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Образ материнской любви в фильме Трясина Григория Чухрая*

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Maeda S.

Slavica Wratislaviensia

2018

vol. 166

99-107

Image of maternal love in Grigory Chukhray’s The Quagmire Memories of the Great Patriotic War contributed to the making of a national identity in Soviet Russia, and clear gender roles are evident in Soviet propaganda war art. The image of male soldiers demonstrates the obligation to defend the fatherland against the outside enemy. On the other hand, there are images of a mother cheering for her son or a mother lamenting over a fallen soldier. It is clear that the female image belongs to the reproductive function of motherhood. The establishment presents an ideal and urges the public to internalize it by themselves. Grigory Chukhray’s film The Quagmire’s (1977) mother, however, hides her young son, who was conscripted to the front. The film casts doubt on the Soviet war myth and asks “Why do mothers have to be reconciled to lose their sons in order to defend the fatherland?” That’s why the military purged the film from the screen.

Obraz miłości macierzyńskiej w filmie Grigorija Czuchraja Trzęsawisko Wspomnienia i obrazy Wielkiej Wojny Ojczyźnianej odegrały ważną rolę w kształtowaniu tożsamości obywateli Rosji Radzieckiej. W sowieckiej propagandzie wojennej wyraźnie widać hierarchię genderową. Wizerunek żołnierza mężczyzny odnosi się do obowiązku obrony ojczyzny przed zewnętrznym wrogiem. Natomiast wizerunek matki wiwatującej na cześć zwycięstwa syna lub rodzicielki lamentującej nad poległym żołnierzem kojarzony jest z macierzyństwem. Film Grigorija Czuchraja Trzęsawisko (Трясина) opowiada historię matki ukrywającej powołanego do wojska i wezwanego na front syna. Film, który wkrótce po premierze wycofano z dystrybucji, stawia pytania dotyczące funkcjonowania radzieckich mitów wojennych oraz sytuacji kobiet, które nie chcą się pogodzić ze śmiercią swych synów broniących ojczyzny.

Тело, телесность и авторский стиль Валерии Нарбиковой

100%

Maeda S.

Slavica Wratislaviensia

2011

vol. 153

399-405

Contemporary Russian writer Valerija Narbikova, who published her first novel in 1988, is regarded as one of the best representatives of the so-called “another prose,” which became a new trend in Russian literature of the eighties. The destruction of literature norm became a characteristic of “another prose”: the writers were not interested in heroes anymore but rather in the ordinary people with their daily routine and everyday problems. Many Soviet people tried to escape from their absurd lives going to the theater and cinema, and reading books. The writers of the eighties who were deconstructing the Soviet “reality” became a kind of revelation for many of those people. Narbikova thought that Soviet actuality was absurd, and constantly criticized the Soviet inhuman system. Her style reflected her thought. Thus, she often uses inversion to describe the contradictions of the Soviet system; she often gives a detailed description of ugly human bodies, filthy streets with lots of garbage, sexual intercourse with the help of pun, euphemisms and metaphors.

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2 Slavica Wratislaviensia

2 Maeda S.

1 2018

1 2011

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Образ материнской любви в фильме Трясина Григория Чухрая*

Тело, телесность и авторский стиль Валерии Нарбиковой