The Discreet Charm of Lenin

This article takes two postcards of Lenin as their point of departure to ask about articulations of Soviet history as image and kitsch. I am especially interested in the ways in which the dead body or mummy of Lenin comes to symbolize an imagined social coherence that accrues specific political significance after the demise of the Soviet Union. In looking at Lenin's mummy as a site of memory and key to understanding contemporary Russian political desires, the article offers one analytical interpretation of the continuing preservation of Russia's revolutionary and also Stalinist past. By arguing that the Lenin mummy simultaneously functions as camp and kitsch, and as an embodied time of eternity, I also seek to understand how “grandiose” understandings of Soviet history work in this present.     

Totalitarianism in America? Robert Nisbet on the “Wilson War State” and Beyond

This article examines Robert Nisbet’s claim that the first totalitarian experiment of the twentieth century occurred not in the Soviet Union or in Nazi Germany, but in the United States during the First World War. Totalitarianism appeared in the form of mass propaganda, surveillance and repression. It was accompanied by a messianic desire of Woodrow Wilson and his team to transform America into a “national community.” By 1920, American totalitarianism was effectively at an end but, claimed Nisbet, it left a legacy of centralization that, over successive Democratic and Republican administrations, has stripped the Republic’s citizens of social authority and independence; the political trumped the social. Nisbet’s depiction of American totalitarianism is contrasted with Hannah Arendt’s argument that totalitarianism, thus far in history, is restricted to Nazi Germany and the Soviet Union under Stalin.     

The literary development of Yekhiel Shraybman: a Jewish writer in Soviet clothing

This article examines the literary career of the last Bessarabian Yiddish writer of his generation Yekhiel Shraybman (1913–2005). His loss is still deeply felt by the Moldovan Jewish community as his life and writings embraced the country’s historic Jewish past. As his literary career was launched and developed in the Soviet Union his work, aesthetics and politics were affected by “Sovietisation,” a requirement of the Communist Party’s standards in relation to literature. Yet behind the ambivalent glamour of the title “Soviet writer,” he managed to remain a Jewish writer and leave behind a printed memory of his home shtetl, Rashkov.     

The Judgments of David Bergelson

ABSTRACT

In this paper, I read the Yiddish author David Bergelson’s statements at his secret trial through the lens of his own earlier fiction about Soviet justice, especially his novel Judgment. I examine Bergelson’s self-fashioning as a Jewish writer and how he uses his own Jewish background as a justification for his failures as a Soviet person. I offer some contextualization of Bergelson’s statements in light of other trials of other writers both before and after 1952, and compare his declaration of love for Yiddish with other, similar expressions. Bergelson does not merely defend himself, he creates a memory about his legacy for the future.     

Typology of Slovenian Drama in the Period Between the Two World Wars

From the 1970s, the term metafiction has been mostly confined to studies of American and Western European literatures; I propose using metafiction as a means of approaching Sergei Dovlatov’s Zona [The Zone], a novel which blurs the line between fiction and memoir. In one sense a prison text, in that it concerns the lives of guards and prisoners in a camp, it is, however, divorced from survivor narratives in that the camp does not contain political prisoners, so the “heroes” are the thieves and criminals so universally reviled in other memoirs of the Soviet gulag. It is also a record of its author’s developing need to write as it tracks the transformation of the guard Boris Alikhanov, Dovlatov’s alter-ego. Dovlatov’s authorial persona serves not to elucidate the text, but to construct a hybrid prison memoir which supports his views on the prison experience; views which are in opposition to the pre-existing tradition, and this leads me to describe The Zone as a metatextual camp narrative, containing many of the attributes of the metafictional novel, though originating from the memoiristic impulse and still straddling the line between fiction and nonfiction in a way that true metafictions do not.     

Conflicting Holocaust narratives in Moldovan nationalist historical discourse

The effort to build a patriotic, usable past for Moldova has led important Moldovan post‐Soviet historians of the pan‐Romanian school to de‐emphasize and rationalize the Holocaust for fear of it staining a national myth grounded in Romanian victimization narratives. Much of this strategy has been focused on the Jewish connection to Soviet communism in interwar greater Romania, which supposedly undermined the Romanian state and thereby warranted a public outcry against the Jews. The construction and use of this interwar “mismemory” has been mimicked by post‐Soviet historians in recent years, whereby greater social, political and economic problems are glossed over in preference for a specifically threatening Jewish anti‐Romanianism. One’s position on this historical debate is seemingly important enough to influence one’s national credentials in the public forum.     

