Agnia Grigas
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780300214505
- eISBN:
- 9780300220766
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300214505.003.0003
- Subject:
- Political Science, Russian Politics
This chapter examines Moscow’s policies and legal framework regarding its diaspora from the 1990s to 2015, demonstrating how over time ethnic Russians, Russian speakers, and other minorities abroad ...
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This chapter examines Moscow’s policies and legal framework regarding its diaspora from the 1990s to 2015, demonstrating how over time ethnic Russians, Russian speakers, and other minorities abroad have been politically conceptualized as “compatriots.” The chapter also traces the development of Moscow’s policies in the 2000s from perceiving compatriots as a problem to seeing them as a potential resource to be employed for Russia’s geopolitical aspirations. Stalin’s ethnic policies that created the present-day conditions of the Russian diaspora and ethnically mixed states as well as the origins of the term “compatriot” are reviewed.Less
This chapter examines Moscow’s policies and legal framework regarding its diaspora from the 1990s to 2015, demonstrating how over time ethnic Russians, Russian speakers, and other minorities abroad have been politically conceptualized as “compatriots.” The chapter also traces the development of Moscow’s policies in the 2000s from perceiving compatriots as a problem to seeing them as a potential resource to be employed for Russia’s geopolitical aspirations. Stalin’s ethnic policies that created the present-day conditions of the Russian diaspora and ethnically mixed states as well as the origins of the term “compatriot” are reviewed.
Elena Dubinets
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780197266151
- eISBN:
- 9780191860034
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266151.003.0015
- Subject:
- Music, History, Western
This article explores how the Russian émigré composers, no longer required to nurture the nation-constituting loyalties, forge, negotiate and sustain multi-stranded individual relationships both with ...
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This article explores how the Russian émigré composers, no longer required to nurture the nation-constituting loyalties, forge, negotiate and sustain multi-stranded individual relationships both with the transnational powers and with their native country, reclaiming cultural rather than territorial attachments which grow from psychological constructs rather than social conditions. It is revealing to observe that most of them continue to remain culturally tied to their country of origin and to long for its aesthetic values, while at the same time building civic attachments and hybrid identities in the globalised world. Based on empirical studies, this chapter considers how the reflections of post-Soviet identity shape these composers’ creative output and how the composers form relationships with their old and new neighbours.Less
This article explores how the Russian émigré composers, no longer required to nurture the nation-constituting loyalties, forge, negotiate and sustain multi-stranded individual relationships both with the transnational powers and with their native country, reclaiming cultural rather than territorial attachments which grow from psychological constructs rather than social conditions. It is revealing to observe that most of them continue to remain culturally tied to their country of origin and to long for its aesthetic values, while at the same time building civic attachments and hybrid identities in the globalised world. Based on empirical studies, this chapter considers how the reflections of post-Soviet identity shape these composers’ creative output and how the composers form relationships with their old and new neighbours.
Richard Taruskin
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780197266151
- eISBN:
- 9780191860034
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266151.003.0014
- Subject:
- Music, History, Western
Departing from an article by Arthur Lourié published in 1931 which posits a fundamental split between the music produced by Russian composers in the Soviet Union and that produced by Russian ...
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Departing from an article by Arthur Lourié published in 1931 which posits a fundamental split between the music produced by Russian composers in the Soviet Union and that produced by Russian composers living abroad as émigrés—and asserts that the latter, not the former, are the ones producing the true Russian music of the day—this paper considers (in the light of Marc Raeff’s Russia Abroad and its treatment of émigré culture) what it takes to maintain a cultural community in diaspora, and whether expatriated Russian musicians have ever constituted such a community.Less
Departing from an article by Arthur Lourié published in 1931 which posits a fundamental split between the music produced by Russian composers in the Soviet Union and that produced by Russian composers living abroad as émigrés—and asserts that the latter, not the former, are the ones producing the true Russian music of the day—this paper considers (in the light of Marc Raeff’s Russia Abroad and its treatment of émigré culture) what it takes to maintain a cultural community in diaspora, and whether expatriated Russian musicians have ever constituted such a community.
Richard Taruskin
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780520288089
- eISBN:
- 9780520963153
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520288089.003.0008
- Subject:
- Music, History, Western
What does it take to form and sustain an émigré culture? Does Russian music between the world wars constitute such a culture, the way Russian literature assuredly does? How did Russian music abroad ...
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What does it take to form and sustain an émigré culture? Does Russian music between the world wars constitute such a culture, the way Russian literature assuredly does? How did Russian music abroad differ from Russian music at home during this period? These questions are considered in the light of Arthur Lourié’s forceful arguments on behalf of an émigré “school,” which are ultimately rejected, in part by applying the criteria proposed by Marc Raeff in his study Russia Abroad..Less
What does it take to form and sustain an émigré culture? Does Russian music between the world wars constitute such a culture, the way Russian literature assuredly does? How did Russian music abroad differ from Russian music at home during this period? These questions are considered in the light of Arthur Lourié’s forceful arguments on behalf of an émigré “school,” which are ultimately rejected, in part by applying the criteria proposed by Marc Raeff in his study Russia Abroad..
Robert W. Cherny
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780252040788
- eISBN:
- 9780252099243
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252040788.001.0001
- Subject:
- Art, Art History
Victor Arnautoff, an artist, was born in 1896 in the Russian empire. After serving as a cavalry officer in WWI and then in the White Siberian army during the Russian Civil War, he became part of the ...
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Victor Arnautoff, an artist, was born in 1896 in the Russian empire. After serving as a cavalry officer in WWI and then in the White Siberian army during the Russian Civil War, he became part of the Russian diaspora, working for a Chinese warlord, studying art in San Francisco, and working with Diego Rivera in Mexico. Returning to San Francisco, his art was acclaimed during the 1930s, especially his public murals, most financed by New-Deal art programs. He joined Stanford University’s art faculty. He and his wife became citizens and secretly joined the Communist party (CP). They threw themselves into work for Russian war relief during WWII and became active in Communist front groups. After WWII, the rise of abstract expressionism marginalized Arnautoff’s social realism, and he found a new cultural home in the California Labor School. Arnautoff’s activities in Communist front groups brought FBI surveillance. He was called before a HUAC sub-committee, and the Stanford administration tried unsuccessfully to terminate him in a case involving standards of academic freedom. After retiring from Stanford and the death of his wife, Arnautoff emigrated to the Soviet Union. There he created several large public murals before his death in 1979.Less
Victor Arnautoff, an artist, was born in 1896 in the Russian empire. After serving as a cavalry officer in WWI and then in the White Siberian army during the Russian Civil War, he became part of the Russian diaspora, working for a Chinese warlord, studying art in San Francisco, and working with Diego Rivera in Mexico. Returning to San Francisco, his art was acclaimed during the 1930s, especially his public murals, most financed by New-Deal art programs. He joined Stanford University’s art faculty. He and his wife became citizens and secretly joined the Communist party (CP). They threw themselves into work for Russian war relief during WWII and became active in Communist front groups. After WWII, the rise of abstract expressionism marginalized Arnautoff’s social realism, and he found a new cultural home in the California Labor School. Arnautoff’s activities in Communist front groups brought FBI surveillance. He was called before a HUAC sub-committee, and the Stanford administration tried unsuccessfully to terminate him in a case involving standards of academic freedom. After retiring from Stanford and the death of his wife, Arnautoff emigrated to the Soviet Union. There he created several large public murals before his death in 1979.
