The Chinese Cycle of Vladimir Vysotsky: Contexts and Meanings

The subject of the research is the dynamics of meanings and the socio-political context of the body of songs by V. Vysotsky from 1963 to 1969, known as the Chinese cycle. The works of pop culture are examined in the late Soviet socio-political and foreign policy context (the escalation of Soviet-Chinese relations), identifying informational triggers and plot foundations of the works, the diversity of themes, and artistic techniques in unofficial satirical songs. Specific examples of the penetration of socio-political reality into the media text content are analyzed. The transformation of V. Vysotsky's evaluations of the crisis in Soviet-Chinese relations is considered, as reflected in the form and content of the songs from the Chinese cycle (changes in the object of satire, intonations, etc.). The research contributes to understanding the public reaction to the crisis in Soviet-Chinese relations in the late 1960s, as well as providing a detailed representation of Vysotsky's development as a poet and citizen. The methodology is based on a comprehensive approach to analyzing the media text corpus (four songs and one poem from 1963 to 1969), summarizing the methodologies of research fields such as political history, cultural studies, and art studies. The work employs methods of systemic analysis, comparative analysis, and factor analysis. The novelty lies in the holistic and comprehensive analysis of Vysotsky's text corpus, going beyond the standard commentary on proper names and outdated realities. The texts are placed in a detailed event context, informational triggers and sources of plot nuances are identified, and the dynamics of meanings and artistic techniques are traced. Vysotsky's engagement with the Chinese issue from 1963 to 1969 undergoes a striking transformation from yet another opportunity to ironize the suggestibility of the Soviet person to a decisive critique of Maoism, from parodic-humorous sketches to sharp personal outbursts; the songs become more personal and emotional. Ultimately, by the end of the 1960s, the author forms a distinctly negative attitude towards the Chinese variant of socialism. The reflection of this transformation in the lyrics essentially constitutes a political statement, which confirms the particularly unique status of V. Vysotsky in Soviet pop culture.