2024-03-28T14:48:46Z
http://carlbeckpapers.pitt.edu/ojs/index.php/cbp/oai
oai:ojs.carlbeckpapers.pitt.edu:article/174
2017-03-08T16:39:02Z
cbp:RC
"120406 2012 eng "
2163-839X
dc
Rear Cover: Having Fun in the Thaw: Youth Initiative Clubs in the Post-Stalin Years
Editor, CBP
Array
University Library System, University of Pittsburgh
2012-04-06 11:45:20
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http://carlbeckpapers.pitt.edu/ojs/index.php/cbp/article/view/174
The Carl Beck Papers in Russian and East European Studies; No 2201: Having Fun in the Thaw: Youth Initiative Clubs in the Post-Stalin Years
eng
Copyright (c)
oai:ojs.carlbeckpapers.pitt.edu:article/181
2017-03-08T16:39:06Z
cbp:RC
"120607 2012 eng "
2163-839X
dc
Rear Cover: Russian Autocracy Redux: Path Dependency and the Late Modern State
Warhola, James W.
Array
University Library System, University of Pittsburgh
2012-06-07 00:00:00
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http://carlbeckpapers.pitt.edu/ojs/index.php/cbp/article/view/181
The Carl Beck Papers in Russian and East European Studies; No 2202: Russian Autocracy Redux: Path Dependency and the Late Modern State
eng
Copyright (c)
oai:ojs.carlbeckpapers.pitt.edu:article/187
2017-03-08T16:39:10Z
cbp:RC
"121002 2012 eng "
2163-839X
dc
Rear Cover: The Forgotten Victims: Childhood and the Soviet Gulag, 1929–1953
MacKinnon, Elaine
Array
This study examines a facet of Gulag history that only in recent years has become a topic for scholarly examination, the experiences of children whose parents were arrested or who ended up themselves in the camps. It first considers the situation of those who were true “children of the Gulag,” born either in prison or in the camps. Second, the paper examines the children who were left behind when their parents and relatives were arrested in the Stalinist terror of the 1930s. Those left behind without anyone willing or able to take them in ended up in orphanages, or found themselves on their own, having to grow up quickly and cope with adult situations and responsibilities. Thirdly, the study focuses on young persons who themselves ended up in the Gulag, either due to their connections with arrested family members, or due to actions in their own right which fell afoul of Stalinist “legality,” and consider the ways in which their youth shaped their experience of the Gulag and their strategies for survival. The effects of a Gulag childhood were profound both for individuals and for Soviet society as a whole. Millions of children’s lives were torn apart by the Stalinist terror; they not only lost loved ones and friends, but they also faced social stigmatization, political and economic marginalization, and compromised opportunities for upward mobility and security. For some whose parents were rehabilitated, this brought a degree of normalcy, and they felt that the state had redeemed itself and their families. But for others it contributed to a process of alienation that ended up in political dissidence and emigration. Any history of post-Stalinist society must take into consideration the fact that the Gulag did not just affect those who served time in the camps and colonies, but also the children they left behind. Further studies are needed to determine to what extent the experiences of children of the Gulag informed social patterns during the last decades of the Soviet regime, and in particular, responses to Gorbachev’s efforts at reform.
