Three Colors: Grey Study for a Portrait of Bernard Mark

2010 ◽  
pp. 205-226
Author(s):  
Joanna Nalewajko-Kulikov

The article presents a profile of Bernard Mark (1908–1966), a Holocaust historian and the director of the Jewish Historical Institute in Warsaw. Mark’s biography is based on various materials, both published and unpublished, from his pre-war involvement in the Communist Party of Poland, through the war years spent in the Soviet Union, to his various activities in post-war Poland: a researcher and socio-cultural activist, including his publications on the Holocaust

2017 ◽  
Vol 8 (1) ◽  
pp. 23-31
Author(s):  
Jakub Majkowski

This essay will firstly address the extent of Stalin’s achievements in leading the course for domestic policy of the Soviet Union and its contribution towards maintaining the country’s supremacy in the world, for example the rapid post-war recovery of industry and agriculture, and secondly, the foreign policy including ambiguous relations with Communist governments of countries forming the Eastern Bloc, upkeeping frail alliances and growing antagonism towards western powers, especially the United States of America.   The actions and influence of Stalin’s closest associates in the Communist Party and the effect of Soviet propaganda on the society are also reviewed. This investigation will cover the period from 1945 to 1953. Additionally, other factors such as the impact of post-war worldwide economic situation and attitude of the society of Soviet Union will be discussed.    


2020 ◽  
Vol 14 (2) ◽  
pp. 44-66
Author(s):  
Maryna Berezutska

AbstractBandura art is a unique phenomenon of Ukrainian culture, inextricably linked with the history of the Ukrainian people. The study is dedicated to one of the most tragic periods in the history of bandura art, that of the 1920s–1940s, during which the Bolsheviks were creating, expanding and strengthening the Soviet Union. Art in a multinational state at this time was supposed to be national by form and socialist by content in accordance with the concept of Bolshevik cultural policy; it also had to serve Soviet propaganda. Bandura art has always been national by its content, and professional by its form, so conflict was inevitable. The Bolsheviks embodied their cultural policy through administrative and power methods: they created numerous bandurist ensembles and imposed a repertoire that glorified the Communist Party and the Soviet system. As a result, the development of bandura art stagnated significantly, although it did not die completely. At the same time, in the post-war years this policy provoked the emigration of many professional bandurists to the USA and Canada, thus promoting the active spread of bandura art in the Ukrainian Diaspora.


Author(s):  
Denys Shatalov

The article addresses the presentation of the mass murder of Jews during WWII in the Soviet printed production. An overall trend of ignoring the topic of the Holocaust in the Soviet media discourse is unquestioned. Yet, (non)presentation of the mass destruction of Jews in the Soviet literature, which is commonly emphasized by the researches, needs clarification. If we look at the Soviet literature on the Great Patriotic War (including fiction prose), we can trace a phenomenon described in this article through war memoirs. Alongside official ignoring of the Holocaust in the Soviet Union, the whole post-war period experienced mass publishing and re-publishing of memoir books which provided direct references to the murder of Jews by the Nazis during the war. Herewith, combatants’ memoirs would often touch very briefly on the murders of Jews, but give no explanations. Such reference style implies that the authors targeted the  readers’ background awareness. Detailed descriptions of  Jewish discrimination, segregation, getthoisation and murder are found in the memoirs of former prisoners of war and partisans. The account of Nazi persecution of the Jews is an integral part of the stories of everyday life in the occupied territory, which often represents the major piece of the narrative. Under certain ideology, the mention of the murders of Jews was intentionally instrumentalized by the Soviet memoir writers seeking to demonstrate a criminal nature of Nazi collaborators. As can be inferred from the Soviet war memoirs, we are not supposed to simplify a clear-cut attitude of ignoring and should conceptualize the phenomenon of «non-nipped memory» in semi-official narratives. Soviet narratives, particularly war memoirs, did not highlight Nazi persecution of the Jews as a separate phenomenon; although described in detail, it was seen only as a part of the «new order». In the Soviet setting, we do encounter ignoring of the Holocaust (as a separate phenomenon), but at the same time, although with certain limitations, the memory of the mass murder of the Soviet Jews was quite actively reflected in war memoirs.


