Union Pi Ca Telueies of the USSR. How the Union of Soviet writers was born

15.06.2019

History of the character myth of ancient Greece Dedal and Icar read

Heroes of Greek mythology

Heroes of antique myths Characters of Greek mythology

Online reading book myths of classical antiquity book eighth

Wikipedia material - free encyclopedia

To: organizations closed in 1991

Union of Writers of the USSR - Organization of professional Writers of the USSR.

The Union was replaced by all the writers who existed before the organization: both combined on any ideological or aesthetic platform (Pass, "Pass") and the observed writer's trade unions (All-Russian Union of Writers, All-Russian).

From the charter of the Writers' Union, as editors in 1934 (the charter was repeatedly edited and changed): "The Union of Soviet writers puts the initial purpose of creating works of high artistic value saturated with the heroic struggle of the international proletariat, the Pafos of the Victory of Socialism, reflecting the Great Wisdom and Herism of the Communist Party. The Union of Soviet Writers aims to create artistic works worthy of the Great Epoch of Socialism. "

According to the charter, as amended in 1971, the Union of Writers of the USSR - "A voluntary public creative organization, uniting the professional writers of the Soviet Union, participating in the struggle in the struggle for the construction of communism, for social progress, for peace and friendship between nations."

The charter was given to the definition of socialist realism as the main method of Soviet literature and literary criticism, following which was a prerequisite for the membership of the joint venture.

Organization of the joint venture of the USSR

The Board of the joint venture of the USSR was the Publishing House "Soviet writer", literary consultation for novice authors, the All-Union Bureau of Affairs Propaganda, the central house of writers. A. A. Fadeev in Moscow, etc.

Also in the structure of the joint venture there were various units that carried out the functions of management and control. Thus, all foreign trips of the members of the Union were subject to approval by the Foreign Commission of the SP of the USSR.

At the board of the joint venture, the USSR operated a literary fund, regional writer organizations also had their own lithoflons. The task of lithofords was the provision of material support members (respectively, the "rank" of the writer) in the form of providing housing, construction and maintenance of "writing" country villages, medical and sanatorium-resort service, providing trips to the "House of Creativity of Writers", the provision of household services, Supply with scarce goods and food products.

Membership

Reception in the members of the Writers' Union was made on the basis of a statement to which the recommendations of the three members of the joint venture were supposed to be attached. The writer who wants to join the Union should have had two published books and submit reviews on them. The application was considered at a meeting of the local branch of the USSR joint venture and was to receive at least two thirds of the vote when voting, then the Secretariat or the Board of the USSR joint venture was considered and at least half of their votes were required to take into account.

Numerical composition of the Writers of the USSR for years (according to the organizing committees of the CP Congresses):

1934-1500 members
1954 - 3695
1959 - 4801
1967 - 6608
1971 - 7290
1976 - 7942
1981 - 8773
1986 - 9584
1989 - 9920

In 1976, it was reported that from the total number of members of the Union, 3,665 wrote in Russian.

The writer could be excluded from the Writers' Union "for misconduct, dropping the honor and dignity of the Soviet writer" and for the "retreat from the principles and tasks formulated in the charter of the Writers of the USSR." In practice, the reason for exception could be:

Criticism of the writer on the part of the highest party instances. An example is the exception of M. M. Zoshchenko and A. A. Akhmatova, who followed Zdanov's report in August 1946 and the party decree "On the magazines" Star "and" Leningrad ".
Publication abroad works not published in the USSR. B. L. Pasternak for the publication in Italy, "Dr. Zhivago" in 1957, was first for this motive.
Publication in "Samizdat"
Open expressed disagreement with the Policy of the CPSU and the Soviet state.
Participation in public speeches (signing open letters) with protests against the persecution of dissidents.

Excluded from the Union of Writers refused to publish books and publication in journals, subordinate joint ventures, practically they were deprived of the opportunity to earn literary labor. With the exception of the Union, there was an exception from a lithofand, entailing tangible material difficulties. The exception to the joint venture on political reasons, as a rule, was indulging in a wide publicity, which was sometimes transformed into real injury. In some cases, an exception was accompanied by criminal prosecution under the articles "Anti-Soviet agitation and propaganda" and "the distribution of knowingly false fabrications that are disrupted by the Soviet state and social system", deprivation of USSR citizenship forced emigration.

According to political reasons from the Union of Writers, A. Sinyavsky, Yu. Daniel, N. Korzhavin, Vladimov, L. Chukovskaya, A. Solzhenitsyn, V. Maximov, V. Nekrasov, A. Galich, E. Ekind, V. Worn, I. Dzuby, N. Lukash, Viktor Erofeev, E. Popov, F. Lights.

In protest against the exclusion of Popov and Erofeev from SP in December 1979, V. Aksenov, I. Lynnyanskaya and S. Lipkin declared their exit from the Union of Writers of the USSR.

Officers

The head of the USSR joint venture according to the 1934 charter was the Chairman of the Board.
The first chairman (1934-) of the Board of the Union of Writers of the USSR was Maxim Gorky. At the same time, the actual management of the Union's activities carried out the 1st secretary of the joint venture Alexander Shcherbakov.

Alexey Tolstoy (from 1936 to the year); The actual leadership until 1941 was carried out by the Secretary General of the USSR joint venture Vladimir Stavsky;
Alexander Fadeev (from 1938 PO and C PO Hg);
Nikolay Tikhonov (from 1944 to 1946);
Alexey Surkov (from 1954 to Hg);
Konstantin Fedin (from 1959 to Hg);

According to the Charter of 1977, the leadership of the Writers' Union was carried out by the first secretary of the Board. This position was occupied by:

George Markov (from 1977 to Hg);
Vladimir Karpov (since 1986; resigned in November 1990, but continued to do business until August 1991);

Control from the CPSU

Awards

On May 20, 1967, he was awarded the Order of Lenin.
September 25, 1984 was awarded the Order of Peoples Friendship.

SP of the USSR after the collapse of the USSR

After the collapse of the USSR in 1991, the Union of Writers of the USSR was divided into many organizations in various countries of the post-Soviet space.

The main successors of the joint venture of the USSR in Russia and the CIS are the international community of writing unions (which Sergey Mikhalkov was led for a long time), the Union of Writers of Russia and the Union of Russian Writers.

The soil for the division of the Unified Community of the Writers of the USSR for two wings (the Union of Writers of Russia (SPR) and the Union of Russian Writers (PSA)) served as "Letter 74". The SPR included those who were solidary with the authors of the "Letters of the 74th", in the SRP - writers, as a rule, liberal views.

SP of the USSR in art

Soviet writers and cinematographers in their work have repeatedly appealed to the topic of the USSR joint venture.

In the novel "Master and Margarita" M. A. Bulgakov under the fictional name "Massol", the Soviet writer is depicted as the union of adaptors.
Piez V. Worthanovich and Gorina "Cat homemade, medium fluffy" is devoted to the backstage side of the joint venture. On the play, K. Warriors took off the movie "Cap"
IN essays of literary life A. I. Solzhenitsyn characterizes the joint venture of the USSR, as one of the main tools of total party and state control over literary activities in the USSR.
In the literary novel, "Kozlenok in Milk" Yu. M. Polyakova Events unfold against the background of the activities of the Soviet Writer Organization. The idea of \u200b\u200bthe novel is that the organization can make the name to the writer, without deepening in his work. As for the identification of characters with reality, according to the author, he tried with all their forces to keep the future readers of the novel from false identifications.

Criticism. Quotes

Vladimir Bogomolov:

Terrarium associates.

The Union of Writers of the USSR meant a lot to me. Firstly, this communication with high-class masters can be said with the classics of Soviet literature. This communication was possible because the Union of Writers arranged joint trips around the country, and foreign trips were. I remember one of these trips. This is 1972, when I just started in the literature and found myself in a large group of writers in the Altai Territory. For me, it was not only an honor, but also studying and experience certain. I communicated with many very famous masters, including my countryman Pavel Nilin. Soon Georgy Moksevich Markov gathered a big delegation, and we went to Czechoslovakia. And also meetings, and it was also interesting. Well, then every time the plenums, the congresses, when I traveled myself. This, of course, study, acquaintance and entry into the greater literature. After all, the literature includes not only by their word, but also by the fraternity defined. This brotherhood was. It was later in the Union of Writers of Russia. And there was always joy to come there. At that time, the Union of Writers of the Soviet Union was undoubtedly needed.

