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Образцом подобных исследований могут служить следующие работы: Hessler J. A Postwar Perestroika? Toward a History of Private Enterprise in the USSR // Slavic Review 1998. Vol. 57. № 3. Р. 516–542; Zubkova Е. Russia after the War: Hopes, Illusions and Disappointments, 1945–57. New York, 1998; Зубкова Е. Ю. Послевоенное советское общество: Политика и повседневность. 1945–1953 гг. М., 2000; Filtzer D. Soviet Worker and Late Stalinism: Labour and the Restauration of the Stalinist System after World War II. Oxford, 2002; Edele М. Strange Young Men in Stalin’s Moscow: The Birth and Life of the Stiliagi, 1945–1953 // Jahrbücher für Geschichte Osteuropas. 2002. № 50. Р. 37–61; Pollock E. Stalin and the Soviet Science Wars. Princeton, 2006; Fürst J. Stalin’s Last Generation: Soviet Post-War Youth and the Emergence of Mature Socialism. Oxford, 2011. См. также сборник: Late Stalinist Russia: Society between Reconstruction and Reinvention / Ed. J. Fürst. Oxford, 2006.
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Bittner S. The Many Lives of Khrushchev’s Thaw: Experience and Memory in Moscow’s Arbat. New York, 2008; Dobson M. Krushchev’s Gold Summer: Gulag Returnees, Crime and the Fate of Reform after Stalin. New York, 2009; Jones P. Myth, Memory, Trauma: Rethinking the Stalinist past in the Soviet Union, 1953–70. London, 2013. См. также: Аксютин Ю. Хрущевская оттепель и общественные настроения в СССР в 1953–1964 гг. М., 2004; Kozlov D. The Readers of Novyi Mir: Coming to Terms with the Stalinist Past. Cambridge, 2013; The Dilemmas of De-Stalinization: Negotiating Cultural and Social Change in the Khrushchev’s Era / Ed. P. Jones. New York, 2006.
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Эксперименты революционного периода рассматриваются в следующих работах: Russian Art of the Avant-Garde: Theory and Criticism 1902–1934 / Ed. J. Bowlt. New York, 1976; The Avant Garde in Russia, 1910–1930 / Eds. S. Barron, M. Tuchman. London, 1980; Lodder C. Russian Constructivism. London, 1983; Gray C. Russian Experiment in Art, 1863–1922. London, 1986; Elliot D. New Worlds: Russian Art and Society 1900–1937. London, 1986; Leniashin V. Soviet Art 1920s–1930s: Russian Museum, Leningrad. Moscow, 1988; Bolshevik Visions: First Phase of the Cultural Revolution in Soviet Russia, Part II: Creating Soviet Cultural Forms: Art, Architecture, Music, Films and the New Tasks of Education / Ed. W. Rosenberg. Ann Arbor, 1990; Вострецова Л. Н. Живопись 20–30-х годов. СПб., 1991; Taylor B. Art and Literature under the Bolsheviks: The Crisis of Renewal, 1917–1924. Vol. 1. London, 1991; Taylor B. Art and Literature under the Bolsheviks: Authority and Revolution, 1924–1932. Vol. 2. London, 1992; Stedekujk Museum Amsterdam: De Grote Utopie: De Russische Avant-Garde 1915–1932. Amsterdam, 1992; Groys B. The Total Art of Stalinism: Avant-Garde, Aesthetic Dictatorship, and Beyond. Oxford, 1992; Lodder С. Russian Painting of the Avant Garde, 1906–1924. Edinburgh, 1993; Bowlt J., Mitich O. Laboratory of Dreams: The Russian Avant-Garde and Cultural Experiment. Stanford, 1996; The State Heritage Museum, Circling the Square: Avant-Garde Porcelain from Revolutionary Russia. London, 2004; Kiaer C. Imagine No Possessions: The Socialist Objects of Russian Constructivism. Cambridge, 2005.
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Искусство социалистического реализма, особенно 1930-х годов, получило значительное внимание исследователей. Вот лишь небольшой список работ: Любимова А. Б. Агитация за счастье: советское искусство сталинской эпохи. М., 1985; The Culture of the Stalin Period / Ed. H. Gunther. London, 1990; Bown M. C. Art under Stalin. Oxford, 1991; Robin R. Socialist Realism: An Impossible Aesthetic. Stanford, 1992; Groys B. The Total Art of Stalinism: Avant-Garde, Aesthetic Dictatorship, and Beyond. Oxford, 1992; Art of the Soviets: Painting, Sculpture and Architecture in a One-Party State, 1917–1992 / Eds. M. Cullerne Bown, B. Taylor. Manchester, 1993; The Aesthetic Arsenal: Socialist Realism under Stalin. New York, 1993; Prokhorov G. Art under Socialist Realism: Soviet Painting, 1930–1950. Roseville East, 1995; Efimova A. To Touch on the Raw: The Aesthetic Affections of Socialist Realism // Art Journal. 1997. Vol. 56. № 1. Р. 72–80; Reid S. Stalin’s Women: Gender and Power in Soviet Art of the 1930s // Slavic Review. 1998. Vol. 57. № 1. P. 137–173; Reid S. Socialist Realism in the Stalinist Terror: The Industry of Socialist Art Exhibition 1935–41 // Russian Review. 2001. Vol. 60. № 2. Р. 15–84; Traumfabrik Kommunismus: Die Visuelle Kultur der Stalinzeit / Ed. B. Groys. Frankfurt, 2003; Kiaer C. Was Socialist Realism Forced Labour? The Case of Aleksandr Deineka in the 1930s // Oxford Art Journal. 2005. Vol. 28. № 3. P. 321–345; Манин В. С. Искусство и власть: Борьба течений в советском изобразительном искусстве 1917–1941 годов. СПб., 2008; Johnson O. A Premonition of Victory: A Letter from the Front // Russian Review. 2009. Vol. 68. № 3. Р. 408–428; Johnson О. The Stalin Prize and the Soviet Artist: Status Symbol or Stigma? // Slavic Review. 2011. Vol. 70. № 4. Р. 819–843.
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См., например: Clark K. The Soviet Novel: History as Ritual. Bloomington, 2000; Youngblood D. On the Cinema Front: Russian War Films, 1914–2005. Lawrence, 2007. См. также работы Сьюзан Рейд: Reid S. 1) Stalin’s Women: Gender and Power in Soviet Art of the 1930s // Slavic Review. 1998. Vol. 57. № 1. P. 137–173; 2) Masters of the Earth: Gender and Destalinisation in the Soviet Reformist Painting of the Khrushchev Thaw // Gender and History. 1999. Vol. 11. № 7. P. 276–312; 3) Socialist Realism in the Stalinist Terror: The Industry of Socialist Art Exhibition, 1935–41 // Russian Review. 2001. Vol. 60. № 2. Р. 153–184; 4) Modernizing Socialist Realism in the Khrushchev Thaw: The Struggle for a ‘Contemporary Style’ in Soviet Art // The Dilemmas of De-Stalinization: Negotiating Cultural and Social Change in the Khrushchev Era. New York, 2006. P. 209–230.
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Детальное рассмотрение творчества К. Симонова и в целом о реакции литературы периода оттепели на травмы сталинской эпохи см.: Jones P. Myth, Memory, Trauma: Rethinking the Stalinist past in the Soviet Union, 1953–70. London, 2013. Особенно р. 173–211.
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Цит.