The assembly of the land (zemskii sobor): Historiographies and mythologies of a Russian “parliament”

Focusing on the term zemskii sobor, this study explored the historiographies of the early modern Russian assemblies, which the term denoted, as well as the autocratic and democratic mythologies connected to it. Historians have debated whether the individual assemblies in the sixteenth and seventeenth century could be seen as a coherent institution, what constituencies were represented there, what role they played in the relations of the Tsar with his subjects, and if they were similar to the early modern assemblies elsewhere. The growing historiographic consensus does not see the early modern Russian assemblies as a coherent institution. In the nineteenth–early twentieth century, history writing and myth-making integrated the zemskii sobor into the argumentations of both the opponents and the proponents of parliamentarism in Russia. The autocratic mythology, advanced by the Slavophiles in the second half of the nineteenth century, proved more coherent yet did not achieve the recognition from the Tsars. The democratic mythology was more heterogeneous and, despite occasionally fading to the background of the debates, developed for some hundred years between the 1820s and the 1920s. Initially, the autocratic approach to the zemskii sobor was idealistic, but it became more practical at the summit of its popularity during the Revolution of 1905–1907, when the zemskii sobor was discussed by the government as a way to avoid bigger concessions. Regionalist approaches to Russia’s past and future became formative for the democratic mythology of the zemskii sobor, which persisted as part of the romantic nationalist imagery well into the Civil War of 1918–1922. The zemskii sobor came to represent a Russian constituent assembly, destined to mend the post-imperial crisis. The two mythologies converged in the Priamur Zemskii Sobor, which assembled in Vladivostok in 1922 and became the first assembly to include the term into its official name

Photographing Central Asia

The volume demonstrates that photography was the cornerstone of imperial media governance and discourse construction in colonial Turkestan of the tsarist and early Soviet periods. The aim of this volume is to interpret photography as a specific tool that reifies reality, subjectively frames it, and fits it into various political, ideological, commercial, scientific, and artistic contexts

Visual Texts, Ceremonial Texts, Texts of Exploration: Collected Articles on the Representation of Russian Monarchy

Visual Texts, Ceremonial Texts, Texts of Exploration continues the work begun in Russian Monarchy: Representation and Rule, which analyzed the interplay between the symbolic representations of Russian monarchs and the legal and institutional instruments of their rule. The articles in this volume examine the texts that, through various media, revealed the myths and scenarios conveying the goals and ideals the monarchy sought to elevate before the elite of the empire and, later, the public at large. Russian monarchy inhabited a highly visual culture, comprising court ceremonials, parades, public festivities, and celebrations. It mobilized the arts through painting, prints, popular pictures (lubki), and even opera. This book examines that artistic culture, focusing on several aspects. Parts I and II analyze imagery and ceremony and their relation to the verbal texts that ascribed and defined their meanings. Part III details the way texts of exploration inspired the explorers who widened Russia’s engagement with the world. Parts IV and V address key texts of intellectual history and reflect on the scholarly and methodological influences on Wortman’s approach to history

Photographing Central Asia

The volume demonstrates that photography was the cornerstone of imperial media governance and discourse construction in colonial Turkestan of the tsarist and early Soviet periods. The aim of this volume is to interpret photography as a specific tool that reifies reality, subjectively frames it, and fits it into various political, ideological, commercial, scientific, and artistic contexts

Freedom from Violence and Lies

Freedom from Violence and Lies is a collection of forty-one essays by Simon Karlinsky (1924–2009), a prolific and controversial scholar of modern Russian literature, sexual politics, and music who taught in the University of California, Berkeley’s Department of Slavic Languages and Literatures from 1964 to 1991. Among Karlinsky’s full-length works are major studies of Marina Tsvetaeva and Nikolai Gogol, Russian Drama from Its Beginnings to the Age of Pushkin; editions of Anton Chekhov’s letters; writings by Russian émigrés; and correspondence between Vladimir Nabokov and Edmund Wilson. Karlinsky also wrote frequently for professional journals and mainstream publications like the New York Times Book Review and the Nation. The present volume is the first collection of such shorter writings, spanning more than three decades. It includes twenty-seven essays on literary topics and fourteen on music, seven of which have been newly translated from the Russian originals

