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Journal articles on the topic 'Soviet writer'
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1
Keršytė, Nastazija. "Museum Commemoration Paradigms of Soviet and Soviet Times’ Writers." Bibliotheca Lituana 2 (October 25, 2012): 237–54. http://dx.doi.org/10.15388/bibllita.2012.2.15588.
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Paper evaluates museum commemoration narratives and paradigms of memory of Soviet Lithuanian writers and writers who lived in Soviet times. Evaluated historical role discourses of these writers suppose museum visualization character and leads to the establishment of or failure to set up writers’ memorial and literature museum. Activation museum visualization, communication is motivated objective writers activity and they creative assessment, prominence of international relations and contexts, and real or seeming relevance of writers at present. The Memorial Museum of writer Antanas Venclova in Vilnius transforming to the Venclovų House-Museum illustrates concepts of discourses about the writer as a Soviet and Soviet times and valuation an artist as beyond Soviet times, Soviet times, and post-soviet times.
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Николаев, Дмитрий. "Образ писателя в публицистике Ивана Бунина 1920 г." Acta Polono-Ruthenica 1, № XXIV (2019): 75–94. http://dx.doi.org/10.31648/apr.4401.
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The image of the writer plays an important role in the publicist works of Ivan Bunin in 1920. It is the image of the author struggling against the Bolsheviks, and the image of those writers who helped the Bolsheviks propaganda as well as “new Soviet writers”. In 1920 Bunin as the most signif-icant writer of the Russian Diaspora focuses on the most famous writer among those who, according to Bunin, supports the Bolsheviks – Maxim Gorky. Bunin also pays close attention to the contro-versy with H.G. Wells: this is due to the role that the English writer played in the context of Soviet Russia. Bunin’s works in 1920 are written as a reaction of the Russian writer to the various texts published in the press, and the discussion with the works of his main opponents – Gorky and Wells.
3
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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Kapustina, Mariia. "The First British-Soviet Round Table of Writers of 1984: preparation, implementation, results." Исторический журнал: научные исследования, no. 3 (March 2021): 183–97. http://dx.doi.org/10.7256/2454-0609.2021.3.36070.
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On September 4 – 6, 1984, Moscow hosted the first round-table meeting of British and Soviet writers, which was substantiated by the emergent thawing in foreign policy relations between the countries. The goal of this article is to examine the process of organizing and hosting the writers’ conference, as well as give assessment to its contribution to the development of Anglo-Soviet cultural cooperation during the Cold War. The research methodology is founded on the concept of cultural diplomacy, as well as the principle of historicism and systematicity, which allowed analyzing the available archival materials, publications, and reminiscences of the participants. Having examined the Great Britain-U.S.S.R. Association, the author gives special attention to the perception of this event by the British side. The article traces the transformation of attitude of the British authors towards their Soviet colleagues and the Soviet literary process overall. The round table participants expressed different opinion on the role of the writer and the degree of their social responsibility, as well as on moralization in the novel. In the course of discussion, the Soviet side often turned to the topic of peacekeeping, while the British side defended the autonomy of the writer and the right to social criticism. The conclusion is made that despite the divergence of opinions, both British and Soviet writers found the discussion productive,  and positively assessed the results of the conference. Thanks to the efforts of organizers and the objective “tiredness” from using cultural events for propaganda purposes, the first British-Soviet Round Table of Writers has fulfilled its mission, becoming an important platform for intercommunication.
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Głuszkowski, Piotr. "Recepcja twórczości literackiej Maksyma Gorkiego w Polsce." Studia Rossica Gedanensia, no. 6 (December 28, 2019): 83–96. http://dx.doi.org/10.26881/srg.2019.6.06.
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The paper explores the reception of Maxim Gorky’s literary works in Poland in 1900– 2018. At the beginning of the 20th century Gorky was among the most-translated Russian authors. Translations of his works were published in the former Polish territories under all partitions (Russian, Prussian and Austrian). In the years 1918–1939/1945, despite anti-Soviet attitudes of a significant part of Polish society, Gorky was still very popular. In the times of the Polish People’s Republic (1945–1989), the writer was characterized by the historians of Russian literature as a classic Soviet writer and the founder of the Socialist Realism. Polish scholars usually repeated views of their Soviet colleagues. Recently Gorky’s works attract attention rather of Polish writers and publicists (Józef Hen, Adam Michnik, Sylwia Frołow, Krzysztof Varga) than of historians of literature.
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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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Li, Yishuai. "Soviet engravings and the Chinese writer Lu Xun." Культура и искусство, no. 3 (March 2020): 38–50. http://dx.doi.org/10.7256/2454-0625.2020.3.32397.
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This article analyzes the relations between the Chinese writer Lu Xun and Soviet engravings. Lu Xun is attributed to one of the most prominent Chinese literary figures of the past century. His significant contribution to the development of culture also consists in the fact that in the 1930’s he collected, edited and published a substantial amount of Soviet engravings. This is why his is known in China as the “Founder of the collection of wood engravings”. The article represents an cross-disciplinary research in the field of art history, culturology and literature, particular in the area of history of Soviet art and Chinese literature. The research elucidates the key milestones of life path of Lu Xun, associated with the increase of cultural level of Chinese young students through familiarization of majority of the population with Soviet engraving. However, his relations with the Soviet art, and namely Soviet engraving, are insufficiently covered. The article talks about the forgotten achievements in the area of Soviet arts in China.
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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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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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Bortnowski, Antoni. "Публицистика Владимира Короленко". Kultury Wschodniosłowiańskie - Oblicza i Dialog, № 6 (22 вересня 2018): 39–49. http://dx.doi.org/10.14746/kw.2016.6.3.
