"Socialist Realism without Shores" offers an international
perspective on the aesthetics of socialist realism--an aesthetic
that, contrary to expectations, survived the death of its
originators and the demise of its original domain. This expanded
edition of a special issue of the "South Atlantic Quarterly" brings
together scholars from various parts of the globe to discuss
socialist realism as it appears across genres in art, architecture,
film, and literature and across geographic divides--from the
"center," Russia, to various points at the "periphery"--China,
Germany, France, Poland, remote republics of the former USSR, and
the United States.
The contributors here argue that socialist realism has never been a
monolithic art form. Essays demonstrate, among other things, that
its literature could accommodate psychoanalytic criticism; that its
art and architecture could affect the aesthetic dictates of Moscow
that made "Soviet" art paradoxically heterogeneous; and that its
aesthetics could accommodate both high art and crafted kitsch.
"Socialist Realism without Shores" also addresses the critical
discourse provoked by socialist realism--Stalinist aesthetics,
"anthropological" readings; ideology critique and censorship; and
the sublimely ironic approaches adapted from "sots art," the Soviet
version of postmodernism.
"Contributors," Antoine Baudin, Svetlana Boym, Greg Castillo,
Katerina Clark, Evgeny Dobrenko, Boris Groys, Hans Gunther, Julia
Hell, Leonid Heller, Mikhail Iampolski, Thomas Lahusen, Regine
Robin, Yuri Slezkine, Lily Wiatrowski Phillips, Xudong Zhang,
Sergei Zimovets
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