Haunted Empire

Author(s):  
Valeria Sobol

This book shows that Gothic elements in Russian literature frequently expressed deep-set anxieties about the Russian imperial and national identity. The book argues that the persistent Gothic tropes in the literature of the Russian Empire enact deep historical and cultural tensions arising from Russia's idiosyncratic imperial experience. It brings together theories of empire and colonialism with close readings of canonical and less-studied literary texts as the book explores how Gothic horror arises from the threatening ambiguity of Russia's own past and present, producing the effect Sobol terms “the imperial uncanny.” Focusing on two spaces of “the imperial uncanny” — the Baltic “North”/Finland and the Ukrainian “South” — the book reconstructs a powerful discursive tradition that reveals the mechanisms of the Russian imperial imagination that are still at work today.

2020 ◽  
Vol 20 (25) ◽  
Author(s):  
Ljubov Kisseljova

Artiklis käsitletakse probleemi, kuidas Vene Geograafiaseltsi vaated, mis põhinesid Karl Ernst von Baeri etnograafilisel programmil, realiseerusid populaarses ja teaduslikus diskursuses, ning millist osa etendab etnograafilistes kirjeldustes poliitiline faktor. Mitmeköitelise teose „Maaliline Venemaa“ Baltikumi käsitleva teise köite teise osa näitel analüüsitakse impeeriumi ideoloogia peamiste postulaatide mõju piirkonna ajaloo ning põlisrahvaste kuvandi konstrueerimisele. Näidatakse, et autorid püüavad tõestada, nagu oleks piirkonna põhiprobleem Balti erikord, et kohalik elanikkond vihkab sakslasi ja vaatab lootusega Vene võimu poole. Selline tendents sobis täiesti vene 1860.−1870. aastate hoiakutega Balti küsimuses. Põhijäreldus on, et populaarne diskursus tingib etnograafilise käsitluse lihtsustamise ning ideologiseerimise.   The article views, in as great detail as possible, the history of creating the popular scientific ethnographic publication North-Eastern Borderlands of Russia. The Baltic Region (Северо-Западные Окраины России. Прибалтийский край, 1883) from the ethnographic series Picturesque Russia (Живописная Россия). Differently from Karsten Brüggemann (2018) who placed it in the broad context of 19th-century ethnographic publications, this article is less interested in the context and the general paradigm it blends with than in immanent text analysis, its pragmatics and sources. The author has set herself the task to examine how the book’s anonymous authors cope with the dilemma of academic and popular discourses; to which extent they manage to overcome the ideological and political setting of the era straddling the boundary between the epochs of Alexander II and Alexander III; how they implement the conditions of official imperial ideology – the loyalty of the subjects, the need for the acculturation of borderlands, the consolidation of a unified imperial nation. Therefore, a brief digression is made into the general features of imperial ideology. The beginning of the article describes how the publication reflected the general views of the Russian Geographical Society that should have become the patron of the publication. It is shown that Karl Ernst v. Baer’s article “On ethnographical studies in general and in Russia in particular” (“Об этнографических исследованиях вообще и в России в особенности”, 1846), which makes a clear distinction between the scientific and political tasks of ethnography, played a role in the formation of the concept of Picturesque Russia. The authors met the scholarly criteria in their selection of reliable information about the history of the Baltic provinces and their peoples and the new stage in the formation of the national mentality of Estonians and Latvians in the period of modernisation. The authors underscored how education influenced the gradual breakaway from the traditional lifestyle, creation of national cultural societies and periodicals, development of new literature in the local languages. They tried to present to the readers interesting digressions into the history of the region and its peoples, thus meeting the criterion of popularity. Simultaneously, the authors adhered to clear ideological principles: the territory of the Baltic provinces is a primordial “Russian” territory and must forever remain a part of the Russian Empire (the authors, naturally, could not imagine that the empire was not eternal). The indigenous peoples suffered greatly because of the German invasion in the 13th century and the long-time German rule that would follow; they hated Germans, strove for liberation from German domination and wanted to integrate into the Russian context. This attitude fully met the ideology and policy of the Russian authorities concerning the Russian acculturation of the region and gradual cancellation of the Baltic special order. One of the principles of the authors of the publication was to show the indigenous peoples’ support to such policy. The book about the Baltic provinces was published anonymously, and, until now, archive searches have not revealed the authors’ names. Analysis shows that the book is a compilation; the authors relied on many sources, which are listed in the current article. However, the lack of a single editor, heterogeneity of different parts of the book, and ideological engagement had a negative effect on the quality of the book. Picturesque Russia, which was planned as an extensive and very expensive project covering the history, geography and ethnography of the all regions of the Russian Empire did not prove as successful as its initiator, the renowned Russian published Maurycy Wolff, had expected. The bulky and heavy tomes did not sell well and did not get a serious response from Russian readers. Still, the books of this series, and The Baltic Region in particular, became sources for many popular publications of the time, including guidebooks on Russia not only in Russian, but also in German.


