Stalin's War and Peace by Nina L. Khrushcheva
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Soy Cuba, Océano Y Lisanka: De Lo Alegórico a Lo Cotidiano
Revista Iberoamericana, Vol. LXXIX, Núm. 243, Abril-Junio 2013, 479-500 SOY CUBA, OCÉANO Y LISANKA: DE LO ALEGÓRICO A LO COTIDIANO. TRANSFORMACIONES EN LAS COPRODUCCIONES CUBANO-SOVIÉTICO-RUSAS POR DAMARIS PUÑALES-ALPÍZAR Case Western Reserve University Por motivos diferentes, entre los cuales se repiten las carencias económicas y técnicas (aunque no son los únicos), y con resultados no siempre halagüeños, la industria cinematográfi ca cubana ha recurrido tradicionalmente a las coproducciones. Dentro de la historia del cine de la isla pueden identifi carse tres períodos principales: el pre-revolucionario, donde imperaban las coproducciones musicales con México; el revolucionario –entendido como el que va de 1959 a 1989–, donde las coproducciones obedecían más bien a compromisos políticos; y el pos-socialista –entendido como posterior al fi n del socialismo europeo a principios de los noventa– en el que prevalecen las relaciones con otros países ante la incapacidad del Instituto Cubano del Arte y la Industria Cinematográfi cas (ICAIC) para producir películas debido a la crisis económica. En esta última etapa, llaman la atención las nuevas relaciones fílmicas que se establecen con los viejos aliados ideológicos. Este ensayo intentará establecer una comparación entre tres coproducciones de dos de estos períodos: Soy Cuba (1964), Océano (2008) y Lisanka (2009).1 A las primeras las une el hecho de haber sido los dos únicos fi lmes dirigidos por un soviético y un ruso, respectivamente, en coproducción con los cubanos. En ambos, además, se intenta desentrañar “lo cubano”; llegar más allá de la poca y mítica información que se poseía sobre la isla en las gélidas tierras eslavas; informar al mundo de la realidad cubana, de su singularidad. -
Jihad-Cum-Zionism-Leninism: Overthrowing the World, German-Style
Jihad-cum-Zionism-Leninism: Overthrowing the World, German-Style Sean McMeekin Historically Speaking, Volume 12, Number 3, June 2011, pp. 2-5 (Article) Published by The Johns Hopkins University Press DOI: 10.1353/hsp.2011.0046 For additional information about this article http://muse.jhu.edu/journals/hsp/summary/v012/12.3.mcmeekin.html Access Provided by Bilkent Universitesi at 11/26/12 5:31PM GMT 2 Historically Speaking • June 2011 JIHAD-CUM-ZIONISM-LENINISM: ISTORICALLY PEAKING H S OVERTHROWING THE WORLD, June 2011 Vol. XII No. 3 GERMAN-STYLE CONTENTS Jihad-cum-Zionism-Leninism: 2 Sean McMeekin Overthrowing the World, German-Style Sean McMeekin Is “Right Turn” the Wrong Frame for 6 American History after the 1960s? t is often said that the First World War David T. Courtwright marks a watershed in modern history. From the mobilization of armies of un- The Politics of Religion in 8 I fathomable size—more than 60 million men put Modern America: A Review Essay on uniforms between 1914 and 1918—to the no Aaron L. Haberman less mind-boggling human cost of the conflict, Military History at the Operational Level: 10 both at the front and beyond it (estimated mili- An Interview with Robert M. Citino tary and civilian deaths were nearly equal, at Conducted by Donald A. Yerxa some 8 million each), the war of 1914 broke all historical precedent in the scale of its devasta- The Birth of Classical Europe: 13 An Interview with Simon Price and Peter tion. Ruling houses that had endured for cen- Thonemann turies—the Romanov, Habsburg, and Conducted by Donald A. -
The Soviet Home Front and Cultural Exchanges with the Republic I
Stalin and the Spanish Civil War: Chapter 8 2/23/04 1:47 PM Email this citation Introduction 8. The Soviet Home Front and Cultural Exchanges with the Republic I. Diplomacy 1 1. Pre-July 1936 Although Soviet cultural interventions in the Spanish Republic experienced a decline in the 2. Civil War 3. To Moscow second half of 1937, very nearly the opposite phenomenon was occurring at the same time II. Soviet Aid in the Soviet Union itself, where Spanish Republican culture was being deployed in the 4. Solidarity service of solidarity and humanitarian aid. Before undertaking a comparison of Moscow's 5. Children cultural policy as it was implemented in the