DOCSLIB.ORG

Russian Women Poets of the Mid-Nineteenth Century H Diana Greene

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Russian Women Poets of the Mid-Nineteenth Century H Diana Greene Reinventing Romantic Poetry Studies of the Harriman Institute Reinventing Romantic Poetry Russian Women Poets of the Mid-Nineteenth Century h Diana Greene The University of Wisconsin Press The University of Wisconsin Press 1930 Monroe Street Madison, Wisconsin 53711 www.wisc.edu/wisconsinpress/ 3 Henrietta Street London WC2E 8LU, England Copyright © 2004 The Board of Regents of the University of Wisconsin System All rights reserved 54321 Printed in the United States of America Library of Congress Cataloging-in-Publication Data Greene, Diana. Reinventing romantic poetry : Russian women poets of the mid-nineteenth century / Greene, Diana. p. cm.—(Studies of the Harriman Institute) Includes bibliographical references and index. ISBN 0-299-19104-4 (alk. paper) 1. Russian poetry—19th century—History and criticism. 2. Romanticism—Russia. 3. Russian poetry—Women authors—History and criticism. 4.Women and litera- ture—Russia—History—19th century. 5. Rostopchina, Evdokiia, 1812–1858—Criti- cism and interpretation. 6.Krestovskii, V., 1824–1889—Criticism and interpretation. 7.Pavlova, Karolina, 1807–1893—Criticism and interpretation. I. Title: Russian women poets of the mid-nineteenth century. II. Title. III. Series. PG3051. G74 2003 891.71′309145′082—dc21 2003006491 For Milly Contents Acknowledgments ix Introduction 3 1. Social Conditions 21 2. Literary Conventions 38 3. Gender and Genre 57 4. Evdokiia Rostopchina 88 5. Nadezhda Khvoshchinskaia 112 6. Karolina Pavlova 137 7. In Conclusion: Noncanonical Men Poets 167 Appendix 177 Notes 219 Bibliography 281 Index 297 vii Acknowledgments This book could not have been written without the generous help of many people, groups, and institutions. I am delighted to have this op- portunity to thank them. Responses that I received to early versions of this work greatly influ- enced its eventual scope and depth. My thanks to the Women in Slavic Culture and Literature group at the Summer Research Lab in Cham- paign-Urbana, to the participants in the Columbia University Seminar on Slavic History and Culture, to Katharina Brett, and Carol Ueland. Several people kindly took the time to read various chapters, provid- ing many valuable insights and ideas: Barbara Heldt, Eliot Borenstein, Charlotte Rosenthal, Natalie Dehn, Nancy Burstein, Randall Spinks, Ann Kleimola, Romy Taylor, and members of the New York University Scholarly Writing Group. I am particularly grateful to those who read the entire manuscript, offering structural, bibliographic, and other ex- pertise: Ron Meyer, Catriona Kelly, Sally Pratt, and especially Helena Goscilo for her transformative and exuberant comments on style as well as content. None of these people, of course, are responsible for the use I made of their suggestions. Jehanne Gheith and Karen Rosneck generously shared Khvoshchin- skaia materials with me. Elena Ermilovna Glafner at Rossiiskii gosu- darstvennyi arkhiv literatury i iskusstva (RGALI) provided invaluable help with Khvoshchinskaia’s notebooks. I consider myself very fortu- nate to know Antonina Strizhenko, who helped me unstintingly and re- peatedly at Pushkinskii dom. Mikhail Fainshtein graciously opened doors for me in Saint Petersburg and Moscow on several occasions. Lina Bernstein kindly sent me material on Elagina. Irina Gordon gave generous, meticulous, and expert help with Russian. I am also very ix x Acknowledgments grateful to Karina Melnikov and Irina Reyfman for advice on Russian, Claudine Verheggen on French, Ron Meyer on translation, and Masha Lykhina on Russian and Russian computers. Any mistakes that remain are my own. Thanks to Mary Zirin for inspiration and to Gloria Rohmann, a friend in need. Ann Kleimola, Clara Evans, Shirley Glade, Ann Kaslow, Lucy Morganstern, and Randall Spinks supplied steady and much appreci- ated encouragement while I wrote and revised. My work was