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Journal articles on the topic 'Soviet Writer's Union'
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1
Schull, Joseph. "The Ideological Origins of “Stalinism” in Soviet Literature." Slavic Review 51, no. 3 (1992): 468–84. http://dx.doi.org/10.2307/2500055.
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More than anything else, ideology dominates in literatureLunacharskii, 1923Yes, we will stamp intellectuals, we will produce them, as in a factory.Bukharin, 1925The 1920s remain one of the most debated periods of Soviet history. Central to these debates is the issue of continuity between leninism and Stalinism, and the role of ideology under their respective leaderships. Supporters of “continuity” have usually emphasized the role of ideology as an intellectual bridge from the 1920s to the 1930s; conversely, those who question the continuity thesis usually point to major differences between leninism and Stalinism. I shall address this issue in relation to the history of attempts to organize writers in the early post-revolutionary period. My central claim is that Soviet discourse on writers and literature, articulated shortly after the revolution and elaborated during NEP, set a pattern which led to the absorption of writers into a unitary organizational apparatus and which culminated in the formation of the Writer's Union in April 1932. From 1917 to 1928, a clearly-articulated and largely consensual strategy of absorption of Soviet writers into a state-directed stream was spelt out well before Stalin was installed as the privileged speaker of “marxism-leninism.”
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Podoksenov, Aleksandr Modestovich, and Valentina Alekseevna Telkova. "Prishvin and Kalinin: the image of the “All-Union Headman” in the writer's diary." Философия и культура, no. 1 (January 2021): 42–53. http://dx.doi.org/10.7256/2454-0757.2021.1.35161.
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The subject of this research is the history of relations between Prishvin and Kalinin – a prominent revolutionary and party leader of the Soviet era, who was the head of the state for many years after the October Revolution. The author observes that the biographical material about communication of Prishvin and Kalinin contained in the works of the writer and the memoirs of their contemporaries is sufficiently studied, while his diary notes that significantly change the representations on the true nature of their relationship are yet to be researched. The article employs the method of historical reconstruction of the ideological-political context of the Soviet society, which gives a better outlook on the peculiarities of the writer’s attitude towards the political activity of Kalinin. The novelty of this research consists in introduction into the scientific discourse of the new facts from the 18-volume Prishvin’s Diary (1991-2017), which was published only in the post-Soviet period. This revealed new facts and aspects of his relations with the state leaders during the Communist Era. Using the specific examples of communication of Prishvin and Kalinin, the author demonstrates that the role of the latter in addressing the important state problems was quite limited, which was predetermined by the country’s governing principles , i.e. the decision-making monopoly belonged to the highest political leadership of the ruling party represented by Stalin.
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LUTSKYI, Oleksandr. "A 25-VOLUME EDITION OF IVAN FRANKO'S WORKS: LVIV CONTRIBUTION." Contemporary era 8 (2020): 88–121. http://dx.doi.org/10.33402/nd.2020-8-88-121.
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The article analyzes the main directions, course, and consequences of the research and publishing project of 1940-1941 in preparing for printing a 25-volume collection of works of Ivan Franko's literary-artistic heritage in the context of new political and socio-economic realities in Western Ukraine after the accession to the USSR as a part of the Ukrainian SSR at the beginning of World War II. Emphasizing the participation in these events of employees of the Lviv department of the T. Shevchenko Institute of Ukrainian Literature of the Academy of Sciences of the Soviet Union, the author noted that the main work was carried out by the Lviv philologists, led by Academician Mykhailo Vozniak. They did the search, selection, and scientific verification of the texts, ensuring their linguistic and stylistic design, compiling the edition's reference apparatus, and others. The place and role of some compilers and editors in preparing the collection for publication, particularly M. Vozniak and Professor V. Simovych, are highlighted. The reasons which caused difficulties and insurmountable obstacles in meeting the deadline in a responsible task are revealed. It turned out that the task became much more difficult for the management of the Institute and the employees, and, first of all, for the main compilers and editors from Lviv than it seemed at first. They did not completely achieve what was planned. Before the beginning of the German-Soviet War, the State Publishing House of Ukraine managed to publish only two volumes of I. Franko's writings, although a team of Lviv scientists led by M. Vozniak had prepared for publishing a scientifically done 20-volume set of the writer's works. The German-Soviet War interrupted further printing. The post-war period's new socio-political conditions left very little space for creative activities, so M. Vozniak's attempts to complete the publication of all 25 volumes were unsuccessful in the end. Keywords: Ivan Franko, works, twenty-five-volume edition, compilers, editors, M. Vozniak.
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Eversone, Madara. "„Arvīd, uz kurieni Tu aizgāji?”: Arvīda Griguļa personības loma Rakstnieku savienības vēsturē." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 74–84. http://dx.doi.org/10.37384/aplkp.2020.25.074.
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The article aims to highlight the role of Arvīds Grigulis’ (1906–1989) personality in the Latvian Soviet literary process in the context of the Latvian Soviet Writers’ Union, attempting to discover the contradictions and significance of Arvīds Grigulis’ personality. Arvīds Grigulis was a long-time member of the Writers’ Union, a member of the Soviet nomenklatura, and an authority of the soviet literary process. His evaluations of pre-soviet literary heritage and writings of his contemporaries were often harsh and ruthless, and also influenced the development of the further literary process. The article is based on the documents of the Central Committee of the Latvian Communist Party, the Latvian Soviet Writers’ Union and the Communist Party local organization of the Latvian Soviet Writers’ Union that are available at the Latvian State Archive of the National Archives of Latvia, as well as memories of Grigulis’ contemporaries. It is concluded that the personality of the writer Arvīds Grigulis, although unfolding less in the context of the Writers’ Union, is essential for the exploration of the soviet literary process and events behind the scenes. The article mainly describes events and episodes taking place until 1965, when Arvīds Grigulis’ influence in the Writers’ Union was more remarkable. Individual and further studies should analyse changes and the impact of his decisions in the cultural process of the 70s and 80s of the 20th century.
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Eversone, Madara. "Komunistiskās partijas kontroles mehānisms Latvijas Padomju rakstnieku savienībā: Žaņa Grīvas piemērs." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 110–18. http://dx.doi.org/10.37384/aplkp.2021.26-1.110.