Republican zone and on the Soviet home front, III. Cultural Policy it is first necessary to examine the extent of Spanish cultural influences in the USSR both 6. Pre-War before and after the beginning of the civil war. 7. Agit-prop 8. Home Front The discussion in the previous chapter of VOKS's initial contacts with Spanish citizens IV. Military Aid indicated that, before the civil war, Moscow had never placed a high priority on acquiring 9. Operation X 10. Hardware Spanish cultural information or materials. One of the curious paradoxes of VOKS's relations 11. Spanish Gold with its Iberian correspondents was that there was remarkably little cultural exchange V. Soviet Advisors occurring in the activities directed by an organization calling itself the Society for Cultural 12. Command Exchange with Foreign Countries. From the late 1920s until the summer of 1936, VOKS 13. Activities was interested in disseminating Soviet propaganda in Spain, acquainting the Soviet regime 14. -
Stoney Road out of Eden: the Struggle to Recover Insurance For
Scholarly Commons @ UNLV Boyd Law Scholarly Works Faculty Scholarship 2012 Stoney Road Out of Eden: The Struggle to Recover Insurance for Armenian Genocide Deaths and Its Implications for the Future of State Authority, Contract Rights, and Human Rights Jeffrey W. Stempel University of Nevada, Las Vegas -- William S. Boyd School of Law Sarig Armenian David McClure University of Nevada, Las Vegas -- William S. Boyd School of Law, [email protected] Follow this and additional works at: https://scholars.law.unlv.edu/facpub Part of the Contracts Commons, Human Rights Law Commons, Insurance Law Commons, Law and Politics Commons, National Security Law Commons, and the President/Executive Department Commons Recommended Citation Stempel, Jeffrey W.; Armenian, Sarig; and McClure, David, "Stoney Road Out of Eden: The Struggle to Recover Insurance for Armenian Genocide Deaths and Its Implications for the Future of State Authority, Contract Rights, and Human Rights" (2012). Scholarly Works. 851. https://scholars.law.unlv.edu/facpub/851 This Article is brought to you by the Scholarly Commons @ UNLV Boyd Law, an institutional repository administered by the Wiener-Rogers Law Library at the William S. Boyd School of Law. For more information, please contact [email protected]. STONEY ROAD OUT OF EDEN: THE STRUGGLE TO RECOVER INSURANCE FOR ARMENIAN GENOCIDE DEATHS AND ITS IMPLICATIONS FOR THE FUTURE OF STATE AUTHORITY, CONTRACT RIGHTS, AND HUMAN RIGHTS Je:jrev' W. Stempel Saris' ArInenian Davi' McClure* Intro d uctio n .................................................... 3 I. The Long Road to the Genocide Insurance Litigation ...... 7 A. The Millet System of Non-Geographic Ethno-Religious Administrative Autonomy ........................... -
Framing 'The Other'. a Critical Review of Vietnam War Movies and Their Representation of Asians and Vietnamese.*
Framing ‘the Other’. A critical review of Vietnam war movies and their representation of Asians and Vietnamese.* John Kleinen W e W ere Soldiers (2002), depicting the first major clash between regular North-Vietnamese troops and U.S. troops at Ia Drang in Southern Vietnam over three days in November 1965, is the Vietnam War version of Saving Private Ryan and The Thin Red Line. Director, writer and producer, Randall Wallace, shows the viewer both American family values and dying soldiers. The movie is based on the book W e were soldiers once ... and young by the U.S. commander in the battle, retired Lieutenant General Harold G. Moore (a John Wayne- like performance by Mel Gibson).1 In the film, the U.S. troops have little idea of what they face, are overrun and suffer heavy casualties. The American GIs are seen fighting for their comrades, not their fatherland. This narrow patriotism is accompanied by a new theme: the respect for the victims ‘on the other side’. For the first time in the Hollywood tradition, we see fading shots of dying ‘VC’ and of their widows reading loved ones’ diaries. This is not because the filmmaker was emphasizing ‘love’ or ‘peace’ instead of ‘war’, but more importantly, Wallace seems to say, that war is noble. Ironically, the popular Vietnamese actor, Don Duong, who plays the communist commander Nguyen Huu An who led the Vietnamese People’s Army to victory, has been criticized at home for tarnishing the image of Vietnamese soldiers. Don Duong has appeared in several foreign films and numerous Vietnamese-made movies about the War. -
