Journal articles: 'Soviet culture'

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Stites, Richard, and Jim Riordan. "Soviet Youth Culture." Russian Review 49, no. 3 (July 1990): 369. http://dx.doi.org/10.2307/130192.

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Tomiak, J. J. "Soviet youth culture." International Affairs 66, no. 3 (July 1990): 621. http://dx.doi.org/10.2307/2623158.

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Black, Karen L., and Jim Riordan. "Soviet Youth Culture." Modern Language Journal 75, no. 1 (1991): 161. http://dx.doi.org/10.2307/329881.

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WOOD, P. "Regarding Soviet Culture." Oxford Art Journal 18, no. 1 (January 1, 1995): 165–70. http://dx.doi.org/10.1093/oxartj/18.1.165.

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Donskis, L. "Soviet Culture, Russian and Lithuanin Culture." Central European political science review (CEPSR) 9, no. 31, Spring (2008): 91–95.

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Son, Zhanna. "Soviet Culture and Soviet Koreans (1920-1930)." Journal of Multiculture and Education 6, no. 1 (June 30, 2021): 81–97. http://dx.doi.org/10.31041/jme.2021.6.1.81.

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Shneer, David. "A Study in Red: Jewish Scholarship in the 1920s Soviet Union." Science in Context 20, no. 2 (June 2007): 197–213. http://dx.doi.org/10.1017/s026988970700124x.

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ArgumentIn the 1920s the Soviet Union invested a group of talented, mostly socialist, occasionally Communist, Jewish writers and thinkers to use the power of the state to remake Jewish culture and identity. The Communist state had inherited a multiethnic empire from its tsarist predecessors and supported the creation of secular cultures for each ethnicity. These cultures would be based not on religion, but on language and culture. Soviet Jews had many languages from which to choose to be their official Soviet language, but Yiddish, the vernacular of eastern European Jewry, won the battle and served as the basis of secular Soviet Jewish culture. Soviet Jewish scholars, writers, and other cultural activists remade Jewish culture by creating a usable Jewish past that fit the socialist present, reforming the “wild” vernacular of Yiddish into a modern language worthy of high culture, and transforming Jews into secular Soviet citizens.

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Solomon, A. "Yiddish Culture, Soviet State." Theater 33, no. 1 (January 1, 2003): 84–88. http://dx.doi.org/10.1215/01610775-33-1-84.

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Clark, K. "Culture and Soviet Power." Theater 33, no. 1 (January 1, 2003): 96–98. http://dx.doi.org/10.1215/01610775-33-1-96.

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Puschaev, Yuriy V. "Soviet Dostoevsky: Dostoevsky in Soviet culture, ideology, and philosophy." Philosophy Journal 13, no. 4 (2020): 102–18. http://dx.doi.org/10.21146/2072-0726-2020-13-4-102-118.

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The article aims to analyze how Dostoevsky’s works were perceived and presented in the Soviet ideology and philosophy. Contrary to some commonly held views, it is shown that despite the restrictions, there was never any talk of a complete ban or non-publication of Dostoevsky’s works in the Soviet times including the Stalinist years. Individual works of Dostoevsky as well as collections of his works were actively published in those years. The author explores the presence of Dostoevsky in the school literature program as well as the perception of Dostoevsky’s legacy by the Soviet leaders – V. Lenin and J. Stalin. It is concluded that the official ideological position in relation to Dostoevsky was never devoid of dynamics even in the Stalinist years. Among the factors that Soviet ideologists noted as positive in Dostoevsky, the author identifies the following three: Dostoevsky’s allegedly revolutionary past, his humanism and fervent sympathy for the humiliated and offended, and his great skill of an artist and expert in the secrets of the human soul. The author also discusses the perception of Dostoevsky’s work by the Soviet philosopher E.V. Ilyenkov. The author sets the task of further research into the perception of Dostoevsky in the legacy of other creative Soviet Marxists and / or publicists of the sixties – G. Lukach, M.A. Lifshits, Yu. F. Karyakin, etc.

