Torgsin : Zoloto dlja industrializacii

RésuméTorgsin : de l’or pour l’industrialisationÀ la fin des années vingt, le pouvoir stalinien lance un programme d’industrialisation, alors que les coffres sont vides. Le pays s’enlise dans les dettes et n’a plus les moyens d’honorer ses créanciers : la réserve d’or de l’Empire de russe est épuisée depuis longtemps et les exportations de matières premières et de produits alimentaires, « principale source de devises », se sont effondrées dans le contexte de la grande dépression. Le gouvernement se met alors fiévreusement à chercher de l’or. C’est précisément à cette époque que l’État ouvre les magasins Torgsin (torgovlja s inostrancami) dans lesquels les Soviétiques peuvent obtenir de la nourriture et des biens de consommation en échange de devises étrangères, de métaux et de pierres précieuses. En quatre ans seulement, les citoyens vont échanger près de cent tonnes d’or pur ! Pendant la grande famine de 1933, les revenus de Torgsin couvrent un tiers des importations industrielles soviétiques, en 1934, plus du quart et, en 1935, le cinquième. Torgsin a accompli une mission sociale considérable en sauvant des millions personnes de la famine. En s’appuyant sur une étude conséquente des archives, l’auteur analyse l’évolution des réserves d’or et de devises de l’URSS, depuis la Révolution jusqu’au début de l’industrialisation, il révèle les secrets des statistiques soviétiques portant sur la production d’or et éclaire un certain nombre d’activités de Torgsin tenues secrètes.AbstractTorgsin: Gold for industrializationAt the end of the 1920s Stalin’s leadership started the industrial leap forward with “an empty wallet.” The country was sinking deeper into debt with little means to pay its creditors: the gold reserve of the Russian Empire had been exhausted long ago, while exports of raw materials and foodstuff, “the major hope for currency,” failed under the condition of the worldwide Depression. The government feverishly sought gold. This was exactly the time when the state opened Torgsin stores, where Soviet citizens could get food and goods in exchange for foreign currency, precious metals and stones. In four years alone (1932-1935), people brought to Torgsin almost 100 tons of pure gold! During the mass famine of 1933, Torgsin’s income covered nearly one third, in 1934 more than a fourth, and in 1935 a fifth part of Soviet industrial imports. Torgsin accomplished a great social mission by saving millions from starvation. Based on considerable archival research, the article analyzes the dynamics of the gold and currency reserves of the USSR, from the Revolution to the beginning of industrialization, reveals the secrets of the Soviet statistics of gold production as well as the numerous secrets of the activities of Torgsin

Some Aspects of Author’s Phraseology of F.M. Dostoevsky

The article is devoted to the authors phraseology of Dostoevsky, which characterizes him as an artist, a native speaker of the Russian language of his time and can distinguish him from other authors. Identification and characterization of the authors phraseological units and authors techniques of their creation on the example of the description of phraseological units to talk about the language creative personality and the features of the idiostyle. The systemic feature of the writers idiostyle when describing phraseology is an extraordinary variety in form, semantic shades and references to precedent texts, as well as a special property of the writers language - universality and originality, which allows you to go beyond the time frame of the writers work. The phraseological units introduced by Dostoevsky in the middle and second half of the XIX century entered the Russian language, they are recognizable and somehow present in the language of the XX and XXI centuries. To become stable expressions, it takes time for a more complete mastering of Dostoevskys texts, reproduction and consolidation of phraseological units in the language. Paradoxically, the unique, multidimensional and inimitable idiostyle of the writer can become an obstacle to entering the language. Moving on from century to century accumulate idioms of the language, and therefore peoples memory. The description of Dostoevskys phraseological units makes it possible to compare both different works of one writer and works of different authors in the synchrony and diachrony of the Russian language