Filming the End of the Holocaust War, Culture and Society
Filming the End of the Holocaust War, Culture and Society Series Editor: Stephen McVeigh, Associate Professor, Swansea University, UK Editorial Board: Paul Preston LSE, UK Joanna Bourke Birkbeck, University of London, UK Debra Kelly University of Westminster, UK Patricia Rae Queen’s University, Ontario, Canada James J. Weingartner Southern Illimois University, USA (Emeritus) Kurt Piehler Florida State University, USA Ian Scott University of Manchester, UK War, Culture and Society is a multi- and interdisciplinary series which encourages the parallel and complementary military, historical and sociocultural investigation of 20th- and 21st-century war and conflict. Published: The British Imperial Army in the Middle East, James Kitchen (2014) The Testimonies of Indian Soldiers and the Two World Wars, Gajendra Singh (2014) South Africa’s “Border War,” Gary Baines (2014) Forthcoming: Cultural Responses to Occupation in Japan, Adam Broinowski (2015) 9/11 and the American Western, Stephen McVeigh (2015) Jewish Volunteers, the International Brigades and the Spanish Civil War, Gerben Zaagsma (2015) Military Law, the State, and Citizenship in the Modern Age, Gerard Oram (2015) The Japanese Comfort Women and Sexual Slavery During the China and Pacific Wars, Caroline Norma (2015) The Lost Cause of the Confederacy and American Civil War Memory, David J. Anderson (2015) Filming the End of the Holocaust Allied Documentaries, Nuremberg and the Liberation of the Concentration Camps John J. Michalczyk Bloomsbury Academic An Imprint of Bloomsbury Publishing Plc LONDON • OXFORD • NEW YORK • NEW DELHI • SYDNEY Bloomsbury Academic An imprint of Bloomsbury Publishing Plc 50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA www.bloomsbury.com BLOOMSBURY and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2014 Paperback edition fi rst published 2016 © John J. -
Russian Origins of the First World War
The Russian Origins of the First World War The Russian Origins of the First World War Sean McMeekin The Belknap Press of Harvard University Press Cambridge, Massachusetts • London, Eng land 2011 Copyright © 2011 by Sean McMeekin All rights reserved Printed in the United States of America Library of Congress Cataloging-in- Publication Data McMeekin, Sean, 1974– The Russian origins of the First World War / Sean McMeekin. p. cm. Includes bibliographical references and index. ISBN 978-0-674-06210-8 (alk. paper) 1. World War, 1914–1918—Causes. 2. World War, 1914–1918—Russia. 3. Russia—Foreign relations—1894–1917. 4. Imperialism—History— 20th century. 5. World War, 1914–1918—Campaigns—Eastern Front. 6. World War, 1914–1918—Campaigns—Middle East. I. Title. D514.M35 2011 940.3'11—dc23 2011031427 For Ayla Contents Abbreviations ix Author’s Note xi Introduction: History from the Deep Freeze 1 1. The Strategic Imperative in 1914 6 2. It Takes Two to Tango: The July Crisis 41 3. Russia’s War: The Opening Round 76 4. Turkey’s Turn 98 5. The Russians and Gallipoli 115 6. Russia and the Armenians 141 7. The Russians in Persia 175 8. Partitioning the Ottoman Empire 194 9. 1917: The Tsarist Empire at Its Zenith 214 Conclusion: The October Revolution and Historical Amnesia 234 Notes 245 Bibliography 289 Acknowledgments 303 Index 307 Maps The Russian Empire on the Eve of World War I 8 The Polish Salient 18 The Peacetime Deployment of Russia’s Army Corps 20 The Initial Mobilization Pattern on the Eastern Front 83 Russian Claims on Austrian and German Territory 91 “The Straits,” and Russian Claims on Them 132 Russia and the Armenians 167 Persia and the Caucasian Front 187 The Partition of the Ottoman Empire 206 The Eastern Front 219 Abbreviations ATASE Askeri Tarih ve Stratejik Etüt Başkanlığı Arşivi (Archive of the Turkish Gen- eral Staff). -
Austria-Hungary and the First World War », Histoire@Politique
