Nineteenth-century Russia Research Articles

19세기 러시아 문학의 세속적 기호(2): 레르몬토프, 오도옙스키, 파블로바의 문학 속에 비친 무도회, 가면무도회, 살롱

19세기 러시아 문학의 세속적 기호(2): 레르몬토프, 오도옙스키, 파블로바의 문학 속에 비친 무도회, 가면무도회, 살롱

The Idea of Christian Unity at the End of the Nineteenth Century (the Case of Vl.S. Solovyov)

Abstract In the face of political rhetoric about Russia being outside of Europe both in the West and in Russia itself, it is all the more necessary to remember that European and Russian culture grew out of the same source: Christianity. Therefore, inter-confessional dialogue between Russian Orthodoxy and the Roman Catholic Church is particularly relevant today. In this context, scholars have focused attention on the Russian philosopher Vladimir Solovyov, who has been described as a forerunner of the ecumenical movement. This article enriches accounts of his thought by shining a spotlight on the context of spiritual and moral thought in Russia in his day. The article also shows how Russian emperors of the nineteenth century (in particular Alexander III) promoted the idea of a rapprochement with the Holy See. The author argues that these mutual initiatives of the Holy See and the Russian government were the political foundation for Solovyov’s theocratic project. The mid-nineteenth century was remarkable both for the flowering of Russian culture and the strengthening of Russian statehood, which together promoted the formation and articulation of key ideas in Russian intellectual history. The author shows that Russia’s mission to restore Christian unity was central to nineteenth-century Russian thought.

‘The Golden Chain of Pious Rabbis’: the origin and development of Finnish Jewish Orthodoxy

This article provides the first historiographical analysis of the origins of Jewish Orthodoxy in Helsinki and describes the development of the rabbinate from the establishment of the congregation in the late 1850s up to the early 1980s. The origins of the Finnish Jewish community lies in the nineteenth-century Russian army. The majority of Jewish soldiers in Helsinki originated from the realm of Lithuanian Jewish (Litvak) culture, that is, mainly non-Hasidic Jewish Orthodoxy that emerged in the late eighteenth century. Initially, the Finnish Jewish religious establishment continued this Orthodox-Litvak tradition. After the independence of Finland, the Helsinki congregation hired academic, Modern Orthodox rabbis educated in Western Europe. Following the devastation of the Shoah and the Second World War, the recruitment of rabbis faced new challenges. Overall, the rabbi recruitments were in congruence with the social and cultural development of the Helsinki community, yet respected its Orthodox roots.

Glinka’s Three Symphonic Acorns

This article challenges the privileged position that Glinka’s Kamarinskaia (1848) has assumed in accounts of Russian instrumental music. The first half of the article investigates nineteenth-century reception of Glinka’s orchestral works and demonstrates that his Jota Aragonese (1845) and Memory of a Summer Night in Madrid (1851) were just as popular as Kamarinskaia among Russian audiences of the time. It also traces the persistent references that critics such as Vladimir Stasov and Alexander Serov made to the organic qualities of all three of these orchestral fantasias. Although the variational techniques that Glinka employs in the fantasias have commonly been viewed as the very opposite of organic, Stasov and Serov appear to have been relying on a different theorization of musical organicism, namely that of Adolf Bernhard Marx. A Marxian framework helps to explain the popularity of Jota and Madrid alongside Kamarinskaia in nineteenth-century Russia, and it also provides an entry point for closer analytical investigations of the three fantasias. These analyses, comprising the second half of the article, illustrate certain distinguishing features of each fantasia as noted by nineteenth-century musicians and suggest that the fantasias represent highly divergent approaches to orchestral composition. Given the prominence of all three fantasias in nineteenth-century Russia, an awareness of these contrasting approaches allows for a more nuanced understanding of the compositional choices made by subsequent generations of Russian composers.

Susan Smith-Peter. Imagining Russian Regions: Subnational Identity and Civil Society in Nineteenth-Century Russia.

S<scp>usan</scp> S<scp>mith</scp>-P<scp>eter</scp>. <i>Imagining Russian Regions: Subnational Identity and Civil Society in Nineteenth-Century Russia</i>.