2020 ◽  
Vol 20 ◽  
pp. 145-172
Author(s):  
Georgy Smirnov ◽  
Tatyana Vyatchanina

The article deals with two Courland palaces built by the Duke ErnstJohann Biron in Mitau and Ruhental (today, respectively, Jelgava andRundale, Latvia) in connection with architectural drawings of theso-called Bergholtz collection, which is part of the Tessin-HårlemanCollection (THC) in Nationalmuseum in Stockholm. Twelve drawingsof the two Courland palaces make this collection of special interestto those interested in the art of the Baltic region.The first part of the paper is dedicated to the person of FriedrichWilhelm von Bergholtz and to his collection. Who was the creatorof the collection, what were the reasons to gather it and what otherdrawings are stored there? Born in the German duchy of Holstein,Bergholtz spent in all about 15 years in Russia. An extremely richand diverse collection of architectural drawings was gathered mainly(presumably totally) during his third visit in 1742–1746 as tutor ofKarl-Peter-Ulrich, heir to the Russian throne and future emperor ofRussia under the moniker Peter III. The circumstances of compilingthe collection and reasons for it are quite obscure. All the assumptionsmade by different authors remain mere guesswork. The greaterpart of the Bergholtz collection deals with St Petersburg and itssurroundings. All other drawings, numbering 174 in total, referto Moscow, to several provinces of the Russian empire and to theDuchy of Courland.The second part of the article reveals and describes 12 sheetsfrom the Bergholtz collection dedicated to the Baroque palaces inCourland constructed in the 1730s for duke Ernst Johann Bironaccording to the projects of the great architect Francesco Rastrelli.The research resulted in the discovery of seven sheets depicting plansand façades of the palaces in Ruhental, showing how they are almostexact copies of the original projects stored in the collection of theAlbertina museum in Vienna. Of the five drawings that representthe palace in Mitau, two are also copies of the Vienna sheets, andthree are copies of completed projects. Thus, the most valuable amongthe architectural drawings from the Bergholtz collection are threedrawings depicting the façade, and plans for two floors, of the palacein Mitau – the only known copies of Rastrelli’s project, the originalsof which have not yet been discovered.


2021 ◽  
pp. 186
Author(s):  
Nadezhda S. Nizhnik

The review of the XVIII International Scientific Conference "State and Law: evolution, current state, development prospects (to the 300th anniversary of the Russian Empire)" was held on April 29-30, 2021 at the St. Petersburg University of the Ministry of Internal Affairs. The Russian Empire existed on the political map of the world from October 22 (November 2), 1721 until the February Revolution and the overthrow of the Monarchy on March 3, 1917. The Russian Empire was the third largest state that ever existed (after the British and Mongolian Empires): It extended to the Arctic Ocean in the north and the Black Sea in the south, to the Baltic Sea in the west and the Pacific Ocean in the east. The Russian Empire was one of the great powers along with Great Britain, France, Prussia (Germany) and Austria-Hungary, and since the second half of the XIX century – also Italy and the United States. The capital of the Russian Empire was St. Petersburg (1721 - 1728), Moscow (1728 - 1732), then again St. Petersburg (1732 - 1917), renamed Petrograd in 1914. Therefore, it is natural that a conference dedicated to the 300th anniversary of the formation of the Russian Empire was held in St. Petersburg, the former imperial capital. The conference was devoted to problems concerning various aspects of the organization and functioning of the state and law, a retrospective analysis of the activities of state bodies in the Russian Empire. The discussion focused on various issues: the character of the Russian Empire as a socio-legal phenomenon and the subject of the legitimate use of state coercion, the development of political and legal thought, the regulatory and legal foundations of the organization and functioning of the Russian state in the XVIII century – at the beginning of the XX century, the characteristics of state bodies as an element of the mechanism of the imperial state in Russia, the organizational and legal bases of the activities of bodies that manage the internal affairs of the Russian Empire, as well as the image of state authorities and officials-representatives of state power.


2021 ◽  
pp. 342-356
Author(s):  
Elena S. Sonina ◽  

Due to the literary-centric nature of Russian culture and the performance of the functions of civil society by the printed word, the role of the writer in the history of Russian literature and journalism of the Russian Empire was traditionally high. Therefore, satirical graphics constantly turned to the image of the Russian writer. The study compares the methods of depicting writers in the 19th and early 20th centuries and isolates the traditions of referring to the literary past and present. Caricature in connection with new trends in literature showed writers in the role of heroes of low and elite cultures, “tramps” (bossjaki) and modernists.