University Library System, University of Pittsburgh
2012-10-02 14:07:17
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http://carlbeckpapers.pitt.edu/ojs/index.php/cbp/article/view/187
The Carl Beck Papers in Russian and East European Studies; No 2203: The Forgotten Victims: Childhood and the Soviet Gulag, 1929-1953
eng
Copyright (c)
oai:ojs.carlbeckpapers.pitt.edu:article/190
2017-03-08T16:39:13Z
cbp:RC
"121105 2012 eng "
2163-839X
dc
Rear Cover: “We Are All Warhol’s Children”: Andy and the Rusyns
Rusinko, Elaine
Array
Andy Warhol is the world’s most famous American of Carpatho-Rusyn ancestry, and the icons of the Ruthenian Byzantine Catholic Church were his first exposure to art. His unexpected death in 1987 was followed by the fall of communism in Eastern Europe and the rise of the Rusyn movement for identity, which embraced the flamboyant pop artist, filmmaker, and jet setter as their iconic figurehead. From their own idiosyncratic perspective, the traditional, religious, provincial Rusyns have reconstructed the image of Andy Warhol, pointing up aspects of the artist that have gone largely unnoticed. In a reciprocal process, Andy has had a significant impact on the Rusyn movement and on the recognition of Rusyns worldwide. This study establishes Warhol’s Carpatho-Rusyn ethnicity and explores its possible influence on his persona and his art. It also analyzes the Rusyns’ reception of Warhol, with a focus on the history of the Warhol Museum of Modern Art in Slovakia. The author concludes that recognition of the Rusyn Andy contributes to a distinctive perspective on the American Warhol.
University Library System, University of Pittsburgh
2012-11-05 16:54:37
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http://carlbeckpapers.pitt.edu/ojs/index.php/cbp/article/view/190
The Carl Beck Papers in Russian and East European Studies; No 2204: “We Are All Warhol’s Children”: Andy and the Rusyns
eng
Copyright (c)
oai:ojs.carlbeckpapers.pitt.edu:article/193
2017-03-08T16:39:17Z
cbp:RC
"121113 2012 eng "
2163-839X
dc
Rear Cover: Courtly Love in the Caucasus: Rustaveli’s Georgian Epic, The Knight in the Panther Skin
Ecklund Farrell, Dianne
Array
The Knight in the Panther Skin by Shota Rustaveli is the great medieval (ca. 1200) epic of Georgia, and its most distinctive feature is courtly or romantic love, which is its basic motivating force. This article seeks to establish in which respects The Knight in the Panther Skin resembles Western courtly love, and what the explanation for this resemblance might be. In this endeavor I have had to challenge a common (mis-) conception that Western courtly love was essentially illicit love
One can easily demonstrate that the literary roots of The Knight in the Panther Skin lie in Persian literature rather than in direct contact with Western courtly love, but the reason for the resemblance to Western courtly love is more problematic. Various possibilities are entertained: namely, (1) that Arab love poetry gave rise to it in Georgia (and possibly also in the West, as has been held); (2) that Neoplatonism produced or constituted a philosophic underpinning for courtly love and that it was transmitted to Georgia and/or Western Europe (a) by Arab Neoplatonists; (b) by Western Christian Neoplatonists or (c) by Byzantine Neoplatonists. A third possibility is (3) that it arose due to social and political conditions.
And what were the social and political circumstances in Georgia and in Western Europe which, at the same historical period, produced and elaborated a culture so deferential to the ladies? And which, being absent in the Islamic world, did not produce courtly love there?
In Georgia a sovereign queen presided in the era of Georgia’s greatest power, wealth and extent. Feudal servitors crowded the court, eager to gain honors and riches for themselves through preferment by the queen, virtually guaranteeing a cult of adoration of the queen. It is Sovereign Queen Tamar to whom Rustaveli dedicates his poem, and to her that he declares his undying love. In Provence, where there were many feudal heiresses, a similar incentive to “please the ladies” prevailed.
No direct influence from the troubadours and minnesaenger of Southwestern Europe can be found. The evidence does not support Arab love poetry as a source of or conduit for courtly love, nor can Arab Neoplatonism have played a role. Byzantine Neoplatonism, however, was prominent in the courtly culture of Rustaveli’s time, and the social and political conditions in Georgia likewise were favorable to the rise of a culture of courtly love. Thus both intellectual and socio-political conditions favored the blooming of courtly love in twelfth-century Georgia.
University Library System, University of Pittsburgh
2012-11-13 13:35:23
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http://carlbeckpapers.pitt.edu/ojs/index.php/cbp/article/view/193
The Carl Beck Papers in Russian and East European Studies; No 2205: Courtly Love in the Caucasus: Rustaveli’s Georgian Epic, The Knight in the Panther Skin
eng
Copyright (c)