Access your Project MUSE content using one of the login options below Close(X)
Browse Results For:
Haunted by the larger-than-life shadow of his father, a scientist who may have helped develop the atomic bomb, twenty-nine-year-old Eliot Barnes, Jr., is an apple that’s fallen far from the tree. Saddled with a useless degree in literature, caged in a rundown apartment he can’t afford, and embittered by his failure to live up to the future’s promise, Barnes, who dreams of a corner office—an aerie roost high above the city, working with the higher-ups—begrudgingly accepts a job as an elevator man in a downtown Chicago skyscraper. Thus begins a profound but comedic meditation on failure in this life, how one comes to terms with not achieving one’s dreams, the nature and origin of such dreams, and, fittingly, the meaning of the American dream itself.
In an abridged translation that retains the grace and passion of the original, Klots and Ufberg present the stunning memoir of a young woman who became an actress in the Gulag. Tamara Petkevich had a relatively privileged childhood in the beautiful, impoverished Petrograd of the Soviet regime’s early years, but when her father—a fervent believer in the Communist ideal-was arrested, 17-year- old Tamara was branded a “daughter of the enemy of the people.” She kept up a search for her father while struggling to support her mother and two sisters, finish school, and enter university. Shortly before the Russian outbreak of World War II, Petkevich was forced to quit school, and against her better judgment, she married an exiled man whom she had met in the lines at the information bureau of the NKVD (People’s Commissariat of Internal Affairs). Her mother and one sister perished in the Nazi siege of Leningrad, and Petkevich was herself arrested. With cinematic detail, Petkevich relates her attempts to defend herself against absurd charges of having a connection to the Leningrad terrorist center, counter-revolutionary propaganda, and anti-Semitism that resulted in a sentence of seven years’ hard labor in the Gulag. While Petkevich became a professional actress in her own right years after her release from the Gulag, she learned her craft on the stages of the camps scattered across the northern Komi Republic. The existence of prisoner theaters and troupes of political prisoners such as the one Petkevich joined is a little-known fact of Gulag life. Petkevich’s depiction not only provides a unique firsthand account of this world-within-a-world but also testifies to the power of art to literally save lives. As Petkevich moves from one form of hardship to another, she retains her desire to live and her ability to love. More than a firsthand record of atrocities committed in Stalinist Russia, Memoir of a Gulag Actress is an invaluable source of information on the daily life and culture of the Soviet Union at the time. Russian literature about the Gulag remains vastly underrepresented in the United States, and Petkevich’s unforgettable memoir will go a long way toward filling this gap. Supplemented with photographs from the author’s personal archive, Petkevich’s story will be of great interest to general readers while providing an important resource for historians, political scientists, and students of Russian culture and history.
French Military Justice and the Aeronoult-Rousset Affair
On February 11, 1912, an estimated 120,000 people in Paris participated in a ceremony that was at once moving and macabre: a public procession to Père Lachaise cemetery, where the remains of a soldier named Albert Aernoult were incinerated following a series of angry speeches denouncing the circumstances of his death. This ceremony occurred at a pivotal point in the “Aernoult-Rousset Afair,” a tumultuous, three-year agitation over the practice of French military justice labeled by contemporaries a “proletarian Dreyfus Affair.” Aernoult had died on July 2, 1909, in one of the French Army’s Algerian penal camps, allegedly at the hands of his officers. His death came to the attention of the public through the intervention of a fellow prisoner, a career criminal named Émile Rousset, who had provoked prosecution in a military court in order to launch his own “J’Accuse” against camp officers. Rousset’s charges had seemed to be bearing fruit, until he himself was indicted for murder in September 1911. At that point, the entire Affair took on a new intensity—an intensity reflected in the massive turnout at Aernoult’s funeral. Military prosecutors, convinced that Rousset was a predator with a genius for gaming France’s military-justice system, built a powerful case against him. His supporters, for their part, campaigned in the legislature, in the press, in court, and on the street, using the interlocked Aernoult and Rousset cases to shine a very public light on the “judicial minotaur” that was, in their view, the military jurisdiction. Cerullo’s lively, suspenseful account of this dramatic story, which has never been fully told, will become the standard. Minotaur will interest historians of modern France; military historians; students of military justice; legal scholars; and general readers of modern European history.
