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After Stalin: the Decline and Fall of the Soviet Union (Weeks 1-12) | University of Kent
10/01/21 After Stalin: The Decline and Fall of the Soviet Union (Weeks 1-12) | University of Kent After Stalin: The Decline and Fall of the View Online Soviet Union (Weeks 1-12) 435 items Operation Typhoon: Hitler's march on Moscow, October 1941 - Stahel, David, 2013 Book Introductory Bibliography (12 items) Conscience, dissent and reform in Soviet Russia - Boobbyer, Philip, 2005 Book Soviet communism from reform to collapse - Daniels, Robert V., 1995 Book The rise of Russia and the fall of the Soviet empire - Dunlop, John B., 1995 Book Russia and the idea of the West: Gorbachev, intellectuals, and the end of the Cold War - English, Robert D., 2000 Book Last of the empires: a history of the Soviet Union, 1945-1991 - Keep, John L. H., 1996 Book The Soviet tragedy: a history of socialism in Russia, 1917-1991 - Malia, Martin E., 1994 Book Russia's Cold War: from the October Revolution to the fall of the wall - Haslam, Jonathan, c2011 Book Rulers and victims: the Russians in the Soviet Union - Hosking, Geoffrey A., 2006 Book The shadow of war: Russia and the USSR, 1941 to the present - Lovell, Stephen, 2010 Book Lenin's tomb: the last days of the Soviet Empire - Remnick, David, 1994 Book Twentieth century Russia - Treadgold, Donald W., 1995 Book Zhivago's children: the last Russian intelligentsia - Zubok, V. M., 2009 1/34 10/01/21 After Stalin: The Decline and Fall of the Soviet Union (Weeks 1-12) | University of Kent Book Collections of documents (9 items) The Soviet political poster, 1917-1980: From the USSR Lenin Library Collection - Baburina, Nina, 1986 Book The Soviet system: from crisis to collapse - Dallin, Alexander, Lapidus, Gail Warshofsky, 1995 Book A documentary history of communism - Daniels, Robert Vincent, 1985 Book The great patriotic war of the Soviet Union, 1941-45: a documentary reader - Hill, Alexander, 2009 Book Revelations from the Russian archives: documents in English translation - Koenker, Diane, Bachman, Ronald D., Library of Congress, 1997 Book Sedition: everyday resistance in the Soviet Union under Khrushchev and Brezhnev - Kozlov, V. -
Sculptor Nina Slobodinskaya (1898-1984)
1 de 2 SCULPTOR NINA SLOBODINSKAYA (1898-1984). LIFE AND SEARCH OF CREATIVE BOUNDARIES IN THE SOVIET EPOCH Anastasia GNEZDILOVA Dipòsit legal: Gi. 2081-2016 http://hdl.handle.net/10803/334701 http://creativecommons.org/licenses/by/4.0/deed.ca Aquesta obra està subjecta a una llicència Creative Commons Reconeixement Esta obra está bajo una licencia Creative Commons Reconocimiento This work is licensed under a Creative Commons Attribution licence TESI DOCTORAL Sculptor Nina Slobodinskaya (1898 -1984) Life and Search of Creative Boundaries in the Soviet Epoch Anastasia Gnezdilova 2015 TESI DOCTORAL Sculptor Nina Slobodinskaya (1898-1984) Life and Search of Creative Boundaries in the Soviet Epoch Anastasia Gnezdilova 2015 Programa de doctorat: Ciències humanes I de la cultura Dirigida per: Dra. Maria-Josep Balsach i Peig Memòria presentada per optar al títol de doctora per la Universitat de Girona 1 2 Acknowledgments First of all I would like to thank my scientific tutor Maria-Josep Balsach I Peig, who inspired and encouraged me to work on subject which truly interested me, but I did not dare considering to work on it, although it was most actual, despite all seeming difficulties. Her invaluable support and wise and unfailing guiadance throughthout all work periods were crucial as returned hope and belief in proper forces in moments of despair and finally to bring my study to a conclusion. My research would not be realized without constant sacrifices, enormous patience, encouragement and understanding, moral support, good advices, and faith in me of all my family: my husband Daniel, my parents Andrey and Tamara, my ount Liubov, my children Iaroslav and Maria, my parents-in-law Francesc and Maria –Antonia, and my sister-in-law Silvia. -
Poetry in a Time of Affliction
