Suchergebnisse

The paper considers the representation of Turkmen music culture in
the Soviet almanac "Ayding-Gyunler" (1934) and aims to recognize the patterns of
including vernacular culture into the Soviet literary field. The analysis of the texts'
content and the archival sources, including unpublished ones, sheds a light on the
processes of incorporation of the so-called "national" culture into the Soviet context,
such as declared decolonization and an attempt to "understand the new Turkmenistan". The analysis is put into historical and cultural perspective of recognizing the
typical Turkmen traits of the music culture in the texts of the almanac. Th e archival
sources include unpublished notes on the Turkmen folklore, which is considered as
one of the sources of the writers' work. Th e texts of the almanac represent the view
of the Europeans –members of the writers' brigade who provided materials for the
almanac. The poem by Turkmen author Durdy Klych is strongly connected with
vernacular culture, but being put into the context of the almanac, it gains a new use
for the aims of the Soviet literature. The view of the Turkmen culture in the almanac
remains oriental, which dissonates with the proclaimed "deexotization" of the Soviet policy. However, further investigation into the next almanac "Turkmenistan"
should be made. It is probable that the integration continued and the view of the
writers changed according to the contemporary Soviet policy.

The article deals with the editorial work of the Soviet literary journal "LOKAF" (the future "Zmania") considering foreign writers in the early 1930s in the context of military propaganda in literature. Translations published in "LOKAF" and the commentaries on them are considered as a factor of Soviet defense literature (as the members of Literary Assotiation of Red Army and Navy called it) canon formation. Among other foreign writers Erich Maria Remarque and Charles Harrison were out in the specific light. Their works (particularly "Der Weg zurück" and "Generals Die in Bed") were given special attention. The writers were accused of so-called "remarquism", and this concept expanded beyond the borders of foreign literature. The necessity of editorial notes was motivated by the viewpoint that Soviet defense authors had to learn from negative examples and take them into account. Remarque systematically received harsh criticism. He was accused of misunderstanding "imperialistic war", "pacifism" and "bourgeoise humanism". The situation of Harrison was more complicated. He was considered as an author who gradually evolves towards "proletarian artist". The concepts of "pacifism", "humanism", "remarquism" and others formed specific rhetorical patterns and had to show the Soviet defense authors landmarks to go by. These definitions moved beyond literature itself and were at fact a part of the whole ideological background in the military propaganda of the 1930s. DOI:10.31168/2305-6754.2021.10.1.15 ; Статья посвящена работе редакции советского журнала «ЛОКАФ» (будущее «Знамя») с произведениями иностранных писателей в начале 1930-х гг. в контексте военной пропаганды в литературе. Опубликованные переводы и комментарии к ним рассматриваются как фактор формирования канона советской оборонной литературы. Из числа прочих иностранных писателей выделялись Э. М. Ремарк и Ч. Гаррисон, чьи тексты выходили с краткими редакционными предисловиями. В центре внимания редакции оказались романы «Der Weg zurück» и «Generals Die in Bed». Авторов обвиняли в так называемом «ремаркизме». Эта дефиниция затем вышла далеко за пределы критики иностранной литературы. Необходимость предисловий была мотивирована тем, что советский автор должен был обучаться на отрицательных примерах, создавая собственные произведения с оглядкой на них. Творчество Ремарка систематически оценивалось негативно, непонимание истоков «империалистической войны», «пацифизм» и «буржуазный гуманизм» ставились в вину автору. Ситуация с Гаррисоном была несколько сложнее, в его лице нужно было продемонстрировать советскому автору писателя, который постепенно эволюционирует к «пролетарскому художнику». Такие оценочные понятия, как «пацифизм», «гуманизм», «ремаркизм» и прочие представляли собой характерные риторические приемы, призванные наметить для советского писателя необходимые ориентиры. При этом сами понятия выходили за пределы литературно-критического поля и представляли собой, по существу, часть общего идеологического фона в военной пропаганде 1930-х гг. DOI:10.31168/2305-6754.2021.10.1.15