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Journalism takes a very important place in the works of Vladimir Korolenko. The writer witnessed historic changes in Russia of the late 19th — early 20th century and in his many works included a great number of valuable comments and insightful analysis of the processes taking place on the territory of the decaying Russian Empire. The last years of the writer's life coincided with a period of formation of the Soviet authority, which Korolenko did not accept. This fact was often overlooked or ignored in the Soviet critical works on the writer and only after the collapse of the USSR it was possible to conduct an overall analysis of Korolenko’s rich heritage. Many of his articles containing insights into the Russian reality can be applied to modern times.
11
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.
12
Muslimova, M. S., and S. K. Yakhiyaeva. "DIARIES OF M.-S. YAKHYAEV: A BIOGRAPHY IN THE CONTEXT OF TIME." Bulletin of Udmurt University. Series History and Philology 31, no. 3 (2021): 651–58. http://dx.doi.org/10.35634/2412-9534-2021-31-3-651-658.
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This study is devoted to the work of the Dagestan prose writer, people's writer of Dagestan, playwright Magomed-Sultan Yakhyaev (1922-2006). The purpose of the article is to introduce into scientific circulation information about the diaries of the writer who kept them for more than half a century and to analyze the specifics of the diary genre in the work of the classic of Dagestan Soviet literature, to characterize his attitude to the events of the post-Soviet period, worldview evolution. Since M-S. Yakhyaev devoted his work mainly to the genre of the historical novel, his approaches to assessing the modern era are of interest both from the point of view of studying the work of the author himself, and from the point of view of reflecting the views of the older generation of Russian society on the era of Boris Yeltsin's rule. The diaries have not been published anywhere, their existence was not known until now, they were found on the author's heirs. The material is of interest to biographers and literary scholars dealing with the problems of Dagestan literature. The biographical and historical-literary value of the new genre in the writer's work is substantiated, which makes it possible to see the refraction of the modern history of Russia in the work and worldview of the classic writer of Dagestan literature of the Soviet period; the genre specificity of diaries is revealed M.-S. Yakhyaev.
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Nazarov, Ivan A. "“… nominated to be torn apart by his environment…”: soviet writers about the Solomon Broyde case." Philological Sciences. Scientific Essays of Higher Education, no. 1 (January 2021): 125–32. http://dx.doi.org/10.20339/phs.1-21.125.
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The article focuses on the reaction of Soviet cultural figures to the case of writer Solomon Oskarovich Broyde. In the 1920s and 1930s, several novels and collections with little prose were published for the authorship of Broyde — later it became known that hired writers turned out to be the real authors of his books, and Broyde was certified by the domestic press as “literary Al Capone”. However, despite the convincing accusations against Broyde, several well-known Soviet writers (A.N. Tolstoy, A.N. Tikhonov, V.B. Shklovsky and others) appealed in 1934 to the Deputy Prosecutor General of the USSR A.Ya. Vyshinsky requested a mitigation of the sentence of Broyde and presented their views on the literary scandal.
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Seay, Nicholas. "Soviet-Tajik Writing Intelligentsia in the Late 1930s." RUDN Journal of Russian History 19, no. 1 (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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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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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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Kovalev, Nikon I. "Sergey Tretyakov and Ezra Pound: A Dialogue about Collectivization of Literature Between the Right and the Left." Literature of the Americas, no. 10 (2021): 153–62. http://dx.doi.org/10.22455/2541-7894-2021-10-153-162.
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The paper is dedicated to the dialogue between Ezra Pound and Sergey Tretyakov on the pages of a Dutch magazine Front edited by a Dutch writer Sonja Prins, and other periodicals. This particular episode of Pound’s contacts with left-wing writers hasn’t been duly researched so far. In spite of the dangerous political atmosphere in the 1930s, authors with different ideological views could freely exchange their ideas in the periodicals. The Front published a wide range of anti-bourgeois authors — their views varied from communist to fascist. The Federation of Organizations of Soviet writers (FOSP) was mentioned as a co-founder of Front, although later its name was withdrawn because of the magazine’s publishing policy, which allowed right-wing writers. Tretyakov’s essay “Writer-kolkhoznik” was published in the first issue of the Front; the next issue contained Pound’s response to this essay. In spite of his pro-fascist views, Pound seemed interested in Tretyakov’s work on the kolkhoz. Later both writers continued to argue outside the magazine — Tretyakov mentioned Pound in his Berlin lecture The Writer and the Socialist Village, Pound referred to Tretyakov, this time purely ironically, in Italian press. In the end the dialogue failed, both writers tended to speak about their own main topics — Tretyakov continued to reflect on the writer in the kolkhoz, and Pound was interested in the classical Russian literature and in the attitude to the classical Russian literary heritage in the new socialist Russia.
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Gamsa, Mark. "Sergei Tret'iakov's Roar, China! between Moscow and China." Itinerario 36, no. 2 (2012): 91–108. http://dx.doi.org/10.1017/s0165115312000587.
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The writer, poet and dramatist Sergei Tret'iakov was a central figure of the early Soviet literary and artistic avant-garde. Born in 1892 in Kuldiga, a town in what is now Latvia and was then the Governorate of Courland, one of the three Baltic provinces of the Russian empire, he was educated in prerevolutionary Riga and Moscow. Fluent also in Latvian and German, he started out as a poet in Russian and came under the influence of futurism when living in Vladivostok in 1919. During the Russian Civil War, Tret'iakov spent several months in Harbin, Tianjin, and Beijing in 1920 and 1921, and he returned to China as a teacher of Russian at Peking University between 1924 and 1925. The mid-1920s were also his most productive period as a writer for the theatre. Back in the Soviet Union, he went on to write experimental documentary prose, reportage and film scenarios while making radical statements in literary theory. He collaborated closely with the poet Vladimir Mayakovsky (1893–1930), the cinema director Sergei Eisenstein (1898–1948) and the theatre director Vsevolod Meyerhold (1874–1940), and as a translator and critic he brought the plays and poetry of Bertolt Brecht (1898–1956) to Soviet readers.
