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Lenin-S-Jewish-Question
Lenin’s Jewish Question Lenin’s Jewish Question YOHANAN PETROVSKY-SHTERN New Haven and London Published with assistance from the foundation established in memory of Amasa Stone Mather of the Class of 1907, Yale College. Copyright © 2010 by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Yale University Press books may be purchased in quantity for educational, business, or promotional use. For information, please e-mail [email protected] (U.S. office) or [email protected] (U.K. office). Set in Minion type by Integrated Publishing Solutions. Printed in the United States of America. Library of Congress Cataloging-in-Publication Data Petrovskii-Shtern, Iokhanan. Lenin’s Jewish question / Yohanan Petrovsky-Shtern. p. cm. Includes bibliographical references and index. ISBN 978-0-300-15210-4 (cloth : alk. paper) 1. Lenin, Vladimir Il’ich, 1870–1924—Relations with Jews. 2. Lenin, Vladimir Il’ich, 1870–1924—Family. 3. Ul’ianov family. 4. Lenin, Vladimir Il’ich, 1870–1924—Public opinion. 5. Jews— Identity—Case studies. 6. Jewish question. 7.Jews—Soviet Union—Social conditions. 8. Jewish communists—Soviet Union—History. 9. Soviet Union—Politics and government. I. Title. DK254.L46P44 2010 947.084'1092—dc22 2010003985 This paper meets the requirements of ANSI/NISO Z39.48–1992 (Permanence of Paper). -
Military Despatches Vol 24, June 2019
Military Despatches Vol 24 June 2019 Operation Deadstick A mission vital to D-Day Remembering D-Day Marking the 75th anniversary of D-Day Forged in Battle The Katyusha MRLS, Stalin’s Organ Isoroku Yamamoto The architect of Pearl Harbour Thank your lucky stars Life in the North Korean military For the military enthusiast CONTENTS June 2019 Page 62 Click on any video below to view Page 14 How much do you know about movie theme songs? Take our quiz and find out. Hipe’s Wouter de The old South African Goede interviews former Defence Force used 28’s gang boss David a mixture of English, Williams. Afrikaans, slang and Thank your lucky stars techno-speak that few Serving in the North Korean Military outside the military could hope to under- 32 stand. Some of the terms Features were humorous, some Rank Structure 6 This month we look at the Ca- were clever, while others nadian Armed Forces. were downright crude. Top Ten Wartime Urban Legends Ten disturbing wartime urban 36 legends that turned out to be A matter of survival Part of Hipe’s “On the fiction. This month we’re looking at couch” series, this is an 10 constructing bird traps. interview with one of Special Forces - Canada 29 author Herman Charles Part Four of a series that takes Jimmy’s get together Quiz Bosman’s most famous a look at Special Forces units We attend the Signal’s Associ- characters, Oom Schalk around the world. ation luncheon and meet a 98 47 year old World War II veteran. -
Sretensky Monastery Choir As a Chorister in 2002, He Was Subsequently Appointed Director of the Collective
AF ADELAIDE FESTIVAL 1-17 MARCH 2019 MUSIC / RUSSIA Image: Magda Bizarro Image: Sretensky MonasteryAUSTRALIAN EXCLUSIVE Choir FIVE CENTURIES OF CONTINUOUS Duration 1hr 40mins, CHORAL TRADITION… including one 20min interval could have withered and died when the Bolsheviks exiled 3 – 4 Mar / Adelaide Town Hall the monks from Moscow’s Sretensky monastery. But when glasnost saw it return to a functioning place of worship and the re-formed choir let fly with their unique and massive sound, any lingering ghosts of the dark times fled. To hear these quintessentially Russian male voices in the flesh is hair-raising: tenors soaring over the luminous baritone texture and of course those incomparable bassi profundi, who seem to conjure a sound from the earth’s very core. #AdlFest adelaidefestival.com.au The Basis of the is the seminarians, seminary students and graduates of the Moscow Sretensky Seminary and Academy. No less important part of the Choir... collective are the vocalists from the Moscow Academy of Choral Art, Moscow Conservatory and the Gnessins Russian Academy of Music. There are 30 members in the choir, each of them a godsend for the creative collective. There are talented composers and arrangers among them: Fedor Stepanov, Alexandr Amerkhanov, Andrey Poltorukhin, Roman Maslennikov; and first-class soloists: Dmitry Beloselsky, Mikhail Miller, Mikhail Turkin, Ivan Skrilnikov, Petr Gudkov, Alexandr Korogod, Alexey Tatarintsev… but each member of the choir is an obedient instrument in Regent Nikon Stepanovich Zhila’s hands, converting the consonance of voices into a resonant, living organism. In addition to regular Divine Services at the monastery, the Sretensky choir sings in the most solemn Patriarchal Services in the Moscow Kremlin, and participates in the international music competitions and missionary journeys of the Russian Orthodox Church. -
SEM Student News
