dc.contributor.author | McCallum, CE | |
dc.date.accessioned | 2017-02-16T10:17:01Z | |
dc.date.issued | 2015-04 | |
dc.description.abstract | Drawing on images reproduced in both professional and popular publications, this article charts the changing representation of the war-damaged man in Soviet visual culture from the outbreak of war in 1941 until the reinstatement of Victory Day as a public holiday in 1965. Through such images it is shown that art followed a very different trajectory than literature or film when it came to dealing with such problematic aspects of the war experience, a disjunction that is attributed to the inherent nature of the various cultural genres. Furthermore, it is demonstrated that the most dramatic shift in the depiction of the damaged man came — not in the Thaw as we might expect — but in the mid 1960s as part of a wider reassessment of the War and its legacy in Soviet visual culture. | en_GB |
dc.identifier.citation | Vol. 93, No. 2 (April 2015), pp. 251-285 | en_GB |
dc.identifier.doi | 10.5699/slaveasteurorev2.93.2.0251 | |
dc.identifier.uri | http://hdl.handle.net/10871/25896 | |
dc.language.iso | en | en_GB |
dc.publisher | University College London, School of Slavonic and East European Studies | en_GB |
dc.relation.url | http://www.jstor.org/stable/10.5699/slaveasteurorev2.93.2.0251 | en_GB |
dc.rights.embargoreason | Publisher's policy. | en_GB |
dc.rights | Copyright 2015 Claire E. McCallum | en_GB |
dc.title | Scorched by the Fire of War: Masculinity, War Wounds and Disability in Soviet Visual Culture, 1941-65 | en_GB |
dc.type | Article | en_GB |
dc.identifier.issn | 0037-6795 | |
dc.description | Article | en_GB |
dc.description | This is the final version of the article. Available from University College London, School of Slavonic and East European Studies via the DOI in this record. | en_GB |
dc.identifier.journal | Slavonic and East European Review | en_GB |