Культурная ситуация 1930–1940-х годов: неотрадиционалистский вектор в стратегиях советских художников (на примере С. Прокофьева)*
The Cultural Situation in the 1930s–1940s: the Neotraditionalist Program in the Strategies of Soviet Artists (by an example of S. Prokofiev)

Summary/Abstract: The article considers the parameters of the professional ethos of an artist who chooses the neotraditionalist platform in light of Bourdieuian field model of cultural production. Based on the classification of groups of artists in accordance with the type and amount of their capital, the article describes the characteristics of the professional ethos of the dominant groups of artists, namely, the “aesthetes” and the “notables”. Referring to the ideas of notables artists’ social engagement as they developed from the end of the 18th century throughout the first decades of the 20th century, the article outlines the contradictions in the artistic professional ethos. The specificity of the ways in which artists implemented their creative ambitions under the conditions of Stalinist Soviet culture is explained through arguing that in the 1930s–1940s the traditionalist tendencies in culture were predominant. The case of the artistic behavior of the Soviet neotraditionalist composer Sergej Рrokofiev is analysed. It is claimed that Рrokofiev, using the resources of autonomy and heteronomy, combined the positions of an aesthete and a notable.

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