SEM {STUDENTNEWS} THE WRITING ISSUE Letter from the Editor 1 A Note from the SEM List Serv 3 Photo Essay: From the Desk of... 4 Dear SEM 6 PRACTICAL MINDSETS Thoughts from My Desk: Writing Tips for Graduate Students 9 On Vindictive Editing 12 Productivity in a Global Pandemic: Lessons I’ve Learned About Writing 14 POETICS AND PROCESS “Not Ideas About the Thing but the Thing Itself”: A Reflection on Poetry and Ethnographic Techniques 17 Writers on Writing: Reflections on Prose, Poetry, and Process20 Collaborative Erasure Challenge 29 AUTOETHNOGRAPHY Memories of Songs 30 2C: An Autoethnography 34 Volume 16, Number 2 | Fall/Winter 2021 16, Number 2 | Fall/Winter Volume Annotated Bibliography 38 Our Staff42 Cover image by Anya Shatilova (Wesleyan University). See pg. 4. Letter from the Editor In thinking about this issue, and what to say about as current events and cultural considerations that it here, I realized—I don’t know how to write a “Letter also shape my life as a whole—and I endeavor to be from the Editor.” Every time I approach this process, generous through that gratitude as I write. all I know is how I want to feel and who I want to be This begs the question—how do we write our way (in that momentary construction) as I respond to the to a feeling, in this case, gratitude; and how can we articles and columns featured. For me, the best way to be generous in using our writing skills to invest in a write this summary—a literature review in which I am response that truly “sees” the works in front of us, and intimately familiar with the short pieces highlighted— gives our own knowledge, writing habits, and inter- requires acknowledging my extreme gratitude to all ests latitude to repay another writer in-kind? Though our authors and editorial staff. -
Sara Beatriz Arantes Silva Do Vale
MESTRADO EM ENSINO DE HISTÓRIA NO 3.º CICLO DO ENSINO BÁSICO E NO ENSINO SECUN- DÁRIO “Bach to School” A Música como fonte histórica na sala de aula de História Sara Beatriz Arantes Silva do Vale M 2020 Sara Beatriz Arantes Silva do Vale “Bach to School” A Música como fonte histórica na sala de aula de História Relatório realizado no âmbito do Mestrado em Ensino de História no 3.º ciclo do Ensino Básico e no Ensino Secundário, orientada pelo Professor Doutor Luís Antunes Grosso Correia e pela Professora Doutora Cláudia Sofia Pinto Ribeiro Faculdade de Letras da Universidade do Porto 2020 Sara Beatriz Arantes Silva do Vale “Bach to school” A Música como fonte histórica na sala de aula de História Relatório realizado realizada no âmbito do Mestrado em Ensino de História no 3.º ciclo do Ensino Básico e no Ensino Secundário, orientada pelo Professor Doutor Luís Antunes Grosso Correia e pela Professora Doutora Cláudia Sofia Pinto Ribeiro Membros do Júri Professor Doutor (escreva o nome do/a Professor/a) Faculdade (nome da faculdade) - Universidade (nome da universidade) Professor Doutor (escreva o nome do/a Professor/a) Faculdade (nome da faculdade) - Universidade (nome da universidade) Professor Doutor (escreva o nome do/a Professor/a) Faculdade (nome da faculdade) - Universidade (nome da universidade) Classificação obtida: (escreva o valor) Valores À Música, a minha paixão À História, a minha vocação Ao Ensino, a área da minha futura profissão 5 Sumário Declaração de honra ........................................................................................................ -
Toccata Classics TOCC 0121 Notes
TOCCATA CLASSICS SHOSTAKOVICH Songs for the Front Arrangements of 27 songs by Beethoven, Bizet, Blanter, Dargomyzhky, Dunaevsky, Gurilyov, Ippolitov-Ivanov, ℗ Leoncavallo, Musorgsky, Pokrass, Rimsky-Korsakov, Rossini and others Soloists of the Russkaya Conservatoria Chamber Capella FIRST RECORDINGS SHOSTAKOVICH’S SONGS FOR THE FRONT by Larisa Miller, Florentina Panchenko, Tamara Skvirskaya and Elvira Fatykhova he Manuscripts Department of the Academic Music Library of the St Petersburg Conservatoire contains 27 original manuscripts by Shostakovich: 66 pages of transcriptions of music by various composers arranged for voice, violin and cello in July 1941 for military concert-parties drawn from what was then the Leningrad Conservatoire. In the early days of the Great Patriotic War,1 the higher-educational establishments of the city dealing with one or other branch of the arts, along with theatres and other performing organisations, began forming parties or units2 of artists whose purpose was to take performances into call-up centres, the front line, into hospitals, and so on. Preserved in the archive of the St Petersburg/Leningrad Conservatoire are several documents relating to its activities: ‘Orders published by the Rector of the Leningrad Conservatoire on 30 June and 21 July 1940 call for “services to be provided to units of the Workers’ and Peasants’ Red Army (WPRA) and the Red Flag Baltic Fleet”’.3 On 29 June 1941 the wide-circulation Conservatoire newspaper Musical Cadres wrote: Since 23 June our Order of Lenin State Conservatoire has been actively engaged in providing concerts of music to mobilised recruits and active-service units of the WPRA. Professors and students have made up concert parties. -