Chaikovsky and the Economics of Art Music in Late Nineteenth-Century Russia

As Russia’s first professional, conservatory-trained composer, Petr Il'ich Chaikovsky operated in the rapidly evolving social and economic context of post-emancipation Russia, identifying ways to interact with Russia’s musical institutions—its opera houses and theaters, its concert organizations and publishers—to fashion a career that was as successful financially as it was critically. Yet the myth of Chaikovsky’s financial incompetence persists, and the image, whether popular or scholarly, is still one of Chaikovsky as a spendthrift, unable to manage his income or regulate his outgoings. This article challenges such views by drawing on the recently published complete correspondence between Chaikovsky and his publisher, Petr Iurgenson, as well as on financial records preserved in the composer’s archives. In particular, this article analyzes the relationship among Chaikovsky, Iurgenson, and the operation of Russia’s musical “marketplace” at the level of genre, examining the interaction between financial considerations on the one hand and Chaikovsky’s decision to work in particular musical forms on the other. By examining the connections among Russia’s nascent musical institutions, Chaikovsky’s particular collaboration with his publisher, and the relative status of different musical genres, it becomes possible to establish the nature of Russia’s musical “art world” in the second half of the nineteenth century. In proposing a more nuanced and systematic account of Chaikovsky’s economic agency than has been attempted previously, this article thus contributes to a growing body of work on the institutional structures that shaped the Russian arts in the nineteenth century.

Imagining Russian Regions: Subnational Identity and Civil Society in Nineteenth-Century Russia

<i>Imagining Russian Regions: Subnational Identity and Civil Society in Nineteenth-Century Russia</i>

The Literary Origins of Financial Crisis

In 2016’sI Hate the Internet, Jarett Kobek gives Ayn Rand short shrift. ‘It’s arguable’, he writes, ‘that Ayn Rand’s finest achievement was not the authoring of two shitty novels. It’s arguable that Ayn Rand’s finest achievement was crashing the economy twenty-five years after her death.’1 Kobek’s novel looks to the causes of the 2007–8 crisis and satirises the social effect of what he calls ‘revitalization’ (p. 130) in California: the gentrification of cities in the wake of the past decade’s technology boom. Describing a process that has become familiar around the world, he lists five successive phases of ‘revitalization’: a technology behemoth’s investment in a downtrodden area; the import of skilled workers; a rise in property prices; the subsequent displacement of the original population; and, finally, the emergence of an unintentionally ironic hipster aesthetic which financialises ‘the artisan’ and ‘the local’ as commoditised tokens, having neatly overwritten the authenticity it so desires to reproduce. That Kobek chooses Rand as his foil is not surprising: the pure capitalist ends of ‘revitalization’ would have pleased her immensely. Her Objectivist philosophy, disseminated to a crowd of eager followers during the middle years of the twentieth century, called for a starkly capitalist marketplace. It forbade charity and advocated the accrual of wealth, lauded the wealthy and denigrated the poor, and – paradoxically for a determinedly atheistic philosophy – created a deity of capitalism itself. To be sure, mourners who queued in the Manhattan cold in March 1982 to view Rand’s body found her lying at rest beside a six-foot dollar sign.2 She is, as Adam Weiner describes in the introduction to How Bad Writing Destroyed the World, ‘our very own arch-capitalist’ (p. 2). In his book, Weiner tasks himself with explaining how Rand’s ‘stillborn’ ideas became the ‘zombie’ financial policy that triggered the most recent international financial crisis (p. 10). As Weiner traces the genealogy of Rand’s philosophy to nineteenth-century Russia, he reveals a surprising network of contradictory and complementary ideas, each grounded in the ‘bad writing’ of his title.

The Chester Penn Higby Prize for 2018

The Chester Penn Higby Prize for 2018

Imagining Russian Regions: Subnational Identity and Civil Society in Nineteenth-Century Russia by Susan Smith-Peter