I found the time when Pushkin's "My friends, our union is beautiful!" With a new force and I restended in a new way in a mansion on the cook. Discussion of the "Kramolnyaya" Tale of Anatoly Popaptopkin, Problem Essays and Acute Juri Chernichenko, Yuri Nagina, Alesya Adamovich, Sergey Zalina, Yuri Karyakina, Arkady Vaxberg, Nikolai Shmeleva, Vasily Celyunina, Daniel Gorne, Alexey Kondratovich, other authors were held in the bit of the audiences . These disputes answered the creative interests of like-minded writers, received a wide resonance, formed public opinion on indigenous issues of the people of the people ...

Andrei Malgin, "Letter to a friend-literary critic":

There is an iron rule that does not know exceptions. The more famous you are, the more actively participate in the literary process, the harder you will join the Union of Writers. And the preposition always exists, if not on the creative bureau, then at the receiving commission, if not at the receiving commission, then someone will arise at the secretariat and says: "A, one book? Let first publish the second ", or:" A, two books? Let's wait for the third. " Recommendation was given by famous people - protectionism, group sex. Dali unknowns - let them give famous. Etc.<…> It is curious to familiarize yourself with the list of members of this admission committee. It consists there, for example, the trayster of the beasts Natalya Durova. Qualified judge, right? And who are Vladimir Bogatyrev, Yuri Galkin, Viktor Ilyin, Vladimir Semenov? You do not know? And I do not know. And no one knows.

Address

The Board of the Union of Writers of the USSR was at the address of Povarskaya Street, 52/55 ("Sologub Manor" or "City Manor of Dolgorukov Prince").

Write a review about the article "Union of Writers of the USSR"

Notes

Excerpt characterizing the Union of Writers of the USSR

- I do not know what now is with me. Do not listen to me, forget what I told you.
All the funny pierre disappeared. He concernedly asked the princess, asked her to express everything, believing his grief; but she just repeated that he asks him to forget what she said she didn't remember that she said, and that she had no grief, besides the one he knows - grief that the marriage of Prince Andrei threatens to embroil the father with Son.
- Have you heard about growth? She asked to change the conversation. - I was told that they would soon be. Andre I am also waiting every day. I wanted to see them here.
- How does he look at this matter now? - asked Pierre, under he reasoning the old prince. Princess Marya shook her head.
- But what to do? Until a year, only a few months remain. And it can not be. I would only wanted to save my brother from the first minutes. I would want them to come soon. I hope to fall with her. You have known them for a long time, "said Princess Marya," Tell me, put your hand on the heart, all the true truth, what is this girl and how do you find her? But the whole truth; Because, you understand, Andrey risks so much, making it against the will of the Father, that I would like to know ...
Unclear instinct told Pierra that in these reservations and repeated requests to say the whole truth, the princess to his future daughter-in-law was expressed, which she wanted Pierre not approves the choice of Prince Andrei; But Pierre said what he felt rather than thought.
"I don't know how to answer your question," he said, blushing himself, not knowing what. - I strongly do not know what kind of girl; I can't analyze it in any way. She is charming. And why, I do not know: that's all that you can say about it. "Princess Marya sighed and the expression of her face said:" Yes, I expected this and was afraid. "
- Small she? - asked Princess Marya. Pierre thought.
"I think no," he said, "and even yes." She does not honor to be smart ... No, she is charming, and nothing else. - Princess Marya again shook her head.
- Oh, I wish you so much! You tell her it, if you see her before me.
"I heard that they will be the other day," said Pierre.
Princess Marya reported his plan about how she had just come Rostov, would get brighte with the future daughter-in-law and she would try to teach her old prince.

The marriage in a rich bride in St. Petersburg failed to Boris and he came to Moscow for the same purpose. In Moscow, Boris was in indecision between the two richest brides, Juli and Prince Marya. Although Princess Marya, despite his urgency, and seemed to him attractive Juli, for some reason he was awkwardly to care for Bolkon. In the last date with her, in the name of the old prince, to all his attempts to speak with her about the feelings, she answered him the nefple and obviously did not listen to him.
Juli, on the contrary, albeit special, one in its peculiar way, but willingly took his courting.
Jules were 27 years old. After the death of his brothers, she became very rich. She was now completely ugly; But I thought that she was not only as good, but it was still much more attractive than was before. In this delusion, it was supported by the fact that in the first it became a very rich bride, and secondly, the fact that the older she became, the more safer for men, the freer was the men to handle her and, without taking upon themselves no obligations, Use her dinners, evenings and a lively society that was accompanied by her. A man who took ten years ago would be afraid to ride every day in the house where there was a 17-year-old young lady so as not to compromise her and not tie himself, now went to her boldly every day and turned with her not like a brightness bride, but as with familiar, not having sex.
The Karagina House was this winter in Moscow the most pleasant and hospitable house. In addition to invited evenings and dinners, the Karagina has gathered a big society, especially men who have 12 meters at night and sitting up to 3rd hour. There was no ball, a walk, theater that would miss Julie. Her toilets were always the most fashionable. But, despite this, Julie seemed disappointed in everything, he said to anything that she did not believe in friendship, nor in love, nor in what joy of life, and awaiting only there. She learned the tone of the girl who suffered a great disappointment, the girls, as if lost a loved one or cruelly deceived by them. Although nothing like it happened to her, they looked at her, as at such, and she herself even believed that she suffered a lot in life. This melancholy, who did not interfere with having fun, did not interfere with her young people had a nice time to spend time. Each guest, coming to them, gave his duty to the melancholic mood of the hostess and then engaged in light conversations, dances, and mental games, and tournaments Burim, who were in fashion with Karagina. Only some young people, including Boris, were more deepened in the melancholic mood of Juli, and with these young people, she had longer and secluded conversations about the vanity of all worldly, and they opened their albums written by sad images, sayings and verses.
Juli was especially gentle to Boris: I regretted his early disappointment in life, offered him those comfortable friendship, which she could offer, herself suffered so much in life, and opened his album. Boris painted her album two trees and wrote: Arbres Rustiques, Vos Sombres Rameaux Sec / Sur Moi Les Tenebres Et La Melancolie. [Rural trees, your dark buccias shake on me dark and melancholy.]
In another place, he painted the tomb and wrote:
"La Mort Est SecuURable et La Mort Est Tranquille
"AH! Contre Les Douleurs Il N "Y A PAS D" Autre Asile ".
[The death of the savory and death is calm;
ABOUT! There is no other refuge against suffering.]
Jules said it is charming.
- II Y A QUELQUE CHOSE DE SI RAVISSANT DANS LE SOURIRE DE LA MELANCOLIE, [There is something infinitely charming in the smile of Melancholy, "she said to Boris the Word into the word written this place from the book.
- C "EST UN RAYON DE LUMIERE DANS L" OMBRE, UNE NUANCE ENTRE LA DOULEUR ET LE DESESPOIR, QUI MONTRE LA CONSOTION POSSIBLE. [This is a ray of light in the shade, a shade between sadness and despair, which indicates the possibility of consolation.] - Boris wrote to her poems:
"ALIMENT DE POISON D" UNE AME TROP SENSIBLE,
"Toi, Sans Qui Le Bonheur Me Serait Impossible,
"Tendre Melancolie, AH, Viens Me Consoler,
"Viens Calmer Les Tourments De Ma Sombre Retraite
"ET MELE UNE DOUCEUR SECRETE
"A CES PLEURS, QUE JE SENS Couler."
[Poisonous food too sensitive soul,
You, without which happiness it would be impossible for me,
Tender melancholy, oh, come, console me,
Come, wash the flour of my gloomy solitude
And attaching mystery sweetness
To these tears, which I feel.]
Jules played Boris Na Harp the most sad noctures. Boris read it out loud to Lisa and repeatedly interrupted reading from excitement, exciting his breath. Meeting in a big society, Juli and Boris looked at each other as the only people in the world of indifferent, who understood each other.
Anna Mikhailovna, who often traveled to Karagina, making up a mother's party, meanwhile, brought loose references about what was given for Juli (both Penza lines and Nizhny Novgorod forests were given). Anna Mikhailovna, with devotion to the will of Providence and asylum, looked at the sophisticated sadness, who tied her son with a rich juli.
- Toujours Charmante Et Melancolique, Cette Chere Julieie, [she is still charming and melancholic, this sweet juli.] - She said daughter. - Boris says he rests the soul in your home. He suffered so much disappointment and is so sensitive, "she said Mother.
"Oh, my friend, as I attached to Julie lately," she said to her son, "I can't describe you!" And who may not love her? This is such an unearthly creature! Ah, Boris, Boris! - She silent for a minute. "And how I feel sorry for her Maman," she continued, "now she showed me reports and letters from Penza (they have a huge estate) and she is a poor one herself alone: \u200b\u200bshe is so cheating!"
Boris smiled nearly, listening to the mother. He gently laughed at her simple trick, but he heard and sometimes asked her carefully about Penza and Nizhny Novgorod estates.
Julie had long expecting proposals from their melancholic adoration and was ready to accept it; But some secret sense of disgust to her, to her passionate wishes to marry, to her unprofiturability, and a sense of horror before renunciation from the possibility of real love was still stopped by Boris. The term of his vacation has already ended. Ever days and every God's day he spent the Karagina, and every day, arguing himself with him, Boris spoke himself that he would make a sentence tomorrow. But in the presence of Jules, looking at her red face and chin, almost always shrouded in powder, on her wet eyes and to the expression of a person who energized the always readiness from Melancholia immediately to the unnatural delight of married happiness, Boris could not pronounce a decisive word: despite The fact that he has long been in his imagination he considered himself the owner of Penza and Nizhny Novgorod estates and distributed the use of income from them. Julie saw the indecision of Boris and sometimes she came the thought that she was struggling to him; But the immediate female self-prickness represented her comfort, and she told himself that he was shy only from love. Melancholy her, however, began to move into irritability, and not long before the departure of Boris, she took a decisive plan. At the time, the day of the holiday of Boris, in Moscow and, of course, in the living room of Karagina, appeared Anatole Kuragin, and Juli, unexpectedly leaving melancholy, became very fun and attentive to Kuragin.
- Mon Cher, said Anna Mikhailovna Son, - Je Sais De Bonne Source Que Le Prince Basile Envoie Son Fils a Moscou Pour Lui Faire Epouser Julieie. [My dear, I know from loyal sources that Prince Vasily sends her son to Moscow in order to marry him to Juli.] I love Juli so much that I would have a sorry for her. What do you think my friend? - said Anna Mikhailovna.
The thought to stay in the fools and the gift to lose all this month of heavy melancholic service with julius and see all the incomes from Penza estates as follows in his imagination - especially in the hands of stupid Anatol, insulted Boris. He drove to Karagina with a solid intention to make an offer. Jules met him with a cheerful and carefree species, carelessly told about how she had fun at yesterday's ball, and asked when he was going. Despite the fact that Boris came with the intention to talk about his love and therefore intended to be gentle, he irritably began to talk about female impermanence: how women can easily move from sadness to joy and that their spirit depends only on Who cares for them. Julia was offended and said that it was true that for a woman need a variety that all the same thing will be bored with everyone.
- To do this, I would advise you ... - Boris began, wanting to say her knife; But at the same moment he came offensive idea that he could leave Moscow without reaching his goal and having lost his works (which was never happening to him). He stopped in the middle of speech, lowered his eyes, so as not to see her unpleasantly irritated and indecisive face and said: - I'm not at all in order to quarrel with you came here. On the contrary ... - he looked at her to assure whether it was possible to continue. All irritation suddenly disappeared, and restless, asking her eyes were with greedy expectation asked for him. "I can always get enough to rarely see her," Boris thought. "And the case has begun and must be done!" He broke out a blush, raised her eyes on her and told her: - "You know my feelings for you!" No longer needed to talk: Julie's face was shone with celebration and complacency; But she forced Boris to tell her everything that says in such cases, to say that he loves her, and never loved one woman more. She knew that for Penza estates and Nizhny Novgorod forests, she could demand this and she got what he demanded.
The groom with the bride, not remembering more about the trees sprinkling them with darkness and melancholy, made plans for the future device of a brilliant house in St. Petersburg, made visits and prepared everything for a brilliant wedding.

