KATSNELSON-DISSERTATION.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

KATSNELSON-DISSERTATION.Pdf Copyright by Anna Katsnelson 2011 The Dissertation Committee for Anna Katsnelson Certifies that this is the approved version of the following dissertation: ETHNIC PASSING ACROSS THE JEWISH LITERARY DIASPORA Committee: Seth Wolitz, Supervisor John Hoberman Naomi Lindstrom Elizabeth Richmond-Garza Sonia Roncador ETHNIC PASSING ACROSS THE JEWISH LITERARY DIASPORA by Anna Katsnelson, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2011 Dedication Dedicated to my husband and best friend Eric, my son Lev, and my parents Alex Katsnelson and Dr. Sofya Katsnelson. Acknowledgements I would like to thank my wonderful advisor Professor Emeritus Seth Wolitz, who guided my project from its inception; he was and remains the model of a gifted and inspiring educator. His intuition, support, and insightful suggestions throughout my university career and the course of this project have been invaluable. Through Professor Wolitz’s influential lectures I have grown as a teacher, but through his tireless dedication and instrumental feedback my project gained depth, sharpened its objective and ultimately led me to have a successful defense. Dr. Naomi Lindstrom’s comments and advice from the beginning of this project have been invaluable but her suggestions once the Brazilian chapters were written really led me in the right direction and allowed me to focus the project and clean it up. Professor Lindstrom first suggested that I make my Brazilian chapters on both Elisa and Clarice Lispector, it was this suggestion that prompted the study of other familial and collaborative pairs like Evgenia Ginzburg and Vassily Aksyonov, and George S. Kaufman and Moss Hart. Dr. Richmond-Garza, thank you so much for running the Program of Comparative Literature, my years in the program were some of the best years of my life, you have made an outstanding program through your hard work, both academically and socially, and I am proud to have graduated from this wonderful department. Thank you so much also for helping me with funding, during my eight years, for your wonderful classes that I took at the beginning of my academic career, and for all your help on the dissertation, defense, and job applications. Dr. Sonia Roncador’s fascinating and challenging courses allowed me to v read and investigate Clarice Lispector for the first time. Her encouragement and recommendations helped me to received the Fulbright and establish contacts in Brazil. Thank you for your generosity and kindness throughout my career. Dr. Hoberman, your wonderful comments, support and insights into Jewish literature and identity have truly enriched this project. I would like to thank my committee members for making my defense one of the most memorable and positive experiences in my life. Dr. Leslie O’Bell was instrumental to this project from the beginning; her wonderful classes on Russian literature led to my discovery of Evgenia Ginzburg. I first wrote about Ginzburg for Dr. O’Bells’ course; her comments and advice allowed me to begin thinking of the de-thematization of identity as a dissertation worthy subject. Dr. Adam Newton also encouraged the inception of this project and pointed me towards using Deleuze and Guattari’s theory of the minor literature to enrich this project. Dr. Rosana Kohl-Bines, my advisor in Brazil during the duration of the Fulbright fellowship encouraged me to read historical and sociological texts which enriched my dissertation. I would like to thank and acknowledge Dr. Elizabeth Witherell, my wonderful professor from UC Santa Barbara who encouraged me to enter academe. I am incredibly grateful to the faculty and staff in the Program of Comparative Literature at the University of Texas thank you so much for always being there for me, you have made my academic experience an outstanding one. I would like to thank especially the family members, friends and colleagues who really helped me make this project a reality. My husband Eric Rosenbaum not only supported me throughout graduate school but was also my first editor, and who read and vi reread every single word in the project. My father-in-law Eugene Rosenbaum who helped me organize and edit my Brazilian chapters, without his help the project would never have moved forward. He helped me gain the confidence to keep writing other chapters. My dear friend Dr. Katherine Foshko who looked at and commented on the majority of the dissertation; I am incredibly grateful to you for your encouragement and your insights into the historical aspects of my thesis. My cousin Dora Katsnelson, thank you for your insights into speech pathology which helped me in my Brazilian chapters. I would like to thank the other most important person in my life, my mother Dr. Sofya Katsnelson. Thank you so much for being the most wonderful, supportive, and encouraging friend. Thank you for dedicating yourself to me and to Lev, without your support and help with Lev I would never have had the time to spend every day at the library, teach three classes, and write the dissertation. I would like to acknowledge my father Alex who allowed my mother to completely devote herself to Lev in the past 13 months while I worked on finishing the dissertation. Thank you to both my parents for instilling in me a love for literature, Russian culture, languages, art, and travel. I owe everything to both of you. Thank you as well to my wonderful siblings Katia, Misha, Dany