35 research outputs found
Innovation, Creativity and Culture: Third Annual Conference of the University Network of the European Capitals of Culture: Proceedings, Vilnius, Lithuania, 22nd-23rd October 2009
Innovation, Creativity and Culture: Third Annual Conference of the University Network of the European Capitals of Culture: Proceedings, Vilnius, Lithuania, 22nd-23rd October 200
A Country of Heroes? Belgium in Russian Propaganda during WWI... and After
The treacherous German invasion of Belgium and the heroic resistance by the Belgian king Albert, his army and subjects played a crucial role in the Russian war propaganda during WWI. German cruelties justified Belgian retaliations, and when these were slow in coming, imagination stepped in. Undaunted by any factual knowledge of Belgian politics, history, geography or military tactics, Russian novelists and poets adopted literary images derived from Maeterlinck, Verhaeren, Rodenbach or De Coster so as to instill Russian patriotism and indignation at German (cultural) barbarism. Soon enough, these images were adapted in paintings, war posters, propaganda films, sensationalist plays and pulp literature. These images were so strong that they even inspired real Russian politics: the tactics of inundation the Belgians used (with mixed results) convinced the Russian military to invite Belgian specialists to the Russian front; and when the negotiations over French arms for Russian troops started in 1915, the Russian government wanted to bring its troops under royal Belgian command, rather than under the republican French. The Russian image of Belgium created during the war would have an lasting impact: Russian Γ©migrΓ©s after 1917 molded the image of king Albert after their