E. Kardel and Russia

Edvard Kardel was the the most import ideologue of Tito’s regime. His attitude towards Soviet Union was biased by his personal experience of Stalin’s terror inthirties. At that time young Kardel studied in Moscow, where he become the witness of the liquidation of the large Yugoslav political diaspora. This experience did not shake his belief in Marxism, although inspired him the idea that it should be realized in Yugoslavia in a more human way. After the split between Stalin and Tito in 1948, Kardelj was able to start developping his «socialism with human face» and his doctrine of self-management, based not just on Marxism but on the traditions of the French utopian socialists too. His main point was the belief that the CPSU has degenerated into a bureaucratic caste, which usurped power in the name of the working class. This polemical attitude provoked in Moscow a critic of the Yugoslav «revisionism», that lasted till Kardelj’s and Tito’s death.

Russian chapel — the touch of heaven and earth, home and abroad

The Russian chapel under Vršič celebrated centenary in 2016. It became a symbol for many people. Firstly, it was a symbol of Russiafor prisoners of war. Then it represented contact with “home” for all those who, after the October Revolution, found their home abroad, in Slovenia. The Chapel was a silent friend of travelers and mountaineers for many years, and today it also represents a symbol of friendship between Russia and Slovenia. Every year at the end of July, on the St. Vladimir’s day, people gather in memory of the past and present, for awarning. The text provides a brief insight into the last 100 years of the Russian chapel.

Russian artists in Slovenia after the October revolution

This article presents selected Russian artists in theater, opera and ballet, which have been working in Ljubljana Theater since 1920. In the article are presented Russian actors, dancers, singers, choreographers and teachers who brought to the Slovenian land two hundred years old traditions of Russian culture and contributed to the success of Slovenian theater, opera and ballet.

Slovenian political press about the war with the Russian and other Slavic adversaries in 1914–1916

For a vast majority of Slovenians and Slovenian soldiers the Slavic opponents of the Monarchy were enemies. In the period from 1914 to 1916 such sentiments were encouraged by two Slovenian political daily newspapers catholic Slovenec and liberal Slovenski narod, whose attitude allowed no ideas about interaction between Slovenians and the other Slavic nations. Regarding the issue of Slavic identity on the fi rst place were front lines which ran between Austria-Hungary and Germany on the one side and Slavic countries fi ghting them on the other. Despite some articles in which no harsh words were shared concerning Slavic opponents, the path to considering the mutual Slavic identity was decisively closed at both newspapers. There were only the Austrian sense of self-worth and its narrow attitude towards the Slavic identity and culture. Both Slovenec and Slovenski narod signifi cantly consolidated the position that Slovenians ― just like other Slavs in the Habsburg Monarchy ― were Austrians, and those who did not feel the same came from other planet. This attitude was laid by the war, subordinated Slavic interests to the interests of the states participating in it.

Ksenia Grundt-Dumet and her companions on the Slovenian scene in the early 1930s (according to the unpublished memoirs of the Russian ballerina)

The text devoted to Russian masters of ballet who has performed on Slovenian stages, fi rst of all, Xenia Grundt-Dumet, her tour in 1931. Represented the artist’s repertoire, reviews for her performances.

The Slavic Question: «On the Riverbanks of the Russia» (Alexandr Trushnovich and Others)

The article describes the history of the creation, formation and perception of the idea of Slavdom in Russia (from A.S. Pushkin and F.I. Tyutchev and further on). The analysis was made on the basis of the biographical information (“Memoirs of the Kornilov’s Soldier”) of the Slovenian A.R. Trushnovich, who during the First World War (as a soldier of the Austro-Hungarian army) moved to the side of Russia, into the army of Kornilov. This act affected on his personal destiny (he became Orthodox, married a Russian, etc.) and on his worldview. However, after the Second World War, his attitude towards the fate of Russia changed. However, Trushnovich retained his fi rm faith and the most spiritually creative sources of the Orthodox thought, which was N. Berdyaev.

Perception of the Slovenian issue in Russian official circles in 1914–1915

The ruling circles of the Russian Empire began to show interest in Slovenes only during the First World War, and they were interested in them only in the context of common problems concerning the future of Primorye (fi rst of all, Trieste). In the article, based on the materials of Russian archives and historical studies, are revealed some plans of Russian government circles, including the fate of Slovenes, as well as attempts by Slovene patriots to provoke the interest of the Russian government towards their people and thus infl uence its policy.

Russian emigration in Slovenian periodicals in the 1920s

After the October Revolution, the power of Russian culture manifested itself in emigration. Prominent representatives of the Russian intelligentsia lived and worked in world cultural capitals. Russian emigrants, who found themselves in Slovenia, despite the diffi cult conditions that they faced after coming to their new homeland, were met with dignity by representatives of Slovenian culture and science. They had a signifi cant impact on the still young university in Ljubljana and contributed to the development of various artistic trends among the Slovenes.

Neue Slowenische Kunst and its links with Russia

This article examines the activities of the artistic collective Neue Slowenische Kunst, which arose in 1984 in Slovenia, at that time one of the republics of Yugoslavia. NSK gained international fame largely due to the political component of its art, aimed at the formation of an alternative civil society. One of the key components of the group’s creativity is the reference to the heritage of the Russian avant-garde (to such names as K. Malevich, A. Kruchenykh, V. Khlebnikov, V. Tatlin, V. Meyerhold, M. Larionov, N. Goncharova, etc.) and creative events held in Russia (the NSK Embassy in Moscow in 1992, performances in Star City in 1991 and 2005).

Anton Ažbe’s pedagogical method’s influence on the stylistic development of Russian Empire painting in the late XIX — early XX century

Anton Ažbe, a Slovenian artist and teacher, at 1891 opened a famous private art school in Munich, which attracted lot of young artists from all world during fourteen years. Ažbe’s pedagogical method played an important role in the stylistic development of Eastern Europe and Russian art in the late XIX ― early XX century. Due to the successful combination of openness to new ideas and the presence of a strong technical base, Ažbe’s pedagogical method developed individual creative inclinations of students, who were able to realize their potential in different areas of Avant-garde. The objective of this article is to show on concrete examples the Ažbe’s pedagogical method’s infl uence on the art’ stylistic development of his students from the Russian Empire ― natives of various national painting schools.