الصفحات

21 ديسمبر 2017

المسرح الوطني السوفيتي وتجديد فرهاد

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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