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Relevant bibliographies by topics / Soviet laughter-culture

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Academic literature on the topic 'Soviet laughter-culture'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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Journal articles on the topic "Soviet laughter-culture"

1

М., Б. Столяр. "К ВОПРОСУ О СПЕЦИФИКЕ СОВЕТСКОЙ СМЕХОВОЙ КУЛЬТУРЫ". Вісник Харківського національного педагогічного університету імені Г.С. Сковороди "Філософія" 2, № 45 (2015): 13–24. https://doi.org/10.5281/zenodo.32442.

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The author defines the specifics of the Soviet laughter-culture from the crypto-religious methodological position. It is this paradigm that enables us to understand the Soviet laughter-culture as an assemblage of various forms of desacralization of the pseudo-sacred ideology. As the Soviet ideology acquired its sacred status by means of profaning the numinous senses borrowed from different religious traditions, the laughter-culture became a profanation of the already made profanations. The result was a return to the primal numinous senses. The formula of “profanation of profanation&rdquo

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Zou, Yejun. "State Laughter. Stalinism, Populism, and Origins of Soviet Culture." Europe-Asia Studies 75, no. 5 (2023): 890–92. http://dx.doi.org/10.1080/09668136.2023.2205326.

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Lipovetsky, Mark. "Inverted Binoculars." Ab Imperio 2023, no. 4 (2023): 57–64. http://dx.doi.org/10.1353/imp.2023.a922250.

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SUMMARY: This essay is a contribution to the discussion forum "Mainstream Narratives of Soviet History and the Laughter of Surprise," framed as responses by literary scholars, historians, and political scientists to Sheila Fitzpatrick's essay "Soviet History as Black Comedy." Mark Lipovetsky discusses the function of distancing through irony in the narratives and discourses of Soviet culture, including socialist realism. Резюме: Это эссе является частью форума "Мейнстримные нарративы советской истории и смех от удивления," в котором литературоведы, историки и политологи реагируют на эссе Шейлы

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Slezkine, Yuri. "Laughter in the Dark." Ab Imperio 2023, no. 4 (2023): 95–100. http://dx.doi.org/10.1353/imp.2023.a922255.

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SUMMARY: This essay is a contribution to the discussion forum "Mainstream Narratives of Soviet History and the Laughter of Surprise," framed as responses by literary scholars, historians, and political scientists to Sheila Fitzpatrick's essay "Soviet History as Black Comedy." Yuri Slezkine argues that whereas the discrepancy between expectations and reality and the clash between grandiose claims and real-world conditions are universal phenomena, one country has been singled out as the subject of "black comedy" – the Soviet Union. Slezkine asks why we do not have a similar culture of mockery of

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Haxhi, Tomi. "Devastation and laughter: satire, power, and culture in the early Soviet state, 1920s–1930s." Canadian Slavonic Papers 61, no. 4 (2019): 465–66. http://dx.doi.org/10.1080/00085006.2019.1669397.

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Zherebkina, Irina. "On the Role of the Comical in Valery Podoroga's Project of Anthropology of Power." Chelovek 32, no. 5 (2021): 136. http://dx.doi.org/10.31857/s023620070017443-4.

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The article analyzes the concepts of comic and laugh in some texts by V.A. Podoroga on anthropology of power, and his view on critical potential of the comic for the philosophical analysis of modern politics and culture. Based on Podoroga&apos;s study of M.M. Bakhtin’s theory of laughter culture, grotesque images of corporeality by A. Artaud, A.F. Losev and S. Eisenstein, author argues that Podoroga understands the comic in the context of his theory of the phenomenology of body in which the laughter is associated with the grotesque, when the funny manifests itself in inseparability from th

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Leving, Yuri. "Mr. Twister in the Land of the Bolsheviks: Sketching Laughter in Marshak's Poem." Slavic Review 70, no. 2 (2011): 279–306. http://dx.doi.org/10.5612/slavicreview.70.2.0279.

