![]() ![]() Instead, her book begins by establishing the Stalin regime’s remarkable cultural ambitions, including the elevation of intellectuals and writers. She neither glosses over nor dwells upon the parallels between Nazi Germany and Soviet Russia typically drawn by exegetes of totalitarian art. In Moscow, the Fourth Rome-a series of linked essays following an adroitly plotted historical narrative-she recounts a scandalous episode in art history, while making a significant contribution to the understanding of 1930s European political culture and providing a lucid guide to the late-’30s period of mainly Soviet collective mania.Ĭlark ranges from literature to cinema to theater to painting to architecture (noting, for example, that the same adjectives- simple, restrained, calm-were used to describe both social-realist architecture and the positive heroes of socialist-realist literature). Author of The Soviet Novel, a classic analysis of socialist-realist fiction of the 1930s, ’40s, and ’50s, and a professor of Slavic literature at Yale, Katerina Clark here reads the text of High Stalinism. ![]()
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