greatly facilitated by two New York University Li- braries Goddard Faculty Support Grants and an International Research and Exchanges Board Short Term Travel Grant. Harvard University Press kindly gave permission to reprint part of “I’m Nobody! Who Are You?” which appears in The Poems of Emily Dickinson. I wish to express appreciation to the University Seminars at Columbia University for their help in publication. Thanks to those most knowledgeable reference librarians of the Slavic Reading Room at the University of Illinois at Champaign-Urbana for research help over several summers. Also to my supportive colleagues at NYU’s Bobst Library, who so effectively helped me with my reference questions, interlibrary loan requests, and com- puter problems, and to Chris Holden and the Bates College Library for making it possible for me to work there in very pleasant conditions. And, of course, my thanks to my parents, who made everything pos- sible. A Note on Transliteration, Punctuation, and Abbreviations I use modified Library of Congress transliteration of Russian—in mod- ern orthography—with one exception: men’s names ending in -ii are written as such in the notes (Belinskii) but changed to the more familiar -y (Belinsky) in the text. The reader will notice that many of the poems cited include the Romantic device of suspension points—three un- spaced dots intimating the ineffable—which in the translations appear as three spaced dots without brackets. Suspension points should not be confused with ellipses—the three or four spaced dots in brackets indi- cating that I have left out part of the text. The following abbreviations are used for archival sources: PD Institut russkoi literatury RAN (Pushkinskii dom) RGALI Rossiiskii gosudarstvennyi arkhiv literatury i iskusstva RNB(OR) Rossiiskaia natsional’naia biblioteka (Otdel rukopisei) xi Reinventing Romantic Poetry Introduction This study offers some preliminary suggestions toward rethinking Rus- sian Romanticism, issues of canonicity, and the place of mid-nineteenth- century women poets in the history of Russian literature. While the question of whether Russia had a Romantic movement has been de- bated,1 most scholars agree that Romanticism was a pan-European phe- nomenon with national variations, one of which was Russian. René Wellek has defined three underlying elements common to all national Romantic movements, Russia’s included: first, a view of poetry for which the imagination, rather than rationality, is central; second, a view of the world for which nature, rather than a mechanistic universe, is cen- tral; and third, a view of poetic style for which symbol and myth, rather than allegory, are central.2 Here I wish to consider the place of women poets in Romanticism. Several literary critics have characterized Romanticism as a masculine- gendered institution unfriendly to women.3 Certainly, what Bertrand Russell described as the “essential Romantic trait,” “titanic cosmic self- assertion,” would not have been easy for women of the time to develop and express in a society that demanded from them modesty, self- sacrifice, and devotion to the needs of others.4 Moreover, a closer look at Wellek’s three basic elements of Romanticism shows that in practice they, too, are gender-specific. Men poets, in expressing a “view of po- etry for which imagination is central,” personified imagination as a fe- male muse, often depicting her as sexual partner. The “view of the world for which nature is central” means that Nature—troped as silent, femi- nine, mother, and Other—served as an object of interpretation or as- similation by the man poet. The third element, a poetic style for which symbol and myth are central, meant in the case of several influential 3 4 Introduction Romantic poets androcentric or even misogynist myths. For example, in Pushkin we find men engaged in oedipal struggles over the women who “belong” to powerful statues or generals (“Kamennyi gost’” [The stone guest], Evgenii Onegin [Eugene Onegin]). In Byron we find sexu- ally available harem girls (“The Giaour,” “The Corsair”). I suggest that mid-nineteenth-century Russian women poets had to find different ways to relate to the imagination, to nature and to myth and symbol. They had to transform male-defined traditions, genres, and themes in order to be able to address women’s experiences or even to rep- resent themselves as poets. That is, they had to reinvent Romantic po- etry. Ironically, men critics, rather than recognizing these women’s tremendous inventiveness in reworking literary forms, dismissed them as not “real” (that is, men) poets.5 This study, then, examines the poetic practices and achievements of mid-nineteenth-century women poets in relation to the gender-based issues they shared and their various responses to them.6 I base my generalizations on the poetic practices of fourteen significant but gen- erally unknown Russian women poets born between 1799 and 1824: Praskov’ia Bakunina (1810–80), Aleksandra Fuks (1805–53), Liubov’ Garelina (1824–85), Anna Gotovtseva (1799–1871), Nadezhda Khvo- shchinskaia (1824–89), Elisaveta Kul’man (1808–25), Mariia Lisitsyna (d. 1842), Anna Mordovtseva (1823–85), Karolina Pavlova (1807–93), Evdokiia Rostopchina (1811–58), Elisaveta Shakhova (1822–99), Ekate- rina Shakhovskaia (1814–36), Nadezhda Teplova (1814–48), and Iuliia Zhadovskaia (1824–83).7 I will focus on the work of three of these po- ets—Rostopchina, Khvoshchinskaia, and Pavlova—in greater detail. For comparison I refer to the poetic practices of seven prominent Rus- sian men poets born between 1798 and 1820: Evgenii Baratynsky (1800– 1844), Anton Del’vig (1798–1831), Afanasii Fet (1820–92), Nikolai Iazykov (1803–46), Mikhail Lermontov (1814–41), Aleksandr Pushkin (1799–1837), and Fedor Tiutchev (1803–73). However, since not every man poet of this generation became canonical, we also must consider the poetic practices of contemporary noncanonical men poets. I have cho- sen Pavel Fedotov (1815–52), Eduard Guber (1814–47), Aleksei Khomi- akov (1804–60), Aleksei Kol’tsov (1809–42), Apollon Maikov (1821–97), Evgenii Mil’keev (1815–46?), and Fedor Miller (1818–81), poets whose works have been anthologized but whom literary historians refer to as vtorostepenii (second rank or minor).8 A full discussion of the poetical practices of canonical and noncanonical men poets, however, lies out- side my scope.
Load more

Recommended publications
  • Refractions of Rome in the Russian Political Imagination by Olga Greco
    From Triumphal Gates to Triumphant Rotting: Refractions of Rome in the Russian Political Imagination by Olga Greco A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Comparative Literature) in the University of Michigan 2015 Doctoral Committee: Professor Valerie A. Kivelson, Chair Assistant Professor Paolo Asso Associate Professor Basil J. Dufallo Assistant Professor Benjamin B. Paloff With much gratitude to Valerie Kivelson, for her unflagging support, to Yana, for her coffee and tangerines, and to the Prawns, for keeping me sane. ii TABLE OF CONTENTS Dedication ............................................................................................................................... ii Introduction ............................................................................................................................. 1 Chapter I. Writing Empire: Lomonosov’s Rivalry with Imperial Rome ................................... 31 II. Qualifying Empire: Morals and Ethics of Derzhavin’s Romans ............................... 76 III. Freedom, Tyrannicide, and Roman Heroes in the Works of Pushkin and Ryleev .. 122 IV. Ivan Goncharov’s Oblomov and the Rejection of the Political [Rome] .................. 175 V. Blok, Catiline, and the Decomposition of Empire .................................................. 222 Conclusion ........................................................................................................................... 271 Bibliography .......................................................................................................................
