Why is Sharikov dead? The fate of “the Soviet Frankenstein” in Bulgakov’s<i>A Dog’s Heart</i>

Dame, Natalia

doi:10.1080/00085006.2018.1558723

Canadian Slavonic Papers

2019

DOI: 10.1080/00085006.2018.1558723

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Why is Sharikov dead? The fate of “the Soviet Frankenstein” in Bulgakov’sA Dog’s Heart

Natalia Dame

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2020

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“…Bulgakov's novellas serve as fertile ground for posthumanist notions of hybridity, paradoxically aligning them with the transformative optimism of the time. Whereas their radical treatment of animality has been explored elsewhere (Fudge 2009;Mortensen 2016;Dame 2019), the current article discusses the other end of the spectrum of Bulgakov's posthumanism, i.e. the mechanical.…”

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Between Parody and Pastiche: The Posthuman Biomechanics of Bulgakov’s Novellas

Mortensen

2020

Scando-Slavica

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The article examines the birth of biomechanics in Soviet scientific discourses and how it was absorbed by the theater and literature of the day, in a reading of Michail Bulgakov's three novellas "Dʹjavoljada" (1924), "Rokovye jajca" (1924) and "Sobačʹe serdce" (1925), interpreting them as both products of and critical reactions to the transformational trends in early Soviet ideology. While artists and theorists like Aleksej Gastev worked to ensure the creation of the New Man by reshaping the human animal into an industrious mechanical man of steel, Bulgakov actively opposed such ideas. In his fiction, he exhibits a dialogical and contentious relationship to biomechanics. This reading argues that the novellas are paradoxically dependent on notions of mechanization and hybridity, aligning them with features of posthumanism, at the expense of Bulgakov's satirical attacks on Vsevolod Mejercholʹd and his theatrical biomechanics. The noisy soundscapes, metal tropes and mechanical motifs that shape the novellas, at times distract from Bulgakov's parodic affect and nurture instances of pastiche, making his early short prose indebted to none other than his avant-garde adversaries of the 1920s. 1 KEYWORDS Diaboliad, The Fatal Eggs, Heart of a Dog, posthumanism, machines, metal, the new man, Gastev IntroductionThe Soviet vision of creating a New Man (novyj čelovek) emerged with the transition to industrial mechanization, a phase in which Soviet society began treating bodies and objects like machines. With the rise of biomechanics, this development impacted cultural and aesthetic 1 Acknowledgements: The current article is a revised version of a chapter from my MA thesis, Refiguring the New Man: Animality and Machinery in Three of Bulgakov's Novellas. I would like to thank Professor Ingunn Lunde for her insights and supervision, Professor Eric Naiman for his constructive criticisms, and the Davis Center at Harvard University for hosting me as I edited this material into a publishable article.

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Between Parody and Pastiche: The Posthuman Biomechanics of Bulgakov’s Novellas

Mortensen

2020

Scando-Slavica

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Why is Sharikov dead? The fate of “the Soviet Frankenstein” in Bulgakov’sA Dog’s Heart

Cited by 1 publication

References 33 publications

Between Parody and Pastiche: The Posthuman Biomechanics of Bulgakov’s Novellas

Between Parody and Pastiche: The Posthuman Biomechanics of Bulgakov’s Novellas

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