“Resettlement Affairs” in the Second Half of the 19th – the Beginning of the 20th Century as a Sphere of Intellectual Reflection and Communication of the Russian Government and Society of the Pre-Soviet Period

“History Misappropriation or Compreension?” (Russian Lihuanian Studies in the 19th and the Beginning of the 20th Century)

Almanac “Essays on Conservatism” ◽

10.24030/24092517-2020-0-2-219-236 ◽

2020 ◽

Vol 58 ◽

pp. 219-236

Author(s):

Andrey Yu. Dvornichenko

Keyword(s):

20Th Century ◽

Russian Empire ◽

Soviet Period ◽

Medieval History ◽

Scientific Paradigm ◽

Russian State ◽

History Of ◽

Grand Duchy Of Lithuania ◽

Grand Duchy

The abundant Russian historiography of the medieval history of Grand Duchy of Lithuania (Lithuanian-Russian State) has become in the last decades the centre of the discussions and is often subject to groundless criticism. This historiography was not very lucky in the Soviet period of the 20th century either, as it was severely criticized from the Marxist-Leninist position. When discussing Russian historiography the author of this article is consciously committed to the Russian positions. There are no reasons to consider this historiography branch either Byelorussian or Ukrainian one, as that was really Russian historiography, - the phenomenon that formed under the favorable specific conditions of Russian Empire before the beginning of the 20th century. The said phenomenon can be studied in different ways: according to the existing then main trends and schools or according to their affiliation with specific universities of Russian Empire. But according to the author of this article the best way to study the issue is in accordance with the main concepts of history. And then the pre-revolutionary historiography appears as an integral scientific paradigm that turns out to be the most divaricate branch of the Lithuanian studies of the time. It created, in its turn, the most vivid and objective historical picture that can still serve as the basis for the studies of Lithuanian-Russian state.

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Gender Philosophy of V.V. Rozanov versus Aesthetic Anthropology of I.A. Efremov: Comparative Aspect

Almanac “Essays on Conservatism” ◽

10.24030/24092517-2019-0-4-285-292 ◽

2019 ◽

Vol 60 ◽

pp. 285-292

Author(s):

Yulia Chernyakhovskaya

Keyword(s):

Soviet Period ◽

New Era ◽

Philosophical Thought ◽

Comparative Aspect ◽

Russian Intelligentsia ◽

Spiritual Conflicts

This year is the centenary of the death of the Russian publicist and religious thinker V.V. Rozanov. And this year also follows the year of the 110th anniversary of the great Soviet writer, philosopher and futurist I.A. Efremov. The first figure ended the era, gathering and absorbing all the rushing about, as well as political and spiritual conflicts of the Russian intelligentsia in the time of the outgoing monarchy. The latter was born at the beginning of the new era and proclaimed the images of the great future. It’s an interesting question whether they, like the images of their corresponding eras, differ immensely, and we could say that they are split and unrelated. Or if the images of the later epoch are the continuation of the former ones, overcoming the deadlocks of the old era and solving its conflicts. Did the intellectuals of the Soviet era discard the problems of the tsarist intellectuals or, on the contrary, did they manage to offer advanced answers? The philosophy of V.V. Rozanov, so original and not fully explored to this day, could not but be reflected in the works of his successors and heirs. Revealing similar trends of philosophical thought in the legacy of the Soviet period, the author of the article comes to the conclusion that a number of analogous issues were investigated also by I. A. Efremov.

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TRADITION AND INNOVATION IN MODERN KAZAKH POETRY (XX century and independence)

BULLETIN Series of Philological Sciences ◽

10.51889/2021-2.1728-7804.15 ◽

2021 ◽

Vol 76 (2) ◽

pp. 118-128

Author(s):

Sh. Kuttybaev ◽

◽

Е. Abdimomynov ◽

Keyword(s):