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It was in the interests of the Communist Party to create a representative image of Latvian Soviet writers, which would represent the interests of the party and at the same time oversee the course of literary life in the Latvian Soviet Writers’ Union. Such was the writer Žanis Grīva in the Latvian Soviet literary process. The influential positions in the Soviet nomenclature gave him power in the creative environment and created opportunities to monitor the implementation of the Communist Party’s course. The article aims to put forward the personality of Žanis Grīva in the context of the research of the Latvian soviet literary process and the Latvian Soviet Writers’ Union, proposing several issues to be further researched and developed in the future. The article is based on the documents of the Latvian Soviet Writers’ Union and the Communist Party local organization of the Latvian Soviet Writers’ Union, and the personal file of Žanis Grīva in the Central Committee of the Communist Party of Latvia, and documents of the Žanis Grīva collection that are available at the Latvian State Archive of the National Archives of Latvia, as well as Žanis Grīva’s personal documents regarding his life and professional activities that are available at the Aleksejs Apinis Rare Books and Manuscripts Reading Room at the National Library of Latvia. Memories of contemporaries were also investigated. It is concluded that the role of Žanis Grīva in the Latvian soviet literary process and the Latvian Soviet Writers’ Union is political and purposefully constructed by the Communist Party, and has little to do with literature and literary talents. It can be assumed that Žanis Grīva has negatively affected the creative activity of some members of the Writers’ Union, such as Gunārs Priede.
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Rusina, Yulia A. "“THE PARTY’S COMMANDS OR THE HEART’S DESIRE…”: SEVERAL PAGES FROM THE HISTORY OF THE SVERDLOVSK BRANCH OF THE UNION OF SOVIET WRITERS (1946)." Ural Historical Journal 71, no. 2 (2021): 169–76. http://dx.doi.org/10.30759/1728-9718-2021-2(71)-169-176.
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The article considers the traces of external influences on the works of Soviet (including Ural) writers in the first post-war year, which marked the end of the so-called first thaw period (1943–1946), a brief spiritual upsurge in the society recovering from the global catastrophe. In this article, the term external influence refers to the ideological pressure coming from the literary critics, colleagues, and other similar phenomena of Soviet culture expressed in ideological discourse. Addressing historical materials that preserved such evidence makes it possible to see the goals of the authorities aiming to control creative processes and, to a certain extent, intellectual and moral level of the authorities themselves as well. The protocols of general and party meetings of the Sverdlovsk branch of the Union of Soviet Writers for 1946 used in this study can be attributed to this kind of documentary sources. Theoretically, the analysis builds on E. A. Dobrenko’s ideas about “formation of the Soviet writer” and on the concept of “ideal type of social realism writer” proposed by T. A. Kruglova, as well as on the understanding of socialist realism as a method of structuring a literary work within the framework of socialist ideology. It was impossible to ignore the impact that the resolution of the Central Committee of the Communist Party on the journals “Zvezda” and “Leningrad” (August 14, 1946) had made on the Soviet writers. It provoked numerous discussions on “insufficiently high ideological level” of fiction in the regional branches of the Union of Soviet Writers, and restricted the course of national literature that impeded its development for years. Much attention is paid to the discussion of the unpublished short story “Meeting” (1946) by the Ural writer Nina Popova that took place in the Sverdlovsk regional organization of the Union of Soviet Writers and at the Moscow regional seminar of prose writers, as well as to the analysis of the text of the story.
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Any, Carol, John Garrard, and Carol Garrard. "Inside the Soviet Writers' Union." Slavic and East European Journal 35, no. 2 (1991): 296. http://dx.doi.org/10.2307/308334.
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Loseff, Lev, John Garrard, and Carol Garrard. "Inside the Soviet Writers' Union." Russian Review 50, no. 3 (July 1991): 385. http://dx.doi.org/10.2307/131107.
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Campbell, John C., John Garrard, and Carol Garrard. "Inside the Soviet Writers' Union." Foreign Affairs 69, no. 3 (1990): 184. http://dx.doi.org/10.2307/20044456.
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Mozur, Joseph, John Garrard, and Carol Garrard. "Inside the Soviet Writers' Union." World Literature Today 65, no. 1 (1991): 137. http://dx.doi.org/10.2307/40146267.
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Falchikov, Michael, John Garrard, and Carol Garrard. "Inside the Soviet Writers' Union." Modern Language Review 87, no. 2 (April 1992): 541. http://dx.doi.org/10.2307/3730781.
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Eversone, Madara. "Kampaņa pret abstrakcionismu un formālismu 1963. gadā. Latvijas Padomju rakstnieku savienības valdes nostāja." Letonica, no. 35 (2017): 43–52. http://dx.doi.org/10.35539/ltnc.2017.0035.m.e.43.52.
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Between 1962 and 1963 the First Secretary of the Communist Party of the Soviet Union Nikita Khrushchev launched several campaigns against abstractionists and formalists in Moscow, thus marking the end of the so-called Thaw throughout the Soviet Union. The Central Committee of the Communist Party of Latvia also started a campaign against national abstractionists and formalists. On the 22nd and 28th of March 1963 the works of the new poets Vizma Belševica, Monta Kroma, Ojārs Vācietis as well as writer Ēvalds Vilks came under the criticism cross-fire at the Intelligentsia Meeting of the Latvian Soviet Socialist Republic. After the criticism from the Communist Party the above mentioned authors also had to be discussed at the Board meetings of the Latvian Soviet Writers’ Union and the local organization meetings of the Party. The article examines the attitude of the Board of Soviet Writers’ Union towards the campaign initiated by the Central Committee of the Communist Party of Latvia in March 1963 by looking at the documents of the Latvian Soviet Writers’ Union and the Union’s local organization of the Communist Party that are available at the State Archives of Latvia. Crucial and artistic aspects of the works of the above-mentioned authors have not been included in the analysis. Examining the debates that evolved in the Writers’ Union within the ideological campaign, it is possible to state that the Board, which was loyal to the Communist Party, kept its official stance in line with the Party principles, hereafter paying special attention to the ideologically artistic achievements of particular authors. Generally, the position of the Board of the Latvian Soviet Writers’ Union in respect to the criticized authors can be evaluated as passive, because no repressions were carried out against the new authors and no creative activities were completely suspended by the Board. The campaign of 1963 strongly demonstrates the differences between the generations and the views of the writers. It also reveals the older generation’s struggle for keeping their position and prestige in the field of literature while the younger generation took an increasing opposition.
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McLaughlin, Sigrid. "Women Writers of the Soviet Union." Slavic Review 50, no. 3 (1991): 683–85. http://dx.doi.org/10.2307/2499865.