Count Ilya Andreich in late January with Natasha and Sonya came to Moscow. Countess Everything was unhealthy, and could not go, - but it was impossible to wait for her recovery: Prince Andrew was waiting for Moscow every day; In addition, it was necessary to buy dowry, it was necessary to sell the Moscow region and it was necessary to take advantage of the presence of the old prince in Moscow to present his future daughter-in-law. The House of Rostova in Moscow was not flex; In addition, they arrived for a short time, the Countess was not with them, and because Ilya Andreich decided to stay in Moscow in Maryia Dmitrievna Akhrosovova, who had long offered his hospitality.
Late in the evening, four events drove into the courtyard of Maryia Dmitrievna in the old stable. Marya Dmitrievna lived alone. Her daughter she was already married. Her sons were all in the service.
She kept still straight, said also straight, loudly and decisively all his opinion, and with all his being as if she had reproached other people for all weaknesses, passions and hobbies that she did not recognize the opportunity. From an early morning in Katsaveyka, she was engaged in household, then traveled: on holidays to dinner and from dinner in the Ostrot and prisons, where she had business, about whom she did not speak anyone, and on weekdays, dressed, at home she took the petitioners of different classes who came to her every day, and then lunch; There were always three four guests for dinner and delicious people, after lunch made a party to Boston; For the night made himself reading newspapers and new books, and herself knit. Rarely, she made exceptions for trips, and if he went, he went only to the most important persons in the city.
She still did not lie down when Rostov had arrived, and the door was on the block on the block, passing the growth and servant from the cold and their servant. Marya Dmitrievna, with glasses nodded to his nose, throwing his head back, stood in the door of the halls and with strict, angry look looked at the incoming. It would be possible to think that she was embittered against the visitors and now will be offset them, if she did not give the careful orders at this time, to people on how to place guests and their things.
- Count? "I carry me here, she said, pointing to the suitcases and not healthy with anyone. - Baryshni, here left. Well, what are you moving! She shouted on girls. - Samovar to warm! "I got it, I looked," she said, having pulled to themselves for the cavity of Natasha dug in Natasha. - Fu, Cold! Yes, undress sooner, she shouted on the count, who wanted to go to her hand. - frozen, probably. Roma to the tea to file! Sonyushka, Bonjour, "she said to Sona, with this French greeting with shading his slightly contempt and affectionate attitude towards Sona.
When everything, undressing and recovering from the road, came to tea, Maria Dmitrievna in order oversalled everyone.
"The soul is glad that they came and that I stopped," she said. "It's time," she said, looking at Natasha significantly ... "The old man here and the Son are waiting for the day. We must, you need to meet him. Well, yes, after talking about it, she added, looking at Sonya with a look, showing that she did not want to talk about it with her. "Now listen," she turned to the count, "what do you need?" For whom will you send? Shinshina? - She bent one finger; - Plaks Anna Mikhailovna? - two. She is here with her son. He marries son! Then Zuhova chtol? And he is here with his wife. He ran away from her, and she rushed after him. He dined with me in my middle. Well, and they - she pointed to the ladies - tomorrow I move to the Iverskaya, and then I will come to the ober shelter. After all, I suppose, will you do everything new? Do not take me, now the sleeves, that's what! Jedni Princess Irina Vasilyevna Young to come to me: Fear to look, just two boots on the hands put on the hands. After all, now that day is a new fashion. Yes, what is your business? She turned strictly to the count.
- Everything suddenly approached, - answered the graph. - Buy rags, and then the buyer in the near Moscow and the house. If your mercy will be yours, I will choose a time, I will go to Marinskoye on the day, you will catch my girls.
- Well, good, I will be well. I like in the guardianship. I will take them out where it is necessary, and I will be happy, and I caress, "said Marya Dmitrievna, who was touching his hand to his cheek and saint her Natasha.

Organizations are incomparably more mass than the notorious RAAP - the Russian Association of Proletarian Writers, overclocked in 1932. Rappa shared all the writers on the proletarians and travelers, reducing the last purely technical role: they can teach the proletarians to formal skills and go to either on the smelting, that is, on production, or on the peroxide, that is, in the tallerier. Stalin made an emphasis just on the travelers, for the course for the restoration of the empire - with the oblivion of all international and ultravolute slogans of the twenties, was already obvious. Travel traces - Writers of the Old School, who recognized the Bolsheviks precisely because only it was under the power to keep Russia from breakdown and save from the occupation, "they took the Spirit.

A new writer union was required - on the one hand, something like a trade union, engaged in apartments, cars, cottages, treatment, resorts, and on the other - the mediator between the ordinary writer and the party customer. Gorky was engaged in the organization of this union all 1933.

