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Charms of the Cynical Reason : Tricksters in Soviet and Post-Soviet Culture / Mark Lipovetsky.

By: Material type: TextTextLanguage: English Series: Cultural Revolutions: Russia in the Twentieth CenturyPublisher: Boston, MA : Academic Studies Press, [2016]Copyright date: ©2010Description: 1 online resource (296 p.)Content type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 9781618118509
Subject(s): DDC classification:
  • 891.73409352 22
LOC classification:
  • PG3096.T75 L56 2011
Online resources:
Contents:
Frontmatter -- TABLE OF CONTENTS -- Acknowledgements -- INTRODUCTION -- 1. AT THE HEART OF SOVIET CIVILIZATION -- 2. KHULIO KHURENITO : THE TRICKSTER'S REVOLUTION -- 3. OSTAP BENDER: THE KING IS BORN -- 4. BURATINO : THE UTOPIA OF A FREE MARIONETTE -- 5. VENICHKA: A TRAGIC TRICKSTER -- 6. TRICKSTERS IN DISGUISE: THE TRICKSTER'S TRANSFORMATION S IN THE SOVIET FILM OF THE 1960s-70s -- 7. SPLITTING THE TRICKSTER: PELEVIN'S SHAPE-SHIFTERS -- CONCLUSION -- WORKS CITED -- INDEX
Summary: The impetus for Charms of the Cynical Reason is the phenomenal and little-explored popularity of various tricksters flourishing in official and unofficial Soviet culture, as well as in the post-soviet era. Mark Lipovetsky interprets this puzzling phenomenon through analysis of the most remarkable and fascinating literary and cinematic images of soviet and post-soviet tricksters, including such "cultural idioms" as Ostap Bender, Buratino, Vasilii Tyorkin, Shtirlitz, and others. The steadily increasing charisma of Soviet tricksters from the 1920s to the 2000s is indicative of at least two fundamental features of both the soviet and post-soviet societies. First, tricksters reflect the constant presence of irresolvable contradictions and yawning gaps within the soviet (as well as post-soviet) social universe. Secondly, these characters epitomize the realm of cynical culture thus far unrecognized in Russian studies. Soviet tricksters present survival in a cynical, contradictory and inadequate world, not as a necessity, but as a field for creativity, play, and freedom. Through an analysis of the representation of tricksters in soviet and post-soviet culture, Lipovetsky attempts to draw a virtual map of the soviet and post-soviet cynical reason: to identify its symbols, discourses, contradictions, and by these means its historical development from the 1920s to the 2000s.
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Frontmatter -- TABLE OF CONTENTS -- Acknowledgements -- INTRODUCTION -- 1. AT THE HEART OF SOVIET CIVILIZATION -- 2. KHULIO KHURENITO : THE TRICKSTER'S REVOLUTION -- 3. OSTAP BENDER: THE KING IS BORN -- 4. BURATINO : THE UTOPIA OF A FREE MARIONETTE -- 5. VENICHKA: A TRAGIC TRICKSTER -- 6. TRICKSTERS IN DISGUISE: THE TRICKSTER'S TRANSFORMATION S IN THE SOVIET FILM OF THE 1960s-70s -- 7. SPLITTING THE TRICKSTER: PELEVIN'S SHAPE-SHIFTERS -- CONCLUSION -- WORKS CITED -- INDEX

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https://purl.org/coar/access_right/c_abf2

The impetus for Charms of the Cynical Reason is the phenomenal and little-explored popularity of various tricksters flourishing in official and unofficial Soviet culture, as well as in the post-soviet era. Mark Lipovetsky interprets this puzzling phenomenon through analysis of the most remarkable and fascinating literary and cinematic images of soviet and post-soviet tricksters, including such "cultural idioms" as Ostap Bender, Buratino, Vasilii Tyorkin, Shtirlitz, and others. The steadily increasing charisma of Soviet tricksters from the 1920s to the 2000s is indicative of at least two fundamental features of both the soviet and post-soviet societies. First, tricksters reflect the constant presence of irresolvable contradictions and yawning gaps within the soviet (as well as post-soviet) social universe. Secondly, these characters epitomize the realm of cynical culture thus far unrecognized in Russian studies. Soviet tricksters present survival in a cynical, contradictory and inadequate world, not as a necessity, but as a field for creativity, play, and freedom. Through an analysis of the representation of tricksters in soviet and post-soviet culture, Lipovetsky attempts to draw a virtual map of the soviet and post-soviet cynical reason: to identify its symbols, discourses, contradictions, and by these means its historical development from the 1920s to the 2000s.

Mode of access: Internet via World Wide Web.

This eBook is made available Open Access under a CC BY-NC 4.0 license:

https://creativecommons.org/licenses/by-nc/4.0

https://www.degruyter.com/dg/page/open-access-policy

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 01. Dez 2022)

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