Soviet National Theatre and the Reforging of Farhad
The period of high Stalinism that
followed the Writers’ Congress is a good context in which to observe the
transformations that have accompanied generic transfers between literary traditions.
Idiosyncratic and controversial as Bukharin’s address to the Congress was, it
highlights the central principle that informed the massive recirculation of
artistic modes, genres, and forms in the Soviet sphere during the early Stalin
period.1 This was the concept of ‘world literature,’ taken up by Maxim Gorky in
the revolutionary moment but articulated from a material, organizational
standpoint in the 1930s. The Soviet multinational writers’ bureaucracy on the
one hand, and a series of leftist international writers’ congresses on the
other, formalized and sometimes centralized the process of cross-cultural
literary exchange.
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