Modern Occultism in Late Imperial Russia traces the history of occult thought and practice from its origins in private salons to its popularity in turn-of-the-century mass culture. In lucid prose, Julia Mannherz examines the ferocious public debates of the 1870s on higher dimensional mathematics and the workings of séance phenomena, discusses the world of cheap instruction manuals and popular occult journals, and looks at haunted houses, which brought together the rural settings and the urban masses that obsessed over them. In addition, Mannherz looks at reactions of Russian Orthodox theologians to the occult.
The United States, the United Nations, and Human Rights, 1941-1953
Shedding the constraints that existed for women in turn-of-the-century America, Edith Wharton set out in the newly invented "motor-car" to explore the cities and countryside of France. Originally published in 1908, A Motor-Flight Through France is considered by many to be the very best of Wharton’s outstanding travel writings.
Nomadism and National Identity in Russian Literature
The metaphor of the nomad may at first seem surprising for Russia given its history of serfdom, travel restrictions, and strict social hierarchy. But as the imperial center struggled to tame a vast territory with ever-expanding borders, ideas of mobility, motion, travel, wandering, and homelessness came to constitute important elements in the discourse about national identity. For Russians of the nineteenth century, national identity was anything but stable.
Polish Narratives of World War ll
This important collection of essays by a pioneer in the field focuses on the history and culture of a conservative religious tradition whose adherents have fought to preserve their beliefs and practices from the 17th century through today. Old Belief had its origins in a protest against liturgical reforms in the Russian Orthodox Church in the mid-1600s and quickly grew into a complex torrent of opposition to the Russian state, the official church, and the social hierarchy. For Old Believers, periods of full religious freedom have been very brief—from 1905 to 1917 and since the fall of the Soviet Union. Crummey examines the ways in which Old Believers defend their core beliefs and practices and adjust their polemical strategies and way of life in response to the changing world. Opening chapters survey the historiography of Old Belief, examine the methodological problems in studying the movement as a Russian example of “popular religion,” and outline the first decades of the history. Particular themes of Old Believer history are the focus of the rest of the book, beginning with two sets of case studies of spirituality, culture, and intellectual life. Subsequent chapters analyze the diverse structures of Old Believer communities and their fate in times of persecution. A final essay examines publications of contemporary scholars in Novosibirsk whose work provides glimpses of the life of traditional believers in the Soviet period. Old Believers in a Changing World will appeal to scholars and students of Russian history, to those interested in Eastern Orthodoxy, and to those with an interest in the comparative history of religious movements.
With Orphans, Ben Tanzer continues his ongoing literary survey of the 21st Century male psyche, yet does so with a newfound twist, contemporary themes set in a world that is anything but. In this dystopian tale of a future Chicago, workers are sent off to sell property on Mars to those who can afford to leave, leaving what’s left to those who have little choice but to make do with what’s left behind: burnt out neighborhoods, black helicopters policing the streets, flash mobs, the unemployed in their scruffy suits, robots taking the few jobs that remain, and clones who replace those workers who do find work so that a modicum of family stability can be maintained. It is a story about the impact of work on family. How work warps our best intentions. And how everything we think we know about ourselves looks different during a recession. This idea is writ large in the world of Orphans, where recession is all we know, work is only available to the lucky few, and this lucky few not only need to fear being replaced on the job, but in their homes and beds. It is also a story about drugs, surfing, punk music, lost youth, parenting, sex, pop culture as vernacular, and a conscious intersection of Death of a Salesman or Glengarry Glen Ross with the Martian Chronicles. Looking to the genre of science fiction has allowed Tanzer to produce something new and fresh, expanding both his literary horizons, and the potential market for his work. Tanzer also looks to the story of Bartleby the Scrivener with Orphans, and the question of what are we allowed as workers, and expected to be, or do, when work is fraught with desperation. Ultimately, Orphans is intended to be a contemporary story about manhood and what it means in today’s world, told from the perspective of work and family, and how any of us manage the parameters that family and work produce; but it’s a story told in a futuristic world, where our greatest fears are in fact already realized, because there isn’t enough of anything, and we are all too easily replaced.