php?rest_route=\/wp\/v2\/posts\/103","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/warfrenzy.princeton.edu\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/warfrenzy.princeton.edu\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/warfrenzy.princeton.edu\/index.php?rest_route=\/wp\/v2\/users\/1801"}],"replies":[{"embeddable":true,"href":"https:\/\/warfrenzy.princeton.edu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=103"}],"version-history":[{"count":1,"href":"https:\/\/warfrenzy.princeton.edu\/index.php?rest_route=\/wp\/v2\/posts\/103\/revisions"}],"predecessor-version":[{"id":104,"href":"https:\/\/warfrenzy.princeton.edu\/index.php?rest_route=\/wp\/v2\/posts\/103\/revisions\/104"}],"wp:attachment":[{"href":"https:\/\/warfrenzy.princeton.edu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=103"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/warfrenzy.princeton.edu\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=103"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/warfrenzy.princeton.edu\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=103"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}