for the hours they dedicated to my son, and also for their and my Russian sister Dr. Maria Ubel’s interest and pride in my educational goals. Thank you to my wonderful mother-in-law Rochelle Rosenbaum for her encouragement and moral support throughout these years, as well as babysitting help, and to my sisters-in-law Dr. Marion Rosenbaum Smith for her advice, and Nina Rosenbaum for her praise. Thank you to my other family members and especially Galya and Sonia for all the wonderful food they have cooked for vii us in the last year when the last thing that I could think about was cooking, for their babysitting, and encouragement. I would also like to thank my friends and colleagues in graduate school for all their help and support, because of you my graduate school experience could not have been better or more positive: Eamee Lanning, Mary Keefe, Dr. Karyn Hopper Rayburn, Dr. Marina Potoplyak, and Jackie Zahn. I would like to acknowledge the Fulbright Commission for funding my archival research in Brazil at the Fundacão Casa de Rui Barbosa Archives with the Fulbight IIE grant. The staff at the Fundacão Casa de Rui Barbosa Archives, as well as the staff at the Dorot Divistion at the New York Public Library, especially my favorite librarian Eleanor Yadin for her wonderful sense of humour and willingness to help. viii Ethnic Passing Across the Jewish Literary Diaspora Anna Katsnelson, Ph.D. The University of Texas at Austin, 2011 Supervisor: Seth Wolitz In my dissertation, I examine the works of six writers (George S. Kaufman, Moss Hart, Clarice and Elisa Lispector, Evgenia Ginzburg and Vasilii Aksyonov) who did not explore their Jewish identity in their texts and were subsequently left out of the canons of Jewish literature in their respective countries. My goal is to recalibrate the concept of the Jewish canon from the charged notion of identity to a theory of shared thematic material in which the works of hyphenated Jewish writers will be considered under the category of ‘Jewish American, Brazilian, or Russian’ if they share definite attributes. This was a transnational study showing that similar forces were at work not only in one country, but across continents, affecting the sensibilities of Jewish writers in remarkably similar ways. On a larger scale their de-thematized narratives share thematic tropes and belong to a ‘minor, liminal, marginal narrative,’ a narrative which attempted to work within the scope of the master narratives produced by the hegemonic culture. I have claimed that even though these six writers did not thematize identity in their texts, because of the negative political and social situation for the Jew in the first half of the twentieth century in western civilization, this situation and the writers’ own alterity produced similar and overlapping narratives. ix Table of Contents Chapter I: Introduction .............................................................................................1 Introducing the Introduction ...........................................................................1 Literature Review/Historiographical Essay ....................................................2 Chapter Outline .............................................................................................10 Literary Passing ............................................................................................12 Terms and Definitions...................................................................................14 Statement of Primary Sources .......................................................................18 Methodology .................................................................................................21 Language as Identity .....................................................................................22 Nationality and Nationalism .........................................................................23 Collaboration and Solidarity .........................................................................24
Recommended publications
  • The Pulitzer Prizes 2020 Winne
    WINNERS AND FINALISTS 1917 TO PRESENT TABLE OF CONTENTS Excerpts from the Plan of Award ..............................................................2 PULITZER PRIZES IN JOURNALISM Public Service ...........................................................................................6 Reporting ...............................................................................................24 Local Reporting .....................................................................................27 Local Reporting, Edition Time ..............................................................32 Local General or Spot News Reporting ..................................................33 General News Reporting ........................................................................36 Spot News Reporting ............................................................................38 Breaking News Reporting .....................................................................39 Local Reporting, No Edition Time .......................................................45 Local Investigative or Specialized Reporting .........................................47 Investigative Reporting ..........................................................................50 Explanatory Journalism .........................................................................61 Explanatory Reporting ...........................................................................64 Specialized Reporting .............................................................................70