    [Show full text]
  • History of Russia to 1855 Monday / Wednesday / Friday 3:30-4:30 Old Main 002 Instructor: Dr
    HIST 294-04 Fall 2015 History of Russia to 1855 Monday / Wednesday / Friday 3:30-4:30 Old Main 002 Instructor: Dr. Julia Fein E-mail: j [email protected] Office: Old Main 300, x6665 Office hours: Open drop-in on Thursdays, 1-3, and by appointment COURSE DESCRIPTION Dear historians, Welcome to the first millennium of Russian history! We have a lively semester in front of us, full of famous, infamous, and utterly unknown people: from Ivan the Terrible, to Catherine the Great, to the serfs of Petrovskoe estate in the 19th century. Most of our readings will be primary documents from medieval, early modern, and 19th-century Russian history, supplemented with scholarly articles and book sections to provoke discussion about the diversity of possible narratives to be told about Russian history—or any history. We will also examine accounts of archaeological digs, historical maps, visual portrayals of Russia’s non-Slavic populations, coins from the 16th and 17th centuries, and lots of painting and music. As you can tell from our Moodle site, we will be encountering a lot of Russian art that was made after the period with which this course concludes. Isn’t this anachronistic? One of our course objectives deals with constructions of Russian history within R ussian history. We will discuss this issue most explicitly when reading Vasily Kliuchevsky on Peter the Great’s early life, and the first 1 HIST 294-04 Fall 2015 part of Nikolai Karamzin’s M emoir , but looking at 19th- and 20th-century artistic portrayals of medieval and early modern Russian history throughout also allows us to conclude the course with the question: why are painters and composers between 1856 and 1917 so intensely interested in particular moments of Russia’s past? What are the meanings of medieval and early modern Russian history to Russians in the 19th and 20th centuries? The second part of this course sequence—Revolutionary Russia and the Soviet Union—picks up this thread in spring semester.
    [Show full text]
  • Kyiv's Intellectual Environment on the Eve of the Valuev Directive, EWJUS
    Kyiv’s Intellectual Environment on the Eve of the Valuev Directive Valentyna Shandra National University of Kyiv-Mohyla Academy Translated by Vitaly Chernetsky, Olena Ivanenko; emendated by Ksenia Maryniak Abstract: The article discusses the conditions which galvanized the intellectual community in Kyiv prior to the 1863 January Uprising (aka Polish Insurrection of 1863-64). It analyzes local press coverage of the language debate, and delves into the worldviews of its participants, including Mykhailo Maksymovych, Mykhailo Iuzefovych, Mykola Kostomarov, Ksenofont Hovors'kyi, and others. It identifies how and why the results of this debate influenced the issuance of the 1863 Valuev Directive, which banned the use of the Ukrainian language in print. Keywords: language debate, Kyiv intellectual community, Valuev Directive. n 29 June 1862, the Imperial Russian War Minister Dmitrii Miliutin O wrote to the Chief of Gendarmes Vasilii Dolgorukov: “I consider it necessary to convey to Your Excellency the secret information about the events in Kyiv shared with me by the Governor General of the Court of His Imperial Majesty, Count Sievers, adding that I personally read the attached note to His Majesty the Emperor” (Savchenko 183). What was it that impressed the count so much in Kyiv, which he visited in early 1862 as a representative of the War Ministry, observing military installations and the moods of the peasantry—leading to his report being shared not only with key members of the cabinet but also with Tsar Alexander II himself? In the streets of Kyiv he saw many young people, mostly students, in “Little Russian” dress. After gathering some information privately and consulting a report by the governor of Kyiv gubernia, Lieutenant General P.
