Singing the Self: Guitar Poetry, Community, and Identity in the Post-Stalin Period PDF
Preview Singing the Self: Guitar Poetry, Community, and Identity in the Post-Stalin Period
P l a t o Studies in Russian Literature and Theory n o v Singing the Self S i n g i n g Guitar Poetry, t h e Community, and Identity S e in the Post-Stalin Period l f Rachel S. Platonov N o PressUniversityrthwestern Singing the Self Northwestern University Press Studies in Russian Literature and Theory Series Editors Robert Belknap Caryl Emerson Gary Saul Morson William Mills Todd III Andrew Wachtel Singing the Self GUITAR POETRY, COMMUNITY, AND IDENTITY IN THE POST-STALIN PERIOD Rachel S. Platonov NORTHWESTERN UNIVERSITY PRESS / EVANSTON, ILLINOIS Northwestern University Press www.nupress.northwestern.edu This book has been published with the support of the Andrew W. Mellon Foundation. Copyright © 2012 by Northwestern University Press. Published 2012. All rights reserved. Arts & Humanities Research Council Each year the AHRC provides funding from the UK government to support research and postgraduate study in the arts and humanities. Only applications of the highest quality are funded and the range of research supported by this investment of public funds not only provides social and cultural benefits but also contributes to the economic success of the UK. For further information on the AHRC, please go to: www.ahrc.ac.uk Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Platonov, Rachel S. Singing the self: guitar poetry, community, and identity in the post-Stalin period / Rachel S. Platonov. p. cm. - (Studies in Russian literature and theory) Includes bibliographical references and index. ISBN 978-0-8101-2833-0 (cloth: alk. paper) 1. Popular music-Social aspects-Soviet Union. 2. Marginality, Social Soviet Union. 3. Songs, Russian-20th century-History and criticism. I. Title. II. Series: Studies in Russian literature and theory. ML3497.P53 2012 782.421640947- dc23 2011050539 @ The paper used in this publication meets the minimum requirements of the Amer ican National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992. For M.S., who helped inspire me to start this project, and N. S., who helped inspire me to finish it. Contents Acknowledgments ix Author's Note xi Introduction 3 Part I. Contexts Chapter One Beyond the Soviet Sixties: The Origins and Contexts of Guitar Poetry 15 Chapter Two Gray Zones: Theories of Marginality in a Russian-Soviet Contest 38 Part II. Guitar Poetry's Selves and Communities Chapter Three Guitar Poetry and the Creation of Lichnost' 57 Chapter Four The "KSP State": Audience Reception, Self-Fashioning, and "Conversations Between Friends" 77 Part III. Lyrical Marginalities and Beyond Chapter Five Overt Marginality: Annsovetchina 101 Chapter Six Covert Marginality: The Significance of Insignificance 128 Chapter Seven Genre-Bendiog and "Hypergenericity" 154 Conclusion 181 Notes 187 Bibliography 237 Indes 261
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