    [Show full text]
  • Online Versions of the Handouts Have Color Images & Hot Urls September
    Online versions of the Handouts have color images & hot urls September 6, 2016 (XXXIII:2) http://csac.buffalo.edu/goldenrodhandouts.html Sam Wood, A NIGHT AT THE OPERA (1935, 96 min) DIRECTED BY Sam Wood and Edmund Goulding (uncredited) WRITING BY George S. Kaufman (screenplay), Morrie Ryskind (screenplay), James Kevin McGuinness (from a story by), Buster Keaton (uncredited), Al Boasberg (additional dialogue), Bert Kalmar (draft, uncredited), George Oppenheimer (uncredited), Robert Pirosh (draft, uncredited), Harry Ruby (draft uncredited), George Seaton (draft uncredited) and Carey Wilson (uncredited) PRODUCED BY Irving Thalberg MUSIC Herbert Stothart CINEMATOGRAPHY Merritt B. Gerstad FILM EDITING William LeVanway ART DIRECTION Cedric Gibbons STUNTS Chuck Hamilton WHISTLE DOUBLE Enrico Ricardi CAST Groucho Marx…Otis B. Driftwood Chico Marx…Fiorello Marx Brothers, A Night at the Opera (1935) and A Day at the Harpo Marx…Tomasso Races (1937) that his career picked up again. Looking at the Kitty Carlisle…Rosa finished product, it is hard to reconcile the statement from Allan Jones…Ricardo Groucho Marx who found the director "rigid and humorless". Walter Woolf King…Lassparri Wood was vociferously right-wing in his personal views and this Sig Ruman… Gottlieb would not have sat well with the famous comedian. Wood Margaret Dumont…Mrs. Claypool directed 11 actors in Oscar-nominated performances: Robert Edward Keane…Captain Donat, Greer Garson, Martha Scott, Ginger Rogers, Charles Robert Emmett O'Connor…Henderson Coburn, Gary Cooper, Teresa Wright, Katina Paxinou, Akim Tamiroff, Ingrid Bergman and Flora Robson. Donat, Paxinou and SAM WOOD (b. July 10, 1883 in Philadelphia, Pennsylvania—d. Rogers all won Oscars. Late in his life, he served as the President September 22, 1949, age 66, in Hollywood, Los Angeles, of the Motion Picture Alliance for the Preservation of American California), after a two-year apprenticeship under Cecil B.
    [Show full text]
  • «A Poet in Russia Is More Than a Poet»
    «A poet in Russia is more than a poet» Sergei Alexandrovich Yesenin 1895 –1925 Мы теперь уходим We'll depart this world for понемногу ever, surely, Много дум я в тишине продумал, I have thought in silence days and hours, Много песен про себя сложил, I have written songs. And I don`t grieve. И на этой на земле угрюмой I am happy in this gloomy world of ours To have had a chance to breathe and live. Счастлив тем, что я дышал и жил Sergei Alexandrovich Yesenin And many people in his native country and abroad are captivated by his wonderful poems even now. His poetry was translated into 11 languages. He was incredibly gifted and talented. He also was handsome and very attractive for people. Everywhere women fell in love with him. He loved his country so deeply and passionately. He praised its beauty, nature, women in his beautiful poems. When I hear “Russia” I always have Yesenin in my mind – his photo or his poetry. He had “very Russian” character He was one of the most famous and loved poets of and was deeply devoted to Russia in the XX century. He had written poems for all his not too long life. He started to write when Russian nature. he was only nine. He couldn't help writing. Rhymes like a flock of birds always crowded in his mind. He had a great number of admirers of his talent. Sergei Alexandrovich Yesenin was born in Konstantinovo in the Ryazan region of the Russian Empire in a poor peasant family.
    [Show full text]
  • JEWISH HISTORICAL NOTES /7 / R/Zrn /F L/Siinr B Hi Cfrwi/^Stl 4 C Cr\Ri N F 1 Rtti CONTENTS
    RHODE ISLAND JEWISH HISTORICAL NOTES /7 / r/zrn /f l/siinr b Hi cfrwi/^stl 4 c cr\ri n f 1 rtti CONTENTS Cover—Solomon Pareira first Jewish settler in Providence (1838), first President of the Congregation of the Sons of Israel and donor of the first and only Jewish cemetery in Providence. From a crayon portrait by his granddaughter. Preface—Rabbi William G. Braucle, Ph.I) 3 Introduction—Beryl Segal 4 Remarks—David C. Adelman, Esq 5 Jews in the Court Records of Providence (1739-1860) David C. Adelman, Esq 8 Naturalizations—David C. Adelman, Esq II U. S. Court to 1906 12 State Court to 1905 . 54 Jewish Community 1877, David C. Aclelman, Escj 72 Financial Report 75 Membership List 76 Rhode Island Jewish Historical Notes PREFACE In what way does the story of the Jew in America differ from the story of the Jew in other lands? In one important respect. In America, unlike other lands, the Jew was present at the very beginning of things. An Asser Levy in New Amsterdam, a Mordecai Campanall in Rhode Island, an Adolph Sutro arriving in a covered wagon in San Francisco. The number involved is not important. It is important that the Jew was there. It is important that he must be counted as one of the melange of peoples who began the building of America. In Providence, 1854 marks a dual anniversary: Lhe centennial of the first Jewish congregation in Providence and the Tercentenary of Jews in the United States. We observe these events—in part, at least— in order to remind our neighbors of our early presence in this land; and to remind ourselves that religious concernments stimulated the first organized endeavor by Jews in this land—whether it was a syna- gogue, an all-clay school or a cemetery, the concernment was religious.