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Dolghi, Adrian. "On the topicality of the ethnology of Sovietness in the Republic of Moldova." Journal of Ethnology and Culturology 29 (August 2021): 36–43. http://dx.doi.org/10.52603/rec.2021.29.05.

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The article elucidates the establishment of a new direction of ethnological research in the Republic of Moldova – “Ethnology of Sovietness”, which refers to the research of „Soviet culture” from an ethnological perspective. The very term Sovietness means the directed transformations of the Soviet tradition and culture created by the totalitarian communist system in the USSR. The article also reflects the fact that some researchers approach Soviet culture as a „specific traditional culture” and opt for safeguarding it, as is the case with all traditional cultures, while other researchers appreciate Soviet culture as repressive and exclusive, inauthentic, created on false utopian ideological principles, meant to build a new social and cultural community. In the author’s opinion, in a democratic society, the culture created in totalitarianism can no longer survive without being ideologically nurtured, and without being imposed by dictation. However, elements of Soviet culture are still perpetuated to this day. And, the mission of „Ethnology of Sovietness” is not to preserve a totalitarian culture, but to elucidate the guided transformations that have taken place, the mechanisms of influence on social and ethno-cultural identity, the invented Soviet tradition, everyday life, etc., in order to understand the authentic cultural values of today, which can develop the individual and communities based on the cultural matrix

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Edele, Mark. "The Soviet Culture of Victory." Journal of Contemporary History 54, no. 4 (February 27, 2019): 780–98. http://dx.doi.org/10.1177/0022009418817821.

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The Soviet Union after the Second World War can serve as a prime example of how victory ’locks in’ a political system. In a mirror image of Wolfgang Schivelbusch’s argument of how ‘cultures of defeat’ encourage social and political innovation, the Soviet ‘culture of victory’ reaffirmed a dictatorial system of government and a command economy based on collectivized agriculture and centrally planned industry. At the same time, however, the war also engendered changes, which played themselves out somewhat subterraneously at first. They include a complex system of veterans’ privileges, a growing welfare state, a more routinized administration, and an economy where individual and family farming played a major role in the provisioning not only of the rural, but also of the urban population. Moreover, counter-narratives and counter-memories of this war could never be completely silenced by the bombastic war cult and would break forth at the end of the Soviet century. Finally, the economic and human costs of this victory were such that they formed a constant dark underbelly to the celebration of the ‘Great Victory’. This article surveys these contradictory legacies of the war and the ways in which they helped shape late Soviet society.

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Kenzhetayev, D. "VALUE DILEMMA: SOVIET IDEOLOGY AND MODERN CULTURE." Adam alemi 90, no. 4 (December 15, 2021): 66–76. http://dx.doi.org/10.48010/2021.4/1999-5849.07.

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This article describes the foundations of Soviet ideology, theoretical and practical layers of the concept of scientific atheism, solutions and principles of Bolshevik politics. This characteristic is a definition showing how and what ideological speculative methods were used in the field of Javitology, formulated on a scientific basis. The patterns of Soviet ideological interpretations of the doctrine, culture, heritage, path, philosophy, history are defined. The dilemma between the values of modern culture and Soviet scientific atheism was conducted on a philosophical level. And some kind of clairvoyant concept was used for anti-religious agitation groups in Soviet politics.

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Nepomnyashchy, Catharine Theimer, and Bernice Glatzer Rosenthal. "Soviet Culture through a Nietzschean Prism." Slavic and East European Journal 42, no. 2 (1998): 299. http://dx.doi.org/10.2307/310007.

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Arkhangel'skii, Yury E., Mikhail K. Naydenko, and Valentina I. Lyakh. "SOVIET CULTURE: THE NATURE AND CONTRADICTIONS." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 31 (September 1, 2018): 282–93. http://dx.doi.org/10.17223/22220836/31/29.

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Klein, Yitzhak. "The sources of Soviet strategic culture." Journal of Soviet Military Studies 2, no. 4 (December 1989): 453–90. http://dx.doi.org/10.1080/13518048908429961.