late Emperor and wanted to believe that he would protect them (in vein). Soviet authors visiting Belgium only saw the country through the images of war. And Russiaβs most popular Belgian novel β Charles De Costerβs Til Ulenshpigel (1867), about the civil war in the Low Countries in the 16th century β was first translated inβ¦ 1915 as part of the Russian propaganda war. In this case, as in others, suggestive βliterary imagesβ were considered more appropriate and effective than cruel, factual representations.status: publishe
Zhizn' posle Tsaria: Russkie emigranty v Bel'gii, 1917-1945
ΠΠΎΡΠ»Π΅ ΠΠΊΡΡΠ±ΡΡΡΠΊΠΎΠΉ ΡΠ΅Π²ΠΎΠ»ΡΡΠΈΠΈ ΠΎΠΊΠΎΠ»ΠΎ Π΄Π΅ΡΡΡΠΈ ΡΡΡΡΡ ΡΡΡΡΠΊΠΈΡ
Π±Π΅ΠΆΠ΅Π½ΡΠ΅Π² Π½Π°ΡΠ»ΠΈ ΠΏΡΠΈΡΡ Π² ΠΠ΅Π»ΡΠ³ΠΈΠΈ. ΠΠ΅Π»ΡΠ³ΠΈΡ Π±Π»Π°Π³ΠΎΡΠΊΠ»ΠΎΠ½Π½ΠΎ Π²ΡΡΡΠ΅ΡΠΈΠ»Π° ΡΡΡΡΠΊΠΈΡ
, ΠΈ ΠΈΡ
ΡΠΈΡΠ»ΠΎ Π½Π΅ΡΠΊΠ»ΠΎΠ½Π½ΠΎ Π²ΠΎΠ·ΡΠ°ΡΡΠ°Π»ΠΎ. ΠΠ΅ΡΠΌΠΎΡΡΡ Π½Π° ΠΏΠ΅ΡΡΡΠΎΡΡ ΠΏΠΎΠ»ΠΈΡΠΈΡΠ΅ΡΠΊΠΈΡ
ΡΠΈΠΌΠΏΠ°ΡΠΈΠΉ ΠΈ ΠΈΠ½ΡΠ΅ΡΠ΅ΡΠΎΠ² Π΄ΠΈΠ°ΡΠΏΠΎΡΡ β ΠΎΡ ΠΌΠΎΠ½Π°ΡΡ
ΠΈΡΡΡΠΊΠΈΡ
Π²Π·Π³Π»ΡΠ΄ΠΎΠ² ΡΡΠ°ΡΡΠ΅Π³ΠΎ ΠΏΠΎΠΊΠΎΠ»Π΅Π½ΠΈΡ ΡΠ΅ΡΠ΅Π· ΠΏΠΎΡΠ΅Π²ΠΎΠ»ΡΡΠΈΠΎΠ½Π½ΡΠ΅ Π΄Π²ΠΈΠΆΠ΅Π½ΠΈΡ Ρ ΠΌΠΎΠ»ΠΎΠ΄Π΅ΠΆΠΈ Π²ΠΏΠ»ΠΎΡΡ Π΄ΠΎ ΠΊΠΎΠ½ΡΠ΅ΡΠ²Π°ΡΠΈΠ²Π½ΠΎΠ³ΠΎ ΠΊΠΎΠ½ΡΠΎΡΠΌΠΈΠ·ΠΌΠ°, ΠΏΡΠΈΠ²Π΅Π΄ΡΠΈΡ
ΡΠ°ΡΡΡ Π΄ΠΈΠ°ΡΠΏΠΎΡΡ ΠΊ ΡΠΎΡΡΡΠ΄Π½ΠΈΡΠ΅ΡΡΠ²Ρ Ρ Π½Π°ΡΠΈΡΡΠ°ΠΌΠΈ, β Π²ΡΠ΅ ΡΡΠΎΡΠΎΠ½Ρ ΡΠΌΠΈΠ³ΡΠ°Π½ΡΡΠΊΠΎΠ³ΠΎ Π±ΡΡΠ° Π±ΡΠ»ΠΈ ΠΏΠΎΠ΄ΡΠΈΠ½Π΅Π½Ρ ΠΎΠ΄Π½ΠΎΠΉ ΡΠ΅Π»ΠΈ β ΠΎΡΠ²ΠΎΠ±ΠΎΠΆΠ΄Π΅Π½ΠΈΡ ΡΠΎΠ΄ΠΈΠ½Ρ ΠΎΡ Π±ΠΎΠ»ΡΡΠ΅Π²ΠΈΠΊΠΎΠ²β¦
ΠΡΠ΅Π΄Π»Π°Π³Π°Π΅ΠΌΠΎΠ΅ ΠΈΠ·Π΄Π°Π½ΠΈΠ΅ ΡΠ²Π»ΡΠ΅ΡΡΡ ΠΏΠ΅ΡΠ²ΠΎΠΉ ΠΌΠΎΠ½ΠΎΠ³ΡΠ°ΡΠΈΠ΅ΠΉ ΠΎΠ± ΠΈΡΡΠΎΡΠΈΠΈ ΡΡΡΡΠΊΠΎΠΉ ΡΠΌΠΈΠ³ΡΠ°ΡΠΈΠΈ Π² ΠΠ΅Π»ΡΠ³ΠΈΠΈ Π² ΠΌΠ΅ΠΆΠ²ΠΎΠ΅Π½Π½ΡΠΉ ΠΏΠ΅ΡΠΈΠΎΠ΄. Π ΠΊΠ½ΠΈΠ³Π΅ Π½Π° ΠΎΡΠ½ΠΎΠ²Π΅ ΡΠ½ΠΈΠΊΠ°Π»ΡΠ½ΡΡ
Π°ΡΡ
ΠΈΠ²Π½ΡΡ