Problems of Taxonomy,Issues of Class,Citizenship, Consumption,and Avdot’ia Smirnova’s KoKoKo (2012)

Sundry discussions of Russian society by scholars, journalists, and politicians suffer from imprecise taxonomy, wielding labels such as middle class, civil society, and creative class in an automatic transfer of discursive categories long defining Western societies to one at increasing odds with numerous Western values. As various surveys by Russian sociologists have indicated, a ‘middle class’ and ‘civil society’ in the traditional sense do not exist in Russia. Moreover, even ‘the intelligentsia’, as historically defined, seems to have diminished, evaporated, or emigrated. Indeed, the incisive portrayal of contemporary Russian class distinctions in Avdot’ia Smirnova’s film KoKoKo (2012) exposes the impotence of the self-serving intelligentsia, contrasted to the vitality and drive of ‘the people’, who may be the only hope for Russia’s future – neither the radiant future fantasized by the Soviet Union nor the democratic future that seemed possible after perestroika, but one that meaningful resistance to the authoritarianism of Putin’s regime will need to elaborate step by painstaking step.     

A Cesspool of Intrigue: Les' Kurbas,Oleksandr Dovzhenko,and the Film Industry in 1920s Soviet Ukraine

Abstract

In the 1920s, theatre innovator Oleksandr “Les'” Kurbas (1887–1937) made three short films for the Vseukrains'ke Foto-Kino Upravlinnia [All-Ukrainian Photo-Cinema Administration] or VUFKU. His film career was short-lived, however. Lambasting the VUFKU as a “cesspool of intrigue,” Kurbas left film for good to focus exclusively on theatre. His films never gained wide release, and have since been lost. Kurbas’s brief foray into cinema could therefore be considered a non-moment, yet because Kurbas objected not to the medium itself, but to the institutions creating film, his encounter with the VUFKU illuminates the larger process of the formation of the Soviet film industry. Kurbas’s departure from film occurred simultaneously with the arrival of Oleksandr Dovzhenko (1894–1956), and their crossed paths show how the structure of the Soviet film industry shaped artistic possibilities. The institutional transformation of VUFKU into Ukrainfilm, the regional affiliate of the all-Union film monopoly Soiuzkino, signalled a cultural shift: from a film industry in Soviet Ukraine, to a Soviet Ukrainian film industry, one both part of wider Soviet cinema production and slotted specifically into a Ukrainian niche. Ultimately, this article argues that this process of consolidation and centralization in the film industry complicated the development of culture in the Soviet regions.     

Ukrainian Symbolism and the Problem of Modernism

This article explores the role of children’s literature in the formation of Stalinist identity and assembles a list of moral principles developed in the most popular early works of Arkadii Gaidar. It is not in Marxist texts nor in Pioneer slogans, but in these simple stories that the essential narrative structures of Soviet morality were created. Gaidar’s books are representative of a whole group of Soviet children’s literary classics published in the late 1920s–early 1930s and written by young people whose coming of age coincided with the years of political and social turmoil. This study argues that Gaidar’s own personal experiences as a youthful Red Army commander during the Civil War underpinned the moral vision of these popular novels. A new military-like value system, with courage (not kindness or love) as its central value, originated in Gaidar’s books and moulded several generations of Soviet children.     

The writer as the people's therapist: Der Nister's last decade, 1939–49

ABSTRACT

World War II and the Holocaust caused profound changes in the style and themes of Der Nister's writing. He reevaluated his symbolist legacy and emerged as one of the most powerful and tragic voices in Soviet Yiddish literature. His transformation from a respected but marginal literary figure into a self-styled national leader became complete with his adventurous journey to the Jewish Autonomous Region of Birobidzhan in the Soviet Far East, which he envisioned as a site of new Jewish revival. His illusions were crushed by his arrest in 1949.     

