Posted 1 ноября 2021, 13:54
Published 1 ноября 2021, 13:54
Modified 25 декабря 2022, 20:57
Updated 25 декабря 2022, 20:57
But Soviet intelligent families are still a warehouse with skeletons, a concentrate of hypocrisy, opportunism and constant public play.
Alina Vitukhnovskaya, writer
Children were raised like trained animals, but, alas, they didn't even know how to train them. In general, the message of Narusova is as follows - "What are you, Ksyusha, not like us, you have to be more cunning, more formatted". Yes, no longer necessary. Everything is possible in Neosovka. But depending on who, of course.
Lyudmila Narusova is a typical Soviet woman. Sobchak, it turns out, too. Tried to sing to Morgenstern "The Bend of the Yellow Guitar", apparently as a satanic lullaby. Yes, probably, if I were in his place, at these sounds I would immediately evaporate from embarrassment. Aren't you ashamed, Ksenia? The Soviet spirit is the spirit of ringing stifling vulgarity. He is already everywhere.
Due to the absence of normal social lifts, social hierarchy in principle, all these Soviet families consisted entirely of people with deep complexes. And due to the absence of civilization, but the manna, sticky redundancy of culture (sovkulturki), the entire Soviet family stemmed from the absence of a certain Norm.
It is not surprising that the first peddler of "Norma" here was Vladimir Sorokin, it was that distorted schizonormality, post-Soviet and post-modernist concentrate. Good and Evil in their true ontology was not here either, but there were their toy fakes from rustic adapted fairy tales.
And these Soviet "cells of society", twisted by socialism, constantly settled scores within themselves, literally devoured each other for the first, second and third. This was the only way of existence and self-affirmation of the "little man". It is surprising that post-Soviet parents are still trying to do this. Whereas they have long lost their imaginary authority, and in fact, did not have it initially.
It is Narusova who eats up, bites Xenia, albeit under the guise of overprotection and complacency. A representative of a generation that left ruins behind. Semantic, mental, social, economic. Ruin.
In the meantime, pinpoint stripping continues. For whom is a black funnel, for whom is a dead moose. The deputy of the Communist Party of the Russian Federation Valery Rashkin fell under the distribution. He was detained allegedly drunk in a car with a dead elk. Everything is in the best traditions of the Bolshevik terror. In Rashkin's case, everything is cinematic and very organic. Between Greenway and Soviet Comedy. Between necrophilia and alcoholism. Between the corpse of Lenin and the corpse of an elk. Between the UG and the RF. In general, everything is included.
Despite the widespread informatization of society, the main direction of the information flow goes from the source to the person, and not vice versa. As people used to write "letters on the radio", now they broadcast reflections on social networks. This is the notorious "feedback" in the unstructured control system. In this sense, the Russian intelligentsia and even intellectuals do not differ much from the local proletarians. In fact, these are the proletarians, but with fashionable gadgets.
Why did this happen? Because they renounced claims to resources and power. Yes, in general from claims. They accept life as it is, or rather, as it is "given to them in sensations." That is, like some hastily fried Pelevin flatbread. Poorly crafted illusion, existential cake.
And “life as it is”, as I already wrote, is fascism. Moreover, it is ontological, organic. And therefore, the establishment of a dictatorship in Russia is a direct consequence not only of the lawlessness of the current government, but also of this vicious, legalized as "normal" outlook.
Soviet and post-Soviet people are constantly running away from private evil, from personal villainy into reflection on the evil of the conventional “other”. For him, the Third Reich, who died in the historical Bose, became this other long and reliably. So in the Soviet propaganda film "Ordinary Fascism", through the accusatory pseudo-human pathos, a fierce, animal envy of aesthetics as such shines through.
What is the “man behind the scenes” doing? For example, he criticizes the sculptural gigantomania of Nazism with a reference to the Greek tradition, but through the murky prism of the allegedly humane Soviet ideology. In this well-known propaganda film, it would be easy to replace everything shown with Soviet, while even the spoken text could be left untouched.
Soviet agitators were jealous not only of aesthetics, but also of the very well-functioning National Socialist "death machine". Because the domestic one often slipped, crashed, chewed on its own. That is, it got out of control and threatened with a self-destructive explosion.
Germany has realized its mistakes. Russia Red only strengthened in its madness, returning exactly a century ago, like a dog on its vomit. Only everything has become even more unaesthetic than in the same 20s, 30s, 40s.
Instead of striving to resemble their German counterparts - dashing underathletes and broad-faced blondes, we see the drunken, invigorating Solovievs-Zakharovs-Simonyans. Behind them, the Sobchaks, Ivleevs and Valeevs (Morgensterns) are mincing at a small, frantic pace. And in the very tail weave the coincidences, eaters of Crimean sandwiches, which have long been released in circulation.
What is anti-aesthetics? This is a marker that unites all the followers, restless ones. Ontological "proletarians", Templars of subjectlessness. Those from whom the masses, classes and other lower strata are always molded. Who is considered only in an aggregated, enlarged state. Swaying reeds of the future existential oil cake.