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Twining, David T. "Soviet strategic culture ‐the missing dimension." Intelligence and National Security 4, no. 1 (January 1989): 169–87. http://dx.doi.org/10.1080/02684528908431992.

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Segal, Gerald. "Defence culture and Sino‐Soviet relations." Journal of Strategic Studies 8, no. 2 (June 1985): 180–98. http://dx.doi.org/10.1080/01402398508437219.

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이완종. "Symbols and the Soviet Political Culture." 아시아문화연구 21, no. ll (March 2011): 221–50. http://dx.doi.org/10.34252/acsri.2011.21..008.

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Oliver Johnson. "Alternative Histories of Soviet Visual Culture." Kritika: Explorations in Russian and Eurasian History 11, no. 3 (2010): 581–608. http://dx.doi.org/10.1353/kri.0.0166.

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ROOSEVELT, PRISCILLA. "I. Soviet Culture after the Revolution." Canadian-American Slavic Studies 43, no. 1-4 (2009): 45–71. http://dx.doi.org/10.1163/221023909x00048.

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Lukshin, I. "Mass Culture and Soviet Fine Arts." Soviet Education 33, no. 5 (May 1991): 35–41. http://dx.doi.org/10.2753/res1060-9393330535.

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Rolf, Malte. "A Hall of Mirrors: Sovietizing Culture under Stalinism." Slavic Review 68, no. 3 (2009): 601–30. http://dx.doi.org/10.1017/s0037677900019768.

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This article explores how culture in the USSR became “Soviet.” Malte Rolf describes how different fields of communication and cultural production generated criteria that could be used to attach the label “Soviet” to all features of culture. Sovietizing culture was a work in progress, and various institutions, agencies, and experts actively participated in defining an adequate “Soviet style.” Focusing on this interplay of agencies and taking mass festivals as an example, Rolf portrays the dynamics of a growing selfreferentiality within Soviet culture in the 1930s in such cultural spheres as architecture, city planning, and mass celebrations. Under Stalinism, canonized “Soviet” standards also set the agenda for everyday communications. By reproducing an officially privileged agenda, participants in these daily communications encouraged a cultural inner Sovietization during the prewar decade. This article explores how and why the cultural canon of a closed system of “Soviet” references made its way so smoothly into die microstructures of society.

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Galili, Ziva. "The Soviet Experience of Zionism: Importing Soviet Political Culture to Palestine." Journal of Israeli History 24, no. 1 (March 2005): 1–33. http://dx.doi.org/10.1080/13531040500039984.

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C. Williams, Colin. "Uncoupling enterprise culture from capitalism." Journal of Enterprising Communities: People and Places in the Global Economy 8, no. 2 (May 6, 2014): 111–25. http://dx.doi.org/10.1108/jec-08-2012-0043.

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Purpose – The aim of this paper is to contribute to the literature that has sought to deconstruct this ideologically driven depiction by demonstrating how the existent enterprise culture in post-Soviet spaces not only challenges the depiction of the entrepreneur as a heroic icon of the legitimate capitalist culture but also opens up the feasibility of alternative futures beyond legitimate profit-driven capitalism. The starting point of this paper is that the enterprise culture is often viewed as inextricably related to the legitimate capitalist economy. Design/methodology/approach – To unravel the nature of the enterprise culture in lived practice, this paper reports a 2006 survey involving face-to-face interviews with 90 entrepreneurs in Moscow. Findings – Only 7 per cent of the Muscovite entrepreneurs surveyed pursue profit-driven legitimate entrepreneurship. The vast majority adopts social goals to varying degrees and operates wholly or partially in the informal economy. The outcome is to challenge the depiction of an enterprise culture and capitalism as inextricably inter-related and to open up entrepreneurship and enterprise culture in this post-Soviet space to re-signification as demonstrative of the feasibility of imagining and enacting alternative futures beyond capitalism. Research limitations/implications – These findings are tentative, as they are based on a small-scale study of just one post-socialist city. Further research is now required to analyse whether the lived practices of entrepreneurship and enterprise cultures are similarly diverse in other post-Soviet spaces as well as beyond. Originality/value – This is the first paper to evaluate critically the assumption that enterprise culture is a part of the legitimate capitalist economy in post-Soviet spaces.

