Selected Works by Chinese and Russian Women Painters

Over the past two years,Chinese and Russian women paintershave exchanged visits introducing each other to the typicalcharacteristics of their art.They have exchanged ideas andestablished friendships.     

Russian Jews in exile from Bolshevik Russia: the case of Lev Shestov as an example of Russian‐Jewish existential compromise

Lev Shestov (born Leib Jehuda Shvartsman in Kiev in 1866) was a product of his times and entangled cultural roots. His destiny became closely related to the Russian Diaspora in Europe (he fled Bolshevik Russia in 1920). He was also linked to the local (especially French and German) intellectual life. However, being a Jew made Shestov stand out from the purely Russian emigration, for although he connected himself first and foremost with Russian culture, he could not be integrated without reservations into the purely Russian Diaspora. On the other hand mapping him in relation to the diverse Russian‐Jewish émigré milieu in Europe is not a straightforward task because his attitude to his Jewish roots was rather ambivalent. The case of self‐identification, in varying degrees, was similarly ambiguous with many Russian Jews who left Russia after the revolution. Shestov’s activities in emigration were diverse. Apart from teaching he published regularly in the outlets of the émigré press as well as in major French literary journals and gave lectures in Germany (in particular, addressing such different audiences as the Union of Russian Jews and the Nietzschean Society). In brief, his way of coping with the experience of exile was to become a multicultural conductor of sorts. This article aims to analyse Shestov’s life path in the framework of the Russian‐Jewish Diaspora in Europe at the time in the context of both cultural and ethnic repudiation and appropriation. This in turn should shed some new light on the cultural life of this Diaspora.     

Arthur Ransome’s Rewriting of the Russian Folktale Historicised

ABSTRACT

The young Arthur Ransome’s Old Peter’s Russian Tales (1916) that has today attained the status of a classic is of chief interest here as part of the British–Russian cultural interaction and interconnections at the turn of the twentieth century. In an attempt to historicise the author-translator in his creative effort to rewrite the Russian folktale, this paper focuses on his quest for magic and the collection of fairy stories, resulting from interacting with both place and people. A microscopic analysis of the translator’s life and work in his early years in Russia, via a study of archival material (Brotherton Collections, University of Leeds Library) and other relevant documents, has helped to reconstruct them in a richness of detail that sheds light on the bigger picture of the British–Russian relationship. The translator's gift to his reader, a token of fruitful experiences in this new and exciting fairyland, was, in fact, the product of mediation agency between the two worlds, the role that Ransome had found crucial and realised successfully in practice. As a result, another cultural and emotional bridge was built to interconnect these two countries.     

The Jews and revolution: Russian perspectives, 1881–1918

Contemporaries and historians of the Russian revolutions have often made a great deal of the Jewish role in the events of 1917. In late 1917, for instance, it was commonplace to assert that the Bolsheviks were simply part of a Jewish conspiracy. This paper takes a look at the various Russian perspectives on the revolution and its Jewish aspects, focusing in particular on the views of leading intellectuals, writers and politicians, such as S.M. Dubnov, Maxim Gorkii and Aleksandr Blok. It reveals that attitudes were not always straightforward, even amongst the liberal elements of the intelligentsia.     

The Crisis of the Russian Avant-Garde in Iurii Olesha’s Envy

In this essay 1 will analyze lurii Olesha’s novel Envy (1927) as a reflex of the crisis within the Russian avant-garde. 1 will argue that Olesha’s work can be viewed as the author’s perception of the destruction of the avant-garde in the mid-twenties and its replacement by a radically different aesthetic system, i.e., Socialist Realism.

In Envy, the fatal clash between the pragmatic productivism and the earlier constructivism finds its representation in the struggle of the three machines (or constructions—postroeniia—to use the avant-garde term). These constructions are: the communal kitchen Chetvertak’; a mysterious machine, Ophelia; and Anechka Prokopovich’s bed. I argue that all the power struggles among the main characters of the novel are connected to these three machines. The main feature common to these three machines and their design is control over human life. However, if the first two—Chetvertak and Ophelia—are involved in the active struggle for power, the third—the bed—epitomizes passive aggression. The bed mocks their struggle and lies in waiting and finally devours the future discourse, because it is in the bed that the action of Envycomes to its end. Thus, 1 suggest that Chetvertak be seen as a later productionist creation, while Ophelia represents an earlier constructivist avant-garde conception. In relation to the first two machines, the bed represents socialist realism as a stagnating aesthetic vision and the dystopian pretense of paradise attained.     