01-logos-murray-pp19-39 6/14/05 8:25 AM Page 19 Paul Murray, OP The Fourth Friend: Poetry in a Time of Affliction What, if anything, consoles us in a time of affliction? Today we don’t need to look very far to see that our own generation is living through such a time, and this is true whether we are living in Europe or in Iraq, in Sudan or the Middle East, in Egypt or in the United States. As far as the West is concerned, we have only to think back to the horrific bombings that took place in the station at Madrid some time ago or to recall the shock and horror of 9/11. But there have been other horrors, other scenes of humiliation and terror, which we have witnessed on our television screens, and most notable of all, of course, the effects of the tsunami. Although these events may have taken place thousands of miles away, they too have seared our imagination. My question, then, is this: In such a time of afflic- tion, of what possible use to us is poetry? Can it be said to help or console us in any way? After 9/11, there was, as it happens, one remarkable, instinctive response of the people in New York,a response manifest not only in and around Ground Zero, but also in many of the streets of the city. For, on the walls of the city, in the subway, on the sidewalks, there logos 8:3 summer 2005 01-logos-murray-pp19-39 6/14/05 8:25 AM Page 20 logos began to appear lines from famous poems and even entire original poems, written up and pinned to photographs of some of the men and women who had died in the catastrophe. -
Anna Akhmatova - Poems
Classic Poetry Series Anna Akhmatova - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Anna Akhmatova(23 June 1889 – 5 March 1966) Anna Andreyevna Gorenko, better known by the pen name Anna Akhmatova, was a Russian and Soviet modernist poet, one of the most acclaimed writers in the Russian canon. Akhmatova's work ranges from short lyric poems to intricately structured cycles, such as Requiem (1935–40), her tragic masterpiece about the Stalinist terror. Her style, characterised by its economy and emotional restraint, was strikingly original and distinctive to her contemporaries. The strong and clear leading female voice struck a new chord in Russian poetry. Her writing can be said to fall into two periods - the early work (1912–25) and her later work (from around 1936 until her death), divided by a decade of reduced literary output. Her work was condemned and censored by Stalinist authorities and she is notable for choosing not to emigrate, and remaining in Russia, acting as witness to the atrocities around her. Her perennial themes include meditations on time and memory, and the difficulties of living and writing in the shadow of Stalinism. Primary sources of information about Akhmatova's life are relatively scant, as war, revolution and the totalitarian regime caused much of the written record to be destroyed. For long periods she was in official disfavour and many of those who were close to her died in the aftermath of the revolution. <b>Early life and family</b> Akhmatova was born at Bolshoy Fontan, near the Black Sea port of Odessa. -
Marina Tsvetaeva 1
Marina Tsvetaeva 1 Marina Tsvetaeva Marina Tsvetaeva Tsvetaeva in 1925 Born Marina Ivanovna Tsvetaeva 8 October 1892 Moscow, Russian Empire Died 31 August 1941 (aged 48) Yelabuga, USSR Occupation Poet and writer Nationality Russian Education Sorbonne, Paris Literary movement Russian Symbolism Spouse(s) Sergei "Seryozha" Yakovlevich Efron Marina Ivanovna Tsvetaeva (Russian: Мари́на Ива́новна Цвета́ева; 8 October [O.S. 26 September] 1892 – 31 August 1941) was a Russian and Soviet poet. Her work is considered among some of the greatest in twentieth century Russian literature.[1] She lived through and wrote of the Russian Revolution of 1917 and the Moscow famine that followed it. In an attempt to save her daughter Irina from starvation, she placed her in a state orphanage in 1919, where she died of hunger. As an anti-Bolshevik supporter of Imperialism, Tsvetaeva was exiled in 1922, living with her family in increasing poverty in Paris, Berlin and Prague before returning to Moscow in 1939. Shunned and suspect, Tsvetaeva's isolation was compounded. Both her husband Sergey Efron and her daughter Ariadna Efron (Alya) were arrested for espionage in 1941; Alya served over eight years in prison and her husband was executed. Without means of support and in deep isolation, Tsvetaeva committed suicide in 1941. As a lyrical poet, her passion and daring linguistic experimentation mark her striking chronicler of her times and the depths of the human condition. Marina Tsvetaeva 2 Early years Marina Tsvetaeva was born in Moscow, her surname evokes association with flowers. Her father was Ivan Vladimirovich Tsvetaev, a professor of Fine Art at the University of Moscow,[1] who later founded the Alexander III Museum, which is now known as the Pushkin Museum of Fine Arts. -