Reviewed by: Imagining Russian Regions: Subnational Identity and Civil Society in Nineteenth-Century Russia by Susan Smith-Peter Colum Leckey (bio) Susan Smith-Peter. Imagining Russian Regions: Subnational Identity and Civil Society in Nineteenth-Century Russia. Leiden: Brill, 2018. ISBN 978-90-04-35351-0. The entangled histories of provincial Russia and serfdom have stimulated a long line of scholarship. From the 1960s through the 1980s, monographs by P. A. Zaionchkovskii, Terrence Emmons, and Daniel Field established the narrative framework for exploring the political, economic, and ideological factors driving the emancipation of the Russian serfs. Since then, notable works by John Randolph, Katherine Pickering Antonovna, and Catherine Evtuhov, to name a few, have applied the methods of microhistory to examine the family, gender, and local dimensions of the peasant question that engaged Russia's national intelligentsia. In Imagining Russian Regions: Subnational Identity and Civil Society in Nineteenth-Century Russia, Susan Smith-Peter examines the equally complex intersection of local knowledge and experience with Russia's expansive network of rural public associations in the three decades preceding the end of serfdom in 1861. Focusing on the town of Vladimir and its adjacent districts, her research skillfully links the well-known debates transpiring in the capitals to the mental and physical spaces of one of Russia's most ancient historical regions. The result is a comprehensive portrait of a dynamic public sphere rooted in Vladimir's local particularities that envisioned a postemancipation civil society independent of the Russian state. For her part, Smith-Peter utilizes the methods of spatial history and the Enlightenment's own theories of civil society to highlight "the interplay between the state, estates (soslovie), and what was coming to see itself as society" (27). In the first two chapters, she recreates in expert detail the administrative, institutional, ecological, and socioeconomic spaces of the province. Based on extensive archival materials from Vladimir and other cities, her analysis confirms the existence of a robust protoindustrial and market-based economy centered on the textile towns of Iur´ev-Pol´skii and Ivanovno as well as a network of public spaces dating back to Catherine II's Statute on the Provinces. Although the stimuli for these social and economic developments came from the Russian state, by the mid-point of Nicholas I's reign Vladimir displayed the traits of an autonomous public sphere, including a public library, museum, statistical committee, and a newspaper whose "unofficial section" offered its local readers "a new mental picture of Vladimir province" (137). More intriguingly, Smith-Peter's archival digging has uncovered numerous examples of informal associations and obscure writers who together comprised and imagined the local public: seminarians with their handwritten samizdat-style journals; district [End Page 261] agricultural societies inspired by the Slavophiles; subscription lists filled with the names of men and women who formed civil society's personal networks; and the Old Believer V. A. Borisov, whose study of his native district was the first in Vladimir "to present workers as a complex group" (114-15). All told, Smith-Peter methodically and persuasively demolishes the outdated image of provincial Russia as a cultural backwater. Aside from rummaging through Vladimir's forgotten public spaces, Smith-Peter also chronicles the role of local intellectuals in forming visions of postemancipation society. Chapters 3 and 4 plot the trajectories of two parallel "modes of civil society" that evolved as the peasant question came to dominate public discussion in the 1850s. The first, inspired by Adam Smith's stadial theory of history and promoted by the Slavophiles, held that serfdom should be abolished "organically" and in concert with modernizing landowners as Russia inevitably advanced to the commercial stage of social development. By contrast, the second model endorsed the Hegelian notion of civil society based on shared property rights. Applied to postemancipation conditions, the latter envisioned a vigorous public sphere whose stakeholders—nobles, freed serfs, clergy, and merchants—would rise above estate interests to represent "society." Although Smith-Peter's analysis pretty much follows the reigning narrative established by Emmons and Field, her archival work does expand the depths and parameters of the national dialogue beyond noble assemblies to include provincial agricultural associations in Vladimir and elsewhere. Her rediscovery of...

The Holes of an Ordinary Life

Many modern readers of Tolstoy’s Anna Karenina view Anna’s passionate and scandalous romance with Vronsky as tragically heroic insofar as she desires nothing more than true love at any cost. These readers tend to view the story of Levin’s faith journey as inconsequential. This paper argues that such a reading is counter to Tolstoy’s intended message. Tolstoy intended to write a novel about the challenges of Christian faith in nineteenth century Russia. In doing so, he rewrote Paul’s Letter to the Romans in a manner consistent with his own emphasis upon the importance of the natural life—a life which embraces the natural cycle of birth and death and avoids the artificiality of urban, cosmopolitan life.

