Zhdanov Doctrine

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Zhdanov Doctrine (also called zhdanovism or zhdanovschina, Russian: доктрина Жданова, ждановизм, ждановщина) was a Soviet cultural doctrine developed by the Central Committee secretary Andrei Zhdanov in 1946. It proposed that the world was divided into two camps: the imperialistic, headed by the United States; and democratic, headed by the Soviet Union. Zhdanovism soon became a Soviet cultural policy, meaning the injunction on all Soviet artists, writers and intelligentsia in general to conform to the party line and has been continued until the "thaw" under Nikita Khrushchev. Zhdanovism also penetrated and took thorough control of what was left of Albanian literature in the 1950s.

The 1946 resolution of the Central Committee was directed against two literary magazines, Zvezda and Leningrad, which had published supposedly apolitical, "bourgeois", individualistic works of the satirist Mikhail Zoshchenko and the poet Anna Akhmatova. Earlier critics and literary historians were denounced for suggesting that Russian classics had been influenced by Jean-Jacques Rousseau, Molière, Lord Byron or Charles Dickens.

A further decree was issued on 10 February 1948. Although formally aimed at Vano Muradeli's opera The Great Friendship, it signalled a sustained campaign of criticism and persecution against many of the Soviet Union's foremost composers, notably Dmitri Shostakovich, Sergei Prokofiev and Aram Khachaturian. The decree was followed in April by a special congress of the Composers' Union, where many of those attacked were forced publicly to repent. The composers condemned were formally rehabilitated by a further decree issued on 28 May 1958.

[edit] Zhdanovism in the People's Republic of China

During the Cultural Revolution, Zhdanovism was carried to an even further extreme than the one it reached in its Russian archetype. Yang Hen-sheng, former vice-chairman of the All-Chinese Federation of Literary and Art Circles, was denounced for extolling such "bourgeois" writers as William Shakespeare, Molière and Henrik Ibsen. Chou Yang, who translated Nikolai Chernyshevsky and Leo Tolstoy into Chinese, was accused in Red Flag of the crime of praising the "foreigners" (used in the pejorative sense) Vissarion Belinsky, Chernyshevsky and Nikolay Dobrolyubov. Yang "stubbornly announced" that "in aesthetics he was a faithful follower of Chernyshevsky".