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Fowler, Mayhill C. "What Was Soviet and Ukrainian About Soviet Ukrainian Culture? Mykola Kulish’sMyna Mazailoon the Soviet Stage." Nationalities Papers 47, no. 3 (May 2019): 355–65. http://dx.doi.org/10.1017/nps.2019.12.

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AbstractIn the Soviet Union theatre was an arena for cultural transformation. This article focuses on theatre director Les Kurbas’ 1929 production of playwright Mykola Kulish’sMyna Mazailo, a dark comedy about Ukrainianization, to show the construction of “Soviet Ukrainian” culture. While the Ukrainian and the Soviet are often considered in opposition, this article takes the culture of the Ukrainian Soviet Socialist Republic seriously as a category. Well before Stalin’s infamous adage “national in form and socialist in content,” artists like Kulish and Kurbas were engaged in making art that was not “Ukrainian” in a generic Soviet mold, or “Soviet” art in a generic “Ukrainian” mold, but rather art of an entirely new category: Soviet Ukrainian. Far from a mere mouthpiece for state propaganda, early Soviet theatre offered a space for creating new values, social hierarchies, and worldviews. More broadly, this article argues that Soviet nationality policy was not only imposed from above, but also worked out on the stages of the republic by artists, officials, and audiences alike. Tracing productions ofMyna Mazailointo the post-Soviet period, moreover, reveals a lingering ambiguity over the content of culture in contemporary Ukraine. The state may no longer sponsor cultural construction, but theater remains a space of cultural contestation.

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Medić, Ivana. "Stalin’s Music Prize: Soviet Culture and Politics." Musicological Annual 54, no. 1 (July 3, 2018): 177–82. http://dx.doi.org/10.4312/mz.54.1.177-182.

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Ten years ago, tasked with reviewing Marina Frolova-Walker’s first book Russian Music and Nationalism: From Glinka to Stalin (Yale University Press, 2007), I praised the author for dismantling long-standing myths and questioning the activities of some of the sacred cows of Russian music history, and for writing about the topics that “annoyed” her in a most enlightening and gripping way. After reading Frolova-Walker’s latest book, Stalin’s Music Prize: Soviet Culture and Politics, I was thrilled to see that the author is still busting myths, charting the hitherto unexplored areas of Soviet music history, and narrating a fascinating and often hilarious story of the rise-and-fall of Stalin’s prize for artistic achievements. Frolova-Walker provides brilliant insight into the inner workings of the Soviet institutional and cultural system, and the power play that affected the process of rewarding artists whose work was meant to stand for the best that Soviet culture had to offer.

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Staniec, Jillian. "Remain True to the Culture?" Ethnologies 30, no. 1 (September 19, 2008): 59–76. http://dx.doi.org/10.7202/018835ar.

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Abstract A series of dance seminars was held in Ukraine and Saskatchewan from 1971 to 1991, hosted by a left-wing political and cultural organization, the Association for United Ukrainian Canadians. These seminars heavily influenced the development of Ukrainian dance in Saskatchewan and Canada by introducing new dance techniques, choreography, and costuming from Soviet Ukraine. They were also very controversial, challenging the definition of Ukrainian Canadian identity in Canada during the Soviet era.

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Hösle, Vittorio. "On Some Specific Traits of Russian Culture." Zeitschrift für Medien- und Kulturforschung 8, no. 1 (2017): 61–78. http://dx.doi.org/10.28937/1000107622.