Author(s):  
David Bakhurst

The history of Russian Marxism involves a dramatic interplay of philosophy and politics. Though Marx’s ideas were taken up selectively by Russian populists in the 1870s, the first thoroughgoing Russian Marxist was G.V. Plekhanov, whose vision of philosophy became the orthodoxy among Russian communists. Inspired by Engels, Plekhanov argued that Marxist philosophy is a form of ‘dialectical materialism’ (Plekhanov’s coinage). Following Hegel, Marxism focuses on phenomena in their interaction and development, which it explains by appeal to dialectical principles (for instance, the law of the transformation of quantity into quality). Unlike Hegel’s idealism, however, Marxism explains all phenomena in material terms (for Marxists, the ’material’ includes economic forces and relations). Dialectical materialism was argued to be the basis of Marx’s vision of history according to which historical development is the outcome of changes in the force of production. In 1903, Plekhanov’s orthodoxy was challenged by a significant revisionist school: Russian empiriocriticism. Inspired by Mach’s positivism, A.A. Bogdanov and others argued that reality is socially organized experience, a view they took to suit Marx’s insistence that objects be understood in their relation to human activity. Empiriocriticism was associated with the Bolsheviks until 1909, when Lenin moved to condemn Bogdanov’s position as a species of idealism repugnant to both Marxism and common sense. Lenin endorsed dialectical materialism, which thereafter was deemed the philosophical worldview of the Bolsheviks. After the Revolution of 1917, Soviet philosophers were soon divided in a bitter controversy between ‘mechanists’ and ‘dialecticians’. The former argued that philosophy must be subordinate to science. In contrast, the Hegelian ‘dialecticians’, led by A.M. Deborin, insisted that philosophy is needed to explain the very possibility of scientific knowledge. The debate was soon deadlocked, and in 1929 the dialecticians used their institutional might to condemn mechanism as a heresy. The following year, the dialecticians were themselves routed by a group of young activists sponsored by Communist Party. Denouncing Deborin and his followers as ‘Menshevizing idealists’, they proclaimed that Marxist philosophy had now entered its ‘Leninist stage’ and invoked Lenin’s idea of the partiinost’ (‘partyness’) of philosophy to license the criticism of theories on entirely political grounds. Philosophy became a weapon in the class war. In 1938, Marxist-Leninist philosophy was simplistically codified in the fourth chapter of the Istoriia kommunisticheskoi partii sovetskogo soiuza (Bol’sheviki). Kraatkii kurs (History of the Communist Party of the Soviet Union (Bolsheviks). Short Course). The chapter, apparently written by Stalin himself, was declared the height of wisdom, and Soviet philosophers dared not transcend its limited horizons. The ‘new philosophical leadership’ devoted itself to glorifying the Party and its General Secretary. The ideological climate grew even worse in the post-war years when A.A. Zhdanov’s campaign against ‘cosmopolitanism’ created a wave of Russian chauvinism in which scholars sympathetic to Western thought were persecuted. The Party also meddled in scientific, sponsoring T.D. Lysenko’s bogus genetics, while encouraging criticism of quantum mechanics, relativity theory and cybernetics as inconsistent with dialectical materialism. The Khrushchev ‘thaw’ brought a renaissance in Soviet Marxism, when a new generation of young philosophers began a critical re-reading of Marx’s texts. Marx’s so-called ‘method of ascent from the abstract to the concrete’ was developed, by E.V. Il’enkov and others, into an anti-empiricist epistemology. There were also important studies of consciousness and ’the ideal’ by Il’enkov and M.K. Mamardashvili, the former propounding a vision of the social origins of the mind that recalls the cultural-historical psychology developed by L.S. Vygotskii in the 1930s. However, the thaw was short-lived. The philosophical establishment, still populated by the Stalinist old guard, continued to exercise a stifling influence. Although the late 1960s and 1970s saw heartfelt debates in many areas, particularly about the biological basis of the mind and the nature of value (moral philosophy had been hitherto neglected), the energy of the early 1960s was lacking. Marxism-Leninism still dictated the terms of debate and knowledge of Western philosophers remained relatively limited. In the mid-1980s, Gorbachev’s reforms initiated significant changes. Marxism-Leninism was no longer a required subject in all institutions of higher education; indeed, the term was soon dropped altogether. Discussions of democracy and the rule of law were conducted in the journals, and writings by Western and Russian émigré philosophers were published. Influential philosophers such as I.T. Frolov, then editor of Pravda, called for a renewal of humanistic Marxism. The reforms, however, came too late. The numerous discussions of the fate of Marxism at this time reveal an intellectual culture in crisis. While many maintained that Marx’s theories were not responsible for the failings of the USSR, others declared the bankruptcy of Marxist ideas and called for an end to the Russian Marxist tradition. Following the collapse of the Soviet Union in 1991, it seems their wish has been fulfilled.


2006 ◽  
Vol 5 (2) ◽  
pp. 131-153 ◽  
Author(s):  
Paul Kelemen

During the 1930s and 1940s, the Communist Party of Great Britain was a significant force in Britain on the left-wing of the labour movement and among intellectuals, despite its relatively small membership. The narrative it provided on developments in Palestine and on the Arab nationalist movements contested Zionist accounts. After the 1941 German attack on the Soviet Union, the party, to gain the support of the Jewish community for a broad anti-fascist alliance, toned down its criticism of Zionism and, in the immediate post-war period, to accord with the Soviet Union's strategic objectives in the Middle East, it reversed its earlier opposition to Zionism. During the 1948 war and for some years thereafter it largely ignored the plight of the Palestinians and their nationalist aspirations.