Russian refugees. A tragedy or the costs of imperial consciousness?

The author attempts to estimate migration of Russians from other republics of the former Soviet Union back to Russia, and factors causing this migration. The encouragement by many local authorities of anti-Russian feeling for political purposes is identified as a major cause of such re-migration. This is a translation of the Russian article in Sotsiologicheskie Issledovaniia (Moscow, Russia), No. 9, 1992, pp. 59-64.     

The moral evolution of the Russian–Yiddish–English writer Abraham Cahan

One of the ways in which Cahan remained culturally Russian was his devotion to the kind of literary realism that embodies a clear system of values. This article examines the kind of values Cahan promoted, looking specifically at how this writer of educative but realist fiction dealt with the disconnect between socialist ideals and immigrant life. It follows the evolution of Cahan’s literary formula from the transparency of the early stories to the cynicism of The Rise of David Levinsky, seeing the seeds for transformation in the “Bintel Brief” advice column of the Forverts, which was executed and possibly written under Cahan’s direction. The moral vision of Levinsky is compared to that of two predecessors with which Cahan was familiar: William Dean Howells’s The Rise of Silas Lapham and Pyotr Boborykin’s 1881 Russian novel Kitaigorod.     

Lena Finkle’s magic arc: hybrid influences in the Russian American graphic novel

ABSTRACT

The article examines Anya Ulinich’s graphic narrative Lena Finkle’s Magic Barrel and the novel’s use of visual culture from both the author’s Russian and US American backgrounds. The article interrogates the use of history and timelines, Russian art history and Russian art education in Ulinich’s text. It also analyzes other literary constructs that influenced Ulinich’s novel: US American comics/graphic novels and their use of stereotype, and novels by Russian-speaking Jewish American writers, with their thematized Jewishness.     

Reflections on Strangeness in Context: The Case of Russian–Jewish Immigrants in the Kibbutz

This article elucidates and elaborates upon the contextualized meaning of strangeness and the experience of being a stranger. Our empirical study of strangeness embarks simultaneously from the three leading theories of the stranger—as cultural reader (Schuetz 1944), as demarcator of social boundaries (Simmel 1950), and as trespasser of social categories (Bauman 1990, 1991)—and at the same time criticizes these theories for artificially divesting strangeness of social context. Our thesis about strangeness-in-context is grounded in in-depth interviews we conducted with Jewish–Russian immigrants (twenty-one university students) who have lived in kibbutzim. Our assumption is that the kibbutz as a communal home is a suitable case study to illuminate the manyfold dimensions of strangeness, as it intensifies the tension between insiders and outsiders. In explicating the immigrant's sense of strangeness we claim the local context of the kibbutz interacts with the Israeli national definition of the immigrant as a homecomer.     

Cossack Identities: From Russian Émigrés and Anti-Soviet Collaborators to Displaced Persons*

Abstract

Cossack displaced persons who were re-settled in Australia as part of the post-war International Refugee Organisation scheme had already survived several turbulent eras. Anti-Bolshevik Cossacks refashioned their identities in the post-Civil War period as Russian émigrés and then, during the Second World War, as anti-Soviet collaborators of the Germany Army. At war’s end these Cossacks were rounded up by the British and handed to the Soviets. This paper traces the traumatic (and opportunistic) migration trajectory of one Cossack family, who escaped forced repatriations to become ‘New Australians’.     

Will a large-scale migration of Russians to the Russian Republic take place over the current decade?

The author discusses "the likely scale of in-migration from the other former union republics into the Russian Republic over the remainder of this decade....I believe that during the 1990s there will be continued mass in-migration into Russia from the seven former union republics of Central Asia and the Transcaucasus....I also foresee that Russians will continue to leave such inhospitable milieux as southern Kazakhstan and western Ukraine."