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|a The Oxford handbook of Soviet underground culture
|c edited by Mark Lipovetsky, Maria Engström, Tomáš Glanc, Ilja Kukuj, and Klavdia Smola
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|a Soviet underground culture
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|a New York, NY
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|c [2024]
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|c © 2024
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|a The Oxford Handbook of Soviet Underground Culture is the first comprehensive English-language volume covering a history of Soviet artistic and literary underground. In forty-four chapters, an international group of leading scholars introduce readers to a web of subcultures within the underground, highlight the culture achievements of the Soviet underground from the 1930s through the 1980s, emphasize the multimediality of this cultural phenomenon, and situate the study of underground literary texts and artworks into their broader theoretical, ideological, and political contexts.
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|a Cover -- The Oxford Handbook of Soviet Underground Culture -- Copyright -- Contents -- Acknowledgments -- About the Volume Editors -- Contributors -- Introduction -- 1. Theoretical Problems of Soviet Underground Culture -- PART I: PRECURSORS -- 2. Тhe Birth of Soviet Underground Culture in the 1930s -- 3. OBERIU and the Conversations of the Lipavsky Circle -- 4. Mikhail Kuzmin and the Underground -- 5. The Soviet Literary Underground during World War II -- 6. Between Modernism and the Underground During the Thaw: A Look at "Transitional Poets" -- Part II: Institutions -- 7. Major Events, State Interference, and Resilience: Practices in the Late Soviet Underground -- 8. Infrastructures of Soviet Underground Culture -- 9. The Voices of Samizdat and Magnitizdat -- 10. Tamizdat as a Literary Practice and Political Institution: Late Soviet Underground Abroad -- 11. "In-Betweeners": Navigating Between Official and Nonofficial Cultures -- 12. "Grey Zones" Between Official and Unofficial Cultures: Institutional Diversity, Klub-81, and (Many) Others -- Part III: Mapping -- 13. The Ukrainian Underground: Aesthetics, Resistance, and Performance -- 14. Nearly Underground in the Near-Abroad: Outliers in Soviet Baltic Culture -- 15. Belarusian Underground Culture -- 16. The Fergana School of Poetry: In Search of a Postcolonial Subject -- 17. Unofficial Art Outside Moscow and Leningrad -- 18. West-and East-European Sources and Contexts for the Late-Soviet Underground -- 19. Jewish Underground Culture in the Soviet Union -- 20. Queer Culture(s) -- 21. Dissident Feminism and Its Place in Soviet Women's History -- PART IV: FORMS AND MEDIA -- 22. Performative Practices and Life-Creation -- 23. "Here, Performance Art Is Performance Art": The "Appearance" of Performance Art in Soviet Subculture -- 24. Soviet Rock Carnival: Times and Traditions.
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|a "Since the 1960s, the Western public has read and discussed politically charged samizdat literature from the Soviet Union, exemplified by Boris Pasternak's Doctor Zhivago and Alexander Solzhenitsyn's Gulag Archipelago, as well as by Abram Tertz's and Nikolai Arzhak's (a.k.a. Andrei Sinyavsky's and Yulii Daniel's) grotesques. The 1966 publication of Mikhail Bulgakov's novel The Master and Margarita, which had been sitting in a desk drawer for more than a quarter century, revealed the presence of a cultural underground in the depths of the Stalinist 1930s. In 1974, after the scandalous "Bulldozer exhibition," when bulldozers were sent to crush paintings displayed at an uncensored open-air exhibition before the cameras of Western journalists, the world learned about another kind of underground-the very form of which was nonconformist, even if the content could be politically neutral"--
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