Π΄ΠΎΠΊΡΠΌΠ΅Π½ΡΠΎΠ² ΡΠ°ΡΡΠΌΠΎΡΡΠ΅Π½Ρ ΠΌΠ½ΠΎΠ³ΠΎΠ³ΡΠ°Π½Π½ΡΠ΅ ΠΈ ΠΏΡΠΎΡΠΈΠ²ΠΎΡΠ΅ΡΠΈΠ²ΡΠ΅ Π²Π·Π°ΠΈΠΌΠΎΠΎΡΠ½ΠΎΡΠ΅Π½ΠΈΡ ΡΡΡΡΠΊΠΎΠΉ Π΄ΠΈΠ°ΡΠΏΠΎΡΡ ΡΠΎ ΡΠ²Π΅ΡΡΠΊΠΈΠΌΠΈ ΠΈ ΡΠ΅ΡΠΊΠΎΠ²Π½ΡΠΌΠΈ Π²Π»Π°ΡΡΡΠΌΠΈ Π½ΠΎΠ²ΠΎΠΉ ΡΡΡΠ°Π½Ρ ΠΏΡΠ΅Π±ΡΠ²Π°Π½ΠΈΡ, Π° ΡΠ°ΠΊΠΆΠ΅ ΠΌΠ°Π»ΠΎΠΈΠ·Π²Π΅ΡΡΠ½ΡΠ΅ Π°ΡΠΏΠ΅ΠΊΡΡ Π±Π΅Π»ΡΠ³ΠΈΠΉΡΠΊΠΎΠΉ ΠΈΡΡΠΎΡΠΈΠΈ.nrpages: 504status: publishe
βFictional, but Truthful.β Nicolas Belina-Podgaetsky, a Soviet Journalist at the Service of Catholic Anti-Communism
Nicolas Belina-Podgaetsky (1896-1967) was the most prolific Russian Γ©migrΓ© author in Belgium between the late 1930s and early 1950s. His memoirs, as well as numerous children books on the plight of Christians under Soviet rule apparently met the criteria for good Catholic, anti-communist literature and were published by Durendal, Casterman and Bonne Presse/Goede Pers (Averbode). As a typical convert, however, the former Soviet journalist Belina-Podgaetsky tried to emulate his new mastersβ views and in doing so overstepped the mark. His autobiography was meticulously edited to obscure his Soviet (and atheist) past, while his fictional work contained so many βverifiableβ facts, that they became βTrueβ in a metaphysical and ideological sense. Notwithstanding the huge circulation and publicity his work never gained him the literary fame he craved. And despite his Russian and anti-communist profile, the Russian Γ©migrΓ©s in Belgium never accepted him as one of their own. This article wants to explore how the life and work of a minor author as Belina-Podgaetskyβs not only reflected Catholic anti-communism in Belgium during that era, but also contributed to its creation.status: publishe
Interview met Wim Coudenys: Hoe Rusland in één jaar verandert van eeuwenoud tsarenrijk in een communistische dictatuur
status: publishe
