2408-932XResearch Result. Social Studies and Humanities2408-932X10.18413/2408-932X-2015-1-4-51-56111RESEARCHESTHE SOVIET JOURNALISM OF THE 30S – EARLY 50S AS THE ART OF SOCIALIST REALISM. SPONTANEITY AND A NEGATIVE CHARACTERTHE SOVIET JOURNALISM OF THE 30S – EARLY 50S AS THE ART OF SOCIALIST REALISM. SPONTANEITY AND A NEGATIVE CHARACTERMerinovValery Yu.MerinovValery Yu.v.merinov@rgust.ruRussian State University of Social Technologies20151400

The article analyzes the basic method of describing the reality of Soviet journalism in the 30s – early 50s. In it's basis which was formed in the depths of totalitarian culture, there was a method of social realism. Soviet journalists were not the subject of understanding reality, but they performed the party’s directives, and were guided in their works by a predefined socialist-realist scheme of confrontation of positive and negative characters. The negative character was an important structural element of the conflict. It paradoxically united an opposite characters inside. On one side, it was almost all-powerful, but on the other side, it was weak and doomed to failure. Representatives of chaos built themselves into a strong hierarchy depending on intention. However, there were some differences between Stalinist journalism and art (literature above all). So, in the second half of the 20s and in 30s, literature was more focused on remaking a "natural" human into a "conscious" person. Journalism was more focused on the result of the "remaking" process. However, these differences didn't change anything in the content of the world being portrayed.

The article analyzes the basic method of describing the reality of Soviet journalism in the 30s – early 50s. In it's basis which was formed in the depths of totalitarian culture, there was a method of social realism. Soviet journalists were not the subject of understanding reality, but they performed the party’s directives, and were guided in their works by a predefined socialist-realist scheme of confrontation of positive and negative characters. The negative character was an important structural element of the conflict. It paradoxically united an opposite characters inside. On one side, it was almost all-powerful, but on the other side, it was weak and doomed to failure. Representatives of chaos built themselves into a strong hierarchy depending on intention. However, there were some differences between Stalinist journalism and art (literature above all). So, in the second half of the 20s and in 30s, literature was more focused on remaking a "natural" human into a "conscious" person. Journalism was more focused on the result of the "remaking" process. However, these differences didn't change anything in the content of the world being portrayed.

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