Conscious Responsibility 2 Contents
Social Report 2016 World Without Barriers. VTB Group Conscious Responsibility 2 Contents VTB Group in 2016 4 3.3. Internal communications and corporate culture 50 Abbreviations 6 3.4. Occupational health and safety 53 Statement of the President and Chairman of the Management Board of VTB Bank (PJSC) 8 4. Social environment 56 1. About VTB Group 10 4.1. Development of the business environment 57 1.1. Group development strategy 12 4.2. Support for sports 63 1.2. CSR management 13 4.3. Support for culture and the arts 65 1.3. Internal (compliance) control 16 4.4. Support for health care and education 69 1.4. Stakeholder engagement 17 4.5. Support for vulnerable social groups 71 2. Market environment 26 5. Natural environment 74 2.1. Support for the public sector and socially significant business 27 5.1. Sustainable business practices 74 2.2. Support for SMBs 34 5.2. Financial support for environmental projects 77 2.3. Quality and access to banking services 35 6. About the Report 80 2.4. Socially significant retail services 38 7. Appendices 84 3. Internal environment 44 7.1. Membership in business associations 84 3.1. Employee training and development 46 7.2 GRI content index 86 3.2. Employee motivation and remuneration 49 7.3. Independent Assurance Report 90 VTB Social Report 2016 About VTB Group Market environment Internal environment Social environment Natural environment About the Report Appendices VTB Group in 2016 4 VTB Group in 2016 5 RUB 51.6 billion earned 72.7 thousand people 274.9 thousand MWh in net profit employed by the Group -
1 History of Russian Culture Through Film and Literature HIST E-1557/W
History of Russian Culture through Film and Literature HIST E-1557/W (Spring 2015) (December 21, 2014) Harvard University Extension School Donald Ostrowski Wednesdays 5:30–7:30 pm (lectures) 51 Brattle St. E-703 phone (617)495-4547 e-mail: [email protected] website: http://isites.harvard.edu/k109152 Teaching Assistants: David Nicholson Robert Goggin email: [email protected] email: [email protected] office hours: By appointment only phone: 617-625-6983 office hours: TuesThurs 4:30–5:30 (rm. 701) Karen J. Wilson email: [email protected] phone: 978-275-6927 (o); 978-255-2279 (h) Course Goals: The course has three main goals. First, it attempts to introduce the history of Russian culture and provide a foundational basis for further post-course study of it. Second, it attempts to improve critical thinking abilities and the powers of observation on the part of the student. Third, it attempts to develop writing skills. Writing Assignments: I have designed the course as writing intensive. In order for the course to fill that function, I expect each student (both undergraduate and graduate) to write a draft and a revised version of one “five-paragraph beast” (625−750 words), a draft and revised version of two 3–5- page “analytical-critique” papers (750–1250 words each) and one final project. For undergraduates, the final project will consist of one 10-page theme-analysis paper (2500 words). Graduate students are required to write a draft and a revised version of a proposal (around 3 pages [750 words]) that must be approved by their teaching assistant before they can commence on a 15–20-page research paper (4000–5000 words). -
Yuri Lyubimov: Thirty Years at the Taganka Theatre