From August 17 to August 31, in the column hall of the former noble assembly, and now the houses of the unions were held his first congress. The main speaker was Bukharin, whose installation on culture, technique and some pluralism was well known; The appointment of his main speaker of the congress pointed to obvious liberalization of literary policies. Gorky took the floor several times, mainly in order to again and re-emphasize: we do not know how to show a new person, it is unconvincing, we do not know how to talk about achievements! His special delight caused the presence at the congress of the People's poet Suleiman Stalsky, Dagestan Ashuga in a stiffed bathrobe, in a gray fellible papakh. Gorky was photographed with him - they were with the Stalis were peers; In general, during the congress, the bitter was very intensely starred with his guests, old workers, young parachutes, Metrostro-building (along with the writers almost did not pose, there was its own principal installation).

Separately, it is worth mentioning the attacks on Mayakovsky, which sounded in the Gorky speech: he already dead Mayakovsky condemned his dangerous influence, for lack of realism, an excess of hyperball, apparently, a female was not personal, but ideological.

The first congress of writers was covered in the press wide and enthusiastically, and Gorky had every reason to be proud of his long-standing idea - to create a writer organization that would indicate the writers, how and what to do it, and simultaneously ensure their life. In his own letters of Gorky during these years, the sea of \u200b\u200bdesigns, the Soviets, which he distributes with the generosity of the sower: Write a book about how people make the weather! The story of religions and church robbing attitudes towards the Pacity! The history of literature of small nations! Little, writers are little rejoiced, it is necessary to be fun, brighter, gone! You can understand this permanent call to joy. Maybe he was her own horror before what was happening so worried - but neither in any of his essays there is no such pore and the shadow of horror, nor even doubts about the unconditional celebration of justice at the expanses of the Union of Soviets. One delight. So another reason is likely that the literature of the thirties and did not have learned to be talented - and if he lied, it is very urgently; Bitter sincerely wondered, seeing it. He was, oddly enough, extremely far from the life that most Russian writers lived, not to mention the people they wrote about; The presentations of his about this life were drawn mainly from the newspapers, and his mail, apparently, was strictly controlled by the secretary already familiar to us

Plan:

1 Organization of the joint venture of the USSR
2 membership
3 executives
4 SP of the USSR after the collapse of the USSR
5 SP of the USSR in art

Introduction

Union of Writers of the USSR - Organization of professional Writers of the USSR.

Created in 1934 at the first congress of the Writers of the USSR, convened in accordance with the Decree of the Central Committee of the CPSU (b) of April 23, 1932.

According to the Charter of the SP of the USSR, as editors in 1971 (the Charter was repeatedly edited) - "... A voluntary public creative organization, uniting the professional writers of the Soviet Union, participating in their work in the struggle for the construction of communism for social progress, for peace and friendship between nations."

"II ... 7. The Soviet Writers Union puts the initial purpose of the creation of works of a high artistic value saturated with the heroic struggle of the international proletariat, the pathos of the victory of socialism, reflecting the Great Wisdom and Herism of the Communist Party. The Union of Soviet Writers aims to create artistic works worthy of the Great Epoch of Socialism. " (From the charter of 1934)

The charter was given to the definition of socialist realism, as the main method of Soviet literature and literary criticism, following which was a prerequisite for the membership of the joint venture.

1. Organization of the joint venture of the USSR

The highest body of the USSR SP was the Congress of writers (between 1934 and 1954, contrary to the Charter, did not convene), who elected the Board of the USSR joint venture (150 people in 1986), which, in turn, was elected Chairman of the Board (since 1977 - First Secretary) and formed the Board Secretariat (36 people in 1986), who managed the joint ventures in the period between the congresses. The plenum of the board of the joint venture was assembled at least once a year. The Board of the Charter of 1971 elected, in addition, the Secretariat Bureau, as part of which was about 10 people, the actual leadership was in the hands of the working secretariat group (about 10 full-time places occupied by administrative workers than the writers). At the head of this group in 1986, Yu. N. Verchenko was approved (until 1991).

The structural divisions of the USSR joint ventures were regional writer organizations: the joint venture of the Union and Autonomous Republics, the writer organizations of the regions, Kravev, Gords Moscow and Leningrad, with the structure of a similar central organization.

The SP system of the USSR was published a "literary newspaper", magazines "New World", "Banner", "Friendship of Peoples", "Questions of Literature", "Literary Review", "Children's Literature", "Foreign Literature", "Youth", " Soviet literature "(published in foreign languages)," Theater "," Soviet Motherland "(for Yiddish)," Star "," Kostyon ".

All foreign jourges of JV members were subject to approval by the Foreign Commission of the SP of the USSR.

The Board of the USSR joint venture was the Publishing House "Soviet writer", Literary Institute. M. Gorky, literary consultation for beginner authors, the All-Union Bureau of the Propaganda of Fiction, Central House of Writers. A. A. Fadeev in Moscow, etc.

2. Membership

Reception in the members of the joint venture was made on the basis of an application, in addition to which the recommendations of the three members of the joint venture were supposed to be attached. The writer who wants to join the joint venture should have two published books and submit reviews on them. The application was considered at a meeting of the local branch of the USSR joint venture and was to receive at least two thirds of the votes when voting, then the Secretariat or the Board of the USSR joint venture was considered, and for adoption of at least half of their votes.

Numerical composition of the joint venture of the USSR by year (according to the organizing committees of the CP congresses):

1934 - 1500 members
1954 - 3695
1959 - 4801
1967 - 6608
1971 - 7290
1976 - 7942
1981 - 8773
1986 - 9584
1989 - 9920

In 1976, it was reported that from the total number of members of the joint venture 3665 they write in Russian.

The writer could be excluded from the joint venture "For offense, dropping the honor and dignity of the Soviet writer" and for the "retreat from the principles and tasks formulated in the Charter of the Union of Writers of the USSR." In practice, the reason for exception could be:

Criticism of the writer on the part of the highest party instances. An example is the exception of M. M. Zoshchenko and A. A. Akhmatova, who followed Zdanov's report in August 1946 and the party decree "On the magazines" Star "and" Leningrad ".
Publication abroad works not published in the USSR. B. L. Pasternak for the publication in Italy, "Dr. Zhivago" in 1957, was first for this motive.
Publication in "Samizdat"
Open expressed disagreement with the Policy of the CPSU and the Soviet state.
Participation in public speeches (signing open letters) with protests against the persecution of dissidents.

An excluded from the joint venture refused to publish their books and in publication in journals, subordinate joint ventures, practically they were deprived of the opportunity to earn literary labor. With the exception of the SP, there was an exception from a lithofand, entailing tangible material difficulties. The exception to the joint venture on political reasons, as a rule, was indulging in a wide publicity, which was sometimes transformed into real injury. In some cases, an exception was accompanied by criminal prosecution under the articles "Anti-Soviet agitation and propaganda" and "the distribution of knowingly false fabrications that are disrupted by the Soviet state and social system", deprivation of USSR citizenship forced emigration.

A. Sinyavsky, Yu. Daniel, N. Korzhavin, Vladimov, L. Chukovskaya, A. Solzhenitsyn, V. Makovov, V. Nekrasov, were also excluded for political motives from the joint venture. Worn, I. Dzuby, N. Lukash, Viktor Erofeev, E. Popov, F. Lights.

In protest against the exclusion of Popov and Erofeev from SP in December 1979 V. Aksenov, I. Lynnyanskaya and S. Lipkin declared their exit from the Union of Writers of the USSR.

3. Officers

The head of the joint venture of the USSR on the charter of 1934 was the Chairman of the Board, and since 1977 the first secretary of the Board.

Conversation I. V. Stalin with bitter

The first Chairman (1934-1936) of the Board of the Union of Writers of the USSR was Maxim Gorky. (At the same time, the actual management of the joint venture was carried out by the 1st Secretary of the SP Alexander Shcherbakov).

In the future, this post occupied:

Alexey Tolstoy (from 1936 to 1938); The actual manual until 1941 was carried out by the Secretary General of the USSR joint venture Vladimir Stavsky
Alexander Fadeev (from 1938 to 1944 and from 1946 to 1954)
Nikolay Tikhonov (from 1944 to 1946)
Alexey Surkov (from 1954 to 1959)
Konstantin Fedin (from 1959 to 1977)

First secretaries

George Markov (from 1977 to 1986)
Vladimir Karpov (since 1986; resigned in November 1990, but continued to do business until August 1991)
Timur Pulatov (1991)

4. SP of the USSR after the collapse of the USSR

After the collapse of the USSR in 1991, the Union of Writers of the USSR was divided into many organizations in various countries of the post-Soviet space.

