This wide-ranging cultural history explores the expression of
Bolshevik Party ideology through the lens of landscape, or, more
broadly, space. Portrayed in visual images and words, the landscape
played a vital role in expressing and promoting ideology in the
former Soviet Union during the Stalin years, especially in the
1930s. At the time, the iconoclasm of the immediate
postrevolutionary years had given way to nation building and a
conscious attempt to create a new Soviet culture. In painting,
architecture, literature, cinema, and song, images of landscape
were enlisted to help mold the masses into joyful, hardworking
citizens of a state with a radiant, utopian future - all under the
fatherly guidance of Joseph Stalin. the contributors show how
Soviet space was sanctified, coded, and sold as an ideological
product. They explore the ways in which producers of various art
forms used space to express what Katerina Clark calls a cartography
of power - an organization of the entire country into a hierarchy
of spheres of relative sacredness, with Moscow at the center. The
theme of center versus periphery figures prominently in many of the
essays, and the periphery is shown often to be paradoxically
central. hikers' magazine, advertisements, and the Soviet musical,
the authors show how cultural producers attempted to naturalize
ideological space, to make it an unquestioned part of the
worldview. Whether focusing on the new or the centuries-old,
whether exploring a built cityscape, a film documentary, or the
painting Stalin and Voroshilov in the Kremlin, the authors offer a
consistently fascinating journey through the landscape of the
Soviet ideological imagination. essayists assert continuities with
the prerevolutionary past. One example is the importance of the
mother image in mass songs of the Stalin period; another is the
boundless longing inspired in the Russian character by the burden
of living amid vast empty spaces. But whether focusing on the new
or the centuries-old, whether exploring a built cityscape, a film
documentary, or the painting Stalin and Voroshilov in the Kremlin,
the authors offer a consistently fascinating journey through the
landscape of the Soviet ideological imagination.
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