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Егоренко, Ольга, and Olga Egorenko. "Irakli Andronicus: the greatest art of improvisation." Service & Tourism: Current Challenges 8, no. 4 (2014): 5–9. http://dx.doi.org/10.12737/6570.
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The main directions of creativity of famous Soviet writer, literary critic, broadcaster Irakli Luarsabovich Andronicus are considered in the article. The art of the story master, Irakli Andronicus made an invaluable contribution to the Soviet culture.
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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 (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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Kiyanskaya, Oksana I., and David M. Feldman. "ODESSA WRITERS OF THE 1920S IN THE JOURNALISM OF N.A. LOGUNOVA (IVANOVA)." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 10 (2021): 52–68. http://dx.doi.org/10.28995/2686-7249-2021-10-52-68.
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The article is the fourth in a series of publications devoted to the biography and journalistic work of N.A. Logunova the Russian emigrant writer. It deals with the first years of her adult life in Odessa, the beginning of her literary career and the activities of the literary circle “The Green Lamp” (Zelenaya lampa). The authors focus on the first steps in the literature of the later famous Soviet writers and journalists V.P. Kataev, I.E. Babel, E.G. Bagritsky, Y.K. Olesha, etc., their first publications in the Odessa periodicals and their public speeches. In addition, it is about, one might say, a particular lifestyle of Odessa writers, formed under the influence of the cultural specifics of their home-city. Logunova tells in detail about the life of Eduard Bagritsky, who loved birds and was indifferent to the conveniences of life, describes the methods of Babel’s literary work, who from his youth aspired to the maximum saturation of his prose, literally honing every phrase, removing everything that he considered optional. The article also characterizes methods used by Odessa writers for adaptation to the new – Soviet – conditions of literary life, fundamentally different from the pre-Soviet – political situation.
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Daugirdaitė, Solveiga. "Žemaitė XX a. II pusės lietuvių poezijoje ir prozoje." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums 27 (March 10, 2022): 105–19. http://dx.doi.org/10.37384/aplkp.2022.27.105.
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The article dedicated to the works of the Lithuanian literature written in the second half of the 20th century depicting the writer Žemaitė (pen name of Julija Beniuševičiūtė-Žymantienė, 1845–1921). This writer was not rejected by the Soviet authorities because of her realistic outline and her democratic political views, the social criticism expressed in her work towards greed, selfishness and clericalism. Lithuanian writers dedicated to her their poetry, fiction, and drama works. However, Soviet writers were also impressed by Žemaitė’s personality traits, which mentioned less frequently in public: independence, perseverance, wit, the courage to stand out from her surroundings and to disregard the societal norms that stifled older women in traditional society. The article analyses the features of Žemaitė’s personality in works of Lithuanian literature created by poets Salomėja Nėris, Judita Vaičiūnaitė, and others. The author reveals how different aspects of Žemaitė’s work and personality were emphasised depending on the time of writing. This change partly reflects the shift of literature from socialist realism to more modern literature. Among the works of prose, the author singles out Bitė Vilimaitė’s cycle of short stories “Apsakymai apie Žemaitę” (Short Stories about Žemaitė) from her collection Papartynų saulė (Fernery Sun, 2002). The stories reveal both the character of Žemaitė, her environment and people close to her, and the most important features of Vilimaitė’s own work: attention to a woman’s fate, subtle psychological insight, attention to detail, and a specific model of a short novella. Since the protagonists of the cycle are usually real people, Vilimaitė’s talent for using documentary material and combining it with fiction is also evident here. The article concludes that Soviet-era authors portraying Žemaitė’s character raised aspects relevant to the time of writing, such as the promotion of national culture, problems of women’s emancipation and, also the fact that for female writers, Žemaitė was a role model.
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FALIKOVA, NATALIA, and PAVEL USPENSKIJ. "The Soviet Writer Konstantin Vaginov: From Poetics to Subjectivity." Russian Review 78, no. 4 (2019): 619–40. http://dx.doi.org/10.1111/russ.12247.
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Makhotina, Ilona, and Viktor Shapoval. "On the activities of E. A. Muravyova in the Roma section of the Union of Soviet Writers (until June 1941)." Journal of Ethnology and Culturology 30 (December 2021): 69–77. http://dx.doi.org/10.52603/rec.2021.30.09.
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The article highlights the activities of the Section of Roma writers under the Bureau of National Commissions of the Union of Soviet Writers from the end of 1939 to June 1941 inclusive. This period is very significant for the restoration of the history of Soviet Romani literature for almost two years. From September 1939 to June 1941, Roma writers sought new productive contacts with the authorities in an attempt to revive Romani book publishing. The article presents new data based on previously unstudied archival documents and two letters from Roma writers. New facts about the book collection (almanac) of Romani stories translated into Russian and planned for publication in 1941 are presented and confirmed by archival documents, in particular, letters from the famous writer and poet Mikhail Timofeevich Bezlyudsky (1901–1970) and from the Crimean Roma Yu. B. Dzhaltyrov to Elizaveta Aleksandrovna Muravyova (1922–2007), whose contribution to the work of the Section is described on the basis of her biographical data. She also translated Roma tales and stories into Russian for future editions; she recorded Roma songs from performers for decades.