ΠΠ»Π°Ρ Π²ΠΎΠΏΠΈΡΡΠ΅ΠΉ Π² Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΠ½ΠΎΠΉ ΠΏΡΡΡΡΠ½Π΅ : 3. Π. Π¨Π°Ρ ΠΎΠ²ΡΠΊΠ°Ρ ΠΈ ΡΡΡΡΠΊΠ°Ρ ΡΠΌΠΈΠ³ΡΠ°ΡΠΈΡ Π² ΠΠ΅Π»ΡΠ³ΠΈΠΈ
Coudenys Wim. ΠΠ»Π°Ρ Π²ΠΎΠΏΠΈΡΡΠ΅ΠΉ Π² Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΠ½ΠΎΠΉ ΠΏΡΡΡΡΠ½Π΅ : 3. Π. Π¨Π°Ρ
ΠΎΠ²ΡΠΊΠ°Ρ ΠΈ ΡΡΡΡΠΊΠ°Ρ ΡΠΌΠΈΠ³ΡΠ°ΡΠΈΡ Π² ΠΠ΅Π»ΡΠ³ΠΈΠΈ. In: Revue des Γ©tudes slaves, tome 73, fascicule 1, 2001. pp. 151-166
Translators and the emergence of historiography in eighteenthcentury Russia
An important aspect of the modernisation of Russia in the 18th century was the creation of academic institutions that relied on European traditions of research and education. Translation was the main mechanism of the βtransfer of knowledgeβ, as well as a scientific method. Translation, however, was not restricted to the mere translation of academic texts into Russian: it also played a crucial role in the development of the sciences themselves in Russia and facilitated the exchange of scientific and scholarly knowledge with Western Europe (the βcirculation of knowledgeβ). History was one of the disciplines where translation was particularly crucial. This article studies in detail the dynamics of translation within 18th-century Russian historiography. Based on statistical data derived from the Slovarβ russkikh pisatelei XVIII veka and the Katalog lichnykh arkhivnykh fondov otechestvennykh istorikov XVIII v., the article draws some interesting conclusions with regard to the constantly changing relationship between translators and historians (who were not infrequently the same people). Most of the article (and its sequel in the next issue of QR) deals with the role of translation in the emergence of Russian history as an academic discipline. It developed from a tool used for political purposes under Peter I into a method