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"The essay discusses the question in which sense there are continuities between the pre-Soviet, the Soviet, and the post-Soviet phase of Russian culture. It discovers in the rejection of the bourgeois value system an important constant factor. Even if originally rooted in the specific orthodox Christian sensibility, it helped prepare the Soviet revolution and survived even after 1991. From the Song of Igor’s Campaign to Tolstoy’s dramas, Eisenstein’s films and his film theory, and Maxim Kantor’s iconic interpretations of the late Soviet Union and its aftermath the essay tries to unveil crucial features of Russian culture. Der Aufsatz diskutiert die Frage, in welchem Sinne es Kontinuitäten zwischen der vor-sowjetischen, der sowjetischen und der post-sowjetischen Phase der russischen Kultur gibt, und entdeckt in der Ablehnung des bürgerlichen Wertesystems einen wichtigen konstanten Faktor. Auch wenn sie ursprünglich in der spezifischen orthodoxen christlichen Sensibilität verwurzelt war, half sie, die sowjetische Revolution vorzubereiten, und überlebte auch noch nach 1991. Von dem Igorlied bis hin zu Tolstois Dramen, Eisensteins Filmen und Filmtheorie sowie Maxim Kantors ikonischen Interpretationen der späten Sowjetunion und ihren Nachwirkungen enthüllt der Aufsatz entscheidende Merkmale der russischen Kultur. "

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Erokhina, Tatiyana I., and Evgeni S. Zheltov. "Representation of the soviet era in national comics." Verhnevolzhski Philological Bulletin 1, no. 24 (2021): 185–92. http://dx.doi.org/10.20323/2499-9679-2021-1-24-185-192.

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The article studies representation of the soviet era images in the national comics culture. Paying attention to the popularity and relevance of soviet culture in contemporary mass culture, the authors emphasize the controversial nature of showing the «Soviet past». Analyzing the peculiarities of representation, which is a polysemantic concept and can pursue different goals, the authors focus on the «spectacular» function of representation typical of modern mass culture. The article givess a thorough analysis of national comics in which the representation of the soviet era is most obvious; moreover, the comic strips creators claim it is a deliberate technique. The authors of the article note that the representation of the soviet era can be featured in the plot of a comic book, with references to historical events or historical chronotope of the soviet era. The soviet era can be represented in the system of recognizable characters with possible prototypes in soviet culture. National comic books, addressed to the russian reader, can actualize the visual images of the soviet era. Analyzing various techniques and ways of showing the Soviet era in comics, the authors offer a functional analysis of representation, noting that resorting to the soviet era can serve different purposes and have both positive and negative connotations. The article examines different functions of the soviet era representation connected both with nostalgic trends in society and with ironic perception of the soviet past.

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Bayadyan, G. "RABIZ: THE UNINTENDED CHILD OF 1960S' URBAN CULTURE." UKRAINIAN CULTURAL STUDIES, no. 2 (5) (2019): 67–70. http://dx.doi.org/10.17721/ucs.2019.2(5).12.

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The article discusses the ideological, social and cultural conditions that made possible the formation and development of "rabiz," a form of ur- ban musical folklore, in the 1960s. Rabiz is described as an undesired result of the Socialist modernization process. It had received certain im- portant aspects from the preserved forms of pre-Soviet urban culture but for some of its key features owes to the soviet cultural policy of the 1930s and the socio-cultural tendencies of the Soviet Armenia of the 1960s and 1970s. Rabiz was a side effect of the industrialization and urbanization of the 60s and was then radically transformed and degraded during the process of post-Soviet deindustrialization.

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Mally, Lynn. "Exporting Soviet Culture: The Case of Agitprop Theater." Slavic Review 62, no. 2 (2003): 324–42. http://dx.doi.org/10.2307/3185580.

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In this article Lynn Mally examines the efforts of a Comintern affiliate called MORT (Mezhdunarodnoe ob“edinenie revoliutsionnykh teatrov) to export models of Soviet theatrical performance outside the Soviet Union. Beginning with the first Five-Year Plan, MORT was initially very successful in promoting Soviet agitprop techniques abroad. But once agitprop methods fell into disgrace in the Soviet Union, MORT abruptly changed its tactics. It suddenly encouraged leftist theater groups to move toward the new methods of socialist realism. Nonetheless, many leftist theater circles continued to produce agitprop works, as shown by performances at the Moscow Olympiad for Revolutionary Theater in 1933. The unusual tenacity of this theatrical form offers an opportunity to question the global influence of the Soviet cultural policies promoted by the Comintern. From 1932 until 1935, many foreign theater groups ignored MORT's cultural directives. Once the Popular Front began, national communist parties saw artistic work as an important tool for building alliances outside the working class. This decisive shift in political strategy finally undermined the ethos and methods of agitprop theater.

