Russian immigrants in Spain: in the Service of Literature

Istoriya ◽  
2020 ◽  
Vol 11 (2 (88)) ◽  
pp. 0
Author(s):  
Ekaterina Grantseva
Keyword(s):  
Russian Immigrants

scholarly journals The Return to English in a Non-English Speaking Country: Russian Immigrants and Native Israelis in Israel

2009 ◽  
Vol 9 (1) ◽  
Author(s):  
Kevin Lang ◽  
Erez Siniver
Keyword(s):  
Language Acquisition ◽  
Cross Section ◽  
Host Country ◽  
English Language ◽  
English Language Acquisition ◽  
Highly Educated ◽  
Russian Immigrants ◽  
English Speaking ◽  
Low Levels

Abstract Using a unique sample of Russian immigrants and native Israelis, we examine the return to English knowledge. Panel and cross-section estimates of the return to English are substantial for highly educated immigrants and natives. Hebrew and English language acquisition contribute to immigrant/native earnings convergence, but most convergence is explained by other factors. While immigrants with low levels of education do not benefit from knowing English, native Israelis may. Conditional on occupation, English and Hebrew acquisition are largely orthogonal. Therefore earlier work on the importance of knowledge of the host-country language (Hebrew) is not significantly biased by unmeasured English knowledge.

Russian Church Music, Conundrums of Style, and the Politics of Preservation in the Emigre Diaspora of New York

2015 ◽  
Author(s):  
Natalie K. Zelensky
Keyword(s):  
New York ◽  
Russian Orthodox ◽  
Russian Orthodox Church ◽  
Musical Practice ◽  
Symbolic Resources ◽  
Russian Immigrants ◽  
Diasporic Identity ◽  
Choral Repertoire ◽  
Point Of Departure ◽  
Made In

This chapter explores the long process by which musical meanings are made in the choral repertoire of a Russian diasporic church, the ROCOR Russian Orthodox church, in its mid-Atlantic U.S. diaspora. Its point of departure is not meanings held in common by these church members, but instead the disjunctive meanings assigned to musical practice (and the consequent differences in preferred musical practice) by multiple generations of Russian immigrants. Common meanings emerge from this process through the reconstruction of a Russian diasporic identity that both draws on the symbolic resources of musical institutions characterizing different factions of Russian church musicians and on the positionality of being “Russian abroad” that unifies members by a common idea of preserving prerevolutionary Russian culture.

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