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Aydanova, Yu F. "THE STRATEGY OF DECONSTRUCTION OF THE SOVIET PROTOTEXT IN V. PELEVIN’S PROSE." Review of Omsk State Pedagogical University. Humanitarian research, no. 29 (2020): 53–56. http://dx.doi.org/10.36809/2309-9380-2020-29-53-56.
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The article deals with the problem of reconstruction of the Soviet picture of the world in V. Pelevin’s prose. The researcher focuses on the author’s strategy for the deconstruction of the Soviet prototext, defined as destruction of the conventional linguistic structures of the ideological language of the Soviet era and stereotypes of their perception, which is characteristic of postmodernism and V. Pelevin’s idiostyle. The author proposes an original methodology for describing the strategy of deconstruction of the Soviet prototext, systematizes the methods used by the writer for de-stereotyping the signs of Soviet discourse.
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Wallo, Oleksandra. "“The Stone Master”: On the Invisibility of Women’s Writing from the Soviet Ukrainian Periphery." East/West: Journal of Ukrainian Studies 5, no. 1 (2018): 157–80. http://dx.doi.org/10.21226/ewjus375.
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Until the last decade of the Soviet state’s existence, only very few Ukrainian women writers achieved literary fame. This study sheds new light on Soviet Ukrainian political, historical, and social contexts that contributed to the invisibility of Ukrainian women’s writing by examining the case of Lviv-based author Nina Bichuia (b. 1937). Bichuia’s career and the publication history of her works illustrate several characteristics and paradoxes of Soviet literary politics concerning the Soviet periphery—i.e., the non-Russian republics, such as Ukraine. In particular, this article analyzes the differences in permissible literary expression between Moscow the metropole, Kyiv, the centre of the Ukrainian periphery, and Lviv, the Western Ukrainian periphery. It considers gender politics and biases in the Soviet Ukrainian literary establishment and the strictures of the Soviet “Friendship of Peoples” discourse, which had a provincializing effect on Ukrainian literary production and the tastes of the reading public. The article offers a close reading of Bichuia’s last short story, “Kaminnyi hospodar” (“The Stone Master,” 1990), which reflects this author’s “final word” on the Soviet environment for writing literature in the Western Ukrainian periphery. By analyzing Bichuia’s use of important literary intertexts and employing recent theorizations about Soviet state discourse, I demonstrate how “The Stone Master” imaginatively represents and criticizes the regime of discursive monopoly established by the Soviet system. This regime is shown to force a Ukrainian female writer into silence, which can be strategic, but cannot result in greater literary visibility.
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Sipos, George T. "Journeys of Political Self-Discovery: The Writings of Miyamoto Yuriko and Panait Istrati from late 1920s Soviet Russia." Human and Social Studies 7, no. 3 (2018): 113–54. http://dx.doi.org/10.2478/hssr-2018-0029.
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Abstract This study reopens the question of the nature of political commitment and its causes during a time that drastically altered the history of the 20th century, the 1920s and 1930s. Focused largely on a body of texts produced by Japanese female writer Miyamoto Yuriko (1899-1951) who returned from a three-year long trip to the Soviet Union in late 1920s as a convinced communist, the study offers a comparison with communism renunciation writings produced by leftist Romanian French writer Panait Istrati (1894-1935), as well as other communist and fellow travelers who experienced the same Soviet realities as Miyamoto but with opposite outcomes, such as French writer André Gide (1869-1951). What made those members of the intelligentsia so passionately embrace or renounce certain political ideologies that ultimately changed the face of modern history?
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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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Panov, Sergey I. "Sergey Durylin and “Literary Heritage”." Literary Fact, no. 18 (2020): 365–83. http://dx.doi.org/10.22455/2541-8297-2020-18-365-383.
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The paper considers the cooperation between S.N. Durylin (1886 –1954), a scholar, writer, cultural historian, and the academic book series “Literary Heritage”. Durylin prepared several big publications for the series, among them a fundamental research “Russian Writers Visiting Goethe in Weimar” (1932; 30 academic sheets). The process of editing, as well as the principles of editorial work with authors and materials characteristic of “Literary Heritage” are uncovered in Durylin’s correspondence with the editorial staff, in particular with I.S. Zil'bershtein. The paper provides information on their joint projects that remained unrealized, for example on the series of propagandistic popular educational books that “Literary Heritage” tried to launch during the Great Patriotic (Soviet-German) war: Durylin prepared for this series several works dedicated to the XIXth century Russian writers, including Slavophiles. Durylin’s experience in “Literary Heritage” attracts attention to the difficulties pre-revolutionary intellectuals were facing with in the process of accommodation to the Soviet reality in 1930s-1950s.
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Antipina, Zoya S., and Yulia S. Podlubnova. "STRATEGIES AND FORMS OF AUTO-DESCRIPTION IN THE WORKS OF P. P. BAZHOV." Ural Historical Journal 69, no. 4 (2020): 118–26. http://dx.doi.org/10.30759/1728-9718-2020-4(69)-118-126.