Paul Delaroche: The Reception of his Work in Russia

Despite the existing body of literature on Paul Delaroche, this article is the first attempt to seriously assess his reception in nineteenth-century Russia. A study of how Delaroche was received by Russian critics, collectors and artists allows us take a new look both at the scale of his significance for nineteenth-century art as a whole and at certain key aspects of Russian artistic culture. The author analyses reviews of Delaroche’s work in the Russian press, including some never previously discussed, and comments on Horace Vernet’s celebrated statement that: “The emperor [Nicholas I] spoke with me at length about Delaroche. He has all his prints”. Looking at Anatoly Demidov’s patronage of Delaroche, the article also touches on the Russian collector’s relations with the tsar. The new concept of the “genre historique” that originated with Delaroche was taken up and developed most productively in Russia in the 1860s and 1870s, as the author demonstrates through an analysis of paintings by Vyacheslav Schwarz and Nikolay Ge, noting that their treatment of subjects from history was possible only in the more liberal age of Alexander II. It was under Delaroche’s influence that both Schwarz and Ge created typologically new images of power and of the monarch (of Ivan the Terrible and Peter the Great). In conclusion, the author draws attention to the paradoxical nature of Western self-identification by Russian nineteenth-century artists, which can be explained in part through a study of the Russian reception of the art of Delaroche.

Analyzing the philosophical features of existential nihilism and emerging topographies of pessimism in Fyodor Dostoevsky’s Fiction

This research explores the Existential Nihilism amongst the people during the nineteenth century in Fyodor Mikhailovich Dostoevsky’s Crime and Punishment and Notes from the Underground. The novels centrally focus on the tale of poverty and suffering of Russia and how it triggered the philosophical theory of Existential Nihilism amongst the people during the nineteenth century. The author uses Rodion Romanovich Raskolnikov and the anonymous narrator from the underground as the representation of the nineteenth-century existential nihilist from Russia, St. Petersburg. Both of the characters radiate an extreme egocentric and arrogant attitude who prefers alienating themselves from society as they denied abiding by society&#39;s requirement due to their disdain attitude towards it. Not only the characters but the city of St. Petersburg as well as the supreme element that significantly features the emerging pessimism in Russia. The city is not merely a backdrop to these novels but an embodiment of misleading radical and moral ideas being introduced in Russia. It embodies the intense pessimism that condemned human existence during that time. Thus, the aim of this research is to explore and scrutinize the reasons and triggering factors of Existential Nihilism in Russia in the novels Crime and Punishment and Notes from the underground by scrutinizing Dostoevsky’s stand concerning social, political and moral state of affairs in Nineteenth-century Russia, his approach of sketching the characters of Raskolnikov and the underground man through their perceptions, actions and in addition the diction used in these novels.