    [Show full text]
  • Refining Russia : Advice Literature, Polite Culture, and Gender from Catherine to Yeltsin
    d:/1kelly/pre.3d ± 15/5/1 ± 14:28 ± disk/sh REFINING RUSSIA d:/1kelly/pre.3d ± 15/5/1 ± 14:28 ± disk/sh d:/1kelly/pre.3d ± 15/5/1 ± 14:28 ± disk/sh REFINING RUSSIA Advice Literature, Polite Culture, and Gender from Catherine to Yeltsin CATRIONA KELLY 1 d:/1kelly/pre.3d ± 15/5/1 ± 14:28 ± disk/sh 3 Great Clarendon Street, Oxford ox2 6dp Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogota Buenos Aires Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris SaÄo Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York # Catriona Kelly 2001 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 2001 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organizations. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights
    [Show full text]
  • The History of Russian Vaudeville from 1800 to 1850 Alexander V
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The history of Russian vaudeville from 1800 to 1850 Alexander V. Tselebrovski Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Theatre and Performance Studies Commons Recommended Citation Tselebrovski, Alexander V., "The history of Russian vaudeville from 1800 to 1850" (2003). LSU Doctoral Dissertations. 3876. https://digitalcommons.lsu.edu/gradschool_dissertations/3876 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE HISTORY OF RUSSIAN VAUDEVILLE FROM 1800 TO 1850 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Theatre By Alexander V. Tselebrovski Perm State Institute of Arts (Russia), 1982 Directing Master Courses at GITIS, Moscow (Russia), 1985 May 2003 To Dr. Leigh Clemons, Dr. Harald Leder, and Dr. Leslie Wade “И дельный разговор зашел про водевиль. Да! водевиль есть вещь, а прочее все гиль.” “And we began to speak about vaudeville. Yes! vaudeville is quite a thing, and all the rest is nil.” (A.S. Griboedov. Woe from Wit, Act 4, Scene 6.) ii ACKNOWLEDGMENTS Many individuals and institutions have helped to bring this project to reality. The Department of Theatre of Louisiana State University provided a very stimulating environment and guidance during the research period.
    [Show full text]
  • Turgenev and the Question of the Russian Artist
    UNIVERSITY OF CAMBRIDGE, SIDNEY SUSSEX COLLEGE TURGENEV AND THE QUESTION OF THE RUSSIAN ARTIST Luis Sundkvist Submitted for the degree of Doctor of Philosophy March 2010 Under the supervision of Dr Diane Oenning Thompson Luis Sundkvist “Turgenev and the Question of the Russian Artist” Summary: This thesis is concerned with the thoughts of the Russian writer Ivan Turgenev (1818-83) on the development of the arts in his native country and the specific problems facing the Russian artist. It starts by considering the state of the creative arts in Russia in the early nineteenth century and suggests why even towards the end of his life Turgenev still had some misgivings as to whether painting and music had become a real necessity for Russian society in the same way that literature clearly had. A re-appraisal of On the Eve (1860) then follows, indicating how the young sculptor Shubin in this novel acts as the author’s alter ego in a number of respects, in particular by reflecting Turgenev’s views on heroism and tragedy. The change in Shubin’s attitude towards Insarov, whom the sculptor at first tries to belittle before eventually comparing him to the noble Brutus in Shakespeare’s Julius Caesar, can be said to anticipate Turgenev’s own feelings about Bazarov in Fathers and Children (1862) and the way that this ‘nihilist’ attained the stature of a true tragic hero. In this chapter, too, the clichéd notion of Turgenev’s alleged affinity with Schopenhauer is firmly challenged—an issue that is taken up again later on in the discussion of Phantoms (1864) and Enough! (1865).
    [Show full text]
  • The Prince, the Bailiff, and the Mir: Power, Politics, and Agency on a Russian
    THE PRINCE, THE BAILIFF, AND THE MIR: POWER, POLITICS, AND AGENCY ON A RUSSIAN SERF ESTATE, 1810-1858 A Dissertation Submitted to the Graduate School of the University of Notre Dame in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Monica B. Bykowski Alexander Martin, Director Graduate Program in History Notre Dame, Indiana September 2017 © Copyright 2017 Monica B. Bykowski THE PRINCE, THE BAILIFF, AND THE MIR: POWER, POLITICS, AND AGENCY ON A RUSSIAN SERF ESTATE, 1810-1858 Abstract by Monica B. Bykowski The Prince, the Bailiff, and the Mir: Power, Politics, and Agency on a Russian Serf Estate, 1810-1858 argues that Russian serfs practiced economic agency even before the emancipation of the serfs in 1861. This agency was possible, despite serfs’ legal status as the property of others and place in the soslovie, social estate, hierarchy, because of local social dynamics. Although landlords had authority over their serfs, large magnates such as Prince Sergei Mikhailovich Golitsyn did not live on their provincial estates. Consequently, they relied on local institutions – namely the mir, or peasant commune, and estate bailiff – to fulfil their directives and inform them of estate affairs. The unique intermediary position between serf and landlord empowered the mir and bailiff, giving them their own authority on the estate. These groups did not necessarily share the interests of the landlord, being part and parcel of the peasant community themselves. And yet, within the larger social system of serfdom, they needed each other to operate. The landlord, bailiff, and mir, therefore, negotiated their interests.