20Th Century ◽

Large Scale ◽

Point Of View ◽

Soviet Period ◽

Evolutionary Development ◽

Spiritual Values ◽

Literary Traditions ◽

New Perspective ◽

National Poetry ◽

In The Beginning

The article analyzes views on innovation in the literary science of the early twentieth century and the work of Alash representatives in an era that is a period filled with profound changes and large-scale innovations in Kazakh society. In addition, works related to freedom, enlightenment, politics, spiritual values, the position of the people as a whole and social changes are considered the idea of independence and continuity. On the way of evolutionary development of the Kazakh literature, artistic power, thematic and ideological character, substantial and stylistic features of poetry of poets in the beginning of the XX century and during the Great Patriotic War, in subsequent years and years of independence are discussed in detail. In addition, on the basis of literary traditions and novelty, the works of prominent poets of Kazakh poetry of the 20th century and Independence are considered and comprehensively characterized, i.e. internal motives, the content of life phenomena in national poetry are analyzed in close connection with the works of poets. The original vision of the traditional and differentiated in the literature of the Soviet period in the works of poets from a new perspective, from the point of view of today. In addition, the works of outstanding poets of Kazakh poetry in the period of the 20th century and independence are considered on the basis of classical tradition and novelty in literature.

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Russian Landscape Linocut, 1910-1970

Scientific and analytical journal Burganov House. The space of culture ◽

10.36340/2071-6818-2020-16-4-101-112 ◽

2020 ◽

Vol 16 (4) ◽

pp. 101-112

Author(s):

Taras Bocharov ◽

Petr Kozorezenko

Keyword(s):

20Th Century ◽

Urban Landscape ◽

Rural Landscape ◽

Soviet Period ◽

Graphic Art ◽

Important Place ◽

Landscape Art ◽

The 1960S ◽

The Moment ◽

Almost All

The article examines the origin and development of Russian graphic landscape art, performed in the technique of engraving on linoleum. It covers the period from the early 20th century, the moment the first masters of this direction of graphic art appeared in Russia, until the late 1960s when linocut, the landscape, in particular, reached its prime and acquired its completely individual, unlike any other graphic technique, characteristic. The authors analyze the linocut landscapes of notable artists of the period described starting with the founder, N.Sheverdyaev, and the leading propagandist of linocut in Russia, I.Pavlov. The article describes the distinctive features of engraving and making prints by famous artists of the 20th century, graphic artists, and not only. This is M.Dobuzhinsky, B.Kustodiev, V.Falileev, K.Kostenko, N.Piskarev, later I.Sokolov, P.Staronosov, and many other not so famous artists. The Soviet period is represented by A.Kravchenko, M.Matorin, I.Sokolov, S.Yudovin, and, of course, A.Zyryanov, one of the well-known printers of the 1960s. The linocut technique is well established in almost all types of landscape. These were industrial, agitational works, glorifying the work of Soviet people, colorful sheets, and lyrical, delicate, and poetic works. The architectural and rural landscape occupied an important place in the work of the letterpress masters: in the urban landscape, of course, the images of the two capitals prevailed, which is not surprising since most of the artists studied and worked in Moscow and Leningrad. The authors of the article drew attention to the creative work of N.Lapshin, F.Smirnov, N.Novoselskaya, A.Smirnov, and others. In the article, the authors try to show how versatile and complex the linocut technique, especially colored, is. The authors want to show that the art of engraving on linoleum helped to view the landscape genre in graphics differently and, possibly, influenced the development of the landscape in other types of prints and painting. The authors are trying to prove that linoleum engraving rightfully takes an equal position with woodcut and etching. The works of masters working in this technique are exhibited in all museums in the country.

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Metamorphoses of the Ob-Ugric ethnicity

VESTNIK ARHEOLOGII ANTROPOLOGII I ETNOGRAFII ◽

10.20874/2071-0437-2020-50-3-15 ◽

2020 ◽

pp. 176-183

Author(s):

E.P. Martynova

Keyword(s):