The main successors of the SP of the USSR in Russia are the Union of Writers of Russia and the Union of Russian Writers.

5. SP of the USSR in art

Soviet writers and cinematographers in their work have repeatedly appealed to the topic of the USSR joint venture.

In the novel "Master and Margarita" M. A. Bulgakov under the fictional name "Massol", the Soviet writer is depicted as the union of adaptors.
Piez V. Worthanovich and Gorina "Cat homemade, medium fluffy" is devoted to the backstage side of the joint venture. On the play, K. Warriors took off the movie "Cap"
IN essays of literary life "The caller was beamed with oak" A. I. Solzhenitsyn characterizes the joint venture of the USSR, as one of the main tools of total party-state control over literary activities in the USSR.

Notes

Charter of the Union of Writers of the USSR, see "Information Bulletin of the Secretariat of the Board of the SP of the USSR", 1971, No. 7 (55), p. nine]

download
This abstract is based on an article from Russian Wikipedia. Synchronization executed 09.07.11 18:42:40
Related Schedules:

Soviet literary critic1930 - mid-1950s

The features of the new literary era.- Creating soyfor Soviet writers. Party Resolution "On Pereconstruction of literary and artistic organizations. " The first congress of Soviet writers. The role of M. Gorky in the literarylife of the 1930s.-Party literary critiska- Writing literary criticism: A.A. Fadeev,A. N. Tolstoy, A. P. Platonov.- Typology literary-creeticker performances.-A. P. Selivanovsky. D. P. Mirsky.- Literary criticism in the light of party decisions.- V. V. Yermilov.-The crisis of literary criticism.

The diversity of the literary life of the 1920s, pluralism of ideological and aesthetic installations, the activities of numerous schools and directions turns into its opposite in new social and literary circumstances. If in the 1920s the literary situation was formed and determined by literary criticism, then since 1929, literary life, as well as life in the country as a whole, proceeded in the tough visks of the Stalinist ideology.

With rooting and fierce of totalitarianism, literature was constantly in the zone of the close attention of the party leadership. In the role of literary critics, such prominent figures of Bolshevism, like Trotsky, Lunacharsky, Bukharin, were advocated, but their literary and critical assessments in the 1920s did not carry the nature of the only possible way, as which will occur in the 1930s and 1930s with Stalinist literary judgments.

The creation and introduction of the concept of socialist realism, which led to the unification of our culture, was carried out simultaneously with other campaigns that were called upon to marry the conquest of socialism.

Already in the late 1920s, the search began, capable of identifying that large and one, which was supposed to become common to

all Soviet writers creative platform. It is still unknown who first suggested how unconvincing on phrases and such a successful concept of "Socialist Realism". However, it is precisely this term and the ideas embedded in it have determined the fate of domestic literature for many years, giving literary critics the right to distribute it to all works that have expelled on Soviet soil - right up to Roman M. Bulgakov "Master and Margarita", turn back writers, I have not managed to fit into strict canons of socialist realism.

Returning from emigration at the insistence of Stalin M. Gorky managed to fulfill the social function, entrusted to him, and together with a whole group of developers, among which Rappovtsians occupied the preferential place, helped consider the process of "reunification" of Soviet writers who were part of different groups and associations. . So was conceived and implemented a plan for creating the Union of Soviet writers. It should be emphasized that the Union was created not contrary to, but in accordance with the aspirations of many and many Soviet writers. Most of the literary groups were close to Samorem, the wave of E. Zamyatina, B. Pilnyak, M. Bulgakov, was removed from the editorial posts of the prominent literary critics of the era - A. Voronsky and V. Polonsky. Rappov editions (in 1931 another magazine appeared - "RAPP") a stream print articles with such names: "Not all the left, which shouts", "street", "bouquet of rat love", "class enemy in literature". Naturally, such a situation, writers assessed as a manifestation of non-volatility and sought to get rid of the violent custody of the rapp. To read the Faketon I. Ilf and E.Petrov "Give him it nagging" (1932) to imagine why many Soviet writers enthusiastically reacted to the idea of \u200b\u200bthe Union.

On April 23, 1932, a resolution of the Central Committee of the CPP (b) "On the restructuring of literary and art organizations" was adopted. All existing organizations were bloated by this decision, and the Union of Soviet writers was created. In the writing environment, the attitude towards the resolution was the most enthusiastic, future members of the Union had not yet guessed that instead of the RAPP, the literary organization of unprecedented power and unheard of leveling possibilities comes. The congress of the Soviet writers was to take place very soon, but according to the family circumstances of Gorky, this event was postponed.

The first congress of Soviet writers opened on August 17, 1934 and lasted two weeks. The congress was held as a large All-Union Holiday, whose main character was M. Gorky. Table Presidium-298

ma touched against the background of a huge Gorky portrait, M. Gorky opened the congress, made a report on socialist realism on him, spoke with brief summary, concluded the work of the congress.

The festive atmosphere reigned at the congress was supported by numerous speeches of writers whose names were even relatively recently caused a uniquely negative assessment. I.Ereburg and V. Shklovsky, K. Chukovsky and L. Leonov, L. Seifullina and S. Kirsanov were made with bright speeches. Great feelings expressed B. Pasternak: "Twelve days I am because of the table of the presidium, along with my comrades, led with all of you a silent conversation. We exchanged the views and tears of the roastrokend, were explained by signs and shouted with flowers. Twelve days united us the stunning happiness of the fact that this high poetic language himself is born in a conversation with our modernity "1.

Pafos delight was interrupted when it comes to literary criticism. The writers complained that critics have a red and black board and writing reputations often depend on the critical time remarks: "It is impossible to allow the literary analysis of the author's work immediately influenced its social status" (I. Eren-Burg). It was about the full and hopeless absence of serious criticism, which remained in criticism of the Rappian savages. And satir Mich. Koltsov offered a fun project: "Enter the form for members of the Writer Union<...> Writers will wear a form, and it will be divided by genres. Approximately: Red Cant - for prose, blue for poetry, and black - for critics. And enter the icons: for prose - inkwell, for poetry - LIRA, and for critics - a small baton. It goes on the street critic with four doubles in the pettice, and all writers on the street are in front of the front. "

The report of bitter and co-workers about the world literature, about drama, about prose, about children's literature was a statement character. The fracture in the officially solemn flow of the congress came after the report of N. Bukharin, who spoke of the need to revise literary reputations, and in connection with which the leader of the new poetic era was called Pasternak. The report of Bukharin was unexpected, and therefore explosive. In the process of discussing the report, the participants in the congress were demonstrated and the difference in the views on the history and the future of Soviet literature, and the difference in temperaments. Sharp polemical performances replaced each other, universal calmness and feeling of involvement in a single union at the time

"First Congress of Soviet Writers: Transcript. M., 1934. P. 548.

my disappeared. But the excitement in the hall rather soon passed, since everyone understood, to which significant and solemn final the congress is approaching.

The final words that sounded at the congress and belonging to Gorky were determined by the literary life of the country for several decades: "What do I see the victory of Bolshevism at the Congress of Writers? In the fact that those who were considered non-partisan, "heated," recognized - with sincerity, in the completeness of which I did not dare to doubt, - recognized the Bolshevism of the only, combat guiding idea in creativity, in painting in the word. "

On September 2, 1934, the first plenum of the Board of the Union of Soviet writers elected at the All-Union Congress was held. The Chairman of the Board of the Union became M. Gorky. Up to the death of the writer in 1936, the literary life in the country passed under the sign M. Gorky, who made extremely much to root the proletarian ideology in the literature, to increase the authority of Soviet literature in the world. Even before the final move to Moscow, M. Gorky becomes the initiator of the publication and the editor of our achievements magazine, the Yearrs of the Year XVI, "Year XVII", etc. (year from the beginning of the revolution), large-scale publications "History of Factory and Plants" , "The History of the Civil War" - with the involvement of a large number of authors who did not have a relation to the writing profession.

M. Gorky publishes the magazine "Literary Study", designed to conduct elementary consultations for newly visible writers. Since M.Gorky attached the importance of children's literature, into a parallel with already existing children's journals "Hedgehog", "Chizh", "Murzilka", "Pioneer", "Friendly Guys", "Bonfire", and the magazine "Children's literature" Where literary-critical articles are printed, discussions arise about the books A. Gaidar, L. Panteleeva, B. Zhitkov, p. Marshak, K. Chukovsky.