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Seay, Nicholas. "Soviet-Tajik Writing Intelligentsia in the Late 1930s." RUDN Journal of Russian History 19, no. 1 (December 15, 2020): 119–35. http://dx.doi.org/10.22363/2312-8674-2020-19-1-119-135.
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This paper looks at the formation of a Tajik-Soviet writing elite in the 1930s, exploring how a new generation of Soviet writers in the late 1930s emerged out of new state institutions. Prior to their emergence, the founders of Tajik literature - Sadriddin Aini and Abolqosim Lahuti - used their unique position vis-à-vis Moscow to shape the direction of Tajik literature. Despite the former’s important place in Soviet hagiography, it was the younger generation of Tajik writers - including writers like Mirzo Tursunzoda, Jalol Ikromi, Sotim Ulughzoda, and others - that emerged on the all-Union writing scene in the late 1930s and became key cultural and political fi gures in the post-war era. While the role of the Tajik writer inevitably became the portrayal of the national subject in the modern context of Soviet development, this article shows how comparing the themes and writings of these two generations in the 1930s demonstrates how Tajik national identity building related to the nationalities policies of the early Soviet Union and, in particular, the relationship between Tajik national identity and territory. This paper relies on a few primary source materials the Central State Archive of the Republic of Tajikistan, but also online archives, newspapers/periodicals, and published Books and collections. This paper fi nds that the mobilization of a younger generation of Tajik-Soviet Writing Intelligentsia led to the creation of a new vision of Tajik national identity unfolding in a Soviet space. Unlike the early writers Sadriddin Aini and Abolqosim Lahuti, these younger writers emerged in new Soviet institutions and therefore projected a new Soviet-Tajik identity in the late 1930s and eventually became leaders of Central Asian literature in the post WWII period
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Buynova, Kristina. "Mario Vargas Llosa in Soviet Union. Dedicated to Llosa’s 85th anniversary." Latinskaia Amerika, no. 7 (2021): 83. http://dx.doi.org/10.31857/s0044748x0015308-7.
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The present article is a publication of a report by Tamara Zlochevskaya, a translator of the Foreign Commission of the Union of Soviet Writers, on the stay of the Peruvian writer Mario Vargas Llosa in the USSR in 1968, provided with a introduction by the researcher and explanations to the text. This is the first publication of a document preserved in the Russian State Archives of Literature and Art (RGALI). It’s known that at the end of the 60s the writer found himself disappointed in socialism, although the reasons for this disenchantment could be various factors from visits to socialist countries to the Soviet invasion of Czechoslovakia and the reaction of the Cuban leadership to those events. The accompanying translator's report is a rare source about Llosa's visit to Moscow, which we hardly know about. The testimony of T.Zlochevskaya, as well as the analysis of the correspondence between M. Vargas Llosa and the Foreign Commission, shed light on the misunderstandings between the writer and Soviet institutions related with the censorship and author’s emolument for the novel "The Time of the Hero".
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Wiedlack, Katharina. "A feminist becoming? Louise Thompson Patterson’s and Dorothy West’s sojourn in the Soviet Union." Feminismo/s, no. 36 (December 3, 2020): 103. http://dx.doi.org/10.14198/2020.36.05.
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This article follows the socialist activist Louise Thompson (later Patterson) and the writer Dorothy West on their infamous journey to Soviet Russia to shoot a film about North American anti-Black racism in 1932. The film about the US history of racial oppression was ultimately never made, but the women stayed in the Soviet Union for several months, travelling to the Soviet republics, meeting famous Soviets, and experiencing Soviet modernization. Looking at the travel writings, correspondence, and memoirs of Thompson and West through the lens of intersectionality, this article analyses the women’s distinctly gendered experiences and their experience of socialist women’s liberation movements. It argues that a close reading of the literary writing, travel notes, letters, and memoirs and their biographical trajectories after they returned to the United States reveals how their experiences in the Soviet Union created a feminist consciousness within the two women that crucially altered their political and personal views of Black women’s agency and significantly altered their life trajectories.
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Wiedlack, Katharina. "A feminist becoming? Louise Thompson Patterson’s and Dorothy West’s sojourn in the Soviet Union." Feminismo/s, no. 36 (December 3, 2020): 103. http://dx.doi.org/10.14198/fem.2020.36.05.
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This article follows the socialist activist Louise Thompson (later Patterson) and the writer Dorothy West on their infamous journey to Soviet Russia to shoot a film about North American anti-Black racism in 1932. The film about the US history of racial oppression was ultimately never made, but the women stayed in the Soviet Union for several months, travelling to the Soviet republics, meeting famous Soviets, and experiencing Soviet modernization. Looking at the travel writings, correspondence, and memoirs of Thompson and West through the lens of intersectionality, this article analyses the women’s distinctly gendered experiences and their experience of socialist women’s liberation movements. It argues that a close reading of the literary writing, travel notes, letters, and memoirs and their biographical trajectories after they returned to the United States reveals how their experiences in the Soviet Union created a feminist consciousness within the two women that crucially altered their political and personal views of Black women’s agency and significantly altered their life trajectories.
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Komarova, Olga. "“Писатель всегда платит за все валютой собственной жизни: за счастье, за творчество, за любовь, за увлечения...”: О романе Дины Рубиной На солнечной стороне улицы." Poljarnyj vestnik 10 (January 1, 2007): 14. http://dx.doi.org/10.7557/6.1307.
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The article deals with Dina Rubina's novel On the Sunny Side of the Street, published in 2006. The writer's name became known in Russia in the 70-ies when as a young girl she began publishing her first short stories in the liberal literary magazine Junost ́, and got her first recognition among the reading public as a promising story-teller.After her emigration to Israel in 1990 a new period in Dina Rubina's writing started. A new theme made itself apparent in her stories - the theme of Jews from the former Soviet Union discovering their new Motherland, their new experience of living under absolutely different geographical and social surroundings. She managed to create in her stories a gallery of characters almost recognizable in their uncertainty and fumbling attempts at survival. The stories she wrote then were a success with the public not only because of their plot but also because of a peculiar mixture of humour and sadness, and very vivid and convincing speech characteristics of the protagonists, they also witnessed about the awakening of patriotic feelings of the newcomers. Dina Rubina's artistic style seemed to combine the vividness of the psychological characterization and caleidoscopic variety of depicted situations.The novel On the Sunny Side of the Street is different both in the topic and in the artistic means used by the author. It is telling a story of two gifted persons, mother and daughter, and their different ways of using their talents.This particular story is shown on a wide background of different events taking place in Tashkent during some four decades after World War II with a picturesque variety of characters of different nationalities and beautiful scenery, tragic and comic signs of the Soviet time - all this helps to create a panoramic view of both the city and its inhabitants.The structure of the novel is complicated, the story is often interrupted by voices of former inhabitants of Tashkent telling about their impressions from the town or by the voice of the author telling of her own private experiences and even meetings with the main protagonist, Vera, who is a painter. This fact accounts for the author's masterful use of colourful details both in descriptions of the characters, their speech and the nature.This novel was rewarded with a special Radio-Booker prize in 2006, and with a very prestigious literary prize "Bol ́šaja kniga" in 2007. Dina Rubina has proved that she remains a very important part of Russian literary life.