Ethnic Identity ◽

Dominant Role ◽

Soviet Period ◽

Russian Government ◽

Modern Approach ◽

Self Identity ◽

The North ◽

Standards Of Living ◽

The Status ◽

Assimilation Policy

Modern approach to the study of ethnicity implies examination of its variability (drift, shifts and procedurality). This paper aims at the analysis of manifestations of ethnicity amongst the Ob-Ugrians in different historical peri-ods (traditional society, Soviet modernization and post-Soviet democracy). The author draws attention to explain-ing dominant role of one or another manifestation of ethnicity. The work is based on author’s observations made during the expeditions in the Khanty-Mansiysk Okrug (1980s-2000s) and publications by other researchers. Prior to the 1930s, the Ob-Ugric population was represented by a family of related languages and local ethnic groups with close cultures. The main factor of their self-identity was local ethnicity – names by a river. ‘People of the same river’ were bound by commercial, exchange and cultural-ritual bonds. In the official records, the Russian government registered, in the first place, social status of the indigenous population, calling its people ‘inorodtsy’ (‘non-Russians’) and ‘yasashnye’ (‘tributary’). Socialist transformations in the socio-economical, cultural and ideo-logical spheres marked the beginning of the assimilation policy with respect to the peoples of the North. As the all-Soviet standards of living were adopted, and social (including ethnocultural) uniformity achieved, ethnicity of the Ob-Ugrians continuously leveled out. At the same time, their ethnic identity was largely influenced by recording their nationality in the passports – Khanty and Mansy, coincident with the name of the okrug. In the post-Soviet period, ethnicity of the Khanty and Mansy, ‘hibernated’ during the Soviet time, ‘woke up’ suddenly and loudly turn-ing into a powerful creational factor. The ethnic mobilization unwrapped by the initiative of ethnic leaders signifi-cantly raised the status of the ethnic culture and people themselves. As a result, three levels of identity emerged. The first level is trans-ethnicity of ‘natives’ or ‘aborigines’, which is an important political instrument. The second level is official ethnic identity, which is reflected in the ethnonyms ‘Khanty’, ‘Mansy’ and ‘Nentsy’. Its representation in the ethnocultural politics of the okrug (organizing celebrations and festivals, folk group activities etc.) is given a high attention. Lastly, the third level is the traditional local ethnicity.

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Everyday business activity of Orenburg post-reform merchants engaged in trade at fairs

Samara Journal of Science ◽

10.17816/snv2021101210 ◽

2021 ◽

Vol 10 (1) ◽

pp. 245-252

Author(s):

Konstantin Alekseevich Abdrakhmanov

Keyword(s):

20Th Century ◽

Domestic Market ◽

Business Activity ◽

Reform Era ◽

Orenburg Region ◽

Reform Period ◽

Retail Outlets ◽

To Receive ◽

At Home

The paper examines specifics of the business activity of Orenburg merchants during the post-reform era in the area of trade at fairs. The paper analyzes the conditions of this branch of commerce, including how comfortable the premises used for trade were, what features the nature and climate of Orenburg Region had, how the goods reached the consumer and what the internal atmosphere of major All-Russian fairs was. The study reveals the attitude of provincial entrepreneurs of the Great Reform period towards seasonal itinerant trade within their region. The narrowness of the domestic market, the difficulty of transporting goods by horse-drawn transport, the periodic cycle of operation of fairs, which didnt allow merchants to receive profits consistently, and the lack of comfortable retail outlets were the reasons why Orenburg merchants eventually abandoned intraregional seasonal trade. Since the 1880s, active construction of railways began throughout the empire, which made the Nizhny Novgorod Fair one of the centers of the empires commercial life, more available to the provincial merchants, and Orenburg entrepreneurs continued to visit it in the first decade and a half of the 20th century. However, one of the main reasons why merchants were interested in traveling to the Nizhny Novgorod Fair was the fact that all sorts of entertainment and pleasures were available at the fair, which were more difficult to enjoy at home due to family and marital obligations. The source base of the study consists of documents from the archives of Orenburg and Chelyabinsk Regions that reflect the problems of organizing fairs during the post-reform period.

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"To be strong and civilised at the same time is very difficult..." musicologists about the politics: Jacques Handschin and Higini Anglés, from the correspondence of the 1930s

Muzikologija ◽

10.2298/muz1620053k ◽

2016 ◽

pp. 53-68

Author(s):

Jeanna Kniazeva

Keyword(s):

20Th Century ◽

The Political ◽

Scientific Concepts ◽

Political Beliefs

This article is based on the correspondence between two important European musicologists of the second quarter of the 20th century, Jacques Handschin and Higini Angl?s. I analyse the political problems discussed in these letters as well as the influence of the political beliefs of the both scientists on their scientific concepts.

