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Masculinity and the sexual politics of self and other in Soviet political cartoons, 1945-1955 Fraser, Erica Lee
Abstract
This study examines masculine imagery in the foreign affairs cartoons in Krokodil, a Soviet satirical magazine, from 1945 to 1955. Both the Soviet Union's leaders and its people faced two major issues in this time period: rebuilding the country after the devastation of the Second World War, and descending into the Cold War battle of ideology with the West. Enemy countries in the cartoons are almost always portrayed as male figures, and the cartoons manipulate the masculine images to denote power relationships between countries, and also between men. As in many countries that fought in the war, the Soviet Union prioritized rebuilding the family in postwar society. The catastrophic loss of life, particularly among the male population, made this task more difficult in the Soviet Union. The state therefore employed a variety of tactics to promote the family, and to ensure that men assumed their proper positions as husbands and fathers. Using Krokodil's cartoons to promote masculine identity among Soviet men - and demeaning it among enemy men - was one such method. The major argument of the paper is that the cartoons featuring enemy countries commented not only on those enemies, but on the domestic situation in the Soviet Union as well. Borrowing and building on the language of postcolonial theory, this paper argues that the Soviet Union defined itself against the characteristics it assigned to the enemy. The dichotomy of self and other in the cartoons extends past that of the Soviet Union and its national enemies, to the Soviet man and enemies to his masculinity. By portraying the country's enemies in various homoerotic situations in the cartoons, the Soviet Union sought to delegitimize the potency of the enemy, while also signaling to the Soviet population that the unmasculine behavior associated with the enemy in the cartoons would not be tolerated in the Soviet Union. Drawing on a wide range of literature, including studies of humor and satire, art and visual iconography, gender, masculinity, and queer theory, this paper uses the medium of political cartoons to link issues of sexuality with postwar reconstruction and Cold War animosity in the Soviet Union between 1945 and 1955.
Item Metadata
Title |
Masculinity and the sexual politics of self and other in Soviet political cartoons, 1945-1955
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Creator | |
Publisher |
University of British Columbia
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Date Issued |
2000
|
Description |
This study examines masculine imagery in the foreign affairs cartoons in Krokodil, a
Soviet satirical magazine, from 1945 to 1955. Both the Soviet Union's leaders and its people
faced two major issues in this time period: rebuilding the country after the devastation of the
Second World War, and descending into the Cold War battle of ideology with the West.
Enemy countries in the cartoons are almost always portrayed as male figures, and the
cartoons manipulate the masculine images to denote power relationships between countries,
and also between men.
As in many countries that fought in the war, the Soviet Union prioritized rebuilding
the family in postwar society. The catastrophic loss of life, particularly among the male
population, made this task more difficult in the Soviet Union. The state therefore employed a
variety of tactics to promote the family, and to ensure that men assumed their proper
positions as husbands and fathers. Using Krokodil's cartoons to promote masculine identity
among Soviet men - and demeaning it among enemy men - was one such method.
The major argument of the paper is that the cartoons featuring enemy countries
commented not only on those enemies, but on the domestic situation in the Soviet Union as
well. Borrowing and building on the language of postcolonial theory, this paper argues that
the Soviet Union defined itself against the characteristics it assigned to the enemy. The
dichotomy of self and other in the cartoons extends past that of the Soviet Union and its
national enemies, to the Soviet man and enemies to his masculinity. By portraying the
country's enemies in various homoerotic situations in the cartoons, the Soviet Union sought
to delegitimize the potency of the enemy, while also signaling to the Soviet population that
the unmasculine behavior associated with the enemy in the cartoons would not be tolerated in
the Soviet Union.
Drawing on a wide range of literature, including studies of humor and satire, art and
visual iconography, gender, masculinity, and queer theory, this paper uses the medium of
political cartoons to link issues of sexuality with postwar reconstruction and Cold War
animosity in the Soviet Union between 1945 and 1955.
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Extent |
13536056 bytes
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Genre | |
Type | |
File Format |
application/pdf
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Language |
eng
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Date Available |
2009-07-10
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Provider |
Vancouver : University of British Columbia Library
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Rights |
For non-commercial purposes only, such as research, private study and education. Additional conditions apply, see Terms of Use https://open.library.ubc.ca/terms_of_use.
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DOI |
10.14288/1.0089535
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URI | |
Degree | |
Program | |
Affiliation | |
Degree Grantor |
University of British Columbia
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Graduation Date |
2000-11
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Campus | |
Scholarly Level |
Graduate
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Aggregated Source Repository |
DSpace
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Item Media
Item Citations and Data
Rights
For non-commercial purposes only, such as research, private study and education. Additional conditions apply, see Terms of Use https://open.library.ubc.ca/terms_of_use.