Alan Sked, « Austria-Hungary and the First World War », Histoire@Politique. Politique, culture, société, n° 22, janvier-avril 2014 [en ligne, www.histoire-politique.fr] Austria-Hungary and the First World War Alan Sked In a lecture to the Royal Historical Society some years ago,1 I2 distinguished between two schools of thought regarding the role of the Habsburg Monarchy in the origins of the First World War. The first regarded the failure of the dynasty to implement domestic reforms, particularly some timely, well-designed scheme for federal reorganization, as having forced it in 1914 to go to war to prevent the ‘nationality question’ from destabilizing, indeed destroying it from within. This school of thought was particularly associated with American historians. The second school, associated mainly with British historians, argued that the ‘nationality question’ was irrelevant in 1914; war came about, instead, on account of questions of foreign policy and dynastic honour or prestige. I myself have always supported this second viewpoint which is clear from my Decline and Fall of the Habsburg Empire, 1815-1918 (2001).3 In it I argue that the decision to declare war on Serbia was explicable though hardly rational, given the Monarchy’s military unpreparedness and the likelihood of a world war ensuing, and given that Franz Joseph in the past had managed to co-exist with a united Germany and Italy after successful military challenges to Austria’s leadership in both these countries. There is now, of course, a huge literature on the origins of the First World War, and a large one on a variety of aspects of the ‘nationality question’ inside the Monarchy in the period leading up to 1914. -
View the Full Conference Program
COVER: Cover of “Dos revolutsyonere rusland” (Revolutionary Russia), an illustrated anthology of current events in Russia published by the Jewish Labor Bund in New York, 1917. YIVO Library. YIVO INSTITUTE FOR JEWISH RESEARCH PRESENTS CONFERENCE NOVEMBER 5 AND 6, 2017 — CO-SPONSORED BY — — RECEPTION SPONSOR — 1 THE TWO DEFINING MOMENTS of the last century were, arguably, the Holocaust and the Russian Revolution. The tragic impact of the Holocaust on Jews is self-evident; their prominent, if also profoundly paradoxical, role in the Russian Revolution is the subject of this pathbreaking YIVO conference. The Russian Revolution liberated the largest Jewish community in the world. It also opened the floodgates for the greatest massacre of Jews before the Second World War amid the civil war and its aftermath in 1918-21. Once the Bolshevik rule was then consolidated, Jews entered into nearly every sphere of Russian life while, in time, much of the singular richness of Jewish cultural life in Russia was flattened, eventually obliterated. 2 SUNDAY, NOVEMBER 5, 2017 MONDAY, NOVEMBER 6, 2017 9:00am JONATHAN BRENT, 9:00am DAVID MYERS, President, CJH Executive Director & CEO, YIVO Introductory Remarks Introductory Remarks KEYNOTE ELISSA BEMPORAD KEYNOTE SAMUEL KASSOW From Berdichev to Minsk and Setting the Stage for 1917 Onward to Moscow: The Jews and the Bolshevik Revolution 10:00am CATRIONA KELLY SESSION 1 The End of Empire: Jewish Children 10:00am ZVI GITELMAN in the Age of Revolution LEADING SESSION 1 The Rise and Fall of Jews in the Soviet Secret -
Roman Karmen, Un Soviétique Au Chili : Campagne De Tournage Et Solidarité À L’Est Autour Du Film Le Cœur De Corvalan
DE L’UNITÉ POPULAIRE À LA TRANSITION DÉMOCRATIQUE : REPRÉSENTATIONS, DIFFUSIONS, MÉMOIRES CINÉMATOGRAPHIQUES DU CHILI, 1970-2013 Journées d’étude 9-10 octobre 2013, INHA Université Paris 1 – Panthéon Sorbonne – HiCSA Victor Barbat, Université Paris 1 – Panthéon Sorbonne Roman Karmen, un soviétique au Chili : campagne de tournage et solidarité à l’Est autour du film Le cœur de Corvalan Référence électronique : Victor Barbat, « Roman Karmen, un soviétique au Chili : campagne de tournage et solidarité à l’Est autour du film Le Cœur de Corvalan », in BARBAT, Victor et ROUDÉ, Catherine (dir), De l’Unité populaire à la transition démocratique : représentations, diffusions, mémoires cinématographiques du Chili, 1970-2013, actes des journées d’étude, Paris, 9-10 octobre 2013. 