    [Show full text]
  • You Can't Take It With
    Insights A Study Guide to the Utah Shakespeare Festival You Can’t Take It with You The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. Insights is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print Insights, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Michael Thomas Holmes (left) and Laurie Birmingham in You Can’t Take It with You, 1995. Contents You Can’tInformation Take on theIt Play with You Synopsis 4 Characters 5 About the Playwright 6 Scholarly Articles on the Play Happy Lunacies 7 Still Speaking to Audiences 9 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: You Can’t Take It with You The Vanderhof family at the center of You Can’t Take It with You is a collection of cheerful and erratic (yet lovable) incompetents.
    [Show full text]
  • Andy Truschinski Jessie Mueller
    Sara Bareilles, Pam MacKinnon, Toshiko Mori, Jessie Nelson, and Diane Paulus Honorary Co-Chairs and The Gala Committee and Jefrey R. Gural, Chairman & Susan Bernfield, President and the A.R.T./New York Board of Directors Welcome You to the honoring Jessie Mueller & Andy Truschinski Joe Solway & Arup Director / Choreographer Terry Berliner Associate Director / Choreographer T.J. Newton Lyricists Music Director & Pianist Timothy Huang & Sara Wordsworth Arri Lawton Simon Lighting Designer Production Stage Manager Kirk Fitzgerald Jeromy Hunt Drums Bass Jacob Colin Cohen Andrew Franklin O'Connor Award Presenters Pam MacKinnon / Elaine Molinar / Diane Paulus Host Julie Halston April 11, 2016 / Tribeca Rooftop (2 Desbrosses Street) 6:00 PM Cocktails 7:00 PM Dinner & Program Dear Friends: in Brooklyn and Manhattan. Earlier in the month, we held a cash flow loan closing ACT ONE On behalf of the Board of Directors, the at the ofce and gave testimony at a City Scene 1: Welcome Back Gala Committee, and our Honorary Co- Council hearing urging a $40 million Scene 2: Opening Remarks Chairs, Sara Bareilles, Pam MacKinnon, increase to the Department of Cultural Scene 3: Our Donors: A Love Song Toshiko Mori, Jessie Nelson, and Diane Afairs’ budget. Our honorees Jessie Scene 4: Ain’t Mishearin’: A Musical Paulus, I am thrilled to welcome you to the Mueller and Andy Truschinski have helped A.R.T./New York 2016 Spring Gala! We are us in our quest to advocate for increased Tribute to Joe Solway & Arup delighted to present gifted actors Jessie cultural funding, and their public service Scene 5: Presentation of The Kathy and Mueller and Andy Truschinski with The and dedication to ensuring that the next Howard J.
    [Show full text]
  • June Issue Of
    Subscribe to our email list Share this: June 2018 | Volume 13 | Number 4 Caroline Fraser Wins 2018 Plutarch Award Caroline Fraser won the 2018 Plutarch Award for Prairie Fires: The American Dreams Join BIO of Laura Ingalls Wilder. Members of Biographers in the International Organization selected the winning book, Netherlands! which was announced on May On September 20 and 21, 2018, 19, at the Ninth Annual BIO BIO joins the Biography Institute Conference, at the Leon Levy and the Biography Society in Center for Biography at the hosting the conference “Different Graduate Center, City Lives: Global Perspectives on University of New York. Biography in Public Cultures and Create PDF in your applications with the Pdfcrowd HTML to PDF API PDFCROWD Fraser’s book had previously Caroline Fraser speaks after accepting the 2018 Societies.” The conference will won the Pulitzer Prize for Plutarch Award. take place in Groningen, Biography and the National Netherlands, home of the Book Critics Circle Award for Biography. Biography Institute, which is After accepting the award from Plutarch Award Committee chair Anne C. directed by BIO member Hans Heller, Fraser said she was humbled to be around people “who know more about Renders. The event will allow biography, collectively and individually, than I ever will.” She thanked James biographers to look beyond their McGrath Morris for introducing her to BIO, which made her “aware of what an own borders, explore how extraordinary resource it is.” Fraser recounted attending earlier BIO conferences biography is practiced in other and feeling a sense of camaraderie with other biographers. “We’re all grappling parts of the world, and discuss with the same issues and trying to find a way to represent .
