The Three Phases of Soviet Culture

2021 ◽  
pp. 33-38
Author(s):  
Max Eastman
Keyword(s):  
1988 ◽  
Vol 15 (1) ◽  
pp. 23-51 ◽  
Author(s):  
R McCullagh ◽  
M Andrews ◽  
Anne Clarke ◽  
G Collins ◽  
E Halpin ◽  
...  

Summary Excavations at Newton have revealed three phases of land use. Mesolithic activity was restricted to small flint working and domestic sites. A Neolithic phase appears to relate to a fragile soil resource which rapidly declined in quality. The final phase, possibly related to a Christian Irish presence on the island, occurs late in the sequence.


2015 ◽  
Vol 32 (1) ◽  
pp. 40-77
Author(s):  
Peter Mercer-Taylor

The notion that there might be autobiographical, or personally confessional, registers at work in Mendelssohn’s 1846 Elijah has long been established, with three interpretive approaches prevailing: the first, famously advanced by Prince Albert, compares Mendelssohn’s own artistic achievements with Elijah’s prophetic ones; the second, in Eric Werner’s dramatic formulation, discerns in the aria “It is enough” a confession of Mendelssohn’s own “weakening will to live”; the third portrays Elijah as a testimonial on Mendelssohn’s relationship to the Judaism of his birth and/or to the Christianity of his youth and adulthood. This article explores a fourth, essentially untested, interpretive approach: the possibility that Mendelssohn crafts from Elijah’s story a heartfelt affirmation of domesticity, an expression of his growing fascination with retiring to a quiet existence in the bosom of his family. The argument unfolds in three phases. In the first, the focus is on that climactic passage in Elijah’s Second Part in which God is revealed to the prophet in the “still small voice.” The turn from divine absence to divine presence is articulated through two clear and powerful recollections of music that Elijah had sung in the oratorio’s First Part, a move that has the potential to reconfigure our evaluation of his role in the public and private spheres in those earlier passages. The second phase turns to Elijah’s own brief sojourn into the domestic realm, the widow’s scene, paying particular attention to the motivations that may have underlain the substantial revisions to the scene that took place between the Birmingham premiere and the London premiere the following year. The final phase explores the possibility that the widow and her son, the “surrogate family” in the oratorio, do not disappear after the widow’s scene, but linger on as “para-characters” with crucial roles in the unfolding drama.


2020 ◽  
pp. 13-26
Author(s):  
Yu. A. Volokhova

Prefacing the first ever publication of V. Grossman’s essay In memory of the Warsaw Ghetto Uprising [Pamyati vosstaniya v Varshavskom getto] (1948) in the Russian language, the article recollects the circumstances and reasons for the piece to have been kept from publication and defines its relevance in the author’s legacy. The work is analyzed in the context of the problems of a literary testimony. The researcher points out that Grossman wrote the story using a special writing strategy, where numerous meanings incompatible with official Soviet culture are incorporated by means of an uncontrollable symbolic subtext, decipherable with certain ‘keys’ created throughout the narrative. In this case, such a ‘key’ is provided by the character of the stocking knitter ofŁodź. The story and the editor’s corrections are reconstructed from an archived, typed manuscript. Also included in the publication and supplied with comments are V. Grossman’s answers to the questionnaire distributed by the Jewish Anti-Fascist Committee to several cultural workers in 1946 ahead of the first Victory Day anniversary. 


Author(s):  
Polly Jones

A major late Soviet initiative, the ‘Fiery Revolutionaries’ (Plamennye revoliutsionery) series, was launched to rekindle popular enthusiasm for the revolution, eventually giving rise to over 150 biographies and historical novels authored by many key post-Stalinist writers. What new meanings did revolution take on as it was reimagined by writers including dissidents, leading historians, and popular historical novelists? How did their millions of readers engage with these highly varied texts? To what extent does this Brezhnev-era publishing phenomenon challenge the notion of late socialism as a time of ‘stagnation’, and how does it confirm it? Through exploring the complex processes of writing, editing, censorship, and reading of late Soviet literature, Revolution Rekindled highlights the dynamic negotiations that continued within Soviet culture well past the apparent turning point of 1968 through to the late Gorbachev era. It also complicates the opposition between ‘official’ and underground post-Stalinist culture by showing how Soviet writers and readers engaged with both, as they sought answers to key questions of revolutionary history, ethics, and ideology: it thus reveals the enormous breadth and vitality of the ‘historical turn’ amongst the late Soviet population. Revolution Rekindled is the first archival, oral history, and literary study of this unique late socialist publishing experiment, from its beginnings in the early 1960s to its collapse in the early 1990s. It draws on a wide range of previously untapped archives, uses in-depth interviews with Brezhnev-era writers, editors, and publishers, and assesses the generic and stylistic innovations within the series’ biographies and novels.


Author(s):  
Michael P. DeJonge

With this chapter, the book transitions from a presentation of Bonhoeffer’s political thinking to an account of his resistance thinking in action. This chapter also begins the presentation of the first of the three phases of resistance, which lasts from 1932 until 1935. The chapter focuses on “The Church and the Jewish Question” (1933), the central text of this first phase, identifying in it the first two of Bonhoeffer’s six types of resistance: individual and humanitarian resistance to state injustice (type 1) and the church’s resistance through diaconal service to the victims of state injustice (type 2). These set the stage for Chapters 6–8’s considerations of resistance through the church’s preaching office, which is the central agent of resistance in the first phase.


Author(s):  
Michael P. DeJonge

The Introduction begins by noting the frequency and ease with which Bonhoeffer is mentioned in contemporary conversations about political resistance. Nonetheless, it would be difficult to derive from these appeals to Bonhoeffer any clear sense of the legacy of his political resistance. This raises the question: What did Bonhoeffer actually say about political resistance? Noting that Bonhoeffer spoke about political life primarily as a Christian pastor and Lutheran theologian, the Introduction sets forth the task of the book, which is a presentation of Bonhoeffer’s resistance thinking in the broader context of his theology. As summarized in the Introduction, this book presents Bonhoeffer’s resistance thinking chronologically according to three phases of development and systematically according to a sixfold typology of resistance.


Author(s):  
Chris Lorenz

This introductory chapter assesses the role of theory in history and traces the developments in the discipline of history. Theoretical reflection about the ‘true nature’ of history fulfils three interrelated practical functions. First, theory legitimizes a specific historical practice—a specific way of ‘doing history’—as the best one from an epistemological and a methodological point of view. Second, theory sketches a specific programme of doing history. Third, theoretical reflections demarcate a specific way of ‘doing history’ from other ways of ‘doing history’, which are excluded or degraded. The chapter then considers three phases of theoretical changes from analytical to narrative philosophy of history, and then on to ‘history from below’ and the ‘presence’ of history, ultimately leading to the current return of fundamental ontological and normative questions concerning the status of history and history-writing.


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