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The article deals with the problem of constructing an autobiographical myth and using forms of auto-description in the works of P. P. Bazhov. The Ural author came to literature late, after the revolution and political work that had taught him to focus on requests and signals from the authorities. He clearly realized the borders of the Soviet and each time he chose in the subsequent writer’s work those forms of auto-description that avoided confessional constructions. Is it worth looking for some other P. P. Bazhov in his ego-texts and fiction? The following autobiographical essays and tales of the 1920–1940s were examined: “The Urals stories”, “For Soviet Truth”, “The Grasshopper”, “The Far — Close”, “Through Life”, some of his letters were considered as well. The analysis demonstrates that no matter what form of narration P. P. Bazhov uses, no matter what genre he addresses (from true story to memoir novella) the autos-description in his work turned out to be strategically reduced. P. P. Bazhov highlighted factography, documenting experience or creating an image of a place and reflecting an era and only then did the prose writer introduce markers of autobiography deliberately dosing information about himself each time integrating it into the general framework of Soviet constructs. It was this framework that fettered the author denying his right to memory, offering to remember only what worked to create the image of a Soviet journalist in the 1920s and Soviet writer in the 1940s. The self-representing constructions according to the articulated will of the writer faded into the background in the texts. However, P. P. Bazhov’s main auto-descriptive strategy was just such a curious creation of the Soviet version of the autobiography.
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Janicki, Joel J. "Coercion and Coerciveness in the Politics of Cold-War Ukraine and Taiwan." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 51, no. 2 (2021): 9–33. http://dx.doi.org/10.36770/bp.598.
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The present study is devoted to an examination of the prison memoirs by the Ukrainian writer, Mykhaylo Osadchy (1936–1994) and the Taiwanese writer Tsai Tehpen (b. 1925) from the perspective of coercion. Osadchy was a member of the Sixtiers, a group of young Ukrainian intellectuals who brought about cultural renaissance in post-Stalin Ukraine. Their writings marked a strong reaction against Moscow’s policy of great-power chauvinism at the onset of the regime change that marked the end of Khrushchev’s liberalizing campaign. Osadchy was one of the victims of the subsequent wave of arrests of dissidents in the Soviet Union, including Ukraine, in 1965. His memoir, Cataract (1971) is a powerfully evocative response to trumped-up charges of subversion, anti-Soviet agitation and bourgeois nationalism, and a riveting description of life in a Mordovian labor camp, a work that posed a strong attack on official Soviet culture.
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Chekushin, Vikentiy V. "The Soviet Pushkin: Pushkin's Substratum of Aleksey N. Tolstoy's Self-Mythmaking of the 1930s." Vestnik Tomskogo gosudarstvennogo universiteta, no. 466 (2021): 40–46. http://dx.doi.org/10.17223/15617793/466/4.
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The aim of this article is to review Aleksey N. Tolstoy's self-projections on the figure of Pushkin, seen as the most important classic author in the USSR during the 1930s. The material for the study was the writer's journalism and program speeches - it was in them that he most actively appealed to the Pushkin myth. Such appeals allowed Tolstoy to assert his special status in the Soviet literary hierarchy. In his articles and public speeches, the writer actually declared himself the heir of Pushkin, since both, each in his own era, created a “new literary language” based on historical documents. The category of language was important since the discussion about it became one of the key ones in determining the main aesthetic features of the emerging socialist realism. Pushkin, relying on folk speech, created a new “living” literary language opposing the “academic” elegant phrase of nobility (works by Turgenev, in Tolstoy's opinion, later became the peak of this style). Tolstoy, in turn, also saw his own merit in the discovery of a “new” language - the language of Soviet literature in his case. According to Tolstoy, both Pushkin and himself, relied on historical documents that reflected “authentic common people's” language in the process of creation. When writing, e.g., The Captain's Daughter, Pushkin used documents about Pugachev's Rebellion; while Tolstoy, creating Peter the Great, employed torture protocols of Peter's era, the so-called “Slovo i Delo”. As a result, the succession scheme was built in the following way: “common people's language” with almost a thousand years of history - Pushkin (the creator of a “new” literary language based on common people's language) - Tolstoy (the author who modernized these traditions and created a normative Soviet literary language based on them). These rhetorical techniques allowed the Comrade Count to increase his status in the Soviet literary hierarchy. On the one hand, he used the symbolic potential inherent in the Pushkin myth (the culmination of the poet's canonization was the commemoration of 1937); on the other hand, the figure of Pushkin, in relation to whom the word “great” was used, was constantly projected on Stalin. In the end, even despite a biography which was dubious from the point of view of the authorities, by the mid-1930s, Tolstoy, indeed, received the status of the main Soviet author. This situation was evidenced, for example, by a cartoon where the writer alone was depicted on the upper deck of the “steamship of Soviet literature”. Besides, at the funeral of Gorky, Tolstoy, along with Stalin, carried the coffin of the “proletarian writer”, as if occupying the “empty” place after the death of his predecessor. The important role in obtaining this status was played by Tolstoy's regular and consistent efforts to create his own writer's reputation based on the figure of Pushkin.
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Skakov, Nariman. "Soul Incorporated." Slavic Review 73, no. 4 (2014): 772–800. http://dx.doi.org/10.5612/slavicreview.73.4.772.
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In this essay I explore how Soviet policymakers, biologists, and writers negotiated the borderline dividing the human and animal domains and conceptualized the animal world for ideological purposes. I link the classic Soviet clash betweenstikhiinost’(spontaneity) andsoznatel‘nost’(consciousness) with biological experiments of the 1920s that were set to deconstruct the human-animal hierarchy and to create a vision of “classless” biology. I show whyDzhan, one of Andrei Platonov’s first earnest attempts to evolve into a socialist realist writer glorifying the Soviet state’s firm strides toward the communist future, fails to achieve the semantic certitude of the Stalinist text. Various recurrent and profoundly unconventional themes, often connected with animality and corporeality, drastically muddle the ideological coordinates of the text and preclude the possibility of a clear passage from stikhiinost' to soznatel'nost'. The (a)political status of the Dzhan people as a newly formed Soviet collective body manifests itself in the complex interplay between two rather commonplace categories:bodyandsoul. The body acquires abstract political qualities by becoming collective, while the soul, as a designator for the Dzhan people and as a category, gains flesh. The novella reveals the “Turkmen” nation as a site of bare life itself in its indestructible corporeal glory.