    [Show full text]
  • 2010 Annual Report
    2010 Annual Report INCLUDESSPECIALPHOTORETROSPECTIVE CONTACT US AT: NCSJ 2020 K Street NW, Suite 7800 Washington, DC 20006 (202) 898-2500 (202) 898-0822 fax Email: [email protected] Web: www.ncsj.org © 2011 NCSJ. All rights reserved. All photographs are from the archives of NCSJ except where otherwise credited. Front cover: Top row, center, and third row, left-hand side, photos by Ron Sachs/CNP. Back cover: Map © David Swanson/Equator Graphics, Inc. Contents Mission and Background Interview with the Chairman of the Board of Governors .................................................2 From the President . .3 From the Executive Director .......................................................5 Programs and Activities ..............................................6 Highlights of the Year ..................................................7 SPECIAL PHOTO RETROSPECTIVE: 40 YEARS OF HISTORY ....................................................9 Celebrating 40 Years of History Rallies and Protests Activists and Prisoners of Zion Meetings . .15 Jewish Life Reborn .............................16 . .18 .........................................20 Board of Governors Meetings ...............................22 Financial Statement ...........................................24 Donors and Program Funders ....................................................26 ..........................................27 NCSJ Annual Report for 2010 1 Mission and Background MISSION To empower and ensure the security of Jews in the 15 successor states of the former Soviet Union
    [Show full text]
  • By Leon Trotsky
    September 1940 TRIRI. A M on thl y Organ of Revolutionary M arxisrn THE HERITAGE .•••........ By Max Shachtman HIS PLACE IN HISTORY • • • • •.. By J. R. Johnson SIXTEEN YEARS OF TERROR . • . By Albert Gates TROTSKY'S WRITINGS IN ENGLISH A Bibliography A LETTER TO THE AMERICAN TROTSKYISTS By Leon Trotsky Fifteen Cents Single Copy Subscription Per Year $1.50 r THE NEW INTERNATIONAL ..4 Mon,hly Organ 01 Ref)olutionary Mar",lam Volume VI September, 1940 No.8 (Whole No. 47) Published ~onthly by NEW INTERNATIONAL Publishing Company, 114 West 14th Street, New York, N. Y. Telephone CHelsea 2·9681. One bit of good news this month is the fact that we have Subscription rates: $1.50 per year; bundles, 10c for 5 copies obtained second class mailing privileges for THE NEW INTER­ and up. Canada and foreign: $1.75 per year; bundles, 12c for 5 NATIONAL. This will help our program in the coming months. and up. Entered as second·class matter July 10, 1940, at the poet office at New York, N.Y. under the act of March 3, 1879. We succeeded in issuing a 32 page number in memory of Leon Trotsky, and we are going to try to continue with the larger Editor: MAX SHACHTMAN magazine. Business Manager: ALBERT GATES • TABLE OF CONTENTS The October issue is already in preparation. As we told you LEON TROTSKY: THE HERITAGE in August a special election would be published. We had orig­ By Max Shachtman ----------------------------------------- 147 inally planned this for September, but the tragic death of Trot­ TROTSKY'S PLACE IN HISTORY sky made necessary that postponement.
