Title: A critical theory approach to the ISMA shithouse

by: ✨💖mew(^◕ᴥ◕^)💖✨

The great lenses of analysis in the Heart of the Shithouse

Now, you might be wondering, "How do theoretical perspectives in sociology tie in with something as ostensibly simple as the ISMA shithouse?" Let's start with an analogy. If we were to compare structural functionalism and conflict theory, the shithouse (an outhouse, or a bathroom that's it's own building) becomes an interesting case study.

I know, I know. You might be wondering what I'm getting at, or more likely, begging me to stop, gripping my coat tails like a street urchin before I kick you into the busy streets of literary analysis. "How could theoretical perspectives in sociology *possibly* tie in with something as benign as a shithouse??!" You say in your raspy beggar's voice. Well, my dear dirty orphan, let's get started:

In Structural functionalism, we're asked to view society as a body with all it's elements like organs within it, operating within a complex system to maintain stability. The shithouse, then, may represent those most basic experiences that keep society functioning. They might be less glamorous than the ISMA building, but nonetheless it's a vital organ in the body of society (is the sphincter an organ? It is now BITCH!)

In stark contrast to Structural functionalism, the yin yangified version of structural functionalism, it's evil twin with a mustache, is conflict theory. Where Structural functionalism emphasizes stability, Conflict theory emphasizes struggle, usually in terms of power dynamics between different groups. The occult poem of the shithouse may be seen as lesser than the academic writings preserved in the great halls of the ISMA building, in spite of the greater importance of the shithouse poem in the text of Yawning Heights. We never see the works of the ISMA building, but we're handed sacred excerpts of the shithouse poem as if it's baby formula for our needy, pathetic minds.

The Shithouse as an Emblem of Hegemonic Structures

Delving deeper into conflict theory, we meet conflict theory's beefed up, steroid enhanced grandchild: critical theory. Critical theory is more interdisciplinary than the Conflict theory or the other lenses we've covered, and is focused on highlighting oppression we may take for granted in our cultural norms and power structures. Using the lens of critical theory, we can see the shithouse as emblematic of the narratives lost in the shadows of hegemonic structures. On it's surface, it's a commonplace entity. (I mean, it's a shithouse.) It's where we all go to dream, to let our voices be heard; to shitpost. The shithouse is the great archivist of the unheard, the poem a stand in for the truths that have been intentionally left behind to preserve existing power dynamics.

It's not a far leap to equate the shithouse (сортир) to samizdat (самиздат, lit. 'self-publishing'), a means of distributing dissendent material censored by the Soviet Union. Often working by hand, people would copy many materials critical of power structures in the USSR and distribute them person to person. You may even recognize some by name, such as Doctor Zhivago, which was forced into samizdat circulation in 1955. These works were part of many grassroots movements in the eastern bloc aimed at transparency, defending human rights, and, central to this paper, preserving marginalized voices.

The Shithouse as a Space of Resistance

In spite of the unassuming existence of the shithouse, within critical theory it can be seen as a space of resistance. It challenges the sanitized, walled off spaces of intellectual discourse, and finds itself a haven for authentic, unfettered expression of the human experience. The shithouse reminds us to dig deeper (maybe even past the septic tank), and look beyond the ostensible to challenge the established norms of the Brezhnev era.

Commodification and the Illusion of Progress

Newness is often mistaken for progress, although the two often meet hand in hand. In the case of the shithouse, the new shithouse is a commodified, cheap copy, a shiny new package. The improved efficiency of the shithouse serves as a metaphor for the sanitation of discourse in no uncertain terms.

The fall of the old shithouse prompts us to question society's notion of 'better.' We must introspect on whether this change, in all it's glittery excess, is genuinely serving us, or if it's simply masking deeper societal fissures (anal fissures of course).

It's vital to remain critically aware, so that in our persuit of what's new, we don't unthinkingly perpetuate the power imbalances of old.

Platforms like WeChat and X, with their vast integrated functionalities, have become one-stop destinations for users. However, this convenience comes at the cost of diversity in narratives. By intentionally signal boosting content that aligns with their corporate or state-backed interests, they control the popular narrative. Moreover, dissenting voices, instead of being engaged with, are often algorithmically suppressed or outright banned, exiling them to the fringes, much like Zinoviev's critiques were marginalized in his time.

While Zinoviev wrote his masterpiece "Yawning Heights" long before the public square moved online, in some ways his words are true now more than ever. While many places serve as a space of resistance online, social media has become increasingly homogenized over time. Platforms like WeChat and X strive to be "everything apps", the new shithouses of our time. They intentionally signal boost their own narratives, while exiling dissenting voices are often exiled to the fringes, or torn down entirely.

However, just as "Yawning Heights" was an act of resistance in itself, the digital age is not devoid of avenues for counter-narratives. Independent platforms, decentralized networks, and digital subcultures act as modern samizdats, continuing the legacy of resistance against dominant narratives. While they may not have the reach or influence of the major platforms, their very existence is a testament to the indomitable spirit of dissent and the quest for truth.

However, just as the old shithouse was an act of resistance in itself, counter-narratives persist. Independent platforms, decentralized networks, the fediverse, and digital subcultures persist as the samizdats of our age, a new stanza in the grand poem of resistance against dominant narratives. While we may not have the reach of the new shithouse, our existance alone is testament to the power within the spirit of dissent.