Международная научно-практическая конференция XX Шешуковские чтения «Отечественная словесность о войне. Проблема национального сознания: К 70-летию Победы в Великой Отечественной войне: Материалы XX Шешуковских чтений"
M.Yu. Olshevskaya. Pushkin state Institute Interpretation of war and revolution subject in the V. Brusov’s cycle of poems «Modernity» The research focuses on the cycle of poems V.J. Bryusov “Modernity”. The article explores poetic responses V. Bryusov on the Russian-Japanese war and the revolution, for the victory and the defeat of Russia at all times. War in his poetry showed no as only exact historic occasion but complicated occasion in the nation’s life. This is humanism, compassion, sympathy to the fighting; general euphoria at the beginning of the war and the fading interest in connection with failures; the desire to defeat the tsarist government and hope for the renewal of Russia. Keywords: V.J. Brusov, Russia, revolution, war, Russian-Japanese war, the purpose of the poetry, the cycle “Modernity”.
This article analyzes grass-root politics in the Russian Civil War, challenging the traditional assumption that the Bolsheviks with their program of radical revolutionary change enjoyed greater popularity than their White adversaries. On the example of the Northern region, it demonstrates that the local «counter-revolutionary» government commanded considerable sympathies of the provincial population. This popularity was based on the government's ability to supply the population of this non-agricultural province with imported grain, to provide military protection and arms for self-defense. Ultimately, the article strives to explain the outcome of the Civil War not by conflicting ideologies and policies, but by practical circumstances and local factors that on a grass-root level conditioned changing political loyalties.
Classic book about childhood Lev Kassil
Since the fall of Communism in the Soviet Union the historiography of revolutionary Russia has developed a distinct provincial turn. The opening of Soviet central and provincial archives provided new research opportunities to historians. Numerous articles and volumes focusing on Russia’s provinces have since appeared on both sides of the former Soviet border, and the historiography of the Russian revolution matured with an accelerated speed to account for multiple local variables. The understanding of multiplicity of local experiences profoundly changed and challenged the historical interpretations of the crisis that played out in Russia from 1917 to 1921. The article discusses the variety of local revolutionary experiences as they are revealed in recent historiography, but also focuses on some larger themes and issues where this regional perspective provides new insights and affects the general understanding of the Russian revolution. In particular, it discusses the factors contributing to the disintegration and reconstruction of the state, including the patterns and meaning of power in a provincial context, mechanisms of popular mobilization in the civil-war period including in Russia’s non-Russian regions, as well as transition to peace.
The chapter examines the origins of Jewish pogroms during the Civil War in Russia (1918-1921), shows the genetic connection between the "military pogroms" of the World War I and pogroms of the Civil War. Among other issues, the article analyzes the motive of a "shot in the back" as a pretext for pogroms.
The novel Doctor Zhivago, first published in 1957, immediately provoked critical debates that continue to this day, and has been the subject of numerous scholarly studies (C. Barnes, B. Gasparov, P. A. Jensen, A. Lavrov. M. Aucouturier, O. Raevsky-Hughes, I. Smirnov, L. Fleishman, Iu. Shcheglov, A. Khan, and many others). On one hand, Boris Pasternak’s positions (founded on his religious historiosophy) with regard to the events, people and situation that he depicts have formed one of the central topics of critical and scholarly contention. On the other hand, it is the specificity of the novel’s poetics and most centrally of its generic identity, the laws of its organization of novelistic time and problems of the prototypes of its central characters, that have served as objects of debate. It is our contention, however, that the choice of genre (that we have defined as being that of “a historical novel of a new type”) was fundamental for Pasternak and determined the entirety of the novel’s poetics. As we will demonstrate, the author was continuing the tradition of Walter Scott, which had been rejected by other contemporary Soviet authors who described the history of the twentieth century. In taking up work on the novel, Pasternak emphasized many times that he desired to present an image of the course of history of the first half of the twentieth century—the “forty- five-year era,” as he named this period several times in his letters. This dissertation describes the author’s search for a means for the artistic embodiment of contemporary events and his final choice of the “Walter Scott tradition” of historical novel for Doctor Zhivago. In this connection the work includes marked reflections of C. Dickens’ Tale of Two Cities, Pushkin’s The Captain’s Daughter and Dubrovsky, and L. Tolstoi’s War and Peace, as well as sharp polemics with historical works of prose fiction by Pasternak’s contemporaries and with the highly ideologically charged Soviet historiography. Separate consideration will be given to the specific events, situations and names that Pasternak considered it necessary to include in his narrative, presenting in this way his own version of a hierarchy of characteristic phenomena of these decades. The dissertation demonstrates that in Doctor Zhivago history is presented simultaneously as a force, organizing the actions of people and forming their characters and world-views, and also as a chain of events to be understood and made meaningful by the protagonists, and finally as an ineluctable law of human existence that has been reestablished by the force of artistic creation—by the poetry of Iurii Zhivago. At the very foundation of the Zhivago’s poetry lay the ideas of his uncle—the philosopher Vedeniapin, who defines history as an element of the Christian comprehension of the world. The central place of these characters in the novel defines the nature of Pasternak’s techniques with prototypes, by which he embeds into his characters the views, characteristics and fates of various of his contemporaries (A. Bely, A. Blok, D. Samarin, the author himself, and others). We also propose explanation of the work’s many anachronisms, which become a means for communication of the laws of the post-revolutionary period (1917-1943)—a period that “fell” out of history. At the same time we will show how historical time is reestablished in the Epilogue that completes the novel and in the “Poems of Doctor Zhivago.” This dissertation may be characterized as interdisciplinary. In it, the methods of literary- historical and intertextual analysis are applied. The text is examined in relation to social, cultural and historical phenomena of Russia during the first half of the twentieth century.
An analysis of the historical basis of Benya Krik (1926) film after I. Babel's script, directed by V. Vilner. More precisely, an analysis of how art transforms reality and then, in turn, forms our perceptions about historical reality. The film was quickly taken off the screen for 'poeticizing banditism'. The prototype for Benya Krik, the character of Babel's Oddesa Tales, is Mishka the Japanese. It was a nickname of Moisei Vinnitskiy - an Odessa raider and a commander of a Red Army unit, who was in the end killed in a Cheka operation.
The present article continues the investigation of the Soqotri verbal system undertaken by the Russian-Soqotri fieldwork team. The article focuses on the so-called “weak” and “geminated” roots in the basic stem. The investigation is based on the analysis of full paradigms (perfect, imperfect and jussive) of more than 170 “weak” and “geminated” Soqotri verbs.