    [Show full text]
  • International Women's Day/4-S
    MARCH 16, 1973 25 CENTS VOLUME 37 /NUMBER 10 A SOCIALIST NEWSWEEKLY/PUBLISHED IN THE INTERESTS OF THE WORKING PEOPLE What the Oglala Sioux are strug_gling for ewitness re ort Wounded Knee, S.D. Indians occupying church on burial grounds of 1890 massacre. Heavily armed federal marshals surround the area. By SKIP BALL to negotiate. In response to the government The duplicity of the government officials is WOUNDED KNEE, S.D., March 7-Federal move, Russell Means, a leader of the American indicated by the fact that three participants officials have called off negotiations with the Indian Movement (AIM), told the press here in the occupation who tried to bring an in­ Indians occupying Wounded Knee. They have today, ''We're making a national appeal for jured person out of Wounded Knee for medi­ announced that their offer to allow people people to come here and witness for them­ cal treatment after getting the agreement of out of Wounded Knee without immediate ar­ selves how this country deals with Indian government representatives were arrested and rest would expire tomorrow at 6 p.m. people.... " jailed. The injured person was also arrested. The government had previously offered to The Indians are hoping a show of popular Meanwhile, the Indian leaders have an­ let the Indians leave with the stipulation that support. will deter the government from a all adult males would have to identify them­ violent attack. In the meantime, approxi­ nounced that their lawyers are negotiating selves, thus laying the basis for future pros­ mately 220 women and children in Wounded for the purchase of the trading post and Cath­ olic Church they occupy.
    [Show full text]
  • Protest and Dissent in the Soviet Union: the Unofficial Moscow • Journal, a Chronicle of Current Events, (American Heritage Press, 1972), 18
    •••••••••••••••••••••••••••••••••••••••••r• Glasnost as Speaking TruthisPower: In partialfulfillmentoftherequirements Submitted toProfessorLindaGerstein In LateSovietRussia For theBachelorsinArtsHistory, By ElizabethHeld Haverford College a WeaponofDissent April 20,2012 •••••••••••••••••••••••••••••••••••••••••••• ••••••••••••••••►•••••••••••••••••••••••••••• ACKNOWLEDGEMENTS flour, andeggs. To ProfessorLindaGerstein,whotaughtmethattobakeacakeyouneedbutter,sugar, ii •• iii •• ABSTRACT ••• In 1968, a group of Soviet dissidents began to print their own newspaper, the •• Chronicle of Current Events, and to work with western reporters to spread their message about the illegality of the ruling regime. By using their own media forms, the dissidents •• were able to break the government's monopoly on information. More importantly, they •• used the media technologies to advocate for their two key, interconnected goals of •• glasnost, or openness, and the rule of law. The dissidents made two main arguments. •• First, that glasnost was integral to creating an equitable and fair justice system. Second, that speaking truth was legal and not something the government could prosecute. •• • Glasnost served as both a rallying cry and as a weapon. The dissidents called for openness, but also used their media outlets to expose events the government wished to ••• keep quiet. • In choosing the two mantras of legality and glasnost, the dissidents consciously put themselves in the shadow of previous groups of Russian reformers who had the same ••• demands. They placed themselves in a historical debate. The dissidents also sought to •• differentiate their version of glasnost, complete openness, from various government •• leaders' definitions of the term. •• This thesis seeks to explore the way dissident media outlets forced the dual goals •• of glasnost and respect for the rule of law. It will examine the causes and forms of dissident media, and their relationship to the idea of legality.
    [Show full text]
  • Use Style: Paper Title
    Advances in Social Science, Education and Humanities Research, volume 284 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018) Study on the Constructivist Utopia of Vsevolod Meyerhold Vadim Shcherbakov Department for Research and Publication of Meyerhold‘s Legacy The State Institute for Art Studies Moscow, Russia E-mail: [email protected] Abstract—Meyerhold was always fascinated by the development and made an impact on acting. But more often concepts of art changing and creating life. He was deeply they represented examples of successful utilization of concerned by the Russians’ headfast unwillingness to obey the fashionable design. No matter how strongly the slow course of evolution. The director’s experiments in Constructivists struggled against the dogma of aesthetic establishing the performance as a mass meeting and his perception of an artwork as a value in itself, their creations concept of monumental revolutionary propaganda, as they had had obvious stylistic features that were able to exist been manifested in The RSFSR-1 Theatre, proved to be independently of their ideological concepts. The successful and convincing. Nevertheless, the Moscow Soviet constructivist art forms developed a fashion trend that lasted closed the theater. As Meyerhold trusted the party leaders he for a while, and theatre did not hesitate to make use of it. considered closing his theater a proof of the fact that the Soviet country was in no need of professional stage art. Thereby the Alexandre Tairov at the Kamerny Theatre did over a constructivist idea of art which aims to design life in dozen productions in association with artists who belonged accordance with artistic laws shows the way out of the impasse.
    [Show full text]