Sergei Prokofiev's Alexander Nevsky by Kevin Bartig

Reviewed by: Sergei Prokofiev's Alexander Nevsky by Kevin Bartig Terry L. Dean Sergei Prokofiev's Alexander Nevsky. By Kevin Bartig. (Oxford Keynotes.) New York: Oxford University Press, 2017. [161 p. ISBN 9780190269562 (hardcover), $74; ISBN 9780190269579 (paperback), $14.95.] Music examples, illustrations, bibliography, index, companion website. A product of collaboration between Sergei Eisenstein and Sergey Prokofiev, the film Alexander Nevsky [Aleksandr Nevskĭ] (1938) boasts a rich sociopolitical and cultural history. Those acquainted with the film are likely familiar with its status as an artifact of Soviet propaganda. With regard to Eisenstein, discussions of Nevsky, which was his first film in nearly a decade and his first contribution to the medium of sound film, often recount creative challenges experienced by the director that led to his complicity in propagating Party ideology as well as his role in helping to foster Joseph Stalin's association with heroic figures of Russia's distant past. Similarly, the discourse surrounding Prokofiev's role in the project frequently focuses on his efforts to cultivate a nationalist style appropriately accessible for Soviet audiences. Consequently, it is easy to perpetuate an overly simplified understanding of Alexander Nevsky founded on stereotypical images of the Soviet artist working under the burden of socialist realism. Fortunately, however, Kevin Bartig's Sergei Prokofiev's "Alexander Nevsky," which appears as part of the publisher's new Oxford Keynotes series, offers a more nuanced understanding of Prokofiev's music for the film in a multitude of new contexts. Having written previously about Nevsky in Composing for the Red Screen: Prokofiev and Soviet Film (New York: Oxford University Press, 2013), Bartig returns to and expands upon a number of topics in his new monograph. Among these are Prokofiev's concerns about the legitimacy of film music as serious art as well as its role in establishing a type of "light-serious" music (p. 18) [End Page 657] that would resonate with broad audiences. As a newly repatriated Soviet composer, Prokofiev was bound by the aesthetic demands of socialist realism, at the heart of which was a call for accessibility. Although his music had already undergone a process of simplification during the 1920s, ultimately yielding what he referred to as his "new simplicities," Prokofiev continued to weigh questions about whether he wanted to be identified with such music well into the next decade. Bartig underscores the fact that the lucrative potential offered by film indeed motivated the composer's continued interest in such projects as well. Eventually, Prokofiev came to terms with the idea of a "light-serious" style and carefully shaped the narrative surrounding his simplified musical style. Bartig reveals, however, that Prokofiev's concerns were consistent with and shared by other composers of the time. Citing the writings of Kurt Weill, Carlos Chávez, and Aaron Copland in particular, Bartig contextualizes the simplification of Prokofiev's compositional style as part of a greater trend among composers of the time. While individual motivations varied, he asserts that efforts of composers to cultivate an "accessible musical style was a common concern" during the period leading up to Alexander Nevsky and as such contributed to the work's "broad international resonance" (p. 20). In doing so, Bartig effectively redresses our understanding of Nevsky (and Prokofiev's Soviet works in general) as something other than political pandering. Bartig also revisits Prokofiev's creation of a sonic backdrop for Alexander Nevsky. Throughout much of the film, the composer employs a sound palette that evokes various nineteenth-century Russian classics, in particular works by Mikhail Glinka, Peter Ilich Tchaikovsky, Nikolay Rimsky-Korsakov, and Aleksandr Borodin. Such a strategy is easily understood as a response to the expectations of socialist realism, especially when considered in conjunction with the ideological conservatism that followed the infamous admonishment of Dmitrĭ Shostakovich's Lady Macbeth of the Mtsensk District [Ledi Makbet uezda] in Pravda in January 1936. Bartig demonstrates, however, that rather than surrendering to the precepts of socialist realism, Prokofiev's music for Alexander Nevsky is consistent with Eisenstein's intentions. A patriotic film such as Nevsky requires music of a correspondingly patriotic nature. In the absence of historically appropriate models, Bartig points out that "as images of the thirteenth century flashed on...

That Savage Gaze: Wolves in the Nineteenth-Century Russian Imagination. By Ian M. Helfant. Brighton, Mass.: Academic Studies Press, 2018. xxvi, 174 pp. Notes. Bibliography. Index. Illustrations. $99.00, hard bound.

That Savage Gaze: Wolves in the Nineteenth-Century Russian Imagination. By Ian M. Helfant. Brighton, Mass.: Academic Studies Press, 2018. xxvi, 174 pp. Notes. Bibliography. Index. Illustrations. $99.00, hard bound. - Volume 78 Issue 3

Activity in Czech and Russian Nineteenth-century Sonnets: A Contrastive Study

Abstract The article focuses on analysing activity in the selected sonnets of the Czech and Russian nineteenth-century literatures (100 poems per each). Busemann Coefficient (Q) is counted for the samples, and the individual authors are tested on statistical significance by means of the nonparametric Mann–Whitney–Wilcoxon test. Another product of the research is a scatter plot, where the counts of the significant MWW test values for the poets and their average Q’s are compared; these figures are clustered according to the k-means method, and interpretations are formulated on the basis of the groupings. Both microanalyses penetrating into an author’s production, and literary-movement investigations are provided, so as to make the research of use for literary criticism, too. Finally, two ways of comparing the Czech and Russian data are sketched, with the outcomes being commented upon.

Image of an Atrocity: Ivan (Hovhannes) Aivazovsky’s Massacre of the Armenians in Trebizond 1895