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ARCHITECTURE AS AN ART COLLECTION: PALANGA CASE / ARCHITEKTŪRA KAIP MENO KOLEKCIJA. PALANGOS ATVEJIS

Journal of Architecture and Urbanism ◽

10.3846/20297955.2012.732799 ◽

2012 ◽

Vol 36 (3) ◽

pp. 222-238 ◽

Cited By ~ 1

Author(s):

Liutauras Nekrošius

Keyword(s):

Cultural Heritage ◽

20Th Century ◽

Ex Situ ◽

Soviet Period ◽

Small Scale ◽

Socialist Republic ◽

Soviet Socialist Republic ◽

Ussr Council ◽

Council Of Ministers ◽

Contemporary Architecture

The trends in Palanga architecture of the second half of the 19th – first half of the 20th century are represented in the National Cultural Heritage List by 10 villas, 14 residential houses, two hotels (Kurhauses of Nemirseta and Palanga), a pharmacy, a spa building, a ship rescue station and a bus station. But such heritage objects reflect the stages in the town development only partially. If the cultural heritage list of Palanga town is treated as a coherent and continuous collection reflecting different stages in architecture and culture of this town (as it should be), it would be relevant to add a few more samples of the mid and second half of the 20th century architecture to the list. Taking into consideration the presence of exclusive Soviet period architectural objects on the list (made according to recommendations of different professional and social communities), and recommendations of the list founders, the following two educational institutions realized less than 50 years ago that these may as well be enrolled as examples of specific historic period and acknowledged artistic style or trend, and as most progressive and/or artistic architectural solutions of the time, to be protected for public information and use purposes: the music school designed by architect I. Likšienė,1981, (Maironio St.8; see Fig. 1) and former Pioneers’ Palace designed by I. Likšienė and G. P. Likša,1985, (now the elementary school, at the address Virbališkės Takas 4; see Fig. 2). These buildings are distinctive examples of contemporary architecture development. At present managed by the local municipality, they are in good physical state, with retained initial qualities of space and volume structure, use of materials, environment and purpose. In the category of accommodation buildings the following may be marked out: the early architectural design works by A. Lėckas, namely, the Žilvinas hotel (Kęstučio St. 34; see Fig. 4, a.), designed and implemented in 1968 as a rest house for 45 guests (21 apartment) on commission of the Council of Ministers of the Soviet Socialist Republic of Lithuania and the Žilvinėlis apartment building for 24 guests implemented in 1970 (Birutės al. 44; see Fig. 4, b.). These objects still owned by the state have been prepared for privatization. Before privatization it is suggested to enroll them on the Cultural Heritage List, identify their valuable qualities, character and level of significance and perform any other required procedures. It is also recommended to make agreements for protection of cultural heritage objects with the new owners of such buildings. The initial protection is also needed for the Rąžė book shop and café building (Vytauto St.84; see Fig. 5) designed by R. V. Kraniauskas in 1967 and considered mature in the artistic sense. The building has retained its small scale, which is characteristic for the resort town, and thus enriches the spatial perspective of the street. Considering its physical shape, functional and aesthetical qualities and the use character, it is also highly recommended to grant the heritage protection status to the administration building Komprojektas (Gintaro St.30,30A; see Fig. 6) designed by G. P. and I. Likša in 1988. The collection of Palanga architecture may also be enriched by the conserved pavilions of the summer reading hall of the National Martynas Mažvydas Library (Vytauto St.72, (1968); see Fig. 7) and Kupeta (S.Daukanto/ S.Dariaus and S.Girėno St., (1969); see Fig. 8) designed by architect A. Čepys; an example of the original concrete plastics, the coffee shop Banga (J. Basanavičius St. 2; see Fig. 10) designed by G. J. Telksnys in 1976–77 and realized in 1979. The present shape and use character of these buildings cause serious threat to their preservation. There is little probability that within the context of the on-going reconstructions traditional acts for enrollment on the heritage list could somehow contribute to the conservation of values of the Vanagupė resort center, the laureate (1984) of prestigious prize by the USSR Council of Ministers (architects A. Lėckas, S. Šarkinas and L. Merkinas; see Fig. 3); the resthouse Guboja implemented only partially in 1976 (in Šventoji, Jūros St 65A., architect. R. Buivydas); resthouse Auska (presently, hotel, Vytauto St.11; architect J. Šipalis, 1977); and the resthouse Šiaulių Tauras (Vytauto St.116, architect G. P. Likša,1983). Nevertheless, the identified architectural, urban, landscape and engineering values of objects and analyzed possible forms for their conservation (ex-situ and in-situ) could become a basis for scientific study of contemporary architecture and urban planning in Palanga resort. Based on their design material, the initial concepts of such objects should be identified and their present as well planned for the future transformations should be analyzed. Such study to be presented publicly (for example, on the National Cultural Heritage List database) could ensure conditions for better understanding of past and present values of the objects, for both, specialists and public at large, and be a highly valuable source of information describing the architecture of the time to be used for information, scientific and professional purposes. Such study may also become a stimulus for preparation of complex regeneration design projects of objects and landscapes, which would comprise the conservation and development needs and add new artistic values. Santrauka Dėl pakitusių politinių, ekonominių ir kultūrinių sąlygų XX a. II pusės architektūros ir urbanistikos kūriniai dažnai nebeatitinka šiandienos naudotojų poreikių ir keliamų reikalavimų. Todėl apleidžiami, griaunami ar reikšmingai kinta. Dėl to ryškėja iniciatyvos siūlyti į KVR įtraukti kuo daugiau šio laikmečio kūrinių. Tačiau XX a. IX dešimtmetyje kultūros paminklais tapę naujosios architektūros kūriniai dėl neraiškios saugojimo strategijos, žmogiškųjų ir finansinių išteklių tvarkybai stokos vis tiek nyksta. Todėl kyla abejonių ar registro plėtra bus veiksminga. Straipsnyje Palangos miesto pavyzdžiu nagrinėjamos galimybės sudaryti vėlyvojo modernizmo architektūros kolekciją. Manoma, kad sistemingas kultūriškai vertingų architektūros objektų rinkinys formuojamas apjungiant skirtingus saugojimo metodus gali paskatinti atsakingas institucijas, vietos ir profesines bendruomenes susitelkti atsakingam architektūros paveldo puoselėjimo ir tvaraus naudojimo procesui.