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Yeremenko, Evgeniy D., and Zoya V. Proshkova. "Editor as a phenomenon of Soviet art culture." Vestnik of Saint Petersburg State University of Culture, no. 2 (47) (2021): 31–38. http://dx.doi.org/10.30725/2619-0303-2021-2-31-38.

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The article is devoted to understanding the image of the Soviet editor in Russian art (using examples of fiction and cinema). The author examines the personal qualities that contributed to the entry of a person into the profession («editorial character») and provides a chronological observation of the «editorial evolution» – in publishing and film production-throughout the Soviet period and the first years of Russia in the 1990s. An important aspect that has been updated since the early 1920s is the active inclusion of women in editorial work. The characteristics of editors of different Soviet periods are analyzed using examples from the prose of M. Bulgakov, V. Shishkov, L. Rakhmanov, A. Tobolyak, V. Astafyev. Portraits of Soviet film editors are considered in the works of J. Gausner, N. Bogoslovsky, V. Makanin, D. Rubina and M. Kuraev. Representatives of the editorial profession are also represented in the films of A. Tarkovsky, V. Zheregy, K. Shakhnazarov and A. Benckendorf. There are two main types in the artistic depiction of editors and their activities: satirical (in a pointed form ridiculing personal and professional shortcomings) and dramatic (reflecting the complexity of editorial characters in their inseparability with the influence of society, historical era). In the final part of the article, the vectors of professional diffusions in the film-editing corps are outlined with the end of the Soviet era and the need to adapt to the new, post-Soviet realities.

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Grant, Susan. "The Fizkul'tura Generation: Modernizing Lifestyles in Early Soviet Russia." Soviet and Post-Soviet Review 37, no. 2 (2010): 142–65. http://dx.doi.org/10.1163/187633210x536870.

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AbstractThe creation of the New Soviet Person was a constant concern of the Bolsheviks and this concern manifested itself in physical culture as well as in other areas. The desire to sweep away the cobwebs of the old system and replace these with the new Soviet culture infected and infused the political, social and cultural discourse. Physical culture, as this paper shows, was a vital element in the overall attempt to help construct the new society and new person. By offering its people a lifestyle reflective of Soviet ideals, physical culture had the potential to help construct a new generation of Soviet citizens.

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Olga, Sapanzha. "Crimea in the Space of Soviet Everyday Culture." ISTORIYA 12, no. 12-1 (110) (2021): 0. http://dx.doi.org/10.18254/s207987840018590-8.

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An analysis of the main stages in the evolution of ideas about Crimea as the main Russian and Soviet resort — from the end of the 19th century to the late Soviet period — is the focus of this paper. Tavrida, the Crimean Republic, and then the Crimean region created a canon of perception of this place — fragments of ancient civilization, “Red Nice” or a real all-Union health resort for all residents of the Soviet Union. It was necessary to fill the Soviet space outside Crimea with signs that represent the history of Crimea and the new Crimean recreational reality for this canon to become an element of everyday culture. These were reflections of history and culture in works of fine and decorative art, industrial design, souvenirs, as well as objects that record memories of a trip to Crimea.

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Ferrell, Jason, Isaiah Berlin, and Henry Hardy. "The Soviet Mind: Russian Culture under Communism." Slavic and East European Journal 49, no. 4 (December 1, 2005): 684. http://dx.doi.org/10.2307/20058365.

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Mally, Lynn, Timothy Edward O'Connor, and Anatolii Lunacharskii. "The Politics of Soviet Culture: Anatolii Lunacharskii." Russian Review 44, no. 3 (July 1985): 315. http://dx.doi.org/10.2307/129320.