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Samuil Marshak's poem Mister Twister (1933) is a biting satire about an evil American capitalist who travels to the Soviet Union with his spoiled wife and daughter. The work enjoyed immense popularity among generations of Soviet children until the 1980s and is considered a prime example of a socialist spoof on a genre of travelogue oriented toward mass culture. Yuri Leving puts Marshak's poem into a historical context and observes it against the ever-changing ideological landscape of Soviet literature during the three decades following the poem's initial publication in the satirical magazine f

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Norris, Stephen M. "Annie Gérin. Devastation and Laughter: Satire, Power, and Culture in the Early Soviet State, 1920s–1930s." American Historical Review 125, no. 2 (2020): 746–47. http://dx.doi.org/10.1093/ahr/rhz572.

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Brandenberger, David. "State Laughter: Stalinism, Populism, and Origins of Soviet Culture by Evgeny Dobrenko and Natalia Jonsson-Skradol." Ab Imperio 2023, no. 1 (2023): 277–83. http://dx.doi.org/10.1353/imp.2023.0019.

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Girin, Yu N. "In Search of Epistems, or the Scientific Reception of Some of M.M. Bakhtin’s Ideas." Art & Culture Studies, no. 4 (December 2023): 34–47. http://dx.doi.org/10.51678/2226-0072-2023-4-34-47.

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The article examines the conceptual positions of M.M. Bakhtin in the context of further studies of laughter culture and comedy, including Soviet film comedy. Revising the tradition of universal application of Bakhtin’s ideas in the analysis of many artistic phenomena that has developed in science, the author emphasizes their ambiguity and significance only as one of the research approaches to the complex study of culture. And at the same time, the concept of ambivalence, which structured the theory of carnivality and Bakhtin’s philosophy, acquires special relevance in the conditions of the mod

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Books on the topic "Soviet laughter-culture"

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author, Jonsson-Skradol Natalia, ed. Gossmekh: Stalinizm i komicheskoe = State laughter : Stalinism, populism, and origins of Soviet culture. Novoe literaturnoe obozrenie, 2022.

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Dobrenko, Evgeny, and Natalia Jonsson-Skradol. State Laughter: Stalinism, Populism, and Origins of Soviet Culture. Oxford University Press, 2022.

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Gérin, Annie. Devastation and Laughter: Satire, Power, and Culture in the Early Soviet State. University of Toronto Press, 2021.

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4

Gérin, Annie. Devastation and Laughter: Satire, Power, and Culture in the Early Soviet State. University of Toronto Press, 2019.

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Devastation and Laughter: Satire, Power, and Culture in the Early Soviet State. University of Toronto Press, 2018.

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6

Dobrenko, Evgeny, and Natalia Jonsson-Skradol. State Laughter. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198840411.001.0001.

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The Stalinist reign of terror was not all gloom and darkness. Much of it was, or aimed to be, entertaining, full of laughter and joy. This book explores how, and why, humor was a necessary component of one of the most oppressive regimes of the twentieth century. It covers a variety of genres, from film comedy to satirical theatre, from war caricature to court speeches at show trials, from Stalin’s political writings to traditionally bawdy folk verses and fables. The authors combine close textual analysis with reflections on genres of the comic in general. The book offers the first comprehensiv

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Book chapters on the topic "Soviet laughter-culture"

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Dobrenko, Evgeny, and Natalia Jonsson-Skradol. "Metalaughter." In State Laughter. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198840411.003.0010.

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This last chapter of the book discusses meta-laughter on the example of the most popular musical comedies of the Stalinist era, whose subject was Soviet laughter itself. This self-reflection emphasizes the important place occupied by laughter in the Stalinist order, where official discourse and low culture were closely interrelated. Their synthesis gave birth to one of the main principles of Socialist Realism ‒ that of popular spirit, which made it possible for the authorities to create the image of the People as the highest legitimizing instance of the authorities themselves. This ideological

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Alpatov, Sergey. "Motives and Images of Folk Laughter Cultures as the Commonplaces of the Soviet Carnival of 1920–1930." In Laughter and Humor in the Slavic and Jewish Cultural Traditions. Institute of Slavic Studies, Russian Academy of Sciences; Sefer, 2021. http://dx.doi.org/10.31168/2658-3356.2021.14.