2017 ◽  
Vol 16 (20) ◽  
Author(s):  
Liina Saarlo

Artikli eesmärk on jälgida regilaulu kui Eesti folkloristika paraadžanri käekäiku Eesti sovetiseerimise ajajärgul 1940.–1950. aastatel ja selle kaudu eesti folkloristide kohandumisi muutuva teaduspoliitikaga. Kuna sõjajärgset Eestit võib lugeda koloniseerituks Nõukogude Liidu poolt, tuvastatakse sotskolonialismi tunnuseid Eesti sõjajärgses folkloristikas. Vaatluse alla võetakse regilaulu muutuv positsioon ametlikus retseptsioonis ning folkloristlikel välitöödel. Kuna nõukogude ajajärku esitatakse sageli eesti rahvakultuuri õitseajana, vaadeldakse lähemalt rahvaloomingu viljelemist harrastajate ja professionaalsete kunstnike tasemel, rahvusliku vormi sotsialistliku sisuga täitmist. The purpose of the paper is to follow how Estonian folklorists adapted changing science policy in the 1940s and 1950s, and how an elite genre of the Estonian folklore – regilaul –  was treated in the course of the Sovietization of Estonian humanities and cultural life.There are several distinctive features of the Soviet colonization in the post-war Estonian folkloristics. First, an extensive reform of the organization of the academic institutions took place in annexed Estonia, following the example of organizational structures in Soviet Russia’s Academy of Sciences.The most specific feature of the Soviet colonialism was the extremely strong dependence of the peripheries on the colonial centre. Academic life in Estonia was guided by the resolutions of the Communist Party of the Soviet Union, which were observed and monitored closely by local authorities at the plenary meetings of the Estonian Communist Party and further discussed at the meetings of local academic institutions. These discussions were followed by waves of reassessments, (self) criticism and repressions. Folklorists from the Baltic republics were supervised and “assisted” by Russian folklorists in terms of the methods of the Soviet folkloristics at the union-wide conferences held in Moscow, the Soviet colonial centre. Direct models were taken over to reorganize folkloristic fieldwork and research in the spirit of the new ideology.The third specific feature of the Soviet colonialism was the adaption of Soviet pidgin, colonial discourse, which proliferated especially during the last years of the Stalinist era, from 1948 to 1953. Research in any discipline was limited by the Marxist method; any deflection in it was considered renegade and therefore punishable. In Estonian folkloristics, however, the mastering of the Marxist method comprised largely of clever usage of the colonists’ slogans and formulae, such as “bourgeois-nationalist”, “formalism”, “cosmopolitanism” versus “internationalism”, “objectivism”, and “anti-patriotic” etc. Oft-repeated labels carried no actual meaning; far from any rationale, they were rather formulaic weapons of fighting with enemies, tools of revaluing and (self) criticism. In the end of the 1950s, the use of most grievous lexis declined, but in general, the Soviet discourse was adapted.The altering position of regilaul in the folkloristic writings and fieldwork is discussed in the paper. The last years of the Stalinism, the hierarchy of the folklore genres was turned upside down and classical folklore genres were marginalized because mainstream Soviet folkloristics were focused on contemporary “Soviet folklore” and amateur cultural activities. Estonian folklorists adapted the new reality expeditiously, implementing a sort of mimicry. Fieldwork was carried on in areas with vivid traditional culture, such as Setumaa and Kihnu Island, using the collection of Soviet folklore as pretext. Folklorists did not change their collecting methods and continued to collect traditional folklore genres. Examples of contemporary “folk creations” were documented randomly and unsystematically; all the more were these findings proudly brought before the public at the union-wide forums and in the local press. In these years, curiosa like eulogies to the Lenin and Stalin, collective farms and the Soviet Army in the form of regilaul were documented.After the death of Stalin, Estonian folklorists returned to the classical folklore genres, though overemphasizing the motifs of “class struggle” and “heroism of the working crowds” in the old oral poetry.Due to the existing  stereotypes regarding favouring ethnic minorities and folk culture under the Soviet regime,  the paper takes a closer look to the use of folklore or/and folk creations at both the amateur and professional level of cultural activities. Although Soviet propaganda hailed the blossoming of the folk cultural activities, not all branches of the folk culture were allowed to blossom. Certainly, “folk” and “national” cannot be seen as synonyms. The concept of folklore was blurred because of the parallel concept of folk creations, which included non-traditional cultural activities. Folklorists were forced to deal with amateur cultural activities. In the professional level, the slogan of “socialist content in national form” marked deterioration, simplification and impoverishment regarding means of artistic expression. Instead of folklore pieces, the national epic “Kalevipoeg” was used as an exemplary to the professional artistic creations. Because of sophisticated stylistic features and lyricist mood of regilaul, conflicting to the Soviet aesthetics, becoming inspired by the regilaul tradition was out of the question for artists of the Stalinist era. Enforced simplicity and conservatism caused innovation in literary and musical creations in 1960s, broadening the use of regilaul in professional culture.


Author(s):  
A. James McAdams

This book is a sweeping history of one of the most significant political institutions of the modern world. The communist party was a revolutionary idea long before its supporters came to power. The book argues that the rise and fall of communism can be understood only by taking into account the origins and evolution of this compelling idea. It shows how the leaders of parties in countries as diverse as the Soviet Union, China, Germany, Yugoslavia, Cuba, and North Korea adapted the original ideas of revolutionaries like Karl Marx and Vladimir Lenin to profoundly different social and cultural settings. The book is essential reading for anyone seeking to understand world communism and the captivating idea that gave it life.


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