EROTIC SELF-PORTRAIT AGAINST THE BACKGROUND OF THE KREMLIN: ALEXANDRA KOLLONTAI
The article is written as a continuation of a series of publications about Soviet political figures. It continues a series of psychopolitical analyses of self - portraits of that era. Previous articles by the author were devoted to such party and state figures as Lazar Kaganovich and Nikita Khrushchev, Leonid Brezhnev and Mikhail Gorbachev, Andrey Gromyko and Kirsan Ilyumzhinov, Leonid Kuchma and Askar Akayev. This article is devoted to the answer to the question: why does the propaganda and fiction discourse of A. Kollontai cease to be ideologically and politically demanded in 1922? Typical comments in the biographies of A. Kollontai contain the following explanations: a simple statement of the fact - "the attack on A. Kollontai and her ideas began in 1923", or the consequences of the discussion about trade unions and the participation of A. Kollontai in the so - called labor opposition. Neither, from the point of view of the author, explains the linguocultural situation. The hypothesis and the results of the study indicate that the ideologically popular image of the new Soviet woman, whom A. Kollontai "drew" from herself, objectifying her self - portrait, contradicts the new ideological policy of the Soviet government, which is expressed in the new Criminal Code and the new Family Code.