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The article is devoted to the study of the problem of continuity between images, motives, poetic clichés of Russian as well as Jewish folk cultures and components of the laughter discourse of the Soviet era. Genre patterns (procession, round dance, game, street song, everyday wit), chronotope (Pesach / Easter / May day), archetype (a dying and resurrecting hero), ethnical and social stereotypes (“aliens”), ritual objects (carnival carriage; matzo vs Easter baking), grotesque rhymes (“matzo – lamza-dritsa”) are analyzed on the basis of the popular city song “Tram No. 9”, ditties, memoirs, sati

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Dobrenko, Evgeny, and Natalia Jonsson-Skradol. "The Stalinist World of Laughter." In State Laughter. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198840411.003.0002.

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This is a theoretical chapter in which different theories of laughter and the comic are explored at length and where the key concepts used in the monograph are explained. It is focused on the aesthetic of a radically popular culture that is based on an adaptation of ideology to the level of a population, half of which came from the peasantry and had a traditional folkloric sense of the comic. The development of this aesthetic resulted in the comic becoming a tool of the Soviet political and artistic project. This tool was then used to ensure that the people internalized the required political

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Fokin, A. A. "Late Soviet Clubs: KVN as a Space of Nakhodimost." In Rules of the game on a voluntary basis: Authorities and voluntary grassroots organizations in the USSR, 1960s–1990s. Perm State University, 2023. http://dx.doi.org/10.17072/978-5-7944-4056-0-176-189.

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Based on the analysis of the history of the «Club of Merry and Resourceful (KVN) in the late USSR a number of processes characteristic of that epoch are considered. In the late USSR there seems to be a tendency for normalization of personal leisure time. At the same time, the majority of late-Soviet leisure appears to be built on horizontal rather than vertical connections. One of the iconic forms of such leisure is the KVN game, which offers people the position of both passive spectator and active participant. To understand the phenomenon of the fi rst KVN game it is necessary to realize that

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Dobrenko, Evgeny, and Natalia Jonsson-Skradol. "The Soviet Bestiary." In State Laughter. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198840411.003.0007.

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This chapter looks at Soviet satirical fables, from the first post-revolutionary years (Dem’ian Bednyi) to the decades of established socialism (Sergei Mikhalkov), via the little-known peasant poet Ivan Batrak. These texts were typical for the Soviet culture, but most untypical in the general allegorical tradition: Aesopian language that supported the official regime. The analysis follows through the progression from the raw violence of post-revolutionary years, translated in a very particular type of allegorical humor, to the routine devices of allegorical satire in the years of established s

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Yakubov, Manashir. "Shostakovich’s Anti-Formalist Rayok." In Shostakovich in Context. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198166665.003.0009.

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Abstract The originality of the Anti-Formalist Rayok should be assessed not only from the point of view of its place within Shostakovich’s legacy, but in the context of the broad traditions of satire in Russian culture. Russian musical satire is an organic and deeply original part of Russia’s spiritual culture. It is a legacy that is a thousand years old, and one that continues to thrive today: from the crude Slwmorokhi lampoons of the tenth to seventeenth centuries to the obscene modern-day chastushki about Khrushchev, Brezhnev, and Gorbachev and the political songs of Galich and Vysotsky: fr

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"Chapter Two. Soviet Satirical Print Culture: A Serious Affair." In Devastation and Laughter. University of Toronto Press, 2018. http://dx.doi.org/10.3138/9781487515324-007.

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8

Dobrenko, Evgeny, and Natalia Jonsson-Skradol. "The Merry Adventures of Stalin’s Peasants." In State Laughter. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198840411.003.0008.

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Following the period of collectivization, it became essential to create works that would show how much better the life of Soviet peasants-turned-kolkhoz members had become. Kolkhoz comedy quickly became popular on both stage and screen after it first appeared in the 1930s. Its farcical humor, mostly borrowed from situational comedy, was not particularly complex, and the plots usually revolved around how kolkhoz labor and everyday life were intertwined. The ideological message conveyed by these works was also very straightforward: those who work well live well. These plays depict a harmonious r

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9

"Laughter at the threshold: My Fair Nanny, television sitcoms and the post-Soviet struggle over taste." In Television and Culture in Putin's Russia. Routledge, 2009. http://dx.doi.org/10.4324/9780203091630-12.

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