National Identity in Russian Culture: An Introduction by Simon s> Franklin Emma Widdis (review)

Abstract

154 SEER, 85, I, 2007 While the proofreading of the text is good, there are neverthelessone or two errors.In note 4 to chapter one (p. 243) the name 'Famitsyn'should, of course, read 'Famintsyn'.Some confusion, too, seems to have arisen over the numberingof the Notes. While the name of Nicholas Slonimskiiis listedin the Index on p. 284 as 25on56 [i.e. page 250, note 56], in actual fact Note 56 appears on page 249. Likewise,the reference to V. Prokuninappears not on p. 246 as stated in the Index but on p. 245, etc. Given the wealth of material listed in the Notes, it is regrettablethat there is no separateBibliography,nor, for that matter, is there any list of recordingsincluded in the downloadable CD. Although the book opens with a description of Russian carol-singers, there is no mention of the fact that this practice is a modern continuation of the art of the volochebniki, carol-singerswho, in pre-Revolutionary times, would go from door to door at Christmas time demanding payment for their services. Surprising also is the fact that, in a book devoted to stage performance, no mention is made of the part played by the Riabinin family, especiallyIvan Trofimovich Riabinin, whose singing of byliny in St Petersburg and Moscow in I894 was of great significance in the history of Russian ethnomusicology and served as a model for many subsequentperformers. All these, however, are only minor criticismsand in no way depreciatethe value of an outstanding publication, valuable in that it not only provides a deep insight into the history of stage performance of folk material in Russia but also in that it adds another chapterin the historyof Russianculturein the post-glasnost' period. Departmentof Continuing Education GERALDSEAMAN Universi'v of Oxford Franklin,Simon and Widdis, Emma (eds).JNational Identi4inRussianCulture: An Introduction. Cambridge University Press, Cambridge, 2004. xv + 240 pp. Maps. Illustrations.Notes. Bibliography.Index. [45.00: $75.00. So often we come across edited collections which talk around a subject, but offer little in narrative. This collection offers a strong, methodical narrative concerning national identity in Russian culture. The editors have brought together a wide range of contributionsthat are neverthelessembedded within the study of Russian national identities. To scholars of Russian identity, culture or politics, it comes as no surprisethat there are constant contradictions and tensions within Russian identity. With this in mind, the editors see Russian national identity is a process rather than a result. This edited collection offers an introduction to the process of national identity in Russian culture. The book is divided into four sections:'time and space', 'contrastiveidentities ', 'essentialist identities' and 'symbols of identity'. Each chapter uses 'texts' or 'case studies' to illustratetheir approach and focus. In section one, Simon Franklinand Emma WiddisdiscussRussian identityin time and space. Franklinoffers an introduction to the competing narrativesof Russian identity . By looking at the Rus' chronicles, Franklin identifies three competing REVIEWS I55 strands, which highlights the ongoing overlapping contexts of Russian national identity: dynastic, ethnic and historical. What comes from these strands, as indicated by Franklin, is the unique perspective of the 'self in Russian national identity. That is, Russia and Russians hold a unique place within the fabric of civilization.An often heard variant has been Moscow as the 'thirdRome' narrative.Importantfor the edited collection, Franklinhighlights the crux of the perpetual identity crisis in Russia: 'the characteristic, defining feature of the discourselies not in any particularsolution but in the preoccupation with the problem itself' (p. 27). In other words, Russians are more aware of it than others. Widdis reiterates the competing notions of 'when are Russians',but replacesthe questionwith 'where is Russia?'.Widdis expands on the theme of Russian nationalidentityas a tabula rasa;as a process of foreign cultural application (i.e. Byzantium, Scandinavian, Mongol, Germanic ).The notion of Russia as an empty vessel is illustratedwith a discussion on the way Russiansover the years have projectedRussia as an empty space. As Russia enlarged, space became more grandiose. Widdis equates the constant changing borders of Russia with the constant changing bordersof what it means to be Russian. In the first section, Franklinand Widdis establish a common currencyfrom the outset with which to discussRussian identity. The second section...