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The desintegration of the USSR, the resulting release of censorship, and the related publication of earlier prohibited texts, as well as the new charakter of the book market entirely tranformed the shape of the literary field of the nineties. This thesis concerns itself with a specific segment of the professional literary production of this period. With its topic, this work aspires to contribute to the serious research of the little explored postcommunist period in the Russian literature. In order to assess and interpret the evolution of opininions in this period of time, the chosen method is the one of commented overview of literary criticism and of literary-theoretical texts published mainly between 1986 and 2000 in Russian publications (mostly in so-called "thick magazines"). The thesis focuses on studies interested in the work of the middle and younger generation of the Russian prose writers, and more precisely on studies concerning the structural aspects of the literary situation in the nineties. On the background of the specific cultural and social situation, the method of the ample commentary is an appropriate way regarding how to interpret the literary theorists' basis of thoughts and opinions, and at the same time how to affect these experts' relationship to the new tendencies in the...

This dissertation deals with the concepts glasnost and perestroika during the Gorbachev era 1985–1991. It offers an explanation to the rise and fall of these concepts and casts light on their modern and postmodern implications, as well as their historical and generational preconditions. In light of the Soviet and Russian conceptual history, Gorbachev’s articulation of glasnost and perestroika is contrasted with the reception of these concepts in what at that time came to be called Russian postmodernism. Glasnost and perestroika both confirm and transcend Soviet modernity. They are both future-oriented but at the same time possess retrospective anchorage. The present study reconstructs the experience encapsulated in the concepts, the expectations they unleashed and the tensions they triggered. The Gorbachev era signaled a rupture in the temporal order of modernity. During this time Soviet modernity lost confidence in its self. With glasnost and perestroika a suppressed past opened up which blocked the futurist potential inherent in the present. The concept-theoretical perspective assumed in the dissertation helps explain essential aspects of the dramatic turn of events. Postmodernism’s relationship to the concepts is mainly antagonistic. At the same time glasnost and perestroika were essential to the self-identity creating process of postmodernism and its development of an understanding of a specific late Soviet postmodern situation. Beneath the surface a conflict evolves, constituted in intergenerational terms. The vast differences in deployment of the two key notions appear related to generation specific historical experiences. This is apparent in the glasnost- and perestroika discussions of the 19th and 20th centuries. In several respects the 20th century discourse reflects that of the 19th century. The analysis in the present dissertation demonstrates how Gorbachev, on the basis of his generation-specific experience as a man of the 1960s actively sought to articulate an alternative reconstruction (perestroika) and did so with a distinct ideological accent. The postmodernists, the last Soviet generation, bore the imprint of the stagnation of the Brezhnev era and had no ideal past to resuscitate. Instead of reconstructing social reality they tried to place themselves outside it. This apolitical stance however embodied both anti-political and political implications.

The present work analyses the fiction of the post-Soviet Russian writers, Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin against the background of the notion of post-Soviet Russian postmodernism. In doing so, it investigates the usefulness and accuracy of this very notion, proposing that of ‘post-Soviet neo-modernism’ instead. Common critical approaches to post-Soviet Russian literature as being postmodern are questioned through an examination of the concept of postmodernism in its interrelated historical, social, and philosophical dimensions, and of its utility and adequacy in the Russian cultural context. In addition, it is proposed that the humorous and grotesque nature of certain post-Soviet works can be viewed as a creatively critical engagement with both the past, i.e. Soviet ideology, and the present, the socially tumultuous post-Soviet years. Russian modernism, while sharing typologically and literary-historically a number of key characteristics with Western modernism, was particularly motivated by a turning to the cultural repository of Russia’s past, and a metaphysical yearning for universal meaning transcending the perceived fragmentation of the tangible modern world. Continuing the older Russian tradition of resisting rationalism, and impressed by the sense of realist aesthetics failing the writer in the task of representing a world that eluded rational comprehension, modernists tended to subordinate artistic concerns to their esoteric convictions. Without appreciation of this spiritual dimension, semantic intention in Russian modernist fiction may escape a reader used to the conventions of realist fiction. It is suggested that contemporary Russian fiction as embodied in certain works by Sorokin, Tuchkov and Khurgin, while stylistically exhibiting a number of features commonly regarded as postmodern, such as parody, pastiche, playfulness, carnivalisation, the grotesque, intertextuality and self-consciousness, seems to resume modernism’s tendency to seek meaning and value for human existence in the transcendent realm, as well as in the cultural, in particular literary, treasures of the past. The closeness of such segments of post-Soviet fiction and modernism in this regard is, it is argued, ultimately contrary to the spirit of postmodernism and its relativistic and particularistic worldview. Hence the suggested conceptualisation of post-Soviet Russian fiction as ‘neo-modernist’.