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Palko, Olena. "Mykola Khvyl’ovyy and the making of Soviet Ukrainian literature." Connexe : les espaces postcommunistes en question(s) 5 (October 23, 2020): 29–52. http://dx.doi.org/10.5077/journals/connexe.2019.e249.
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The October Revolution brought about a radical shift in the cultural sphere. A new generation of artists and writers was formed. Their orientation towards the future and critical attitude to the past initiated a new chapter of revolutionary and proletarian culture. In Soviet Ukraine, this new artistic cohort in addition embraced national sentiments advancing a culture that was both Soviet and Ukrainian. This article examines the artistic and ideological development of Mykola Khvyl’ovyy (1893–1933), a writer and publicist who championed the ideological struggle for the autonomous project of a Soviet Ukrainian literature to be developed independently from Russian patterns. In this article, Khvyl’ovyy’s ideas as presented in his early prose and pamphlets, written during the so-called Literary Discussion of 1925–1928, are used to outline the writer’s vision of Soviet Ukrainian culture. These ideas are examined against the backdrop of the political developments of the decade characterised by the gradual toughening of the political and ideological climate Union-wide. It is argued that, during the 1920s, an autonomous cultural project in Soviet Ukraine was developed on a par with the centrally endorsed canon of all-Soviet culture implemented in every Soviet republic as a by-product of the korenizatsiya (indigenisation) campaign introduced in 1923. By the early 1930s, the all-Soviet canon gained prominence, whereas the project of an autonomous Soviet Ukrainian culture vanished together with its main representatives, who, in most cases, were physically annihilated. Khvyl’ovyy’s suicide in May 1933 symbolically drew a line under the 1920s decade of transition, with its relative ideological and political tolerance as well as its artistic experimentation.
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Yi Eun Kyung. "Identity of Jewish Writers in the Soviet Union." Korean Journal of Slavic Studies 31, no. 1 (March 2015): 53–84. http://dx.doi.org/10.17840/irsprs.2015.31.1.003.
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Gosk, Hanna. "The Literary “No” to Politically Tabooed Topics during the Polish People’s Republic. The Case of Tadeusz Konwicki’s Prose Writing." Miscellanea Posttotalitariana Wratislaviensia 5 (June 12, 2017): 91–102. http://dx.doi.org/10.19195/2353-8546.1(5).8.
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Using the example of characteristic works by Tadeusz Konwicki, one of the main post-war Polish writers, the article discusses literary ways of taking up topics functioning in the Polish People’s Republic as political taboos. War and post-war relations with the Soviet Union, the fate of Polish inhabitants of the eastern borderlands, the motif of the Home Army struggle against the Soviet army altogether constituted a proscribed area of interest. The analysis shows how the literary resistance against silencing, expressed through allusions, understatements, the poetics of traumatic realism and the grotesque — makes the writer an agent of collective memory.
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Laamanen, Ville. "VOKS, Cultural Diplomacy and the Shadow of the Lubianka: Olavi Paavolainen’s 1939 Visit to the Soviet Union." Journal of Contemporary History 52, no. 4 (December 22, 2016): 1022–41. http://dx.doi.org/10.1177/0022009416669422.
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Existing scholarship suggests that Stalin’s Great Terror of 1936–8 seriously undermined Soviet cultural diplomacy and forced its main promoter, the All-Union Society for Cultural Relations with Foreign Countries (VOKS), to succumb to the strict control of the party and secret police. By contrast, this article argues that by the spring and summer of 1939 VOKS was recovering from stagnation and reintroducing customs from before the Great Terror. Through a micro-historical analysis of Finnish writer Olavi Paavolainen’s exceptionally long visit to the Soviet Union between May and August 1939, the article demonstrates how case studies of select VOKS operations can explain many of the dilemmas and peculiarities of Soviet cultural diplomacy during the thus far scantily researched 1939–41 period. By focusing on the interactions between Paavolainen, the VOKS vice-chairman Grigori Kheifets and Soviet writers, the article illustrates that after the purges, VOKS continued its efforts to disseminate a positive and controlled image of Soviet life by complex means that linked propaganda with network-building. Finally, the article highlights the role of individuals in cultural diplomacy and explores how an outsider perceived the Great Terror’s effects on Soviet cultural intelligentsia.
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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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Ostrovskaya, Elena S. "“Under the Sway of Coal,” or a Story of the British Coal Miner Harold Heslop, Who Failed to Become a Soviet Writer." Slovene 6, no. 2 (2017): 482–504. http://dx.doi.org/10.31168/2305-6754.2017.6.2.20.
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The paper focuses on the rapid and short-living Soviet writing career of the British coal miner Harold Heslop. Between 1926 and 1931, three novels by Heslop were published in the USSR (in Russian translation) and the translation of a fourth was commissioned and completed, and in 1930 the author himself travelled to the USSR as one of two members of the British delegation at the Kharkov conference of the International Union of Revolutionary Writers (IURW). However, that was the end of his success: the translated novel Red Earth was not published nor were any of his later novels. The only venue for his rare shorter essays and occasional prose excerpts was the magazine International Literature. The paper discusses this curious writer’s biography from different perspectives. It analyzes at length the critical article by Anna Elistratova, published in Na literaturnom postu and International Literature, juxtaposing the two versions and the text of Heslop’s novel to contextualize the writer and his work in the Soviet literary criticism of the time. It explores archival materials—Heslop’s correspondence with different people and institutions as well as institutional papers—to discuss the case as personal as well as institutional history, representative of the situation of the 1930s. Finally the article shifts perspective to discuss the author and his work in the context of the British working-class literature of the time.
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Martinkus, Vytautas. "Over the Fractured Bridge: The Lithuanian Writers’ Union ‘Divorce’ from the Union of Soviet Writers in 1989." Acta litteraria comparativa 8 (March 20, 2017): 102–15. http://dx.doi.org/10.15823/alc.2017.8.