    [Show full text]
  • Russian Society and Educational Reform During the Reign of Nicholas I
    University of Pennsylvania ScholarlyCommons CUREJ - College Undergraduate Research Electronic Journal College of Arts and Sciences 3-30-2006 Inadvertent Educators: Russian Society and Educational Reform during the Reign of Nicholas I Rachel S. Salzman University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/curej Part of the European History Commons Recommended Citation Salzman, Rachel S., "Inadvertent Educators: Russian Society and Educational Reform during the Reign of Nicholas I" 30 March 2006. CUREJ: College Undergraduate Research Electronic Journal, University of Pennsylvania, https://repository.upenn.edu/curej/27. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/curej/27 For more information, please contact [email protected]. Inadvertent Educators: Russian Society and Educational Reform during the Reign of Nicholas I Abstract In my senior honors thesis I explore the governmental intention behind the educational reforms of Nicholas I of Russia, as well as the way those reforms were perceived and experienced by the laity, with a particular focus on socially exclusive nature of the reforms and the application of those laws within educational institutions. Using state documents, memoirs, diaries, and contemporary fiction, I sought to establish the motivation for reform, and demonstrate how the size of the Empire and the people’s perception of the reforms ultimately made their social impact far greater than the tsar and the ministry had originally intended. Keywords History, Benjamin Nathans, Benjamin, Nathans, Russia, Education, Reform, Uvarov, Sergei, Nicholas I, Herzen, Society and Literature, Moscow, St. Petersburg, Cholera, Nobility, Estate divisions Disciplines European History This article is available at ScholarlyCommons: https://repository.upenn.edu/curej/27 INADVERTE NT EDUCATORS : Russian Society and Educational Reform during the Reign of Nicholas I By Rachel S.
    [Show full text]
  • VIOLETTE, Aurele Joseph, 1941- RUSSIAN NAVAL REFORM, 1855-1870. the Ohio State U Niversity, Ph.D., 1971 H Istory, Modern
    72-15,316 VIOLETTE, Aurele Joseph, 1941- RUSSIAN NAVAL REFORM, 1855-1870. The Ohio State University, Ph.D., 1971 History, modern University Microfilms, A XEROX Company, Ann Arbor, Michigan t © 1972 AURELE JOSEPH VIOLETTE a l l r ig h t s r eserv ed RUSSIAN NAVAL REFORM, 1855-1870 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By ’ Aurele Joseph Violette, B.A., M.A. ****** The Ohio State University 1971 Approved by A dviser Department of History PLEASE NOTE: Some pages have indistinct pri nt. F i I med as received. University Microfilms, A Xerox Education Company PREFACE This study examines a hitherto unexplored aspect of the "Era of Great Reforms" associated with the reign of Alexander H i the reform movement in the M inistry of th e Navy in th e f if te e n years immediately following Russia's disastrous defeat in the Crimea at the hands of France and England* No attempt is made to trace the actual development of the Russian navy in this period—to describe the number and types of ships constructed, their armament, and their other characteristics* These are aspects of Russian naval history which have already been competently documented by several historians* Rather, this study focuses on the attempts of the Ministry of the Navy in the immediate post-war period to reform the systems of naval administration, justice and education* It intends to analyze reforms to which many historians allude but never describe and to point to the fact that the Ministry of the Navy, under the energetic leadership of the tsar's brother Konstantin Nikolaevich, was a major center of reformist activity during the reign of Alexander II and not only undertook reforms which made possible a naval rebirth but also contributed significantly to reforms in other areas of Russian life.