The Russian trumpet sonata: a study of selected representative sonatas for trumpet and piano with an historical overview of the Russian trumpet school

The impact of training on virtual team effectiveness was assessed in five areas: communication, planning tasks and setting goals, solving problems and making decisions, resolving conflict, and responding to customer requirements. A 12-page survey was developed exploring all aspects of virtual teams. 180 surveys were distributed, 52 were returned representing 43 companies. Training led to higher effectiveness in planning tasks and setting goals, solving problems and making decisions, and conflict resolution, but not in communication and responding to customer requirements. Training may not solve all the problems that virtual teams will encounter; however, training will make the challenges easier to handle

Visual Texts, Ceremonial Texts, Texts of Exploration

Visual Texts, Ceremonial Texts, Texts of Exploration continues the work begun in Russian Monarchy: Representation and Rule, which analyzed the interplay between the symbolic representations of Russian monarchs and the legal and institutional instruments of their rule. The articles in this volume examine the texts that, through various media, revealed the myths and scenarios conveying the goals and ideals the monarchy sought to elevate before the elite of the empire and, later, the public at large

Images of the Petrine era in Russian history painting

‘Images of the Petrine Era in Russian History Painting’ examines the changing iconography of Petr I (1672-1725) in nineteenth-century Russian painting, and its relationship with Petr’s symbolic role in the cultural debate between the Westernisers and the Slavophiles over the interpretation of the Russian past and the direction of Russia’s future. Artistic developments are discussed against a background of history, historiography and literature. Paintings by Academic artists that were produced as contributions to the official cult of Petr, fostered by Nikolai I, are explored as expressions of aspects of the archetypal Hero. The evolution of historical genre painting, and particularly the developments introduced by Shvarts in the 1860s, are examined as a crucial component of the context for the emergence of the Peredvizhniki. The main focus of this study comprises the Realist history paintings of the Peredvizhniki. The pursuit of historical truth, after Aleksandr Il’s relaxation of censorship in the late 1850s, became a significant factor in the application of Realism to history painting. The treatment of Petrine themes by the Peredvizhniki in their First Exhibition in 1871 is discussed in relation to the celebrations for Petr’s bicentenary in 1872. Ge’s ‘Petr I interrogates Tsarevich Aleksei Petrovich at Peterhof’ is analysed in detail for its importance as the first treatment in a Realist style of a controversial historical incident which was unfavourable to Petr. Evidence, exemplified by Myasoedov’s ‘The Grandfather of the Russian Fleet’, is brought forward which suggests continuities between the Academy and the Peredvizhniki. The Peredvizhniki’s varied approaches to Petrine themes are examined, emphasising the group’s lack of ideological uniformity. History paintings are explored in their social and cultural context, for instance, nineteenth-century depictions of Tsarevna Sof’ya Alekseevna and the rise of Russian feminism, and the effect of Surikov’s personal experience of cultural conflict on his works

専修大学図書館所蔵 西川正雄文庫目録 Ⅳ.洋書② 図書(分類番号310～999), 洋雑誌, 索引

西川正雄文庫は元本学文学部教授・故西川正雄先生(1933年7月15日～2008年1月28日)の旧蔵本を、ご遺族より寄贈を受けたものである。ドイツ史、ヨーロッパ近現代史、ドイツ社会民主党やローザ・ルクセンブルク(Rosa Luxemburg 1871-1919)関連資料から構成されています。また、世界史教科書編纂関係資料など、歴史教育に関係する資料も多数含まれている。 この目録は、本学図書館所蔵の西川正雄文庫（和図書7,171 冊、和雑誌75 タイトル895 冊、洋図書6,205 冊、洋雑誌99 タイトル968 冊）のうち、利用可能な和図書7,136冊、和雑誌75 タイトル895 冊、洋図書6,200 冊、洋雑誌99 タイトル968 冊を収録したものである