Anastasia Felcher
IMT School for Advanced Studies, Lucca Lucca, Italy Beyond the Trauma: New Perspectives for Preservation, Management and Museum Representation of Jewish Cultural Heritage in post-Soviet Cities PhD Program in Management and Development of Cultural Heritage XXVII Cycle by Anastasia Felcher 2016 The dissertation of Anastasia Felcher is approved Program Coordinator: Emanuele Pellegrini, IMT School for Advanced Studies Lucca Advisor: Emanuele Pellegrini, IMT School for Advanced Studies Lucca Co-advisor: Sofia Dyak, the Center for Urban History of East Central Europe The dissertation of Anastasia Felcher has been reviewed by: Darius Staliūnas, Lithuanian Institute of History Martin Aust, University of Bonn IMT School for Advanced Studies Lucca 2016 To Nina Felcher, my grandmother, with love Contents Acknowledgements .................................................................................................... ix Vita ............................................................................................................................... xii Publications ................................................................................................................ xiii Abstract ...................................................................................................................... xvi Introduction .................................................................................................................. 1 Stating the Problem ........................................................................................ -
'Negroes'1 in the USSR.1 the Ethnography of an Imaginary Diaspora
97 ARTICLES Konstantin Bogdanov ‘Negroes’1 in the USSR.1 The Ethnography of an Imaginary Diaspora Negroes — they’re all black. Yakov Ilyin The Big Conveyor (1932) From the very first years of Soviet power, its ideologists stressed the international character of Soviet society. In the press and media more generally, the Soviet state and the future that it was creating — right up to the collapse of that future at the end of the 1980s — was invariably depicted as free from ethnic distinctions and open to ethnic mixing. Even the political repressions from the end of the 1930s to the middle of the 1940s, which were directed towards the suppression and persecution of a whole range of peoples inhabiting the USSR — the deportations of the Koreans, Ingrian Finns, Germans, Crimean Tartars, Kurds, Meskheti Turks, Qaraçays, Kalmyks, Balkars, Chechens and Ingushes, and the unbridled antisemitism during the struggle against ‘cosmopolitanism’ — Konstantin Bogdanov were masked by a rhetoric of political, rather Institute of Russian Literature than ethnic, motivation: preventive measures (Pushkin House), against possible collaboration with the enemy Russian Academy of Sciences, St Petersburg, Russia during the war (in the case of the Koreans, [email protected] Finns, Germans and Meskheti), punishment 1 This term is now obsolete in Anglo-American usage, but better refl ects the attitudes of the Soviet pe- riod that is depicted here than the modern ‘Africans and African Americans’ or ‘Blacks’, since the former refl ects a distinction that was not characteristic of Soviet culture, while the directly equivalent term to the latter, chernye, was used for a considerably wider range of ethnic groups. -
Sadnat Shiluv
Issue 2 - Iyar 5777 It Takes a Village - Sadnat Shiluv by Joel Bryk In December 2008, after constant rocket fire from Hamas terrorists in the Gaza Strip, the IDF launched Operation Cast Lead.The operation began with airstrikes, followed by ground forces entering Gaza. Second Lt. Aharon Karov was among many soldiers called up to defend the state of Israel. However, less than 24 hours prior he had been at his wedding, with family, friends, and his bride, Tzila. Aharon and the soldiers under his command, entered the Northern Strip on Motzei Shabbat, January 3rd with a young paratrooper from the town of Woodmere, named Yonah Bryk. Just over a week later, following detailed intelligence information about terrorist homes and structures, Aharon and 3 other paratroopers were climbing to the second floor of a home, when a powerful explosive was detonated in the house. Aharon was critically wounded; over 300 metal fragments penetrated his head and upper body. The only one of the four combatants who exited the home uninjured, was my son, Yoni. On a Tuesday morning, sitting in my office, scanning the internet for info about the Gaza war, I came across an article about a paratroop officer who was recently married, and subsequently injured in combat. Being a worried father, and aware that my son had missed his commander's wedding, since the war had been imminent; I called the only number I had for clarification. Tzvika Levy, the head of the Lone Soldiers of the IDF, had given me his cell number at the "Tekes Kumtah" (beret/graduation ceremony) the past Succot. -