Realizing itself by the organizer and inspirer of the new literary policy, M. Gorky actively participates in the literary critical process. At the end of the 1920s, Gorky articles are devoted to the study of their own writer experience: "Rackaras of Truth", "Notes of the reader", "On how I learned to write", etc. In the 1930s, M. Gorky reflects on the specifics of the literary case ( "On literature", "On literature and other literature", "About prose", "On the language", "On the plays"), which is just an open artistic method of proletarian literature ("On the artistic method of Soviet literature", "On the Union of Writers", "On preparation for the congress") and, finally, emphasizes the relationship of cultural construction with the fierce of class struggle ("Who are you, Master of Culture?", "On jokes and something else"). 300.

Enthusiastically follows M. Gorky about the fact that he opens in the Soviet country.

It is absolutely confident that the socialist "deliverance" of yesterday's thieves and gangsters occurs on the construction of the Belomor-Bal-Tiy Channel, M. Gorky organizes a numerous writer, who created a huge folio info, edited by a huge folio writer - a book about the White Chang-Baltic Channel, in which The work of the valiant Employees of the GPU (the main political governance, subsequently known as the NKVD, MGB, KGB), re-educating the "Canalyers". M. Gorky, probably, did not know how power the machine in the suppression of dissent in the Soviet country is unwinding. In the Museum of Gorky (in Moscow), the only, issued for Gorky, newspaper rooms, in which materials on political processes, having worked in the country, were replaced by neutral journalistic reports on the next success in industry. Meanwhile, all the support provided by M. Gorky Stalin was associated not only with the fact that M. Gorky was protected from real life in Moscow and in the country. The fact is that M. Gorky believed in the need for a radical improvement of man.

M. Gorky has repeatedly spoke and wrote that he does not feel pity for suffering, and it seemed to him that the state was erected in Russia would be able to raise people who were not burdened with the complexes of sympathy and mental magnets. M. Gorky publicly repented that in 1918-21, the intelligentsia did not die with hunger. He liked to feel the Soviet man involved in the great and unprecedented accomplishments. That is why he found high words, characterizing Stalin and considering it a "powerful figure". Probably, not everything in the words and actions of Stalin and his associates arranged Gorky, but at the epistolary and journalistic recognition reached us, negative assessments of the parties and state structures are not presented.

So, after combining the writers into a single union, after the cohesion of them around. The formation of aesthetic methodology, the literary era begins, in which the writers well realized that they should obey a certain program of creative and human behavior.

The tough framework of writing life was regulated by the tickets to the house of creativity, apartments in prestigious writing houses, extraordinary publications in major publications and publishing houses, literary prizes, promotion on the service staircase in writing organizations and - the main thing - trust, confidence

party and governments. Do not enter into an alliance or get out of it, be excluded from the Writers' Union - meant to lose the right to publish their works. The literary and writer hierarchy was erected according to the sample of the hierarchy of the party-government. What is socialist realism, theoretics of literature and literary critics, who created a huge number of works on this topic, knew. When Stalin asked, what is the essence of socialist realism, he replied: "Write the truth, this will be socialist realism." So the most famous literary critical judgments of Stalin were distinguished by such concise and read-adjacent formulations: "This thing is stronger than the" Faust "Goethe (love defeats death)" - about the fairy tale of Gorky "Girl and Death", "Mayakovsky was and remains the best, the talented poet of our Soviet Epochs. Stalin has repeatedly met with writers, giving guidance and assessing novelties of literature, he sat down his speech by quotes and images from world classics. Stalin in the role of literary criticism and criticism takes on the functions of the literary court in the last instance. Since the 1930s, the process of canonizing Leninist literary ideas is also planned.

♦ * ♦

For twenty years - from the beginning of the 1930s before the early 1950s, the Soviet literary criticism was presented mainly by reports and speeches, party resolutions and regulations. Literary criticism had the opportunity to realize their creative potency in the intervals from one party ruling to the other and therefore it can be called partyliterary criticism.Its essence and methodology were discharged in speeches, speeches, articles and official documents, the authors of which were I.Stalin, A. Evyanov, literary functions A. Scherbakov, D. Polikarpov, A. Andreev, etc. The main features of such literary criticism are the tough certainty And the continued uniqueness of judgments, genre and style monotony, the rejection of the "other" point of view - in other words - ideological and aesthetic monologism.

Even the writer's literary criticism, usually marked by the features of bright individuality, presents in these years samples of speeches and performances corresponding to the overall spirit of time. Alecsandr Aleksandrovich Fadeev(1901-1956), who worked in 1939-1944 by the secretary of the Presidium of the Union of Soviet Writers, and with

1946 to 1953 by the Secretary-General of the Union, his literary and critical performances were devoted, as a rule, relations of literature and Soviet reality: "Literature and Life", "learn from life", "go straight to life - Love life!" "In learning life - a key to success." Such a monotony title dictated by the needs of the Stalinist era: it was necessary to write and talk about the public role of literature. Declarativeness was considered the necessary attribute of journalistic literary criticism.

Actively engaged in literary criticism and returned from emigration Alexey Nikolaevich Tolstoy(1882-1945). In the previous years, the principle of apolitical art, Tolstoy began to actively speak and write about the party's literature. His articles are devoted to the innovative role of Soviet literature, approval of the principle of socialist realism.

Other type of literary and critical delimitation is presented in the works Andrei Platonovich Platonova (Clementova)(1899-1951). It is still a mystery, why such a thin artist, an outstanding writer of the 20th century, the author "Kotlovan" and "Cheving", presented a number of samples of literary and critical articles in which Pushkin is interpreted as "our comrade", in the meaningless rhetoric of Soviet prose The features of artistic romance differ, and the work of Gogol and Dostoevsky is interpreted as "bourgeois" and "backward". V. Verkhin believes that the specifics of Platonov-Critica lies in its secretion - parts of the Russian hidden speech and confrontation of censorship 1. On the genuine literary-critical abilities of the writer, one can judge the deep interpretation of the poetry A. Akhmatova.

This is probably just one of the explanations. Another obviously lies in the features of Platonov's writing at all. The original Kosonazychi's heroes of Platonovskaya prose, missed through the author's irony and creating a rattling mixture of a dangerous literary game, could not have no influence on Platonic critical prose. One more thing should be remembered: the literary criticism of Platonov resorts during the years of "non-printing", and his "reader reflections" becomes critical estimates of one of the many proletarian readers who have come to the big literature. And the fact that he is one of many, "man of mass", Platonov constantly emphasizes, leading literary reviews as if on behalf of one of their literary heroes.

"See about it: Perchin V.Russian literary criticism of the 1930s: criticism and public consciousness of the era. St. Petersburg., 1997.

The literary critic herself was often the focus of literary criticism. At one of the plenums of the Board of the Writer Union in 1935, the well-known representative of this profession I. M. Blessov said about criticism. In this and subsequent reports on similar topics, one and the same structural components, the same cliches and formulas can be found. In the reports on the status and tasks of Soviet literary criticism, the following nodal problems are clearly defined: the question of criticism is relevant, more than ever; Literary criticism is an integral part of the socialist culture; It is necessary to fight against the remnants of capitalism in the consciousness of people; It is necessary to rally around the party and avoid groupbugs; Literature is still lagging behind, and criticism from literature; Literary criticism should emphasize the party's party and classiness of literature.

The wonderful chronicler of the literary life, V. Caveryin leads a fragment of the stenograph report "Dispute Critics". The meeting took place in the House of Writers. Mayakovsky in March 1939. Eternal competitors gathered here - the writers of Moscow and Leningrad to discuss the "critical site of Soviet literature" (K. Fedin). And again - common phrases about the high appointment of criticism, about courage and fantasy in literary and critical labor.

Keeping the overall concept of speeches and articles dedicated to the tasks of Soviet literary criticism, the authors did amendment for a while. So, in the 1930s, they wrote about such a mandatory quality of literary criticism as revolutionary vigilance.

In the literary criticism of the 1930s. .Binina, I. Altman, V.Goffee, M.Lifshitsa, E. Mustangova. Their articles and reviews determined the real state of literary life.

The literary criticism of the Stalinist era in its total form was a non-heightening ideological imagination to the large literature, although on a common inside the background, interesting findings could also be distinguished, and accurate judgments.