YURY LYUBIMOV Contemporary Theatre Studies A series of books edited by Franc Chamberlain, Nene College, Northampton, UK Volume 1 Playing the Market: Ten Years of the Market Theatre, Johannesburg, 1976–1986 Anne Fuchs Volume 2 Theandric: Julian Beck’s Last Notebooks Edited by Erica Bilder, with notes by Judith Malina Volume 3 Luigi Pirandello in the Theatre: A Documentary Record Edited by Susan Bassnett and Jennifer Lorch Volume 4 Who Calls the Shots on the New York Stages? Kalina Stefanova-Peteva Volume 5 Edward Bond Letters: Volume I Selected and edited by Ian Stuart Volume 6 Adolphe Appia: Artist and Visionary of the Modern Theatre Richard C.Beacham Volume 7 James Joyce and the Israelites and Dialogues in Exile Seamus Finnegan Volume 8 It’s All Blarney. Four Plays: Wild Grass, Mary Maginn, It’s All Blarney, Comrade Brennan Seamus Finnegan Volume 9 Prince Tandi of Cumba or The New Menoza, by J.M.R.Lenz Translated and edited by David Hill and Michael Butler, and a stage adaptation by Theresa Heskins Volume 10 The Plays of Ernst Toller: A Revaluation Cecil Davies Please see the back of this book for other titles in the Contemporary Theatre Studies series YURY LYUBIMOV AT THE TAGANKA THEATRE 1964–1994 Birgit Beumers University of Bristol, UK harwood academic publishers Australia • Canada • China • France • Germany • India Japan • Luxembourg • Malaysia • The Netherlands • Russia Singapore • Switzerland • Thailand • United Kingdom Copyright © 1997 OPA (Overseas Publishers Association) Amsterdam B.V. Published in The Netherlands by Harwood Academic Publishers. This edition published in the Taylor & Francis e-Library, 2005. -
Talking Fish: on Soviet Dissident Memoirs*
Talking Fish: On Soviet Dissident Memoirs* Benjamin Nathans University of Pennsylvania My article may appear to be idle chatter, but for Western sovietolo- gists at any rate it has the same interest that a fish would have for an ichthyologist if it were suddenly to begin to talk. ðAndrei Amalrik, Will the Soviet Union Survive until 1984? ½samizdat, 1969Þ All Soviet émigrés write ½or: make up something. Am I any worse than they are? ðAleksandr Zinoviev, Homo Sovieticus ½Lausanne, 1981Þ IfIamasked,“Did this happen?” I will reply, “No.” If I am asked, “Is this true?” Iwillsay,“Of course.” ðElena Bonner, Mothers and Daughters ½New York, 1991Þ I On July 6, 1968, at a party in Moscow celebrating the twenty-eighth birthday of Pavel Litvinov, two guests who had never met before lingered late into the night. Litvinov, a physics teacher and the grandson of Stalin’s Commissar of Foreign Affairs, Maxim Litvinov, had recently made a name for himself as the coauthor of a samizdat text, “An Appeal to World Opinion,” thathadgarneredwideattention inside and outside the Soviet Union. He had been summoned several times by the Committee for State Security ðKGBÞ for what it called “prophylactic talks.” Many of those present at the party were, like Litvinov, connected in one way or another to the dissident movement, a loose conglomeration of Soviet citizens who had initially coalesced around the 1966 trial of the writers Andrei Sinyavsky and Yuli Daniel, seeking to defend civil rights inscribed in the Soviet constitution and * For comments on previous drafts of this article, I would like to thank the anonymous readers for the Journal of Modern History as well as Alexander Gribanov, Jochen Hell- beck, Edward Kline, Ann Komaromi, Eli Nathans, Sydney Nathans, Serguei Oushakine, Kevin M. -
Soviet Political Parties and Leadership
ABSTRACT Title of Dissertation: EMANCIPATION FROM DOUBLETHINK? POST- SOVIET POLITICAL PARTIES AND LEADERSHIP Peter Voitsekhovsky, Doctor of Philosophy, 2013 Dissertation directed by: Professor Vladimir Tismaneanu Department of Government and Politics This study examines the phenomenon of doublethink as a core feature of the “mental software” that continues to define the character of post-Soviet societies. It is revealed in patterns of prevarication and equivocation that characterize the thinking and behavior of both the elites and the masses. Doublethink is also manifested in incongruous values and duplicitous rules that prevail in society. It accounts for the perpetuation of simulative and fake institutions of “façade democracy.” Political parties in post-Soviet Ukraine are analyzed as a major example of simulative and imitative institutions. Here, traditional ideology-based party taxonomies prove misleading. Political parties are quasi-virtual entities with the character of “post- Orwellian political machines”: they operate in a topsy-turvy world of imitated supply and deluded demand. The study employs three levels of analysis: macro (surveys data and “Tocquevillean” observations); meso (biographical data and political discourse analysis); and micro (in-depth interviews). EMANCIPATION FROM DOUBLETHINK? POST-SOVIET POLITICAL PARTIES AND LEADERSHIP Peter Voitsekhovsky Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Doctor -