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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 (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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Poliszczuk, Jarosław. "Агония „красного человека”: сложные дилеммы Светланы Алексиевич". Kultury Wschodniosłowiańskie - Oblicza i Dialog, № 8 (20 грудня 2018): 115–33. http://dx.doi.org/10.14746/kw.2018.8.10.
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The article is dedicated to the Svetlana Alexievich literary works in the cultural and social context of our time. As the writer has recognized, she writes about the end of the epoch which was called homo sovieticus. She paid a great attention to the traumatic experience regardless of to whom it belongs: to the Soviet servants or theirs victims – the ones who were repressed and called dissidents. Humanistic pathos is one of the main features of Svetlana Alexievich’s writings. It overestimates the value of individuality and private life in the contemporary society.
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Podlubnova, Yulia S. "Between the Russian Village and the Industrialization: an Essay About the Works of A. I. Zavalishin." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 28, no. 1 (2022): 58–69. http://dx.doi.org/10.15826/izv1.2022.28.1.006.
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The article offers an overview of the work of the writer and playwright Alexander Ivanovich Zavalishin starting with his texts of the 1910s and ending with the book “The Budenny’s hut” (1938). The feuilletons of the 1920s published in the newspaper “The Soviet Truth” (Chelyabinsk) are considered for the first time. The evolution of A. I. Zavalishin is outlined. It associated with the formation of the Ural writer within “newspaper literature” and further steps towards the success of the Soviet author. He did not only portray the current everyday life but also promote the values that were actualized by Soviet rhetoric and precisely in those forms that were approved and were in demand by the time. In the 1920s he created satire and scenes from village life, comedies and revolutionary dramas, in the 1930s wrote epic production dramas, a book about the heroics of the Civil War. The movement of A. I. Zavalishin from social literature of the 1920s to socialist realism of the 1930s is shown.
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Karlyukevich, Aleksandr N., та Rimma M. Khaninova. "Калмыцко-белорусские литературные связи XX – XXI вв." Бюллетень Калмыцкого научного центра Российской академии наук, № 2 (30 грудня 2020): 183–97. http://dx.doi.org/10.22162/2587-6503-2020-2-14-183-197.
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The article describes the Kalmyk – Belorussian literary ties that started in September 1940 when the writers from Belarus Philip Pestrak and Maksim Tank participated in the celebration of 500th anniversary of the Kalmyk heroic epos Jangar. These contacts actively developed at the end of 1950s due to the initiative of the poet from Belarus Petrusya Brovka and a Kalmyk writer Mikhail Khaninov. The publications of works and translations of Kalmyk and Belorussian writers appeared in the press of both republics, Kalmyk translations of the poems by the classics of Belorussian poetry Yanka Kupala and Yakub Kolas were published in Elista, Belorussian translation of the poems by Mikhail Khaninov and David Kugultinov were published in Minsk, literary evenings were organized. The succession of generation in 1980s led to a thirty year break in this dialogue of culture which was reestablished in the new millennium on the Post-Soviet space. The publication exchange, new translations of the poetry, prose and drama, participation in the book exhibitions, “A Writer and the Time” symposium, ‘round tables’ contribute to the activation of the creative powers of both nations.
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Bugrimova, Tatiana V. "BECOMING A SOVIET CITIZEN: LANGUAGE CHOICES IN N. F. TERENTYEV’S DIARY." Ural Historical Journal 72, no. 3 (2021): 190–98. http://dx.doi.org/10.30759/1728-9718-2021-3(72)-190-198.
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The article based on the diary of the young writer N. F. Terentyev from Komi ASSR who wrote his records in the Komi language from 1936 to 1939 considers peculiarities of the “subjectivity” formation in the non-Russian language discursive space. The author hypothesizes that non-Russian people in the 1930s USSR acquiring new subjectivity, began not only to speak Bolshevik but also appropriated a more prestigious discourse in which the Russian language was endowed with revolutionary consolidating potential. The material of the diary reveals two levels of the formation of a Soviet citizen. As regards Terentyev, the first level is related to the local context: the diarist advocates the development of the countryside, collects folklore, adheres to the national literary tradition in terms of the description of the countryside life. The second level is connected with Terentyev’s desire to be involved in more significant events: he joins Komsomol, uses Marxist language in representation of the everyday life, actively participates in the translation of the texts written in the Russian language. The process of writing the diary reveals not only Terentyev’s aspiration to become a Komi writer but also his active civic engagement. Terentyev’s ambition was to become a Komi writer, a representative of the emergent national intelligentsia. Internalizing “cultural revolution discourse”, Terentyev defined Komi literature as backward which should be developed in order to keep up with the Russian literature. In this context, his personal development as a writer involved overcoming of not only personal backwardness (which he acknowledged) but also backwardness of his native culture.
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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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Sprindytė, Jūratė. "The Three-Decade Cycle of Lithuanian Prose." Literatūra 63, no. 1 (2021): 29–42. http://dx.doi.org/10.15388/litera.2021.1.2.