Alexey Pavlovich Selivanovsky(1900-1938) Literary-critical activities began in the 1920s. He was one of the leaders of RAP, collaborated in magazines "on the literary post" and "October". In the 1930s, Selivanovsky issued the books "Essays on the history of Russian Soviet poetry" (1936) and "in literary battles" (1936), published in the journal "Literary critic". Like other former rappovtsy, Selivanovsky emphasized: "We

i straightened and straightens the party "1 The most famous works - "Thirst for a new person" (about the "defeat" A. Fadeeva), "Deceit and Love Zanda" (about Yu. olesh), "Laughter of Ilf and Petrov", as well as articles about D. Bednaya, N. Tikhonov, I. Selvinsky, V. Ulugovsky. These and other works are written from the standpoint of socialist parties, the artistic text is considered in them in the context of vulgar-sociological convergence with reality. For example, the critic encourages the creators of the Osta Bender to strengthen the features of the class enemy, and Paphos of Soviet literature Selivanovsky sees in the "artistic statement of the system of socialist relations on Earth." At the same time, the literary-critical work of Selivanov-Sky reflects the trends that do not have the era: this applies to articles on poetry.

Estimates of Selivanovsky go here contracted with generally accepted. He is trying to figure out the rhythm and phonetic neoplasms of Khlebnikov, seeks to understand the essence of the aqmeism (calling the name of Gumileva), having disengaged through the terminological lip of the era ("Poetry of late bourgeois classicism", "imperialist poetry", "Poetry of political generalizations"), critic expands poetic The field at the expense of names would seem hopelessly lost era of the 1930s. Selivanovsky was repressed. Rehabilitated posthumously.

The Soviet period of the activity of the former literator-emigrant deserves attention. Dmitry Petrovich Mirsky (Svyatopolka)(1890-1939). In Soviet Russia, the 1930s worldly prints a number of articles and prefaces dedicated to foreign literature. He also owns articles about M. Sholokhov, N. Zabolotkom, E. Bagritsky, P. Vasilyev. Articles and books of Mirski notably allocated on a general literary critical background: he was discovered in his judgments and often allowed himself an estimate that did not coincide with the estimates of official criticism. So, Mirsky was convinced of the unity of Russian literature of the post-revolutionary period 2. Despite the fact that the creative individuality of Criticism has absorbed a variety of current trends and trends, the element of vulgar and sociological reading of texts was quite strong in the works of Mirsky. Mirsky was repressed. Rehabilitated posthumously.

Intervention and control of party bodies led to the deterioration of the literary and social situation. FROM

Selivanovsky A.In literary battles. M., 1959. P. 452. 2, see this: Perchin V.Dmitry Svyatopolk-Mirsky // Russian literary criticism of the 1930s: Criticism and public consciousness of the era. SPB., 1997. P. 205-228.

In 1933, a monthly magazine "Literary critic" was published in the country, edited by P. F. Yudina, and later - M. M. Rosen-Tal. Of course, this magazine was the publication of his era, far from always responding to the name. Nevertheless, he became a lot of lacques of literary-critical thought, since the operational criticism - reviews, reviews, discussion articles were adjacent to the next or less serious historical and literary work and theoretical work. As a result, the party decree dated December 2, 1940. "On literary criticism and bibliography", the publication of the unique journal was discontinued.

Even more sad in their consequences was the decision of the Central Committee of the CPSU (b) dated August 14, 1946 "On the magazines" Star "and" Leningrad ". This document preceding its appearance discussion of the topic at the CPSA CPS CPS (b) and especially the report of A. Zhdanov at the meeting of writers in Leningrad not only stopped the publication of Leningrad magazine, but also contained non-party, offensive statements addressed to A.Akhmatova and M.Zeshoshchenko. After the publication of the Resolution and Akhmatov, and Zoshchenko were essentially excommunicated from the literary and publishing process; They remained typing only artistic translations.

It was a party literary criticism in its original clear-unicineal expression. Party decisions were taken over the play by I. Selvinsky "Umka - White Bear" (1937) and the Pieces of "Domik" V. Katayev (1940), about the play "Misel" L. Lonov (1940), and "t. Fadeev A.A. " (1940), about the magazine "October" (1943) and the magazine "Banner" (1944). Vigilant party control over literature has replaced literary criticism. Proof of this - a relatively recently seen the Light collection of documents testifying to the rampant party censorship 1.

The literary controversy under these conditions seemed inappropriate. However, rudiments of literary discussions are preserved. For example, in the period between 1935 and 1940, discussions about formalism and vulgar sociology were held. In fact, it was the echoes of the 1920s of the Disputes of the 1920s, and the main actors - supporters of the formal school and representatives of sociological literary studies - was given the next, this time - the last battle. If we consider that 90% of writers entered into the Union of Soviet writers in 1934, by 1937-1938. It was repressed, it can be understood that the discussions of the late 1930s were organized from above and proceeded

Literary Front: The history of political censorship: 1932-1946. M., 1994.306.

extremely sluggish. If in the 1920s "the guilty" critic could lose confidence in the party comrades, then in the 1930s he lost his life. On this occasion, the character of the Bulgakovsky novel Azazello spoke Margarita: "One thing is to get a hammer in the glass criticism of the brass-skom and another thing - he is in his heart."

After graduating from the publication of the "quiet Don" M.Sholokhov, the literary criticism suddenly was fixed, and there were responses in which Sholokhov was reproached in the improper end of the epic, in the fact that the writer was crushing the image of Melekhov. There were short discussions about historical novels, about N. Oostrovsky and D. Furmanov's prose.

During the Great Patriotic War, the attention of the party and government to literary criticism was weakened, and she did not give their own bright sprouts. Another effort to "improve the quality" of literary criticism was undertaken in 1947, when A. A. Fadeev wrote about its condition and tasks. The common reasoning of Fadeev added the idea that the socialist realism may well include and romantic elements. Fadeeva supported Vladimir Vladimirovich Yermilov(1904-1965), author who remember the contemporaries of the phrase, in which only "slightly" was reeded by the formula N. Chernyshevsky: "Beautiful is oura life".

Writing with a throw with brightness and increased expressiveness, V. Yermilov, literary critic and literary critic began his speeches back in the 1920s and became sadly famous in the years 1930s and 1940s. Ermilov always remained one of the most notable odion figures in the Soviet literary life. He was an indispensable active participant in all literary party discussions of different decades. The long-liver of Soviet literary criticism, V. Yermilov was a big way and journalism. In 1926-29, he edited the Rappov magazine "Young Guard", in 1932-38 he headed the editorial board of "Red Novi", in 1946-50 the "literary newspaper" was published under his leadership. Despite the fact that Yermilov was part of the Rappov leadership, he was easily refused the ideological aspirations of this organization and in the 1930s focused on the monographic studies of creativity M. Koltsov, M. Gorky, V. Mayakovsky. In different years, with a conjunctural and dogmatic position, he sharply spoke about the prose I. Ilf and Yong. Petrov, K. Powetsky, about poetry A. Tvardovsky and L. Martynov, about the drama of V. Grossman.

In] 936 in the book "The Dream of Gorky", written immediately after the death of the writer, Yermilov argued the absolute connection between M. Gorky and ideas of the victorious socialism. In the finals of the book, the critic disassembled in detail the advantages of the Stalinist constitution, which became, according to Yermilov, a peculiar apotheosis of Gorky ideas.

In the 1940s, Yermilov is the author of a number of articles in which the thought of the writer's party responsibility and critic 1 is rigidly declared. According to Yermilov, the very democratic literature of the world can be considered the literature of socialist realism. Suspicious "tendencies", manifested in the works of Zoshchenko and Akhmatova, of course, "deeply hostile to Soviet democracy."

Yermilov without tired fought with "political irresponsibility" and "falconity", with the "mystical perversion of reality" and "pessimism", with "rotten scholasticism" and "theories", "preaching tolstovsky self-improvement". He was one of the creators of the tendency and crackling of literary-critical phraseology, diligently replicated in 1930-50s. According to the names of Yermilov, it is easy to imagine how prohibitive pathos they were permeated: "Against Menshevism in literary criticism", "against reaction ideas in the work of F. M. Dostoevsky", "On false understanding of traditions", "harmful play", "The slanderous story of A. Platonova", etc. Literary compositions of Yermilov proclaimed the weapon necessary to protect the "genuine party parties" in art.

Ermilov enthusiastically supported the thought of A. Novanov, expressed by him at the first congress of writers, that socialist realism should be the method of not only Soviet literature, but also of Soviet criticism. Yermilov played its role in the fight against "cosmopolitanism" - in the ruthless state action of the late 1940s. He declared the names of the writers of "cosmopolitans", which allowed themselves to see the artistic influences of world classics in Russian literature.