for the study of historical sources. This development led to the establishment of historiography as a discipline that relied both on verifiable sources and followed the rhetorical logic of narrative texts. At the beginning of the 19th century, translation as a tool and a historical methodology lost its significance. What did remain was the profound tradition of reference to international knowledge. Later on, Russian historiography was considerably enriched by translations of historical works. This argument makes up the first part of the article.ΠΠ΄Π½ΠΈΠΌ ΠΈΠ· Π³Π»Π°Π²Π½ΡΡ
Π°ΡΠΏΠ΅ΠΊΡΠΎΠ² ΠΌΠΎΠ΄Π΅ΡΠ½ΠΈΠ·Π°ΡΠΈΠΈ Π ΠΎΡΡΠΈΠΈ Π² XVIII Π². Π±ΡΠ»ΠΎ ΡΠΎΠ·Π΄Π°Π½ΠΈΠ΅ Π°ΠΊΠ°Π΄Π΅ΠΌΠΈΡΠ΅ΡΠΊΠΎΠΉ Π½Π°ΡΠΊΠΈ. ΠΠ²ΡΠΎΠΏΠ΅ΠΉΡΠΊΠΈΠΉ ΠΈΡΡΠ»Π΅Π΄ΠΎΠ²Π°ΡΠ΅Π»ΡΡΠΊΠΈΠΉ ΠΎΠΏΡΡ, ΡΠ»ΠΎΠΆΠΈΠ²ΡΠΈΠ΅ΡΡ Π½Π°ΡΡΠ½ΡΠ΅ ΡΠΊΠΎΠ»Ρ Π±ΡΠ»ΠΈ ΠΊΠΎΠ½ΡΡΡΡΠΊΡΠΈΠ²Π½ΠΎ Π²ΠΎΡΠΏΡΠΈΠ½ΡΡΡ Π² Π½Π°ΡΠΎΠΆΠ΄Π°ΡΡΠ΅ΠΉΡΡ ΡΠΎΡΡΠΈΠΉΡΠΊΠΎΠΉ Π½Π°ΡΠΊΠ΅. ΠΠ°ΠΆΠ½ΡΠΌ ΠΌΠ΅Ρ
Π°Π½ΠΈΠ·ΠΌΠΎΠΌ ΡΡΠ°Π½ΡΠ»ΡΡΠΈΠΈ Π·Π½Π°Π½ΠΈΠΉ ΠΈ ΠΌΠ΅ΡΠΎΠ΄ΠΎΠ² ΠΈΡΡΠ»Π΅Π΄ΠΎΠ²Π°Π½ΠΈΡ Π±ΡΠ» ΠΏΠ΅ΡΠ΅Π²ΠΎΠ΄. ΠΠ΄Π½Π°ΠΊΠΎ ΠΏΠ΅ΡΠ΅Π²ΠΎΠ΄ Π½Π΅ ΠΎΠ³ΡΠ°Π½ΠΈΡΠΈΠ»ΡΡ ΠΏΡΠΎΡΡΡΠΌ Β«ΠΏΠ΅ΡΠ΅Π»ΠΎΠΆΠ΅Π½ΠΈΠ΅ΠΌΒ» Π½Π°ΡΡΠ½ΡΡ
ΡΠ°Π±ΠΎΡ Π½Π° ΡΡΡΡΠΊΠΈΠΉ ΡΠ·ΡΠΊ, Π½ΠΎ ΠΈΠ³ΡΠ°Π» ΡΠ΅ΡΠ°ΡΡΡΡ ΡΠΎΠ»Ρ ΠΊΠ°ΠΊ Π² ΡΠ°Π·Π²ΠΈΡΠΈΠΈ ΡΠ°ΠΌΠΎΠΉ Π½Π°ΡΠΊΠΈ Π² Π ΠΎΡΡΠΈΠΈ, ΡΠ°ΠΊ ΠΈ Π² ΠΎΠ±ΠΌΠ΅Π½Π΅ Π½Π°ΡΡΠ½ΡΠΌΠΈ Π·Π½Π°Π½ΠΈΡΠΌΠΈ ΠΈ ΠΎΠΏΡΡΠΎΠΌ Ρ ΠΠ²ΡΠΎΠΏΠΎΠΉ (Β«ΡΠΈΡΠΊΡΠ»ΡΡΠΈΡ Π·Π½Π°Π½ΠΈΠΉΒ»). Π‘ΡΠ΅Π΄ΠΈ Π½Π°ΡΠΊ, ΠΊΠΎΡΠΎΡΡΠ΅ ΠΎΡΠΎΠ±Π΅Π½Π½ΠΎ Π°ΠΊΡΠΈΠ²Π½ΠΎ ΠΎΠ±ΡΠ°ΡΠ°Π»ΠΈΡΡ ΠΊ ΠΏΠ΅ΡΠ΅Π²ΠΎΠ΄ΡΠ΅ΡΠΊΠΎΠΉ Π΄Π΅ΡΡΠ΅Π»ΡΠ½ΠΎΡΡΠΈ, ΠΎΠΊΠ°Π·Π°Π»Π°ΡΡ ΠΈΡΡΠΎΡΠΈΠΎΠ³ΡΠ°ΡΠΈΡ. Π ΡΡΠ°ΡΡΠ΅ ΠΏΠΎΠ΄ΡΠΎΠ±Π½ΠΎ ΡΠ°ΡΡΠΌΠ°ΡΡΠΈΠ²Π°ΡΡΡΡ Π΄ΠΈΠ½Π°ΠΌΠΈΠΊΠ° ΠΏΠ΅ΡΠ΅Π²ΠΎΠ΄ΡΠ΅ΡΠΊΠΎΠΉ Π΄Π΅ΡΡΠ΅Π»ΡΠ½ΠΎΡΡΠΈ ΠΈ Π΅Π΅ ΡΠΎΠΎΡΠ½ΠΎΡΠ΅Π½ΠΈΠ΅ Ρ ΠΏΠΎΡΡΠ΅Π±Π½ΠΎΡΡΡΠΌΠΈ ΠΈΡΡΠΎΡΠΈΡΠ΅ΡΠΊΠΎΠΉ Π½Π°ΡΠΊΠΈ. ΠΠ° ΠΎΡΠ½ΠΎΠ²Π°Π½ΠΈΠΈ ΡΡΠ°ΡΠΈΡΡΠΈΡΠ΅ΡΠΊΠΈΡ