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Holmgren, Beth. "The Transfiguring of Context in the Work of Abram Terts." Slavic Review 50, no. 4 (1991): 965–77. http://dx.doi.org/10.2307/2500476.
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In particular, I am very interested in the problem of prose, prose as space.Andrei SiniavskiiIn 1974, soon after his expulsion from the Soviet Union, the literary scholar Andrei Siniavskii once again deferred to his created alter ego, the writer Abram Terts, to pass provocative judgment on the Soviet literary scene. The essay ascribed to Terts, “Literaturnyi protsess v Rossii,” reviews unofficial Soviet literature to highlight its artistic (rather than moral) appeal. As Terts reads it, the punitive context of this literature—established by Stalin and enforced to a less rigorous extent through the Leonid Brezhnev era—inadvertently guaranteed art and the fate of the artist richness and power: At this moment the fate of the Russian writer has become the most intriguing, the most fruitful literary topic in the whole world; he is either being imprisoned, pilloried, internally exiled, or simply kicked out. The writer nowadays is walking a knife-edge; but unlike the old days, when writers were simply eliminated one after another, he now derives pleasure and moral satisfaction from this curious pastime. The writer is now someone to be reckoned with. And all the attempts to make him see reason, to terrorize or crush him, to corrupt or liquidate him, only raise his literary achievement to higher and higher levels.
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Scherbinina, Olga I. "Northern Cheyenne Exodus and Negroes Lynching: Historical Novels of Howard Fast in the USSR." RUDN Journal of Studies in Literature and Journalism 26, no. 2 (December 15, 2021): 217–26. http://dx.doi.org/10.22363/2312-9220-2021-26-2-217-226.
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The article deals with the historical novels reception of Howard Fast (a writer who was extremely popular in the 1950s, though he is almost forgotten now) in the Soviet Union. Once a USA Communist Party member loyal to the USSR, he became a fierce opponent of Soviet communism. The analysis of the American context uncovers the reasons why the author of left-wing beliefs turned to the genre of a historical novel and peculiarities of the literary market he faced. A close study of Soviet reviews demonstrates that the novels The Last Frontier and The Freedom Road were perceived by Soviet literary critics as Fasts protest against racial discrimination and growing right-wing sentiment. These problems were a matter of urgency against the background of the McCarthy campaign, which Fast fell victim to in 1947. His novel The Freedom Road was put on the stage in Moscow theaters. According to Soviet reviewers, the absence of decadent primitivism set Fast apart from other once-friendly Soviet writers such as Richard Wright and Claude McKay. Within this tradition of exoticism criticism, dating back to the 1920s and 1930s, novels about distant lands were highly appreciated only when ethnographic descriptions were used for consistent social criticism. Being a committed supporter of the concept art as a weapon developed in the Soviet Union, Fast perceived exaggerated exoticism, top-heavy descriptions of historical novels as a sign of escapist literature that ignores the method of dialectical materialism.
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Grieco, Joseph M. "Liberal International Theory and Imagining the End of the Cold War." British Journal of Politics and International Relations 11, no. 2 (May 2009): 192–204. http://dx.doi.org/10.1111/j.1467-856x.2008.00359.x.
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Liberal international theory foresaw neither the end of the east–west rivalry nor the fall of the Soviet Union. However, from the 1960s up through the 1980s, several liberal international theorists put forward insightful analyses of the evolution of the cold war, its changing importance in world affairs and the problems that increasingly confronted the Soviet Union. Well before the fall of the Berlin Wall, several liberal international writers sensed that the cold war was abating, that this abatement was important for world politics and that the Soviet Union was having serious problems in maintaining its status as a superpower with an Eastern European empire.
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Sátbaı, T. Ia. "Soǵystan keıіngі jyldardaǵy Qazaqstan shyǵarmashylyq odaqtarynyń quramy men qurylymy [Composition and Structure of Kazakhstan Creative Unions in the Postwar Years (after the Second World war)]." Iasaýı ýnıversıtetіnіń habarshysy 3, no. 117 (October 10, 2020): 253–62. http://dx.doi.org/10.47526/2020/2664-0686.024.
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The article examines the structure and composition of creative unions in Kazakhstan in the post-war years. In the post-war period, creative unions of writers, artists, architects and composers continued to function in the country. These unions were created in the 1930s, that is, before the great Patriotic war. In 1957–1958, the Union of journalists and cinematographers was additionally created, so the number of creative unions in the Republic reached six. The quantitative and qualitative composition of Creative Unions in Kazakhstan grew rather slowly. The reason for this was the constant lack of professional staff, and secondly, representatives of traditional Kazakh art were excluded from the activities of creative Unions, for the simple reason that they were not professionals by Soviet standards. In Soviet times, poets-improvisers, representatives of oral professionals by Soviet standards. In Soviet times, poets-improvisers, representatives of oral literature, masters of applied arts, melodists-composers were not recognized as professionals. The article also examines the national composition of the creative unions of the Republic. Мақалада соғыстан кейінгі жылдардағы Қазақстан шығармашылық одақтарының құрамы мен құрылымы қарастырылады. Соғыстан кейінгі жылдары жазушылардың, суретшілердің, композиторлар мен сәулетшілердің шығармашылық одақтары жұмыс жасап жатты. Бұл одақтар 30-жылдары, яғни соғысқа дейінгі жылдары құрылған болатын. 1957–58 жылдары бұларға қосымша журналистер мен кинематографистер одағы құрылды, сөйтіп олардың саны алтауға жетті. Қазақстан шығармашылық одақтарының сандық және сапалық құрамы баяу өсті. Өйткені маман кадрлар тұрақты жетіспеді, екіншіден, кеңестік өлшемдер бойынша дәстүрлі қолданбалы қазақ қол өнерінің өкілдері кәсіби мамандар болып саналмағандықтан шығармашылық одақтар қызметінің аясынан тысқары қалды. Кеңес жылдары суырыпсалма ақындар, ауыз әдебиетінің өкілдері, қолданбалы өнер, мелодист-композиторлар кәсіби мамандар болып саналмады. Мақалада сондай-ақ республика шығармашылық Одақтарының ұлттық құрамы қарастырылады.
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Sorokin, Vladimir. "Start of the season." Index on Censorship 15, no. 9 (October 1986): 43–46. http://dx.doi.org/10.1080/03064228608534166.
