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Download Culture and Power in Revolutionary Russia: The by Christopher Read PDF

By Christopher Read

This ebook exhibits that the increase of the intelligentsia happened previous to is generally proposal, and that via 1922, instead of 1932, the underlying ideas of the recent Soviet government's guidelines in the direction of tradition had already emerged, "proto-Stalinism" being more and more vital. a variety of resources were used, together with Proletkul't, Moscow college and the rabfaky and the works of varied participants comparable to Bagdanov, Lunacharsky, Andreev, Berdiaev and Chagall. Christopher learn has written "Religion, Revolution and the Russian Intelligentsia" and has produced a video "The Decline of Tsarism".

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Extra info for Culture and Power in Revolutionary Russia: The Intelligentsia and the Transition from Tsarism to Communism

Example text

The foundering of tsarism left them to face this danger alone. The period of the Provision al Government was, then, a test of the Western-oriented middle dass and their liberal and reformist values. Secondly, the absence of a strong central authority in these months led to a higher degree of spontaneity in all walks of life, the intelligentsia being no exception. All sectors of Russian society appeared to see this period as one in wh ich they could promote their favoured projects with a minimum of interference from outside.

The Russian contribution to European and world culture had never been higher. To see this as an adornment of tsarism, as part of a process of evolution of the autocracy, would, however, be mistaken. While this diverse intelligentsia was pregnant with all sorts of different possibilities for Russia's future, the autocracy and its agents were doing their best to repress them. Tolstoy was excommunicated. A purge of even mildly liberal professors in Moscow University was conducted by the reactionary education minister, Kasso, in 1911.

Conventionally, the secession from the Academy in 1870 by a group of artists who came to be known as 'The Wanderers' (Peredvizhniki) because they held exhibitions in a wide variety of venues is seen as the starting point of this process. Rebelling against the canons of official taste, they began to bring new life and new themes into their painting. Like many creative artists of their day their work showed a subtle interweaving of themes - Slavophilism, Westernism and populism - rather than strict adherence to any one of them.

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