Π΄Π°Π½Π½ΡΡ
, ΠΏΠΎΡΠ΅ΡΠΏΠ½ΡΡΡΡ
ΠΈΠ· Β«Π‘Π»ΠΎΠ²Π°ΡΡ ΡΡΡΡΠΊΠΈΡ
ΠΏΠΈΡΠ°ΡΠ΅Π»Π΅ΠΉ XVIII Π².Β», Π° ΡΠ°ΠΊΠΆΠ΅ ΠΌΠ°ΡΠ΅ΡΠΈΠ°Π»ΠΎΠ² Β«ΠΠ°ΡΠ°Π»ΠΎΠ³Π° Π»ΠΈΡΠ½ΡΡ
Π°ΡΡ
ΠΈΠ²Π½ΡΡ
ΡΠΎΠ½Π΄ΠΎΠ² ΠΎΡΠ΅ΡΠ΅ΡΡΠ²Π΅Π½Π½ΡΡ
ΠΈΡΡΠΎΡΠΈΠΊΠΎΠ² XVIII Π². ΠΈ ΠΏΠ΅ΡΠ²ΠΎΠΉ ΠΏΠΎΠ»ΠΎΠ²ΠΈΠ½Ρ XIX Π².Β», Π°Π²ΡΠΎΡ Π΄Π΅Π»Π°Π΅Ρ ΠΈΠ½ΡΠ΅ΡΠ΅ΡΠ½ΡΠ΅ Π·Π°ΠΊΠ»ΡΡΠ΅Π½ΠΈΡ ΠΎ ΠΏΡΠΎΡΠ΅ΡΡΠ΅ Π²Π·Π°ΠΈΠΌΠΎΠΎΡΠ½ΠΎΡΠ΅Π½ΠΈΠΉ ΠΏΠ΅ΡΠ΅Π²ΠΎΠ΄ΡΠΈΠΊΠΎΠ² ΠΈ ΠΈΡΡΠΎΡΠΈΠΊΠΎΠ², ΠΈΠ½ΠΎΠ³Π΄Π° ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»Π΅Π½Π½ΡΡ
ΠΎΠ΄Π½ΠΈΠΌ Π»ΠΈΡΠΎΠΌ. Π ΡΡΠ°ΡΡΠ΅ ΠΎΡΠ΅Π½ΠΈΠ²Π°Π΅ΡΡΡ ΡΠΎΠ»Ρ ΠΏΠ΅ΡΠ΅Π²ΠΎΠ΄Π° Π² ΡΠ°Π·Π²ΠΈΡΠΈΠΈ ΡΠΎΡΡΠΈΠΉΡΠΊΠΎΠΉ ΠΈΡΡΠΎΡΠΈΡΠ΅ΡΠΊΠΎΠΉ Π½Π°ΡΠΊΠΈ ΠΎΡ ΡΠ΅Π»ΠΈ ΡΠ°ΡΠΏΡΠΎΡΡΡΠ°Π½Π΅Π½ΠΈΡ ΠΏΠΎΠ»ΠΈΡΠΈΡΠ΅ΡΠΊΠΎΠΉ ΠΏΡΠΎΠΏΠ°Π³Π°Π½Π΄Ρ ΠΏΡΠΈ ΠΠ΅ΡΡΠ΅ I ΡΠ΅ΡΠ΅Π· Π·Π°Π΄Π°ΡΡ ΡΠ°ΡΠΊΡΡΡΠΈΡ ΠΈΡΡΠΎΡΠΈΡΠ΅ΡΠΊΠΈΡ
ΠΈΡΡΠΎΡΠ½ΠΈΠΊΠΎΠ² (Π² ΡΠ΅ΡΠ΅Π΄ΠΈΠ½Π΅ XVIII Π².) Π΄ΠΎ ΡΡΠ°Π½ΠΎΠ²Π»Π΅Π½ΠΈΡ ΠΈΡΡΠΎΡΠΈΠΎΠ³ΡΠ°ΡΠΈΠΈ ΠΊΠ°ΠΊ Π½Π°ΡΠΊΠΈ, ΠΎΠΏΠΈΡΠ°ΡΡΠ΅ΠΉΡΡ Π½Π° ΠΈΡΡΠΎΡΠ½ΠΈΠΊΠΈ, Π½ΠΎ Π² ΡΠΎ ΠΆΠ΅ Π²ΡΠ΅ΠΌΡ ΡΠΎΠΎΡΠ²Π΅ΡΡΡΠ²ΡΡΡΠ΅ΠΉ ΠΏΡΠ°Π²ΠΈΠ»Π°ΠΌ Π½Π°ΡΡΠ°ΡΠΈΠ²Π° (ΡΠΈΡΠΎΡΠΈΠΊΠΈ). Π‘ΡΠ³ΡΠ°Π² ΡΠ²ΠΎΡ ΠΊΠΎΠ½ΡΡΡΡΠΊΡΠΈΠ²Π½ΡΡ ΡΠΎΠ»Ρ Π² ΡΠΎΡΠΌΠΈΡΠΎΠ²Π°Π½ΠΈΠΈ Π°ΠΊΠ°Π΄Π΅ΠΌΠΈΡΠ΅ΡΠΊΠΎΠΉ ΠΈΡΡΠΎΡΠΈΠΈ, Π² Π½Π°ΡΠ°Π»Π΅ XIX Π². ΠΏΠ΅ΡΠ΅Π²ΠΎΠ΄ ΠΊΠ°ΠΊ ΠΈΡΡΠΎΡΠΈΠΎΠ³ΡΠ°ΡΠΈΡΠ΅ΡΠΊΠΈΠΉ ΠΏΡΠΈΠ΅ΠΌ ΠΈ ΠΌΠ΅ΡΠΎΠ΄ ΠΎΡΠΎΠ΄Π²ΠΈΠ½ΡΠ»ΡΡ Π½Π° Π·Π°Π΄Π½ΠΈΠΉ ΠΏΠ»Π°Π½. ΠΠΎ ΠΎΡΡΠ°Π»Π°ΡΡ Π³Π»ΡΠ±ΠΎΠΊΠ°Ρ ΡΡΠ°Π΄ΠΈΡΠΈΡ ΠΎΠ±ΡΠ°ΡΠ΅Π½ΠΈΡ ΠΊ ΠΌΠ΅ΠΆΠ΄ΡΠ½Π°ΡΠΎΠ΄Π½ΠΎΠΌΡ ΠΎΠΏΡΡΡ, ΠΈ Π² ΠΏΠΎΡΠ»Π΅Π΄ΡΡΡΠΈΠ΅ Π²ΡΠ΅ΠΌΠ΅Π½Π° ΡΠΎΡΡΠΈΠΉΡΠΊΠ°Ρ ΠΈΡΡΠΎΡΠΈΠΎΠ³ΡΠ°ΡΠΈΡ ΠΌΠ½ΠΎΠ³ΠΎΠΊΡΠ°ΡΠ½ΠΎ ΠΎΠ±ΠΎΠ³Π°ΡΠ°Π»Π°ΡΡ ΠΏΠ΅ΡΠ΅Π²ΠΎΠ΄Π°ΠΌΠΈ ΠΈΡΡΠΎΡΠΈΡΠ΅ΡΠΊΠΈΡ
ΡΡΡΠ΄ΠΈΠΉ. Π ΡΡΠΎΠΌ Π½ΠΎΠΌΠ΅ΡΠ΅ ΠΏΠ΅ΡΠ°ΡΠ°Π΅ΡΡΡ ΠΏΠ΅ΡΠ²Π°Ρ ΡΠ°ΡΡΡ ΡΡΠ°ΡΡΠΈ
Russische literatuur en oorlogspropaganda tijdens de Eerste Wereldoorlog. 'Antwerpen' van Aleksander Blok
status: publishe