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Lukin, Karina. "Voice and Frames in the Soviet Nenets’ Auto/Biographies." European Journal of Life Writing 9 (June 12, 2020): 70–92. http://dx.doi.org/10.21827/ejlw.9.36307.
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This article explores the narrative and metalinguistic devices used by two Nenets writers, Nikolaj Vylka and Anton Pyrerka, in the auto/ biographical novels they wrote in the Soviet Union in the 1930s. Focusing on narrator roles and voices, the article argues that despite the overarching programme of socialist realism, the writers creatively used available linguistic resources to build Socialist plots and frames in their novels. However, their choices differ considerably, reflecting their divergent ideas about the relationship between pre- and post-Soviet Nenets culture.
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Pastor, Peter. "The Travelogues of Gyula Illyés and Lajos Nagy on Their Visit to the Soviet Union." Hungarian Cultural Studies 11 (August 6, 2018): 32–47. http://dx.doi.org/10.5195/ahea.2018.320.
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The Hungarian populist writers Gyula Illyés and Lajos Nagy visited the Soviet Union together during the summer of 1934 as guests of the Union of Soviet Writers. Upon their return to Hungary, Illyés and Nagy published their impressions in separate travelogues.Although they both stressed that they strived for objectivity in their travel reports, they did not fully succeed in their efforts. Their perspectives were colored by a feeling of cultural superiority carried over from their experiences in the Hungary of the 1930s. Their writing was also tainted with anti-Semitism, as evidenced by their reflections on the life of Jews in Russia and Ukraine. Although their hosts took them to model institutions on a government-designed grand tour, they were not won over to the communist cause and failed to become fellow travelers.
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Dunlop, John B. "Russian Nationalism Today: Organizations and Programs." Nationalities Papers 19, no. 2 (1991): 146–66. http://dx.doi.org/10.1080/00905999108408196.
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Russian nationalists in the Soviet Union have, of course, always claimed to speak and act on behalf of the narod, the common folk, but the folk they have had in mind have been largely the inhabitants, and particularly the older inhabitants, of the fast-disappearing traditional Russian village. Aware that this narod has indeed been vanishing, Russian nationalist writers and publicists have stressed that the task at hand is to graft the “ethics and esthetics,” the accumulated wisdom and mores of this traditionalist populace, onto the life of deracinated modern Soviet man. The really existing and largely urbanized Russian narod—factory workers, miners, truck drivers, cashiers, and waitresses—has remained beyond the purview of most nationalists, with the exception of a few like the gifted writer and filmmaker Vasilii Shukshin (d. 1974), who focused upon the plight of a people torn away from its roots.
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Klots, Yasha. "Varlam Shalamov between Tamizdat and the Soviet Writers’ Union (1966–1978)." Russian Literature 96-98 (February 2018): 137–66. http://dx.doi.org/10.1016/j.ruslit.2018.05.006.
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Zezina, Maria. "Crisis in the union of Soviet writers in the early 1950s." Europe-Asia Studies 46, no. 4 (January 1994): 649–61. http://dx.doi.org/10.1080/09668139408412188.
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Eckstein, Arthur M. "Clandestine Agent: The Real Agnes Smedley." Journal of Cold War Studies 9, no. 4 (October 2007): 106–14. http://dx.doi.org/10.1162/jcws.2007.9.4.106.
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This essay reviews a new biography of Agnes Smedley, a radical American writer and journalist who secretly worked for the Soviet Union and the Chinese Communist Party on various endeavors, including espionage. When Smedley was accused in the late 1940s of having been a Soviet spy, she staunchly denied the allegations and depicted herself as an innocent victim of a McCarthyite smear. Ruth Price, the author of the new biography, initially expected to find that Smedley had indeed been unjustly accused of spying for the Soviet Union. But as Price sifted through newly available materials from Russia and China, she made the disconcerting discovery that Smedley had in fact eagerly served as an agent of influence and spy for the Soviet Union and the Chinese Communists. This case illustrates some of the complexities that arise when assessing why certain Western intellectuals and government officials decided to become spies for the Soviet Union.
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Kõvamees, Anneli. "Insight into Prison Camp Novels by Estonian Writers." Interlitteraria 21, no. 2 (January 18, 2017): 318. http://dx.doi.org/10.12697/il.2016.21.2.12.
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The article focuses on the Estonian novels depicting Soviet prison camps in the 1940s and 1950s. For a long time the Soviet prison camp theme was not publicly discussed in Estonia due to political reasons. Texts dealing with prison camps could appear in print only outside the Soviet Union. The most notable of these are the novels by Arved Viirlaid. The Estonian prison camp novels can be seen as “the literature of testimony”, to use the term by Leona Toker. Dramatic historical events are written down to record the events and to show the inhumane nature of the Soviet society. These records of the dramatic past follow certain patterns and create certain self- and heteroimages that are analysed in the article. The goal is to map themes, motifs and characteristics in such novels, concentrating on various taboos and rules in the prison camp environment. A prison camp is a closed territory within a closed territory; prison camps can be seen as small models of the Soviet society. Prison camp novels provide a detailed view of the environment of the prison camp, its inhabitants and activities. The lives of prisoners whirl around labour and food. The crucial thing is to survive, which often leads to moral decline, e.g. stealing or cheating. However, there are certain lines Estonians do not cross, e.g. cannibalism or homosexual relationships with superiors. Estonians are always depicted as political prisoners (not common criminals) and heterosexuals, while Russians are portrayed mainly as criminals and often also as homosexuals.
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Ivanauskas, Vilius. "Lithuanian Writers and the Estab lishment during Late Socialism: The Writers Union as a Place for Conformism or Escape." Lithuanian Historical Studies 15, no. 1 (December 28, 2010): 51–78. http://dx.doi.org/10.30965/25386565-01501005.
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This article analyses how the changes in the dominant attitude of local Soviet writers were encouraged, screened or restricted by the Writers Union [WU] through mechanisms of planning, control and even through measures of creating a secure daily environment. The author looks at the tensions and conflicts between writers of different generations, observing less ideology in the younger generation than in their predecessors since the development and dissemination of national images among the declared values of communism were increasing. The union as a system covered both aspects – conformism and the escape (manoeuvre). Though the WU had a strong mechanism of control, it managed to ensure for the writers such a model of adaptation where even those, who were subject to restrictions, had a possibility of remaining within the official structure, through certain compromises, while actually avoiding involvement in dissident activities or samizdat publishing.
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Chakars, Melissa. "Buryat Literature as a Political and Cultural Institution from the 1950s to the 1970s." Inner Asia 11, no. 1 (2009): 47–63. http://dx.doi.org/10.1163/000000009793066569.