Polar Record ◽  
2012 ◽  
Vol 49 (2) ◽  
pp. 180-192 ◽  
Author(s):  
Erki Tammiksaar ◽  
Tarmo Kiik

ABSTRACTIn 1819, the Russian government launched two expeditions: the first squadron of two ships departed to explore the southern polar areas, and the second set out for the northern polar areas. The expedition to the southern polar areas took place under the command of Fabian Gottlieb von Bellingshausen. Up to the present day, very little information is available, from the Russian literature, about the initiator and main goals of the expedition. At the same time, the travels and main results of the expedition have been widely popularised, but not necessarily accurately, in Russian as well as in English. On the basis of recently discovered documents, this article attempts to establish who the initiator of these Russian expeditions was, how the expeditions were prepared, and whether the main tasks of the expeditions were realised. The conclusion is that Jean-Baptiste Prevost de Sansac, Marquis de Traversay was the initiator of the Russian Antarctic expedition, not the Russian navigators Adam Johan von Krusenstern, Otto von Kotzebue, Gavrila A. Sarychev or Vasilii M. Golovnin as stated in Soviet publications. The real aim of the expedition was to discover the Antarctic continent which would have added glory to de Traversay as well as to Emperor Alexander I and, in a wider sense, also to the Russian empire. All dates are given according to the old style calendar. The difference with the new style calendar is 12 days.


Slavic Review ◽  
1984 ◽  
Vol 43 (3) ◽  
pp. 453-467 ◽  
Author(s):  
Toivo U. Raun

Historical studies of the Russian empire in upheaval in the first two decades of the twentieth century have tended to be animated by a narrow centralist bias or an equally narrow regional one. Although it is clear that the primary impulse for revolutionary situations in 1905 and 1917 resulted from events in St. Petersburg/Petrograd, a Russocentric approach to a society that was less than 50 percent Russian is surely inadequate. At the same time, studies of individual minority nationalities, however thorough, tend to view these groups in isolation. A comparative perspective, which could identify broader uniformities as well as local peculiarities, is usually lacking. In this article I shall present a synthesizing and comparative overview of the Revolution of 1905 in the Baltic Provinces and Finland. Although these areas constituted only 2 percent of the land area of the Russian empire and had less than 4 percent of its population in 1905,2 they were among the most modernized in the country, and their ethnic diversity and differing histories provide abundant material for a comparative case study.


Slavic Review ◽  
1968 ◽  
Vol 27 (4) ◽  
pp. 542-553 ◽  
Author(s):  
Alan W. Fisher

Discussions of Catherine II as an “enlightened despot” usually emphasize her attempts to reform the social and political bases of the Russian Empire and to gain the active support of the nobility and gentry in governmental activity. Catherine denned enlightened government as wellordered government, achieving its policy and programs through bureaucratic and political means rather than with the sheer force that many of her predecessors had used.The term “Russification” is seldom used with reference to the period of Catherine II, even though it was in her reign that the Cossack Sech was abolished, the special privileges granted by Peter I to the Baltic provinces abrogated, and the first successful assimilation of Russia’s Muslim subjects into the Russian state accomplished.


Author(s):  
Jūratė Landsbergytė-Becher

The image of the front line is deeply rooted in the contemporary Lithuanian discourse about cultureand politics. The strands of its cultural landscape connect art, media, politics and history. The concept of the line here performs like a literary metaphor deeply ingrained in everyday consciousness as a defensive front line due to the painful history of the nation’s experience. The confrontation with the constant threat of the Russian Empire and the catastrophes of occupation, especially in the 20th century, drew the Lithuanian prototype of the nation’s resistance and filled the 21st-century daily discourses with reflections on the emerged meaning of the Mannerheim Line. This actualised vision travelled to the spaces of artistic creation, music, cinematography, literature, creating feelings of infinity, spaces of transcendent landscapes, bridges of time and the dramaturgy of the Baltic archetypes of contiguity. These insights aim to unfold the Lithuanian discourse of contemporary culture with the special mark of the front line.


2016 ◽  
Vol 4 (1) ◽  
pp. 42-72
Author(s):  
Bart Pushaw

In the areas now known as Estonia and Latvia, art remained a field for the Baltic German minority throughout the nineteenth century. When ethnic Estonian and Latvian artists gained prominence in the late 1890s, their presence threatened Baltic German hegemony over the region’s culture. In 1905, revolution in the Russian Empire spilled over into the Baltic Provinces, sparking widespread anti-German violence. The revolution also galvanized Latvian and Estonian artists towards greater cultural autonomy and independence from Baltic German artistic institutions. This article argues that the situation for artists before and after the 1905 revolution was not simply divisive along ethnic lines, as some nationalist historians have suggested. Instead, this paper examines how Baltic German, Estonian and Latvian artists oscillated between common interests, inspiring rivalries, and politicized conflicts, questioning the legitimacy of art as a universalizing language in multicultural societies.


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