Is Seeing Believing? Photographs,Eyewitness Testimony,and Evidence of the Holocaust

During World War II, the first media outlets to publish photographs of the Nazi mass murder of Jews and others were Soviet newspapers and magazines. The problem with Soviet photographs was that the Soviet media were considered unreliable from a Western standpoint, because unlike in the West, which perceived a clear ideological differentiation of art from photojournalism, Soviet photography blurred that distinction. According to Western standards of evidence, Soviet photography could never be taken seriously as photojournalism, precisely because the photographer was always metaphorically present. Since Soviet photojournalism failed the test of the documentary imperative, it rarely convinced people of the truth of its subject matter. In this epistemological context when photographs might fail to convince, the act of physically bearing witness, of seeing with one's own eyes, became the most important way of proving to a disbelieving public the veracity of Nazi atrocities.     

@GaddafisGhost: on the popular memoro-politics of a dead dictator

Qaddafi was widely lampooned in American popular culture before his death. This paper addresses this, together with representations after his death on Twitter and other social media sites, to explore the figure of the ‘dead dictator.’ It argues that the display of the gruesome body of a ‘dead dictator’ is enabled by the material and discursive construction of ‘dictators’ in contemporary narratives, which posit them as easily deposed with Western assistance and internal protests, thereby legitimating the triumph of democracy. It explores these constructions via a comprehensive analysis of Twitter accounts satirizing Qaddafi, which invoke a particular audience that ‘gets the joke.’ In this instance, jokes about Qaddafi’s death circulated in popular culture media enabled the display of his dead body, together constructing the figure of the dead dictator for a Western audience marked by being part of the in-group who were preconditioned to assume dictatorship as a form of political deviance. The paper seeks to contribute to literature on visual culture and visual politics by exploring the popular construction of memorial narratives, and to contribute a theorization that blends materiality and visuality by looking at the dead body and the way it is visually reproduced.     

Filming a Stalinist War Epic in Ukraine: Ihor Savchenko’s The Third Strike

Abstract

The article examines the production history of Ihor Savchenko’s film Tretii udar [The Third Strike, 1948], a World War II epic and the most significant project of the Kyiv Film Studio in the first post-war years. Using the example of The Third Strike, the author demonstrates how Stalinist cinema as an institution influenced Soviet film directors’ thematic and ideological choices as well as their style. Specifically, the supervision of such projects by the USSR’s political centre served to integrate Ukrainian film makers into Soviet cinema by fostering Soviet versions of the country’s political and social history and by preventing Ukrainian film makers from pursuing stylistic practices that might have become foundational to Ukrainian cinema. Filming a Stalinist war epic in postwar Ukraine was especially difficult in view of the Soviet struggle against Ukrainian nationalism. By featuring soldiers of different nationalities, The Third Strike underscored the idea of the “fraternal friendship of the Soviet peoples” during the war, which became a canonical element in Soviet depictions of the war. In this way, Ukrainian artists ingratiated themselves with the Soviet authorities and proved their loyalty to Russia.     

Anachronism,Agency, and the Contextualisation of Adat: Van Vollenhoven’s Analyses in Light of Struggles Over Resources

This article discusses the conceptual and analytical contributions of the Dutch scholar Cornelis van Vollenhoven to the study of Indonesian adat law. He argued from a politically inspired concern about gross colonial exploitation in the Dutch East Indies that this was based on flawed understandings of local legal orders. This stimulated him to design a conceptual framework to capture the characteristics of these legal orders, called adat law. His perceptiveness to the distortions caused by using Western legal concepts to describe customary laws was unique for the time, and so was his attention to the various contexts other than in disputes in which adat law was used. This renders his work of importance not only for lawyers but also for social scientists. The article discusses the criticism against his academic work and suggests that despite some major weaknesses, some criticisms are anachronistic as they concerned earlier or later scholars rather than the work of van Vollenhoven himself. The article shows how debates about indigenous rights and the decentralisation policies after the fall of the Soeharto regime have stimulated a renewed interest in adat and adat law. It is argued that van Vollenhoven’s conceptual framework is still of use, but only if it is expanded and set into a broader analysis of migration, exploitation, and power relations.     