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Komaromi, Ann. "The Unofficial Field of Late Soviet Culture." Slavic Review 66, no. 4 (2007): 605–29. http://dx.doi.org/10.2307/20060375.

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This article proposes a new interdisciplinary model for investigating unofficial culture and dissident social activity in the post-Stalin period. Although binary oppositions like art versus politics and unofficial versus official are recognized today to be ideologically implicated and critically outmoded, Ann Komaromi argues that they have a certain usefulness when reconceived as structural components of an autonomous unofficial field. This critical model is developed with polemical reference to Pierre Bourdieu's theory of the field of culture. The late Soviet opposition between art and politics is explored through Andrei Siniavskii's struggle with editors over the 1965 edition of Boris Pasternak's poetry and via the organization of the famous 5 December 1965 “Meeting of Openness” coordinated by Aleksandr Esenin-Vol'pin. The critical model proposed emphasizes the material history of conceptions of autonomy fundamental to the field, profiling dynamic binaries and permeable boundaries as sites of critical interest.

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Woll, Josephine, and Bernice Glatzer Rosenthal. "Nietzsche and Soviet Culture: Ally and Adversary." American Historical Review 101, no. 4 (October 1996): 1247. http://dx.doi.org/10.2307/2169752.

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Alexandrov, Ilya Yu. "Nietzschean Marxism in Soviet culture and cosmism." Vestnik of Saint Petersburg State University of Culture, no. 3 (40) (2019): 6–10. http://dx.doi.org/10.30725/2619-0303-2019-3-6-10.

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Melanie Ilic. "Soviet Women’s Everyday Culture: Looking for Love." EWHA SAHAK YEONGU ll, no. 52 (June 2016): 171–205. http://dx.doi.org/10.37091/ewhist.2016..52.006.

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Halfin, Igal, and Bernice Glatzer Rosenthal. "Nietzsche and Soviet Culture: Ally and Adversary." Russian Review 55, no. 3 (July 1996): 506. http://dx.doi.org/10.2307/131805.

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Williams, Robert Chadwell, and Timothy Edward O'Connor. "The Politics of Soviet Culture: Anatolii Lunacharskii." American Historical Review 90, no. 2 (April 1985): 463. http://dx.doi.org/10.2307/1852775.

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Fletcher, William C., and Nicolai N. Petro. "Christianity and Russian Culture in Soviet Society." Russian Review 51, no. 1 (January 1992): 136. http://dx.doi.org/10.2307/131274.

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Belodubrovskaya, Maria. "Soviet Hollywood: The Culture Industry That Wasn’t." Cinema Journal 53, no. 3 (2014): 100–122. http://dx.doi.org/10.1353/cj.2014.0032.

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Liverant, Yigal. "The Soviet Mind: Russian Culture under Communism." European Legacy 25, no. 7-8 (February 3, 2020): 873–75. http://dx.doi.org/10.1080/10848770.2020.1717867.

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Forrester, Sibelan, and Bernice Glatzer Rosenthal. "The Occult in Russian and Soviet Culture." Slavic and East European Journal 42, no. 3 (1998): 557. http://dx.doi.org/10.2307/309704.

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Cucciolla, Riccardo Mario. "The Soviet Mind. Russian Culture under Communism." Europe-Asia Studies 70, no. 1 (January 2, 2018): 130–31. http://dx.doi.org/10.1080/09668136.2017.1414449.

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Zartman, Jonathan. "Despite Culture. Early Soviet Rule in Tajikistan." Europe-Asia Studies 70, no. 7 (August 9, 2018): 1176–77. http://dx.doi.org/10.1080/09668136.2018.1503892.

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Dumančić, Marko. "Soviet Consumer Culture in the Brezhnev Era." Europe-Asia Studies 66, no. 10 (November 11, 2014): 1740–41. http://dx.doi.org/10.1080/09668136.2014.970018.

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Journal articles on the topic 'Soviet culture'

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