Transnational Histories of Youth in the Twentieth Century
Transnational Histories of Youth in the Twentieth Century
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二十世纪青年跨国史
DOI：
10.1057/9781137469908_11
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发表时间：
2015
期刊：
影响因子：
--
通讯作者：
Fürst J
中科院分区：
文献类型：
--
作者：
Fürst J
在铁幕上摇摆（“意大利”风格很流行），在从美国之音收集的爵士乐声中和从战争中归来的老兵带回家的奖杯唱片中结合起来，比同龄人跳得更快、更大胆。毫无疑问，就外观和精神而言，斯蒂利亚吉是欧洲爵士乐青年文化浪潮的一部分，这些文化从美国摇摆乐场景中汲取了文化曲目，并且已经在法西斯时期催生了Swing kids和Swing Heinis。德国和奥地利，战时法国的Zazous，美国的Zoot-suiters，以及后来战后英国的Teddy Boys。它们都是军事化和文化压制环境的对应物。与此同时，他们都是美国在欧洲日益增长的文化影响力的产物，也是日益全球化的青年文化的一部分。然而，他们都是特定于他们的时间和地点。stiliagi无疑是由他们的苏联栖息地和经验塑造的。他们并不是西方同行的完美复制品。瓦西里·阿克塞诺夫（Vasilii Aksenov）后来成为一位著名的流亡作家，他认为自己是一个真实的“chuvak”（stiliagi对他们自己的称呼），因为他买了一件驯鹿毛衣，就像约翰·佩恩在电影《太阳谷小夜曲》中穿的那样--这是苏联青年的经典之作。虽然后来与莫斯科的黄金青年的接触很快就消除了他对“时尚”的看法，但他在喀山作为一个省级stiliaga的生活并不比他在苏联首都遇到的布吉伍吉舞克格勃后代的反叛或亚文化少。[4]阿克谢诺夫的个人经历，作为1937年被镇压的党内活动家叶夫根尼娅·金斯伯格的儿子，以及在她儿子涉足时尚界时，古拉格的囚犯，突出了苏联不墨守成规的青年文化的另一个具体方面：它与政治异议和政权批评的自觉或无意识的关系。虽然大多数斯提利亚人都为自己的非政治性感到自豪，但对一些人（包括阿克谢诺夫）来说，这是他们反对党之旅的重要组成部分。即使对那些没有自觉走上这条道路的人来说，仅仅是制定stiliagi生活方式就引发了他们的行为在严格规范的苏联制度中意味着什么的问题。他们肯定有不同的效价非常相似的行为，他们的西方同行。20年后，另一个受西方启发的、更有全球意识的青年亚文化--嬉皮士运动--也提出了同样的问题：西方启发的青年文化如何跨越铁幕？青年在跨越国界方面有多成功？或者说，它们在多大程度上仍然受制于其所在地和环境的特殊性？本章将详细考察苏联两次重要的西方青年文化浪潮，并结合上述问题来考察它们的意义。无论是stiliagi还是苏联嬉皮士，他们的符号学线索都来自于起源于西方并传播到地球仪的现象，但他们都忍不住要回应更多的本土因素，如镇压，并被这些因素所塑造。
Swinging across the Iron Curtain 237 the ‘Italian’style popular), to bond over the sound of jazz gleaned from the Voice of America and trophy records brought home by returning veterans of the war, and to dance faster and more daringly than their peers. There is no doubt that in terms of looks and spirit the stiliagi were part of a wave of jazz-inspired youth cultures in Europe, which drew their cultural repertoire from the American swing scene, and which had already spawned the Swing kids and Swing Heinis in fascist Germany and Austria, the Zazous in wartime France, the zoot-suiters in the United States, and later the Teddy Boys in postwar Britain. They all were counterpoints to an environment that was militarized and culturally repressive. At the same time they all were products of the growing cultural influence of America in Europe and part of an increasingly global youth culture. And yet, they all were specific to their time and place. The stiliagi were unmistakably shaped by their Soviet habitat and experience. They were not perfect replicas of their Western peers. Vasilii Aksenov, later an acclaimed émigré writer, considered himself a real ‘chuvak’(the stiliagi term for themselves) because he had acquired a reindeer sweater as sported by John Payne in the film Sun Valley Serenade–a classic among Soviet youth. While later contact with Moscow’s golden youth soon disabused him of his version of ‘stylishness’, his life as a provincial stiliaga in Kazan was no less rebellious or subcultural than that of the boogie-woogie dancing KGB offspring whom he encountered in the Soviet capital. 4Aksenov’s personal history as the son of the party activist Evgenia Ginsburg, repressed in 1937, and at the time of her son’s forays into fashion, an inmate of the GULAG, highlights another specific aspect of Soviet nonconformist youth culture: its conscious or unconscious relationship with political dissent and regime criticism. While most stiliagi prided themselves in their apoliticalness, for some (including Aksenov) it was a significant part of their journey into opposition. Even for those who did not go down this road consciously, the mere enactment of the stiliagi lifestyle opened up questions about what their actions meant within the rigidly normative Soviet system. They certainly had a different valence to the very similar behavior of their Western counterparts. Two decades later another Western-inspired, and more consciously global, youth subculture–the hippie movement–would raise the same questions: how Western were Western-inspired youth cultures across the Iron Curtain? How successful were youth in transgressing their national boundaries? Or to what extent did they remain subject to the particularities of their location and circumstance? This chapter is going to take a detailed look at two significant waves of Western-inspired youth culture in the Soviet Union and examine their significance with reference to the questions posed above. Both the stiliagi and the Soviet hippies took their semiotic clues from phenomena that originated in the West and spread around the globe, yet both could not help but respond to and be shaped by more homegrown factors such as the repressive