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David Bergelson

Jewish Studies ◽

10.1093/obo/9780199840731-0187 ◽

2019 ◽

Author(s):

Harriet Lisa Murav

Keyword(s):

Short Stories ◽

20Th Century ◽

Turning Point ◽

Literary Work ◽

Soviet Period ◽

Overall Evaluation

David Bergelson (b. 1884–d. 1952) was the most important Yiddish modernist prose writer of the 20th century. His innovations in style, character, and especially atmospherics, or “mood,” earned him immediate praise from literary critics, who saw him as the first Yiddish modernist. The fates and feelings of his characters, the settings, and his elliptical, decentered style reflect a unified artistic emotion, the highlight of his fiction. Bergelson wrote short stories, novels, essays, plays, and articles for newspapers and journals, including Eygns, Milgroym, and In shpan, which he founded and edited. Bergelson’s oeuvre can be divided into his Kiev period (until 1919), during which he wrote the novels The End of Everything and Departure, his self-imposed exile in Berlin (1921–1933), and the Soviet period (1934–1952). The Berlin exile was a time of great creativity, as well as a political turning point. Bergelson rather ambiguously proclaimed his turn to communism in 1926. This ideological turn, and the tragedy of his death (he was one of the prominent Soviet Yiddish writers killed on Stalin’s orders on August 12, 1952), has until recently overshadowed engagement with his literary work. Reappraisals of his literary creativity as a whole, and especially after his self-proclaimed turn to communism after 1926, are changing the overall evaluation.

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NARRATIVES OF INSCRIPTIONS ON MEMORIAL PLATES OF JEWS, RUSSIANS, LATVIANS AND LATGALIANS: MEMORY CULTURE DISCOURSE

Via Latgalica ◽

10.17770/latg2010.3.1680 ◽

2010 ◽

pp. 102

Author(s):

Olga Senkāne

Keyword(s):