Nostalgia for the Soviet Past in the Post-Soviet Countries
1 Nostalgia for the Soviet Past in the Post-Soviet Countries By Tatsiana Amosava Introduction Maurice Halbwachs made collective memory an object of sociological research (1992). For the last half of a century it has become a prolific field of study with collective trauma as a principal concern. However, another modality of the collective memory has attracted a lot of researchers’ attention: nostalgia which eliminates any pain related to the past and presents it in harmonious, non-shady version. Initially introduced in the end of the 17th century as a form of psychological disorder (as a disease) found in Swiss mercenaries who carried their services abroad, nostalgia was perceived differently by the representatives of different epochs. It became a fashion in the 19th century, and even now it is closely associated with fashion. Nowadays nostalgia is seen as a psychological mecanism of maintaining the identity continuity (Fred Davis) and a mechanism which helps sustaining the wholeness of personality. Nostalgia relates to life cycles. There are identifiable groups of population who are inclined to nostalgia. There are certain age groups: people in their late twenties are nostalgic of their late teen years, and the group of middle-aged people who are around their forty (till recently it 2 was possible to argue that it is an empty nest phase in the life cycle of women). Also, very old persons show the acute signs of longing for the past. In addition, there is a gender distinction: it is more typical of men to experience nostalgia than of women. Fred Davis (1979) believes that it is a result of more complicated life trajectories in men who worked in different places, served in the army, migrated more actively than women, while the surroundings of women were rather stable, non-changeable, and women’s identities did not require a lot of adaptation to new circumstances. -
Interview on Anna Akhmatova
The Isaiah Berlin Virtual Library INTERVIEW ON ANNA AKHMATOVA This text is based on a translation by Helen Rappaport of a complete transcript (made by Robin Hessman from a videotape) of an unedited interview filmed in April 1989 at Berlin’s Oxford home, Headington House. The interviewer, the late Vsevolod Georgievich Shishkovsky, was London correspondent of Russian State TV and Radio. Excerpts from the interview (here identified in red where known) were used on Russian TV: see catalogue of broadcasts, items 80 and 80a. The late Elena Tsezarenva Chukovskaya was also present, and joins in at the end. VSEVOLOD SHISHKOVSKY In our country the one hundredth anniversary of the birth of our famous poetess Anna Akhmatova is being widely celebrated. And at the moment, we are attempting, literally, to the nth degree, to gather together everything connected with her life, her work, her encounters, and I think that your reminiscences of those meetings with her have an absolutely priceless significance, and I know that you are well acquainted with the work of Anna Akhmatova, and that you met her. And so, might you recount your first meeting with her? ISAIAH BERLIN You called her a poetess. She despised that word. She called herself a poet. She did not acknowledge any poetesses, neither herself, nor Tsvetaeva, nor others. This is incidental. But I remember it. She was very angry about it, she said: ‘Yes, yes, they call me a poetess’, she said this in a very angry tone. I wrote an article about it,1 which appeared in English, and which has now been translated into Russian.2 It’s all probably very clearly 1 ‘Meetings with Russian Writers in 1945 and 1956’, in PI.