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AbstractThis paper explores the history of Buryat literature as an institution in the 1950s, 1960s, and 1970s. Buryat literature was not simply the creation of Buryat writers. Local Party and government officials, censors, editors, publishers, and others made a substantial contribution to the direction, promotion, and content of Buryat literature. Buryat literature, as well as writers, was widely promoted by local media. Literature was also taught regularly at all levels of education. Buryat writers did not produce any samizdat and they generally did not use literature as a way to explore their pre-Soviet or pre-Russian history and culture as did other Soviet nationalities. Instead, Buryat literature generally emphasised topics that promoted and supported the project of Soviet modernisation. It promoted the value of Soviet leadership, the importance of the friendship of nations and in particular the friendship between Buryats and Russians, and it promoted the idea that life was better for the Buryats in the Soviet Union than it had been in the past or could be anywhere else. In addition, it helped create a new Buryat history that showed how the Buryats played an important role in Soviet historical events such as the Civil War, the October Revolution, the collectivisation of agriculture, and the Second World War. Buryat literature was a place to define and promote the new Soviet Buryat nation and all its modern attributes.
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Šimová, Kateřina. "Through the Soviet Orient. Interwar trips of Czechoslovak writers to peripheral regions of the Soviet Union." Soudobé dějiny 27, no. 3-4 (January 1, 2021): 591–604. http://dx.doi.org/10.51134/sod.2020.032.
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Oga, Jānis. "Ārzemju ceļojumu iespaidi latviešu rakstnieku darbos t. s. „Brežņeva laikmetā”: liecības par atļauto un liegto." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 119–36. http://dx.doi.org/10.37384/aplkp.2021.26-1.119.
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This paper examines travels outside the Soviet Union by Latvian writers who were recognised by the occupation regime and acclaimed by the public during the Brezhnev era –from the 1960s into the 1980s – as one of the privileges enjoyed by the so-called creative intelligentsia, and how those travels were reflected in their literary and journalistic writings. The writers studied were born between 1910 and 1939 and can be seen as belonging to three different generations. The generational differences have a significant impact on how their experiences were treated in their works. Some of the texts considered in this paper are manifestations of their authors’ authentic creativity, whilst others exhibit obeisance to the status quo of their time and obligatory praise for the regime. But can a line between the two be clearly drawn? What were the goals and possibilities for travel among recognized and materially secure writers? What were they permitted to tell those readers who had no such travel opportunities? How did the notes they published in periodicals differ from the versions that later appeared in books? The methodological basis for this paper is the work of Alexei Yurchak, a Russian-born American anthropologist who provides a unique understanding of the concept of ‘the abroad’ (заграница) in the Soviet Union as demarcating not actual borders or territory but an imagined space, and the insights of the Canadian historian Anne E. Gorsuch about Soviet tourism abroad. Gorsuch has studied how Soviet citizens internalised Soviet norms and supported Soviet goals, but also the attempts by tourists to evade official constraints on their experience in foreign lands and how they sought to devise their own individual itineraries. Journeys abroad elicited conflicting emotions. Writers had to be comparatively affluent to travel, but they often experienced humiliation when confronted with the reality of their meager financial means outside the U.S.S.R. and the fact that they remained in durance even in the free world. Versions of their writings published in the post-Soviet period and later commentaries bear witness to episodes that could not be described in the Brezhnev era as well as self-censorship.
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Stojanović, Dušica. "“A certain expansion of cooperation is planned”: A view of the Yugoslav diplomacy on Yugoslav-Soviet literary exchange. 1961–1964." Slavic Almanac, no. 1-2 (2021): 127–46. http://dx.doi.org/10.31168/2073-5731.2021.1-2.1.07.
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Relations between Yugoslavia and the USSR in 1961–1964 differed for the better in comparison with the previous period. Intensive cooperation in the field of culture and literature characterized those years. The article traces the activities of Yugoslav diplomats in maintaining literary ties between Yugoslavia and the USSR. Yugoslav diplomats, in negotiations with their Soviet colleagues, publishers and editors of magazines, presented their country’s literature as a reflection of the current state policy of Yugoslavia. According to the reports of the embassy, Soviet partners were unofficially recommended to publish contemporary Yugoslav works. By encouraging Soviet publishers to negotiate directly with Yugoslav writers and their union, which was more competent in matters of literature, the embassy tried to present the matter as if the state in Yugoslavia did not interfere in the activities of independent creative associations. An exhibition of Yugoslav books, including political ones, organized in the USSR, was supposed to present the Yugoslav path to socialism. The mutual trips of the writers demonstrated the closeness and friendship of the two countries. The Yugoslav diplomats were faced with the task of maintaining positive relations between Belgrade and Moscow through interaction with Soviet partners, on the one hand, and with Yugoslav publishers and the Writers’ Union, on the other. It was necessary to prevent cultural contradictions that could darken bilateral political relations. This instrumentalization of culture, reflected in diplomatic reports, demonstrates that despite the public demonstration of the differences between Yugoslavia and the USSR, in practice, both states had a similar approach to culture policies.
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Nailya Safiullina. "The Canonization of Western Writers in the Soviet Union in the 1930s." Modern Language Review 107, no. 2 (2012): 559. http://dx.doi.org/10.5699/modelangrevi.107.2.0559.
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Brooks, Jeffrey. "Socialist Realism in Pravda: Read All about It!" Slavic Review 53, no. 4 (1994): 973–91. http://dx.doi.org/10.2307/2500842.
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The adoption of "socialist realism" by the first All Union Congress of Soviet Writers (17 August-1 September 1934) was a seminal event in Russian cultural history on a par with Peter's embassy to the west or Catherine's Instruction to her legislative commission. Henceforth literature and the arts lost some of their public identification with civil society and gained a formal place in the official culture of the Soviet era and in the overbearing discourse of leading newspapers such as Pravda. Writers and artists had to accept the metamorphosis of public discourse itself, as editors and journalists plunged into a kind of hyperreality in the face of the disjunction between the promises and results of Stalinist policies.
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Sonn, Tamara. "Bandali Al-Jawzi's Min Tārīkh Al-Harakāt al-Fikriyyat Fi'l-Islām: The First Marxist Interpretation of Islam." International Journal of Middle East Studies 17, no. 1 (February 1985): 89–107. http://dx.doi.org/10.1017/s0020743800028786.
