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ArticleThis is the final version of the article. Available from University College London, School of Slavonic and East European Studies via the DOI in this record.Drawing on images reproduced in both professional and popular publications, this article charts the changing representation of the war-damaged man in Soviet visual culture from the outbreak of war in 1941 until the reinstatement of Victory Day as a public holiday in 1965. Through such images it is shown that art followed a very different trajectory than literature or film when it came to dealing with such problematic aspects of the war experience, a disjunction that is attributed to the inherent nature of the various cultural genres. Furthermore, it is demonstrated that the most dramatic shift in the depiction of the damaged man came — not in the Thaw as we might expect — but in the mid 1960s as part of a wider reassessment of the War and its legacy in Soviet visual culture

Scorched by the Fire of War: Masculinity, War Wounds and Disability in Soviet Visual Culture, 1941–65