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When pigs could fly: A history of t...

Neirick, Miriam Beth.

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When pigs could fly: A history of the circus in the Soviet Union.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	When pigs could fly: A history of the circus in the Soviet Union./
Author:	Neirick, Miriam Beth.
Description:	312 p.
Notes:	Adviser: Yuri Slezkine.
Contained By:	Dissertation Abstracts International68-08A.
Subject:	History, Russian and Soviet. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3275532
ISBN:	9780549171072

When pigs could fly: A history of the circus in the Soviet Union.
Neirick, Miriam Beth.

When pigs could fly: A history of the circus in the Soviet Union. - 312 p.

Adviser: Yuri Slezkine.

Thesis (Ph.D.)--University of California, Berkeley, 2007.

The circus was exceptionally popular in the Soviet Union. It was more popular than most other forms of Soviet entertainment and it was more popular in the Soviet Union than in most other places. The Soviet circus was beloved by viewers of all ages, both genders, many ethnicities, various levels of income, and conflicting political persuasions. It was no less admired by the state officials who patronized it from 1919, when the circus was first incorporated into the state cultural administration, through the Soviet Union's collapse in 1991. To secure the favor of the Soviet state while maintaining the devotion of the Soviet people was no common feat, and my dissertation explains how the circus achieved it. I first consider why the circus---a form of entertainment that celebrated misrule, dethroned figures of authority, refused any orderly narrative structure, and conveyed multiple, conflicting, and contradictory messages---became a central cultural institution in a state with a well-established preference for fixed, transparent, and didactic messages. I argue that the circus appealed to its Soviet producers for the same reason it appealed to the eighteenth century European entrepreneurs who deliberately created a varied, indeterminate, and flexible entertainment that could satisfy the inconsistent demands of diverse audiences. In the Soviet Union, the state relied on its cultural products to convey different messages, appeal to different interests, and please different constituencies. I contend that because the circus was varied, indeterminate, and flexible, it was able to perform these tasks with exceptional consistency and often more effectively than other officially sponsored forms of art. I further demonstrate that however thoroughly circus performances were adapted to their official uses, they maintained much of their variety, indeterminacy, flexibility, and, therefore, much of their appeal to viewers whose demands might have differed from those of the state. I conclude that the circus became the darling product of Soviet culture because it was uniquely successful at meeting the demands of both state and society and thus confirmed, to all appearances, the congruity and consistency of those demands.

ISBN: 9780549171072Subjects--Topical Terms:

1032239
History, Russian and Soviet.

When pigs could fly: A history of the circus in the Soviet Union.
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100 1 $a Neirick, Miriam Beth. $3 1280644
245 1 0 $a When pigs could fly: A history of the circus in the Soviet Union.
300 $a 312 p.
500 $a Adviser: Yuri Slezkine.
500 $a Source: Dissertation Abstracts International, Volume: 68-08, Section: A, page: 3555.
502 $a Thesis (Ph.D.)--University of California, Berkeley, 2007.
520 $a The circus was exceptionally popular in the Soviet Union. It was more popular than most other forms of Soviet entertainment and it was more popular in the Soviet Union than in most other places. The Soviet circus was beloved by viewers of all ages, both genders, many ethnicities, various levels of income, and conflicting political persuasions. It was no less admired by the state officials who patronized it from 1919, when the circus was first incorporated into the state cultural administration, through the Soviet Union's collapse in 1991. To secure the favor of the Soviet state while maintaining the devotion of the Soviet people was no common feat, and my dissertation explains how the circus achieved it. I first consider why the circus---a form of entertainment that celebrated misrule, dethroned figures of authority, refused any orderly narrative structure, and conveyed multiple, conflicting, and contradictory messages---became a central cultural institution in a state with a well-established preference for fixed, transparent, and didactic messages. I argue that the circus appealed to its Soviet producers for the same reason it appealed to the eighteenth century European entrepreneurs who deliberately created a varied, indeterminate, and flexible entertainment that could satisfy the inconsistent demands of diverse audiences. In the Soviet Union, the state relied on its cultural products to convey different messages, appeal to different interests, and please different constituencies. I contend that because the circus was varied, indeterminate, and flexible, it was able to perform these tasks with exceptional consistency and often more effectively than other officially sponsored forms of art. I further demonstrate that however thoroughly circus performances were adapted to their official uses, they maintained much of their variety, indeterminacy, flexibility, and, therefore, much of their appeal to viewers whose demands might have differed from those of the state. I conclude that the circus became the darling product of Soviet culture because it was uniquely successful at meeting the demands of both state and society and thus confirmed, to all appearances, the congruity and consistency of those demands.
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