ABSTRACT The article examines the birth of biomechanics in Soviet scientific discourses and how it was absorbed by the theater and literature of the day, in a reading of Michail Bulgakov’s three novellas “D′javoljada” (1924), “Rokovye jajca” (1924) and “Sobač′e serdce” (1925), interpreting them as both products of and critical reactions to the transformational trends in early Soviet ideology. While artists and theorists like Aleksej Gastev worked to ensure the creation of the New Man by reshaping the human animal into an industrious mechanical man of steel, Bulgakov actively opposed such ideas. In his fiction, he exhibits a dialogical and contentious relationship to biomechanics. This reading argues that the novellas are paradoxically dependent on notions of mechanization and hybridity, aligning them with features of posthumanism, at the expense of Bulgakov’s satirical attacks on Vsevolod Mejerchol′d and his theatrical biomechanics. The noisy soundscapes, metal tropes and mechanical motifs that shape the novellas, at times distract from Bulgakov’s parodic affect and nurture instances of pastiche, making his early short prose indebted to none other than his avant-garde adversaries of the 1920s. 1 1 Acknowledgements: The current article is a revised version of a chapter from my MA thesis, Refiguring the New Man: Animality and Machinery in Three of Bulgakov’s Novellas. I would like to thank Professor Ingunn Lunde for her insights and supervision, Professor Eric Naiman for his constructive criticisms, and the Davis Center at Harvard University for hosting me as I edited this material into a publishable article.

中文翻译：

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在模仿与拼凑之间：布尔加科夫中篇小说的后人类生物力学

摘要 本文通过阅读米哈伊尔·布尔加科夫 (Michail Bulgakov) 的三部中篇小说《D'javoljada》（1924 年）和《Rokovye jajca》（1924 年），考察了苏联科学话语中生物力学的诞生及其如何被当时的戏剧和文学所吸收和“Sobač'e serdce”（1925），将它们解释为早期苏联意识形态转型趋势的产物和批判性反应。虽然像 Aleksej Gastev 这样的艺术家和理论家致力于通过将人类动物重塑为一个勤劳的钢铁机械人来确保新人的创造，但布尔加科夫积极反对这种想法。在他的小说中，他展示了与生物力学的对话和有争议的关系。这种阅读认为，中篇小说自相矛盾地依赖于机械化和混合的概念，使它们与后人类主义的特征保持一致，以布尔加科夫对 Vsevolod Mejerchol'd 及其戏剧生物力学的讽刺攻击为代价。塑造中篇小说的嘈杂音景、金属比喻和机械主题有时会分散布尔加科夫的模仿影响和模仿模仿的实例，使他的早期短篇散文归功于他在 1920 年代的前卫对手。1 1 致谢：当前文章是我的硕士论文“重新塑造新人：布尔加科夫三部中篇小说中的动物性和机械性”中的一章的修订版。我要感谢 Ingunn Lunde 教授的洞察力和监督，感谢 Eric Naiman 教授的建设性批评，感谢哈佛大学戴维斯中心在我将这些材料编辑成可发表的文章时接待我。