Vinsamlegast notið þetta auðkenni þegar þið vitnið til verksins eða tengið í það: http://hdl.handle.net/1946/40799
This thesis analyses the role of sexual deviance and gender dissent in the Russian avant-garde movement. It asks what kind of role dissenting sexualities played in the movement’s history and how they influenced its revolutionary aesthetics. The answer is formed by studying different visual themes such as homosexual desire, androgyny and gender subversion before and after the October Revolution in 1917. Foucault’s conceptualisation on the history of modern sexuality and central writings in queer theory animate the study’s critical framework. At the beginning of 20th century, Russian art experienced a brief moment of interest towards queer subjects which has been previously documented by art historians. This thesis argues that themes of same-sex love and androgyny did not disappear from the avant-garde after the Revolution but rather acquired new forms of expression in line with the language of leftist and socialist realist art. Queer subjectivity acquired a subversive quality after the Revolution with the potential to challenge authoritarian rule through presentation. It argues that the significance of sexuality and gender has been ignored in the canonical narration of the movement’s history. Furthermore, the thesis argues that the expression of queer sexualities formed an integral part of the Russian avant-garde and without their consideration its radical aesthetics cannot be fully understood.
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