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In the period of 1989-2020 Lithuanian literature experienced a very dynamic literary development. The aim of the article is to highlight specifics of the new cycle and to analyze the prose trends of each decade of regained independence. The author discusses the literary process more synchronically than diachronically. The first period, i.e. the transition from the Soviet regime to the new system, was especially outstanding as the censorship was eliminated, the previously banned works of deportees and resisters were legalized, the postwar émigré writers returned back to culture and opportunities for innovation opened up.The role of writer as a cultural hero diminished. Former writers loyal to the Soviet regime described this situation as crisis, while the younger generation developed postmodernist way of writing. Many works were based on the cultural and historical memory reckoning with the Soviet era. All genres underwent certain transformations, such as emergence of peculiar essay genre, spread of ego-documentaries, revival of short stories, and flourishing popular literature.Serious changes took place after 2004 when Lithuania joined the European Union, which led to economic emigration and encouraged changes in mentality and expanse of local contexts. Mobile, “transit” type of Lithuanian character emerged who changed his place of residence but felt lonely in the global world. This is a huge innovation, bearing in mind the sedentary agrarian Lithuanian culture and the confines of the iron curtain during the Soviet era. Increased quantity of published books decreased their quality.
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Seifrid, Thomas. "Trifonov's Dom na naberezhnoi and the Fortunes of Aesopian Speech." Slavic Review 49, no. 4 (1990): 611–24. http://dx.doi.org/10.2307/2500550.
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In both the west and the Soviet Union the reputation of the late lurii Trifonov has come to rest principally on the candor with which his works, particularly those of his Moscow cycle, examine ethical themes. To non-Soviet scholars Trifonov offers the appealing biography of a writer who, having begun his career with a Stalinist novel (Studenty, 1950), nonetheless welcomed the Thaw (Utolenie zhazhdy, 1963) and then evolved into a chronicler of the moral decline into which Soviet society was sliding under Leonid Brezhnev.
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Matveeva, Yulia V. "The Soviet Reality and the “Sub-Soviet” Man in the Eyes of Émigré Writer Boris Shiryaev." Izvestia of the Ural federal university. Series 2. Humanities and Arts 20, no. 3 (178) (2018): 168–82. http://dx.doi.org/10.15826/izv2.2018.20.3.053.
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Bon, Oleksandr. "Kharkiv Humanitarian Inteligence of 1920s in Ego-Documents of the writer Oleksa Varavva (Kobets)." Kyiv Historical Studies 12, no. 1 (2021): 167–73. http://dx.doi.org/10.28925/2524-0757.2021.119.
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Despite long lasting research on the new independent state period, the study on Soviet Ukrainian intellectuals’ activities, the Ukrainian histography has not developed unified methodological approaches. The same thing happened to Ukrainian intellectuals and historical proces in 1920s. The article analyses earlier unpublished sources of a Ukrainian writer, editor Oleksa Petrovych Varavva (Kobets). The Ukrainian intellectual environment of the Soviet Kharkiv is being analysed. The important figures and an atmosphere of Ukrainian renaissance is being described. The main source of the research became “The Materials to Correspondence Autobiography” of a writer and editor, published by his son Oleksandr Voronin. This exceptional source for Ukrainian researchers has not been published yet. We also use published earlier “Autobiography” of the writer dated 1929 and sent to literature specialist Mykola Plevako. Oleksa Varavva, being in the middle of literature and art life of Soviet Ukraine — in Kharkiv (lived in “Slovo” building), left us striking notes about the character of activities of humanitarian intellectuals as well as the atmosphere in which they were working. This includes the information about Mykola Khvyliovyi, Yurko Tiutiunnuk, Oleksandr Korniichuk and others. Well-known figures of Ukrainian culture of “red renaissance” are being easily traceable in his mail correspondence from immigration in the USA in circumstances unburdened by censorship and thus of more value for scientific research.
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Skakov, Nariman. "Introduction: Andrei Platonov, an Engineer of the Human Soul." Slavic Review 73, no. 4 (2014): 719–26. http://dx.doi.org/10.5612/slavicreview.73.4.719.
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In this essay I explore how Soviet policymakers, biologists, and writers negotiated the borderline dividing the human and animal domains and conceptualized the animal world for ideological purposes. I link the classic Soviet clash between stikhiinost’ (spontaneity) and soznatel'nost’ (consciousness) with biological experiments of the 1920s that were set to deconstruct the human-animal hierarchy and to create a vision of “classless” biology. I show why Dzhan, one of Andrei Platonov's first earnest attempts to evolve into a socialist realist writer glorifying the Soviet state's firm strides toward the communist future, fails to achieve the semantic certitude of the Stalinist text. Various recurrent and profoundly unconventional themes, often connected with animality and corporeality, drastically muddle the ideological coordinates of the text and preclude the possibility of a clear passage from stikhiinost’ to soznatel'nost'. The (a)political status of the Dzhan people as a newly formed Soviet collective body manifests itself in the complex interplay between two rather commonplace categories: body and soul. The body acquires abstract political qualities by becoming collective, while the soul, as a designator for the Dzhan people and as a category, gains flesh. The novella reveals the “Turkmen“ nation as a site of bare life itself in its indestructible corporeal glory.
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Olcott, Anthony. "What Faith the God-Contemporary? Chingiz Aitmatov's Plakha." Slavic Review 49, no. 2 (1990): 213–26. http://dx.doi.org/10.2307/2499481.
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Chingiz Aitmatov has long been a powerful figure in Soviet literature, but few critics in the west or the Soviet Union have treated him as a serious writer. Many of the reasons why Aitmatov's reputation is not commensurate with his achievement are clear enough; the few westerners who have bothered with Aitmatov tend to agree that he offers "a somewhat new mix from the old patterns of Soviet literature with an admixture of Central Asian lore, but the game he is playing is as old as socialist realism itself.
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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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Soini, Helena, and Irina Matashina. "THE USSR THROUGH THE EYES OF MODERN FINNISH WRITERS." Yearbook of Finno-Ugric Studies 15, no. 3 (2021): 457–66. http://dx.doi.org/10.35634/2224-9443-2021-15-3-457-466.