20Th Century ◽

21St Century ◽

Mother Tongue ◽

Regional Identity ◽

Narrative Structure ◽

Soviet Period ◽

Special Focus ◽

Independent State ◽

Memory Culture ◽

The Holocaust

Linguistic execution and narrative structure of the memorial plaques demonstrates not only ideology, axiology etc. of certain ages, culture of memory as such, but also trends in linguistic applications, with respect/without respect to the state language policy representing the respective historical stage (period of the first Latvian independent state, Soviet times, years of the third awakening and independence). The language/languages used in narratives of memorial plaques in the Rēzekne City, structure and content of the narratives depends on 1) location of the memorial plaque (cemetery, city sights, downtown or outskirts, etc.) 2) time period for installation of the memorial plaque (periods of independence/Soviet times), 3) national/religious affiliation of the dead/killed, 4) the pathos to be achieved (patriotic, heroic, philosophical, ritual, etc.).Monolingual memorial plaques in Latvian or bilingual memorial plaques (in Latvian and Russian) constitute the largest quantity in Rēzekne. During the independence periods these are mostly devoted to: 1) politicians, public and culture figures, clergy (8), 2) Latvian/Latgalian freedom fighters, warriors (3), 3) victims of the Holocaust and the communist terror (3). During the Soviet period a special focus is on the World War II fighters against fascism and the victims of fascism, as well as some prominent cultural figures of socialist era – directors, specialists in literature, artists (11).Memorial plaques installed before June 1940 are monolingual; plaques installed from WW II to 1989 are bilingual; plaques installed or renovated during the period when Latvia regained national independence are monolingual (in Latvian or Latgalian) or multilingual (in Russian, Latvian, English and German).Inscriptions of the Soviet-era memorial plaques (predominantly in Russian and Latvian) are dominated by heroic pathos, which is based in the respective ideology; in inscriptions of the independence time a tone of patriotism and religious rituals is topical, as well as there is also considerable use of the language diversity (utilization of Latgalian and English). Jewish memorial plaques installed during recent years of independence to the Holocaust victims, usually are in 3-4 languages (in Latvian, Yiddish, Russian and English). Text of memorial plaques in multiple languages may be slightly different (choice of lexemes) while maintaining the overall low-key pathos.The Jewish Holocaust memorial plaques are one of the few multilingual signs in Rēzekne. Order of inscriptions in 3 or 4 languages enables to reason about the hierarchy of languages during the Soviet era and the years of independence, at the beginning of 21st century. In trilingual signs of the Soviet-era plaques Latvian language is featured as the last one – after Yiddish and Russian, while the plaque installed in 2006 already represents different layout hierarchy indicating the prevailing role of Latvian as the official language where the victims’ mother tongue moves to the second position, but Russian in memorial plaques is still more important than English. Layout and stylistics of the narrative in this memorial plaque inscription is seemingly neutrally informative (where, when, who, did what), but contains moderate dramatic qualities, modest reminder of active participation of the locals in extermination of Jews. The inscription can represent the direction of narration in the memory culture of the Holocaust victims: inscriptions have a reminiscent, recapturing function (so the recipient needs preliminary knowledge), therefore they lack emotionality and the dramatic qualities, evaluative style resources, unlike the Jewish tombstone inscriptions.Latgalian memorial plaques in Rēzekne are still rare, total number of them are five and they are falling mainly within the religious (Catholic identity) discourse, largely devoted to prominent Latgalian clergy, the clergy patrons, the victims of communist terror. These memorial plaques in terms of narrative expansion of the inscriptions are not focused on reminder or reconstruction as it is, for example, in the inscriptions on plaques of the Holocaust victims, and are performing another important function of narrative – creating memory (knowledge) for those who lack it, providing a ready-made, educational, observational, emotional assessment – this is a very important feature of the Latgalian memorial plaques. Inscription narratives show respect to an addressee without knowledge, therefore subtexts are not intended there.National and territorial identity of Latgale in the historical and contemporary perspective is featured by the syncretism of cultures. Use of languages on the inscriptions of Rēzekne memorial plaques is indicative of the existence of multilingual environment the least respect for which is shown during the first Latvian independence (1818–1940) and also during the restoration of independence period, as most of the Soviet-era plaques renovated in 90ies of the 20th century and early 21st century now are monolingual (in Latvian), but at the time of installation (50–70ies of the 20th century) they have been mostly bilingual (in Latvian, in Russian) or made only in Russian. Today, after regaining independence, the Latvian prevails in the multilingual urban landscape, the Russian still is quite enduring (especially in the outskirts of town), Latgalian is gradually moving away from formal constraints, and revived, but the Jewish is irretrievably withering away. Unfortunately, culture of memories in format of Hebrew memorial plaques and tombstone inscriptions will soon be the only lingual evidence of the existence of this historically so important element of the regional identity.

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