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Bandali al-Jawzi (1871–1943) has been regaining popularity recently, particularly among his native Palestinians and Muslim nationalists of his adopted home, the Soviet Union. In 1977, for instance, the Union of Palestinian Journalists and Writers, in cooperation with the Oriental Institute of the Soviet Academy of Sciences, commemorated Jawzi as an outstanding Palestinian author. At that time a collection of various of his articles on the Arabic language and history was published in Beirut, as well as an edition of his only book, Min Tārīkh al-Harakāt al-Fikriyyat fi'l-Islām (The History of Intellectual Movements in Islam), first published in 1928. It is this recent exposure which was to take its rightful place in Islamic intellectual history.
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Jones, Polly. "The Fire Burns On? The “Fiery Revolutionaries” Biographical Series and the Rethinking of Propaganda in the Brezhnev Era." Slavic Review 74, no. 1 (2015): 32–56. http://dx.doi.org/10.5612/slavicreview.74.1.32.
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In this article, I analyze the production of late Soviet propaganda, highlighting the shifts toward greater literary sophistication and the reinvention of revolutionary biography, instituted in order to re-enthuse the population about revolutionary ideals. In the Khrushchev and early Brezhnev eras, the State Political Publishing House (Politizdat) grappled with a profound crisis of political persuasion and came to realize that collaboration and compromise with literary writers constituted the only solution. The key outcome of this debate over mass political literature was the innovative and unpredictable “;Fiery Revolutionaries” series of biographies, published from 1968 to the end of the Soviet Union. Arguing against the view of the Brezhnev era as a time of political language's standardization, and complicating the binary opposition between Soviet and dissident writers, I argue that it was the sophisticated and nuanced debates and editorial practices within this “;niche” in the post- Stalinist propaganda state that ultimately enabled many of the period’s most talented (and sometimes notorious) writers to contribute sophisticated biographies to the series later in its history.
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Kalnačs, Benedikts. "Latvian Writers’ Strategies of Resistance during De-Stalinisation: The Case of Gunārs Priede." Miscellanea Posttotalitariana Wratislaviensia 5 (June 12, 2017): 67–77. http://dx.doi.org/10.19195/2353-8546.1(5).6.
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This paper traces developments in the Soviet Latvian literary scene between the late 1950s and early 1970s. The first part examines aspects of social organisation as demonstrated by the daily routines of so-called creative unions characteristic for the overall pattern of the way in which social mechanisms worked under Soviet rule, even if there were constant attempts to overcome the limits set to expression by the communist system. The second part provides a case study of the biography and creative work of Latvian playwright Gunārs Priede 1928–2000, a leading representative of the young generation of authors of that period. The paper not only points towards the parallels in social and aesthetic developments at the Soviet periphery, but also discusses the clearly observable illogicality and unpredictability of the decisions made by Soviet officials which mirror the absurdity of the social foundations of communist rule.
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Ghouse, Nida. "Lotus Notes." ARTMargins 5, no. 3 (October 2016): 82–91. http://dx.doi.org/10.1162/artm_a_00159.
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Lotus was a tri-lingual quarterly brought out by the Afro-Asian Writers' Association. Initially titled Afro-Asian Writings, its inaugural edition was launched from Cairo in March 1968, in Arabic and English, followed by the French. By 1971, the trilingual quarterly acquired the name Lotus. Egypt, the Soviet Union, and the German Democratic Republic funded its production. The Arabic edition was printed in Cairo, and the English and French editions were printed in the German Democratic Republic. The Afro-Asian Writers' Association (AAWA) and its over-arching affiliate, the Afro-Asian People's Solidarity Organization (AAPSO), both had headquarters in Cairo. In 1978, President Anwar Sadat signed the Camp David Accords and the Permanent Bureau in Cairo was deactivated. Lotus moved to Beirut despite the raging Civil War, where it was was granted home and hospitality by the Union of Palestinian Writers. Its offices remained there until the Israeli invasion of Lebanon in 1982 when it once again relocated along with the Palestinian Liberation Organization to Tunis. The journal was discontinued in the late 1980s or early 1990s with the dismantling of the Soviet Union. The Permanent Bureau in Cairo was reinstated, but the journal was not as such reactivated. The project outlines a partial biography of a forgotten magazine from a bipolar world and its interrupted historical networks. It considers graphic and textual elements from the margins of the magazine for evidence of its trajectory.
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Smith, Gerald S. "Flight of the Angels: The Poetry of Lev Loseff." Slavic Review 47, no. 1 (1988): 76–88. http://dx.doi.org/10.2307/2498840.
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Among the poets of the Third Emigration are a few who were officially recognized and published in the Soviet Union. The vast majority of them, though, hardly published anything in that country; sometimes because they were denied access and more often because they did not seek publication in the Soviet Union, preferring samizdat or publication abroad. Lev Loseff is a unique figure who falls into neither of these categories. He was a professional journalist and writer for children until he left the Soviet Union in 1976, but, although he was a popular figure in Leningrad's unofficial literary life, he was not known to be a poet. In fact, Loseff began as a serious poet in 1974 at an age—thirty-seven—that by any standards is very late and by Russian standards is something like the beginning of the afterlife: It is the age at which Pushkin was killed.
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Moskovskаya, Darya S. "Federation of associations of Soviet writers as a model of the literary process of 1926–1932 — organizational, financial, ideological and aesthetic compo-nents (based on archived primary sources from the Department of manuscripts IWL RAS)." Philological Sciences. Scientific Essays of Higher Education, no. 6 (November 2020): 135–45. http://dx.doi.org/10.20339/phs.6-20.135.
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The article presents an experience in reconstructing the history of the Federation of Associations of Soviet writers (FASW) based on archived primary sourceson from the Department of manuscripts of the IWL RAS, which are being for the first time introduced into scientific circulation. The history of the FASW (FOSP) is the history of the struggle of proletarian organizations for the leadership of the entire Federation. The main method of manipulation was the Communist faction of the FASW headed by A.A. Fadeev, which was controlled by the press Department of the Central Committee of the CPSU(b). The Federation duplicated trade Union functions provided its members with housing, the opportunity to relax, travel abroad, and helped reduce taxes on the income of writers. The Federation was funded by the Narkompros. The history of the FASW shows that after the end of the NEP, the existence оf the institute of literature became directly dependent on the nature of the relationship with the only counterparty — the state with which the writers concluded employment contracts. At the end of the first five-year plan, the Federation was an extra link in the business communication between the writer and the state, which required a significant budget and refracted the voice of power with the interpretations of self-appointed ideologues.