Canadian Publications on the Former Soviet Union and Eastern Europe for 1995

This article seeks to provide a nuanced understanding of why some Russian citizens look upon Josef Stalin respectfully today. Based upon the results of an original nationwide survey conducted by the Levada Analytical Center and supplemented by seventy field interviews, this article posits that a considerable number of Russians view Stalin respectfully on account of three factors. First, Stalin remains a somewhat revered historical figure in part because most Russians harbour no feelings of shame about the Soviet past. Additionally, the tendency of some to rationalize Stalin’s main policies of the 1930s, by claiming that there was no other way for the USSR to industrialize than according to the course adhered to by Stalin, helps to safeguard the former General Secretary’s reputation. That said, the primary reason why some Russians view Stalin respectfully is due to the pervasiveness of nostalgia for the Soviet period, a widespread phenomenon which serves to bolster Stalin’s image as a leader whose contributions led to the realization of great achievements. This article contends that feelings of respect for Stalin are mainly grounded in how Russians evaluate the present ordering of society in comparison to the Soviet past.     

The ‘Old New Russian Town’: Modernization and Architectural Preservation in Russia’s Historic North West, 1961–1982

Abstract

The emergence of a Soviet preservationist movement, which gained institutional coherence in the mid-1960s, appears to stand at odds with the ideas of rationalization and standardization that informed the Khrushchev-era urban development programme. Yet, as I argue in this article, these two strands of post-Stalin era Soviet culture were not as antagonistic as they may first appear. In Khrushchev’s Russia, the preservation of architectural heritage was rationalized as a means of strengthening the foundations of Soviet society by rooting it in the national past. Rather than detracting from the goal of building communism, cultural heritage was made an integral part of that process, a focus of national pride and source of social solidarity.     

Traces of “I”: Concepts of Subjectivity in Polish Literature of the Last Century

This study investigates the police reports on the peasants during the early years of the New Economic Policy as the new Soviet state attempted to establish a working relationship with rural Russia through a variety of organizations, chief among these the police. As the government sought to determine the meaning of the NEP, the police in rural Russia attempted to provide the central authorities with accurate information on economic, social, and political conditions in the countryside and to establish a positive relationship with the peasantry. In the process, the police came to understand the peasantry well and demonstrated a complex appreciation of the realities of rural Russia rather than a simple proto-Stalinist worldview. Utilizing the data from the police, the Bolshevik regime in the period to Lenin’s death also demonstrated some willingness to accept a deal with the peasantry and moderate its approach—a flexibility reflected in its change from confiscation to razverstka, and again from razverstka to a single tax, and then even to modify the tax levy to reflect peasant constructs of what was “right” to pay. This flexibility emerged in large measure because the police were returning to an earlier view of the peasants as rational beings, rather than incorrigible irrational enemies.     

Language,Class, and Nation in a Soviet Ukrainian Blockbuster Comedy: Chasing Two Hares (1961)

Abstract

The subject of this article is one of the most popular comedy films of the late Soviet period, Za dvoma zaitsiamy [Chasing Two Hares]. Made at the Kyiv Film Studio in 1961, it was originally a Ukrainian-language film based on Mykhailo Staryts'kyi’s eponymous 1883 play that satirized pretentious upstarts eager to assimilate into Russian culture. However, the completed film was dubbed into Russian and released throughout the Soviet Union in the Russian version. The change of language reversed the meaning of the film’s satire, turning the movie into a harmless folkloric comedy that reinforced imperial cultural hierarchies rather than undermining them.     

Imperial Misnomers: Herman Melville's Subversion of Narratives of Exploration

Abstract

In his oeuvre the nineteenth-century American author Herman Melville engages critically with the role of narrative taxonomies in imperial praxis, particularly as they relate to his own country's emergence as imperial nation. The relativising influence of Melville's years at sea is an important factor in shaping the ontologically indeterminate and anti-teleological character of his narratives, which both critically and parodically recall the ways in which narrative representations serve imperial ends by bridging or overwriting epistemological lacunae. Melville's lectures ‘On Traveling’ and ‘The South Seas’ provide a useful introduction to his countervailing perspective: the former, by delineating a mode of travelling that remains open to that which is other; the latter by considering critically the introduction of the Pacific into Western historiography by means of several acts of misnaming and symbolic appropriation. Melville highlights the self-deconstructive nature of such acts, yet also shows a keen understanding of how nominal appropriation and exotic refiguration foreground and enable colonisation. This recognition informs Melville's first prose fiction, Typee, in which he launches a two-pronged critique of imperialism: by his first person narrator's polemic against missionary and naval activity in the Marquesas, but also, more tellingly, by exposing this narrator's own acts of misrepresentation, which suggest a deeper complicity in the discourse of empire.