The essay introduces the celebrated nineteenth-century Russian Armenian seascape painter Ivan (Hovhannes) Aivazovsky’s (1817-1900) Massacre of the Armenians in Trebizond in 1895 as one of the most important of the artist’s multifarious responses to the systematic series of massacres unleashed upon the Ottoman Armenian population during 1894-1897. An important document of intellectual engagement with a recorded event of wholesale massacre, the work is presented as an early manifestation of atrocity imagery within an Armenian historical context, radically introducing the representation of violence into an already established Russian Armenian visual taxonomy of Ottoman Armenian victimhood. It is a work that survives only through its mediated reproduction in Russian Armenian lawyer and editor Grigor Djanshiev’s illustrated Russian language Fraternal Help for the Suffering of the Armenians in Turkey, a tome produced to raise funds for the survivors of the mass violence and publicise the events to a wider audience. The essay examines the claim as implied in the work’s caption of the image as truthful depiction of an actual well-documented event, the 8 October 1895 massacre in the eponymous city, and asks whether it represents, rather, an imagined dramatization subordinating human drama to the artist’s customary concern for a Romantic aesthetic. The essay further considers the propagandistic attributes of the work, manifested via its mass circulation and wide dissemination, particularly as incorporated into Fraternal Help.

Rustic Reich: The Local Meanings of (Trans)National Socialism among Paraguay's Mennonite Colonies

AbstractThis article compares two German-speaking Mennonite colonies in Paraguay and their encounters with Nazism during the 1930s. It focuses on their understandings of the Nazi bid for transnationalvölkischunity. Latin America presents a unique context for studying the Nazis’ relationship to German-speakers abroad because it held the allure of being the last prospect for German cultural and economic expansion, but was simultaneously impossible for the German state to invade. The Menno Colony was made up of voluntary migrants from Canada who arrived in Paraguay in the 1920s. The Fernheim Colony was composed of refugees from the Soviet Union who settled alongside the Menno Colony in the 1930s. Both groups shared a history in nineteenth-century Russia as well as a common faith and culture. Nevertheless, they developed radically different opinions aboutvölkischnationalism. The Menno Colony's communal understanding of Germanness madevölkischpropaganda about Hitler's “New Germany” unappealing to their local sensibilities. They rejected all forms of nationalism as worldly attempts to thwart their cultural-religious isolationism. The refugees of Fernheim Colony, by contrast, shared little communal unity since they originated from diverse settlements across the Soviet Union. They viewed Germanness as a potential bridge to an imagined German homeland and believed that the highest goal ofvölkischunity was to promote communal unity. Resembling other German-speaking communities in Latin America, the two colonies—which seemed identical to Nazi observers—held vastly different interpretations ofvölkischnationalism at the height of the Nazi bid to establish transnational German unity in Latin America.

Eklof, Ben Saburova, Tatiana A Generation of Revolutionaries: Nikolai Charushin and Russian Populism from The Great Reforms to Perestroika (review)