    [Show full text]
  • Periodical Publishing by Russian Radical Emigres in the Second Half
    PERIODICAL PUBLISHING BY RUSSIAN RADICAL ÉMIGRÉS IN THE SECOND HALF OF THE NINETEENTH CENTURY T hesis subm itted for t h e d eg r ee of M P h il by H elen Sa ra h W illiam s School of S lavonic and E ast E uro pean Studies U niversity o f L ondon 1 9 9 7 ProQuest Number: 10017477 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10017477 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 ABSTRACT This study is a comprehensive survey of the periodical titles which were published abroad between 1855 and 1900 under the control of members of the Russian political emigration. Various aspects of the émigré press are considered: first, émigré journalism is related to Russian journalism of the period, both legal and clandestine within the Empire. The perceived importance of printed organs for radical activists is considered, together with the type of material which was regarded as of sufficient importance to be published in emigration. The links between the émigré press and oppositional activists in Russia are examined.
    [Show full text]
  • Slaves and Serfs in the Post-Emancipation Imagination, 1861-1915
    SLAVES AND SERFS IN THE POST-EMANCIPATION IMAGINATION, 1861-1915 Amanda Brickell Bellows A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for a degree of Doctor of Philosophy in the Department of History. Chapel Hill 2016 Approved by: William L. Barney W. Fitzhugh Brundage Peter Kolchin Louise McReynolds Heather A. Williams © 2016 Amanda Brickell Bellows ALL RIGHTS RESERVED ii ABSTRACT Amanda B. Bellows: Slaves and Serfs in the Post-Emancipation Imagination, 1861-1915 (Under the direction of W. Fitzhugh Brundage and Louise McReynolds) This dissertation is the first comparative analysis of mass-oriented representations of African-American slaves and Russian serfs produced during the post-emancipation era. The abolition of Russian serfdom (1861) and U.S. slavery (1865) were pivotal events that inaugurated a half-century of significant change. Emancipation freed two enslaved groups of people, but liberty proved to be disquieting as the former bondsmen, suddenly citizens and subjects, strove for absorption into the national polity. In both countries, the processes of assimilation occurred during decades characterized by territorial expansion, population growth, and industrialization, phenomena that further complicated conceptions of American and Russian national identity. This study analyzes the ways in which authors, artists, and businesses responded to emancipation by deploying images of serfs, peasants, slaves, and freedpeople in literature, periodicals, paintings, and advertisements. In these sources, serfs and slaves appeared as victims on the eve of abolition, as contented rural laborers whose simple way of life attracted nostalgic audiences during an industrial, expansionist age, and, at the turn of the twentieth century, as urban migrants striving to improve their lives.
    [Show full text]
  • Female Voices in Russian Literature in the First Half of the Nineteenth Century
    Challenging the Barriers of Expectation: Female Voices in Russian Literature in the First Half of the Nineteenth Century Valeria Provotorova Charlottesville, Virginia B.A. Mass Communications and Russian Studies, University of Delaware, 2015 MA. Slavic Languages and Literatures, University of Virginia, 2017 A Dissertation Presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Slavic Languages and Literatures University of Virginia May 2021 2 © 2021 Valeria Provotorova All Rights Reserved 3 Вам – Всем женщинам, которые были и есть в моей жизни, которые меня растили и воспитывали и своим примером научили, как быть сильной, стойкой и независимой, одной из них. 4 I would like to thank the faculty and staff at the Department of Slavic Languages Literatures at the University of Virginia for allowing me the opportunity to study, teach, and pursue my academic interests. I will be forever grateful for everything I have learned from each and every Professor. I would especially like to thank Professor Julian Connolly for introducing me to nineteenth century women writers and carefully aiding me with this monumental project. I would also like to thank my loving relatives, who live in different parts of the world and whom I get to see so rarely, but who have always showed me their love and support. I would like to thank my wonderful friends, who provided me with comfort, laughter, and advice when I needed it most. Above all, I would like to thank my mom, who never allowed me to forget my language, culture, and heritage.
    [Show full text]