1 Introduction. Le quatrième volet d’un triptyque : le Chili de Roman Karmen raconté aux soviétiques L’arrivée au pouvoir d’une Unité populaire au Chili n’a pas laissé les soviétiques indifférents. Cette nouvelle étape dans la lutte contre l’impérialisme américain et la construction du socialisme mondial a été suivie de près par des millions de soviétiques. La chute du gouvernement chilien et l’installation de la dictature du général Augusto Pinochet a elle aussi suscité un véritable émoi, et l’élan de solidarité en faveur de la cause chilienne qui a suivi a bénéficié d’un véritable engouement partout à l’Est. Parmi les acteurs de cette mobilisation Roman Karmen fut, sans aucun doute, celui qui s’est le plus impliqué dans la défense de la cause chilienne du côté russe. En 1975, Roman Karmen s’engage dans la production d’un documentaire biographique consacré à Luis Nicolas Corvalán Lépez (1916-2010), secrétaire général du Parti communiste chilien (PCCh). -
Download the Battle of Dienbienphu Free Ebook
THE BATTLE OF DIENBIENPHU DOWNLOAD FREE BOOK Jules Roy | 368 pages | 20 Dec 2001 | BASIC BOOKS | 9780786709588 | English | United States First Indochina War: Battle of Dien Bien Phu Since they are archetypes, these characters have no name. Believing that he was also tasked with defending neighboring Laos, Navarre sought an effective method for interdicting Viet Minh supply lines through the region. Indirect artillery, generally held as being far superior to direct fire, requires experienced, well-trained crews and good communications, which the Viet Minh lacked. By the time the battle started in earnest on March 13,the garrison already had The Battle of Dienbienphu 1, casualties without any tangible result. This makes the many heroic actions of the troops on the ground poignant and tragic. Communist forces, in human-wave attacks, were swarming The Battle of Dienbienphu the last remaining defenses. David Kush rated it really liked it Aug 04, The next day, artillery fire disabled the French airstrip forcing supplies to be dropped by parachute. On 24 March, an event took place which later became a matter of historical debate. After almost eight hard, arduous years, in an effort to bring an increasingly destructive war to a decisive close both sides threw absolutely everything they had into what was to be one final, ultimately definitive battle: the Battle of Dien Bien Phu. Militarily, disaster had temporarily been averted. The sheer magnitude of preparing that mass of supplies for parachuting was solved only by superhuman feats of the airborne supply units on the outside — efforts more than matched by the heroism of the soldiers inside the valley, who had to crawl into the open, under fire, to collect the containers. -
Representing the Spanish Civil War
Representing the Spanish Civil War: Socialist Realist Nonfiction Filmmaking By Anette Judith Dujisin Muharay Submitted to Central European University Department of History In partial fulfillment of the requirements of the degree of Master of Arts Supervisors Karl Hall CEU eTD Collection István Rév Budapest, Hungary 2008 i ABSTRACT This MA Thesis aims to analyze the representations of the Spanish Civil War through the Socialist Realist nonfiction cinema by examining three different types of films. Roman Karmen’s newsreels On the Events of Spain, Esfir Shub Ispanija and Joris Ivens The Spanish Earth. It describes this representation baring in mind an interdisciplinary approach of historical contextualization, film theory and technical cinematic analysis. By laying down the definitions and elements of nonfiction film, it gives a theoretical and methodological framework. Giving an overview of the development of nonfiction film in the Soviet Union it contextualizes the analysis that is further developed through the introduction of the filmmakers, the description of the narrative and giving a final overall analysis of how the meaning was constructed. CEU eTD Collection ii ACKNOWLEDGMENTS This MA Thesis would not have been possible to pursue without the support, friendship and patient of several persons. I would like to dedicate this dissertation to my parents who proportioned all the possible support, more than needed and in every sense, to make possible the accomplishment of my Masters Degree. Their advices were always helpful and constructive and their lives and work provided me a source of inspiration. My supervisors, Karl Hall and István Rév provided me with precious advices that helped me to transform my ideas into a coherent work.