REVIEWS 577 like Conta and Eminescu are directly intertwined with, if not dependent on, Western philosophical models. As she states in her conclusion, Romanian philosophy’s focus on questions of self-identity in fact represent not a closingoff from Western traditions but ‘a very European contribution’ to a common set of problems and a general phenomenon of self-interrogation. Folschweiller’s work could have engaged slightly more with existing secondary literature: other studies on the contribution of different academic disciplines to the development of theories of Romanian identity, including the history of sociology, historiography and literary theory, are only intermittently referenced. Comparison with contemporaneous developments elsewhere in Eastern Europe would also have been useful to readers. And overall, the strong emphasis on Maiorescu’s admittedly dominant school perhaps occludes other traditions: we hear little, for example, either about theology or folklore, or about the discussion of socialist ideas which was quite active and fruitful already before World War One, even if they were excluded from the mainstream university curricula. Otherwise, Folschweiller’s is a detailed and accurate account of major philosophical trends and debates in Old Kingdom Romania. University of Amsterdam Alex Drace-Francis Eklof, Ben and Saburova, Tatiana. A Generation of Revolutionaries: Nikolai Charushin and Russian Populism from The Great Reforms to Perestroika. Indiana University Press, Bloomington, IN, 2017. xi + 394 pp. Maps. Illustrations. Notes. Biographical sketches. Selected bibliography. Index. $40.00: £33.00 (paperback). Many historians of nineteenth-century Russia will be familiar with the memoirs of Nikolai Charushin, who was a member of the Chaikovskii circle of the early 1870s, which played such an important role in shaping the character of Russian Populism (narodnichestvo). Charushin’s memoirs were written in the 1920s and early 1930s as part of a ‘second wave’ of testimonies designed to secure the place of the narodniki in the struggle against tsarism, at a time when the Bolshevik regime was increasingly trying to create a revolutionary narrative congruent with its own conceptions of the past and ambitions for the future. At the heart of A Generation of Revolutionaries is an attempt to understand whether there was a distinctive revolutionary ‘generation’ of the 1870s, bound together both by personal experience and intellectual affinity, or whether it was instead a more disparate group of men and women whose shared identity was constructed later as part of a struggle to create a collective memory of the past. Ben Eklof and Tatiana Saburova’s book deftly weaves together material SEER, 96, 3, JULY 2018 578 drawn from the archives with a judicious reading of the memoir literature to offer new and valuable insights into the nature of Russian Populism. The structure of the book is broadly chronological. After an initial chapter that traces Charushin’s upbringing in Viatka province, the following chapters examinehisroleintheChaikovskiicircle,histimeinprisonandhisexperiences inexileinSiberia,wherehewascondemnedtohardlabourinKarafollowingthe trial of the 193. There is also an interesting chapter on the role played by female members of the Chaikovskii circle, including Charushin’s own wife, Anna Kuvshinskaia. These chapters mainly rely on a careful reading of the memoir literature and a large range of published primary sources (the archival material for this period is much scantier than for the later period). Eklof and Saburova take the line that there was a common core to the ideology of the Chaikovtsii, rooted less in definite views about the radical character of the peasant mir or the potential for Russia to bypass a capitalist stage of development, and more in a shared commitment to a kind of ethical rationalism (albeit one that was often only semi-articulated). The ‘populism’ of men and women like Charushin and Kuvshinskaia appears from this perspective to be a kind of personal stance — a useful reminder that previous generations of historians have perhaps focused too much on ideas alone when trying to define the character of narodnichestvo. The chapter on Siberia is of particular interest in its focus on the complex and contradictory nature of exile. Charushin wrote surprisingly positively about his time in Siberia, describing how the exiles there created their own distinctive communities, while also praising the way in which some tsarist officials treated both prisoners and exiles. Charushin himself when released from hard labour status...

Comparative analysis of a characterization of the built-up area and settlement network on Polish topographic maps from the 19th, 20th and 21st centuries

Abstract Built-up area is a particularly important element of the content of topographic maps. Its presentation changes significantly when map scales are reduced, due to both conceptual and graphic generalization. What is more, historically, changes in the depiction of built-up area were consequences of changes in the intended use of topographic maps, development of technology and changes in the cultural landscape, of which the built-up area is an important component.1 The authors describe the method of presentation of built-up areas on six Polish topographic maps or series of maps. The above-mentioned maps include the following: – Topograficzna Karta Królestwa Polskiego (Topographic Map of the Polish Kingdom) at the scale of 1:126,000 developed in 1822–1843; – topographic maps of the Polish Military Geographical Institute (MGI) at the scales of 1:25,000 and 1:100,000, published in 1930s; – a series of military maps (or military-civilian maps) at the scales of 1:10,000, 1:25,000, 1:50,000 and 1:100,000, developed in 1956–1989, in accordance with the instruction for developing Soviet maps; – a series of civilian maps at the scales of 1:10,000, 1:25,000, 1:50,000 and 1:100,000 developed after 1995. The basis for a quantitative comparison of the content of the maps was the number of categories of objects (identifications) which constitute part of built-up area and are presented on individual maps as symbols, as well as the number of characteristics represented by these symbols. These characteristics are divided into two basic types: functional characteristics and physiognomic characteristics. The analysis shows that military maps issued after the Second World War differ from the civilian maps, as they contain a much larger share of physiognomic characteristics, which is caused mainly from the fact that the vast majority of military maps distinguish between wooden and brick buildings. This difference was to large extent already noticeable among the oldest of the analysed maps – the Quartermaster’s Map and nineteenth-century Russian maps, which were partly modelled on the Quartermaster’s Map, and later also Soviet maps. Due to political reasons, the model of these Soviet maps was later adopted for the development of post-war Polish military maps. Out of all maps drawn up by military services, the inter-war MGI map serves special attention, as it was modelled on German maps. The main difference between military and civilian maps is foremost the fact that civilian maps include more functional characteristics of buildings and take into consideration new physiognomic characteristics related to residential development (compact, dense, multifamily dwellings, single family dwellings). The analysed maps include not only the characteristics of buildings and built-up area, but also information on the features of the town – population size, number of village houses and the administrative function.