From Moscow with love

One of the less researched aspects of postcolonial India’s “progressive” culture is its Soviet connection. Starting in the 1950s and consolidating in the 1960s, the Union of Soviet Socialist Republics invested in building up “committed” networks amongst writers, directors, actors, and other theater- and film-practitioners across India. Thus, an entire generation of cultural professionals was initiated into the anticolonial solidarity of emerging Afro-Asian nations that were seen, and portrayed, by the Soviets as being victims of “Western” imperialism. The aspirational figure of the New Soviet Man was celebrated through the rise of a new form of “transactional sociality” (Westlund 2003). This paper looks at selected cases of cultural diplomacy—through the lens of cultural history—between the USSR and India for two decades after India’s Independence, exploring the possibility of theorizing it from the perspective of an anticolonial cultural solidarity that allowed agency to Indian interlocutors

Mass Communication

21 cm; 280 ha

The sponsor: notes on a modern potentate/ Barnouw

220 hal.; 19 cm

Rain or Shine, In A Fisher Body

Piano score, 5 p.; Possible publishing info: New York? Edward B. Marks Music Corp., c1932.; Score c1920 by Jos. W. Stern & Co., New York, copyright assigned 1932 to Edward B. Marks; Music Corp. Lyric c1934 by Fisher Body Corp.; Drawing of the General Motors Exhibit, 1934, on verso of last leaf.; General Motors advertisement for Fisher Body on p.[2]