Full textAbstract:
The article is devoted to the image of the USSR, which is formed in the fiction of Finland in the XX-XXI centuries. Attention is paid to both prose and poetic works. Each of the selected authors presents the reader a special view of the history of the Soviet Union and adjacent countries, makes an attempt to see well-known events in a new way, show them from the point of view of the Finnish Swedes, Finns, Estonians, pay attention to new details of history. The article compares the positions of writers of different generations: the group of «flame-bearers» of the early XX century («Tulenkantajat»), who reflected the interest of the world community in the emergence of a young Soviet state, and our contemporaries for the same era. The problems that exist in Soviet society are becoming noticeable. Writers try to find a balance between the positive and negative aspects of Soviet history, to show the fate of a particular person. Authors are also interested in outstanding representatives of Russian culture and history (for example, Dostoevsky and Gogol). Memories of writers about their stay in the USSR influence the formation of the figurative system of their works. The object of the image is not only specific people, but also cities: Leningrad, Murmansk, Moscow, the impression of them is extrapolated to the country as a whole. The personality of the writer, reflected in the choice of the historical period, the main character and the point of view on the history of the USSR, gives special value and uniqueness to each of the selected novels and poems.
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ЦОРИЕВА, И. Т. "LITERARY MENTORING IN THE SOVIET CULTURAL PRACTICE: YU.N. LIBEDINSKY AND OSSETIAN WRITERS." Известия СОИГСИ, no. 43(82) (March 29, 2022): 56–69. http://dx.doi.org/10.46698/vnc.2022.82.43.005.
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В статье рассматривается малоизученный в региональной историографии вопрос о сложившейся в 1930-1950-е гг. практике литературного наставничества по отношению к национальным писателям. Обязанности кураторов и наставников, наряду с идеологическими работниками партаппарата, исполняли члены центральных руководящих органов Союза советских писателей СССР, известные советские русские писатели. Они негласно выполняли функции политических цензоров, наделенных правом влиять на литературный процесс, на регулирование кадрового состава региональных писательских организаций, приведение творческих планов и замыслов писателей в соответствие с социальным заказом. Эволюция наставнических отношений на протяжении второй половины 1940–1950-х гг. от исключительно профессиональных контактов к более тесному, плодотворному для обеих сторон, творческому и межличностному общению прослеживается через взаимодействие и сотрудничество писателя Юрия Николаевича Либединского с осетинскими литераторами. Отмечается, что к середине 1950-х гг. в условиях наметившейся «оттепели» наставнические отношения организационно вышли за рамки модели «куратор – подопечный». Формировался новый тип советского русского писателя – литературного наставника, наделенного не только полномочиями организатора и координатора литературного процесса в национальных регионах, но и становившегося партнером в формировании иного общественного климата. Делается вывод, что качественный переход от роли литературного наставника к партнерской функции в условиях «потепления» общественного климата способствовал сохранению коммуникативного наследия сторон, развитию процесса гуманизации и интернационализации советского общества, утверждению, в частности, в литературно-художественной сфере атмосферы компетентного, неформального уважения к языкам и культурам народов СССР. The article discusses the issue of the practice of literary mentoring in relation to national writers that developed in the 1930-1950s. The functions of curators and mentors were performed, along with the ideological workers of the party apparatus, by members of the central governing bodies of the Union of Soviet Writers of the USSR, well-known Soviet Russian writers. They secretly played the role of political censors, endowed with the right to influence the literary process, to regulate the personnel of regional writers' organizations, to bring the creative plans and ideas of writers in line with the social order. The evolution of mentoring relations during the second half of the 1940s-1950s from exclusively professional contacts to closer, more fruitful for both parties, creative and interpersonal communication can be traced through the interaction and cooperation of the writer Yury Nikolaevich Libedinsky with Ossetian writers. It is noted that by the mid-1950s, in the conditions of the emerging "thaw", mentoring relations organizationally went beyond the framework of the "curator-mentee" model. A new type of Soviet Russian writer was being formed - a literary mentor, endowed not only with the authority of the organizer and coordinator of the literary process in national regions, but also becoming a partner in the formation of a different social climate. It is concluded that a qualitative transition from the role of a literary mentor to a partner function in the conditions of a "warming" social climate contributed to the preservation of the communicative heritage of the parties, the development of the process of humanization and internationalization of Soviet society, the establishment, in particular, in the literary and artistic sphere of an atmosphere of informal respect for languages and cultures of the peoples of the USSR.
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Bilinsky, Yaroslav. "Richard Pipes in Soviet Publications: Implications of the Reactions of Soviet Printed Media to Richard Pipes's Work on Soviet Nationalities." Nationalities Papers 14, no. 1-2 (1986): 21–41. http://dx.doi.org/10.1080/00905998608408031.
Full textAbstract:
This essay in political historiography aims to show how Professor Richard Pipes's monumental work on Soviet nationalities has been received by Soviet publications. It is more limited in scope than the main title connotes, since it does not deal with Soviet reactions to the totality of Pipes's scholarly work, only to an early but important part of his opus; nor is it concerned with Soviet attacks on Pipes's government service. The printed media surveyed include mostly articles in professional journals and books. Working through the Current Digest of the Soviet Press, this writer has tried to locate Soviet newspaper articles dealing with Pipes's work on nationalities, but has had no success. This is less of a shortcoming than it first appears, because even articles in Soviet scholarly journals, even books undergirded with an impressive scholarly apparatus, insofar as they deal with such a sensitive topic as the partial failure to solve the nationality problem, cannot but follow the party's policies of the moment. Apolitical historiography in the Soviet Union simply does not exist.