Chapter Five Art Workers and the Hidden Class Conflict of Late Socialism

Art Work ◽  
2021 ◽  
pp. 101-116
Author(s):  
Polly Jones

A major late Soviet initiative, the ‘Fiery Revolutionaries’ (Plamennye revoliutsionery) series, was launched to rekindle popular enthusiasm for the revolution, eventually giving rise to over 150 biographies and historical novels authored by many key post-Stalinist writers. What new meanings did revolution take on as it was reimagined by writers including dissidents, leading historians, and popular historical novelists? How did their millions of readers engage with these highly varied texts? To what extent does this Brezhnev-era publishing phenomenon challenge the notion of late socialism as a time of ‘stagnation’, and how does it confirm it? Through exploring the complex processes of writing, editing, censorship, and reading of late Soviet literature, Revolution Rekindled highlights the dynamic negotiations that continued within Soviet culture well past the apparent turning point of 1968 through to the late Gorbachev era. It also complicates the opposition between ‘official’ and underground post-Stalinist culture by showing how Soviet writers and readers engaged with both, as they sought answers to key questions of revolutionary history, ethics, and ideology: it thus reveals the enormous breadth and vitality of the ‘historical turn’ amongst the late Soviet population. Revolution Rekindled is the first archival, oral history, and literary study of this unique late socialist publishing experiment, from its beginnings in the early 1960s to its collapse in the early 1990s. It draws on a wide range of previously untapped archives, uses in-depth interviews with Brezhnev-era writers, editors, and publishers, and assesses the generic and stylistic innovations within the series’ biographies and novels.


Author(s):  
Elizabeth Gaskell

‘It's the masters as has wrought this woe; it's the masters as should pay for it.’ Set in Manchester in the 1840s - a period of industrial unrest and extreme deprivation - Mary Barton depicts the effects of economic and physical hardship upon the city's working-class community. Paralleling the novel's treatment of the relationship between masters and men, the suffering of the poor, and the workmen's angry response, is the story of Mary herself: a factory-worker's daughter who attracts the attentions of the mill-owner's son, she becomes caught up in the violence of class conflict when a brutal murder forces her to confront her true feelings and allegiances. Mary Barton was praised by contemporary critics for its vivid realism, its convincing characters and its deep sympathy with the poor, and it still has the power to engage and move readers today. This edition reproduces the last edition of the novel supervised by Elizabeth Gaskell and includes her husband's two lectures on the Lancashire dialect.


1960 ◽  
Vol 65 (5) ◽  
pp. 520-521
Author(s):  
Lewis A. Coser
Keyword(s):  

Author(s):  
Margaret Deli

Abstract This article reveals Henry James’s commitment to professional connoisseurship as a means of asserting control over a mass reading public. Focusing on The Outcry (1911), James’s last published novel, it demonstrates the author’s deployment of connoisseurial strategies to produce a text that, perhaps surprisingly, turns away from the performance of authorial nuance. A related strand of analysis situates The Outcry within the cultural and social context of the Edwardian art drain, the period of time when a significant number of British-owned art objects were sold to museums and private collectors, most often in the United States. I argue that in this text, James seizes upon the figure of the professional connoisseur as a cultural hero and proxy for the novelist author. At the same time, he makes a point of celebrating and promoting the autocratic power exercised by this figure. Although The Outcry is often disregarded as a simple, even superficial work, these moves articulate a complex manifestation of class conflict, aesthetic training, and cultural power. They simultaneously reflect James’s late-in-life conviction that connoisseurship might itself serve as a literary strategy for seeing and shaping meaning.


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