Hungarian Rhapsody Campaign in Photos Compiled by Chip Saltsman
Hungarian Rhapsody Campaign in Photos Compiled by Chip Saltsman This is a compilation of images and descriptions related to the OCS Game Hungarian Rhapsody, which covers the Soviet advance into Hungary in the fall of 1944, battle of Debrecen, siege of Budapest and the Axis Konrad counterattacks in early 1945. It covers four main sections: aircraft, armored fighting vehicles, artillery, and photos from the campaign. As much as possible, I have used photos were taken during the fighting unless none were available. Verifying that a specific photo was taken in Hungary was more difficult than I anticipated, as many images purporting to be taken in Budapest are actually from Berlin, Vienna, Prague or other battles. Aircraft The Bf-110 was a twin-engine heavy fighter (Zerstörer – German for "Destroyer") in the service of the Luftwaffe throughout World War II. By this point in the war, it was primarily used as a night fighter against the Allied heavy bombers. It was also used as a ground attack aircraft, starting with the C-4/B model, and as a day bomber interceptor, where its heavy firepower was particularly useful. During the Hungarian Rhapsody campaign, there were dedicated ground attack versions which proved reasonably successful. Over 6,000 were built, though only one survives, and this aircraft is on display at the Deutsches Technikmuseum in Berlin. (photo: Bf-110’s flying over Budapest, early 1944, Bundesarchiv Bild 1011-669-7340-27) The He-111 is perhaps the best-recognized German bomber due to the distinctive, extensively glazed "greenhouse" nose of later versions. It fared well as a fast, medium bomber until the Battle of Britain, when its weak defensive armament was exposed. -
Russian Folk Song Handout MUED 305 World Music Zheng Tang
MUED 305, Tang 1 Russian Folk Song Handout MUED 305 World Music Zheng Tang March 5, 2009 MUED 305, Tang 2 Russian Folk Song Cultural Part Russian history began with that of the Eastern Slavs. The Slavs emerged as a recognizable group in Europe somewhere between the 3rd and 8th centuries AD. Russia shares land borders with the following countries, going from the northwest to the southeast: Norway, Finland, Estonia, Latvia, Lithuania, Poland, Belarus, Ukraine, Georgia, Azerbaijan, Kazakhstan, China, Mongolia and North Korea. At 17 million square kilometers, or 6.6 million sq miles, Russia is the largest country in the world, covering more than an eighth of the Earth’s land area, but it only has 142 million people. Christianity, Islam, Buddhism, and Judaism are Russia’s traditional religions, and it has a free education system guaranteed to all citizens by their Constitution. Because it is such a large country that spans Europe and Asia, it has been influenced by both western and eastern cultures. There are many great musicians in Russian music history, two of the most famous being Tchaikovsky and Ostrovsky. Before the 18 th century, Russian music focused mostly on sacred music, but after that, secular music became more and more popular. People started to collect and arrange folk songs. Those folk songs had a big influence on the development of music. MUED 305, Tang 3 Musical Context This is a love song called “Katyusha.” Katyusha is a girl’s name. The song is a Soviet Russian wartime song about a girl longing for her beloved, who is away in the military. -
'Stalin Is a God, He Could Come Back'
‘Stalin is a god, he could come back’ A Case Study: Aleksandr Tvardovsky’s Struggle with his Stalinist Past Karin Keesmaat Master thesis History Studentnr.: s1330543 Political Culture and National Identities E-mail: [email protected] Supervisor: Dr. J.H.C. Kern Leiden University Word count: 23916 April 2020 Abstract This master thesis is a case study of Aleksandr Tvardovsky, a famous Soviet poet and chief editor of the literary magazine Novyi Mir. This is a research on how Tvardovsky, who had loyally supported Stalin during his regime but later became an important actor in the destalinization, was able to come to terms with having supported Stalin’s system of terror. By analysing primary sources like his Working Notebooks, autobiographical poems and his brother’s autobiography, and by analysing his documented behaviour both during Stalin’s regime and after, this thesis will portray how Tvardovsky dealt with the aftermath of Stalin’s terror. In doing so, this research will make use of Hellbeck’s theory regarding writers’ loyalty to the regime despite state violence and the theory of the heroisation-demonisation phenomenon in mass dictatorships. This thesis aims to shed more light on how Soviet citizens adjusted during the Thaw. Keywords: Aleksandr Tvardovsky; Stalin; heroisation-demonisation; case study; Thaw; Stalinist past; guilt 2 Table of Contents ABSTRACT 2 CHAPTER 1: ITINERARY 1.1: Introduction 5 1.2: Historiography 6 1.3: Case Study & Relevance 7 1.4: Method & Chapter Outline 9 Part I A Loyal Subject, 1910-1953 13 CHAPTER