In 1950-60s, Yermilov focused on historical and literary studies, most of whom he dedicated to A. Czech

Cm.: Ermilov in,The most democratic literature of the world: Articles 1946-1947. M., 1947.

wu. Meanwhile, Ermilov attached considerable importance to literary-critical work. After the XX Congress of the Party, conforming to new trends, the critic began to write freely, is greasy, he approached the artistic text and began to pay attention to his poetic system. 1 However, Yermilov retained loyalty to itself and introduced endless references to party documents into the building of his articles, trusting primarily in a timely manner expressed political idea, and not literary and artistic discovery. In the 1960s, Ermilov-critic loses its former influence, and his articles are perceived as ordinary phenomena of a stormy literary process that attracted readers' attention by completely different names and artistic ideas.

In the history of Ermilov's literature, V. Mamokovsky forever "introduced" V.Makovsky, who was uncomfortable in the word, who had a criticism in his death letter, and before that, writing one of the slogans to the play "Bath":

do not evaporate

bureaucrats Roy. Not enough bath

and nor soap you. And back

bureaucrats

helps the pen critics -

like Ermilova ...

In 1949, "Fighting cosmopolitanism" began in the country. In the sections of the Writers' Union, another wave of severe workers took place. The writers repeatedly repent, and literary critics focused around the next "positive" facts that manifested themselves in a demonstrative-official, reptile literature. In the late 1940s - the beginning of the 1950s, Soviet literary criticism was dying. She was forced to "take into armaments" the theory of confonflisher known for its demagogic frankness. Criticism, as well as literature, accounted for sharp corners, joyfully, with cerebral flashes, welcoming the appearance of literary works, whose name itself was intended to inspire pride and optimism. Writers painfully agreed to alteration written. Cool

"See, for example: Yermilov V.TIME TIME: On the traditions of Soviet literature. M., 1964.

a sicical example of tragic bravery - alteration A. Fadeev Roman "Young Guard". Literary critics in the bayonets took honest literature - books coming against a common mood. Negative reviews appeared about the poems of A.Vardovsky, V. Grossman's novels "For the right case" and V.Nekrasov "In the trenches of Stalingrad", the agent and stories V. Panova. In the 1940s - early 1950s, Soviet literary criticism is experiencing the hardest crisis.

Organization of the joint venture of the USSR

The highest body of the USSR joint venture was the Congress of writers (between 1934 and 1954, contrary to the charter, did not convene), who elected the Board of the USSR joint venture (150 people in 1986), which, in turn, was elected chairman of the Board (since 1977 - First Secretary) and formed the Secretariat of the Board (36 people in 1986), who managed the activities of the joint venture in the period between the congresses. The plenum of the board of the joint venture was assembled at least once a year. The Board of the Charter of 1971 elected, in addition, the Secretariat Bureau, as part of which was about 10 people, the actual leadership was in the hands of the working secretariat group (about 10 full-time places occupied by administrative workers than the writers). At the head of this group in 1986, Yu. N. Verchenko was approved (until 1991).

The structural divisions of the USSR joint ventures were regional writing organizations with a structure similar to the Central Organization: the joint ventures of the Union and Autonomous Republics, the writer organizations of the regions, Kraev, cities in Moscow and Leningrad.

The Print Bodies of the SP of the USSR were the "literary newspaper", the magazines "New World", "Banner", "Friendship of Peoples", "Questions of Literature", "Literary Review", "Children's Literature", "Foreign Literature", "Youth", " Soviet literature "(published in foreign languages)," Theater "," Sovieties Geymland "(for the Yiddish)," Star "," Bustor ".

Also in the structure of the joint venture there were various units that carried out the functions of management and control. Thus, all foreign journeys of JV members were subject to approval by the Foreign Commission of the SP of the USSR.

Membership

Numerical composition of the Writers of the USSR for years (according to the organizing committees of the CP Congresses):

1934-1500 members
1954 - 3695
1959 - 4801
1967 - 6608
1971 - 7290
1976 - 7942
1981 - 8773
1986 - 9584
1989 - 9920

In 1976, it was reported that out of the total number of members of the Union, 3,665 write in Russian.

Criticism of the writer on the part of the highest party instances. An example is the exception of M. M. Zoshchenko and A. A. Akhmatova, who followed Zdanov's report in August 1946 and the party decree "On the magazines" Star "and" Leningrad ".
Publication abroad works not published in the USSR. B. L. Pasternak for the publication in Italy, "Dr. Zhivago" in 1957, was first for this motive.
Publication in "Samizdat"
Open expressed disagreement with the Policy of the CPSU and the Soviet state.
Participation in public speeches (signing open letters) with protests against the persecution of dissidents.

In protest against the exclusion of Popov and Erofeev from SP in December 1979, V. Aksenov, I. Lynnyanskaya and S. Lipkin declared their exit from the Union of Writers of the USSR.

Officers

The head of the USSR joint venture according to the 1934 charter was the Chairman of the Board.

Alexey Tolstoy (from 1936 to the year); The actual leadership until 1941 was carried out by the Secretary General of the USSR joint venture Vladimir Stavsky;
Alexander Fadeev (from 1938 PO and C PO Hg);
Nikolay Tikhonov (from 1944 to 1946);

According to the Charter of 1977, the leadership of the Writers' Union was carried out by the first secretary of the Board. This position was occupied by:

Vladimir Karpov (since 1986; resigned in November 1990, but continued to do business until August 1991);

SP of the USSR after the collapse of the USSR

After the collapse of the USSR in 1991, the Union of Writers of the USSR was divided into many organizations in various countries of the post-Soviet space.

SP of the USSR in art

Soviet writers and cinematographers in their work have repeatedly appealed to the topic of the USSR joint venture.

In the novel "Master and Margarita" M. A. Bulgakov under the fictional name "Massol", the Soviet writer is depicted as the union of adaptors.
Piez V. Worthanovich and Gorina "Cat homemade, medium fluffy" is devoted to the backstage side of the joint venture. On the play, K. Warriors took off the movie "Cap"
IN essays of literary life "The caller was beamed with oak" A. I. Solzhenitsyn characterizes the joint venture of the USSR, as one of the main tools of total party-state control over literary activities in the USSR.

Criticism. Quotes

The Union of Writers of the USSR meant a lot to me. Firstly, this communication with high-class masters can be said with the classics of Soviet literature. This communication was possible because the Union of Writers arranged joint trips around the country, and foreign trips were. I remember one of these trips. This is 1972, when I just started in the literature and found myself in a large group of writers in the Altai Territory. For me, it was not only an honor, but also studying and experience certain. I communicated with many very famous masters, including my countryman Pavel Nilin. Soon Georgy Makeevich Markov gathered a big delegation, and we went to Czechoslovakia. And also meetings, and it was also interesting. Well, then every time the plenums, the congresses, when I traveled myself. This, of course, study, acquaintance and entry into the greater literature. After all, the literature includes not only by their word, but also by the fraternity defined. This brotherhood was. It was later in the Union of Writers of Russia. And there was always joy to come there. At that time, the Union of Writers of the Soviet Union was undoubtedly needed. .

Notes

Links

Officers Union of Writers of the USSR
Maxim Gorky (1934-1936) Alexey Tolstoy (1936-1938) Alexander Fadeev (1938-1944) Nikolay Tikhonov (1944-1946) Alexander Fadeev (1946-1954) Alexey Surkov (1954-1959) Konstantin Fedin (1959-1977) George Markov (1977-1986) Vladimir Karpov (1986-1991)

Wikimedia Foundation. 2010.

Union Pi Ca Telueies of the USSR. How the Union of Soviet writers was born

Read also

Organization of the joint venture of the USSR

Membership

Officers

Control from the CPSU

Awards

SP of the USSR after the collapse of the USSR

SP of the USSR in art

Criticism. Quotes

Address

Write a review about the article "Union of Writers of the USSR"

Notes

see also

Links

Excerpt characterizing the Union of Writers of the USSR

Plan:

Introduction

1. Organization of the joint venture of the USSR

2. Membership

3. Officers

4. SP of the USSR after the collapse of the USSR

5. SP of the USSR in art

Notes

Organization of the joint venture of the USSR

Membership

Officers

SP of the USSR after the collapse of the USSR

SP of the USSR in art

Criticism. Quotes

Notes

see also

Links