This thesis had two related purposes: to compare, contrast and critique three scholars' views of the Soviet domestic reform process, and to use these analyses as the means by which to examine the emerging Soviet domestic reform program. The arguments of Stephen F. Cohen, Timothy J. Colton and Richard Pipes served as the primary subject matter of this thesis, with their individual views determined by a critical analysis of the writing which each has recently done on this subject. Investigated in particular was each individuals' interpretation of the reform process, its component parts and the kind of change that was expected to be involved in any new domestic reforms. The final chapter dealing with the contemporary Soviet situation relied upon as much primary source material as possible in an attempt to provide an accurate picture of the state of affairs within the country at this time. The results of my analysis indicate that Richard Pipes' interpretations and conclusions do not receive much support from either Soviet history or the contemporary situation within the country. His one dimensional view of Soviet elite interests and his "crisis/reform" theory of Soviet reform were found to be generally unsubstantiated. Stephen Cohen's arguments, on the other hand, received a good deal of support, especially with regards to his emphasis on the probability of moderate change and the existence of reformist and conservative constituencies within the Soviet Union, constituencies which do appear to have been involved in the domestic reform process. At the same time, however, the terminology which he employed to describe the reform process was found to be somewhat problematic. Timothy Colton's arguments, finally, were also found to have a good deal of efficacy, especially with respect to his view of the country's new generation of political leadership and the role that it would play in the reform process. In conclusion, the new domestic reform program itself was found to be indicative of generally moderate economic and political change, change that was embraced for the moat part by a good segment of the new leadership, but which had found significant resistance at the lower levels of the bureaucracy and among the working class. / Arts, Faculty of / Political Science, Department of / Graduate

xii, 310 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Nostalgia is the longing for a lost, and often substantially reimagined, time or place. Commonly regarded as a conservative impulse available for exploitation by hegemonic forces, nostalgia can also be a source of social questioning and creative inspiration. This dissertation examines the ways in which nostalgic longing imports images and ideas from memory into present discourse and infuses works of art with complication, contradiction, and ambiguity. In the early 1960s, emboldened by Nikita Khrushchev's cultural Thaw, many Soviet filmmakers engaged both personal and social memory to craft challenging reflections of and responses to their times. These filmmakers reengaged the sundered spirit of the 1920s avant-garde and reimagined the nation's artistic and spiritual heritage; they captured the passing moments of contemporary history in a way that animated the permanent, productive, and sometimes stormy dialogue between the present and the persistent past. Mikhail Kalatozov's I Am Cuba (1964), Andrei Tarkovsky's Andrei Rublev (1966, released 1971), and Marlen Khutsiev's Ilich's Gate (1961, released with changes in 1965 as I Am Twenty ) were planned in the anxious years surrounding Khrushchev's fall, and the films mark a high point of Thaw-era cinematic audacity. Each film is epic in scope; each deploys temporal longing to generate narrative ambiguity and dialogue between historical epochs. The films are haunted by ghosts; they challenge the hegemony of the "now" by insisting on the phantom presence of a thousand "thens"; they refurbish old dreams and question contemporary assumptions. The Thaw permitted the intrusion of private memory into public history, and the past became a zone for exploration rather than justification. Easy answers became harder to come by, but the profusion of questions and suggestions created a brief silver age for Soviet cinema. For us, these films offer an extraordinary glimpse into creative life during one of the great, unsung social transitions of the 20th century and reveal the crucial contribution of individual memory in the artistic quest for formal diversity, spiritual inspiration, and ethical living. / Committee in Charge: Dr. H. Leslie Steeves, Chair; Dr. Biswarup Sen; Dr. Julianne Newton; Dr. Jenifer Presto