De l’or pour l’industrialisation

Le problème du financement de l’industrialisation est l’un des problèmes centraux dans l’étude de l’histoire soviétique de la période stalinienne. Les chercheurs concentrent traditionnellement leur attention sur la source principale de ce financement – les échanges inégalitaires entre la ville et la campagne. Mais l’industrialisation soviétique a eu également d’autres moyens de financement, moins significatifs, certes, mais plus inattendus. L’un de ces moyens a été l’exportation massive d’antiquités et d’oeuvres d’art. Le début de son essor a coïncidé avec l’élaboration et les premières phases de la réalisation du premier plan quinquennal et s’est prolongé jusqu’au milieu des années trente. Pendant cette période furent vendues à l’étranger non seulement des centaines de milliers de tonnes d’antiquités de second ordre mais également certaines des plus belles œuvres de l’Ermitage et d’autres musées de premier plan du pays. Dans cet article, il est question de la période initiale de cette exportation (1927-1930), des causes qui lui ont donné naissance, de la création de l’organisation Antikvariat, des gens qui ont vendu le patrimoine national et des gens qui l’ont défendu, du premier client avec qui les ventes n’ont pas pu se faire, Germain Seligman, et du premier acheteur des chefs-d’œuvre de l’Ermitage, Calouste Gulbenkian.Gold for industrialization. Soviet export of art to France during Stalin’s five-year plans. – The financing of Soviet industrialization is one of the major issues in the study of the socio-economic history of the Stalin era. Scholars traditionally focus only on one financial source, the unequal exchange between the urban and rural sectors. However, industrialization had other, less significant, non-traditional financial means. One of these was the massive export of art. It started simultaneously with the implementation of the first five-year plan and continued through the mid-1930s. During that time, not only were hundreds of thousands of tons of, so-called, ordinary antiques sold abroad, but also many valuable works from the Hermitage and other major museums of the country as well. This article deals with the beginnings of this mass export of art (1927-1930), its origins, the creation of the organization Antikvariat, the people who sold the national heritage and those who tried to protect it, the first missed sale with Germain Seligman, and the first buyer of Hermitage masterpieces, Calouste Gulbenkian

The Erotic and the Vulgar: Visual Culture and Organized Labor's Critique of U.S. Hegemony in Occupied Japan

This essay engages the colonial legacy of postwar Japan by arguing that the political cartoons produced as part of the postwar Japanese labor movement’s critique of U.S. cultural hegemony illustrate how gendered discourses underpinned, and sometimes undermined, the ideologies formally represented by visual artists and the organizations that funded them. A significant component of organized labor’s propaganda rested on a corpus of visual media that depicted women as icons of Japanese national culture. Japan’s most militant labor unions were propagating anti-imperialist discourses that invoked an engendered/endangered nation that accentuated the importance of union roles for men by subordinating, then eliminating, union roles for women

Allocation under dictatorship : research in Stalin’s archives

We survey recent research on the Soviet economy in the state, party, and military archives of the Stalin era. The archives have provided rich new evidence on the economic arrangements of a command system under a powerful dictator including Stalin’s role in the making of the economic system and economic policy, Stalin’s accumulation objectives and the constraints that limited his power to achieve them, the limits to administrative allocation, the information flows and incentives that governed the behavior of economic managers, the scope and significance of corruption and market-oriented behavior, and the prospects for economic reform

«Slovo Dostoyevskogo. 2014. Idiostyle and Worldview»: Book Presentation

The monograph is a collective and unified understanding of the style of the Russian writer-classic. In the monograph all the articles of authors grouped by personal principle. In the work of each researcher presents the conceptual framework and the structure of the Dictionary language of Dostoyevsky, the Word of Dostoevsky and Dostoevsky's poetics, combined in one book

HYMNOGRAPHIC 'CANON' AS A “FORM OF THE PLAN” IN “THE BROTHERS KARAMAZOV” BY DOSTOEVSKY

The article draws a parallel between divine service and art, using Dostoevsky's last grand masterpiece as an example. We begin by defining the canon as a genre and as a liturgical order. The order of songs in the canon and the liturgical order resemble the sequence of Dostoevsky's novel and make it ordered and recognizable. The form chosen by the author was more organic for Russian consequence than the novel in its Western version and more expressive for a piece of art. By shaping his novel into a canon as a hymnographic piece, Dostoevsky created a special form which helped his novel attain perfection. The form of canon as a hymnographic text is found in the novel's structure (“a form of a plan”) which is made clear by the positioning of the life of Zosima. The novel's hidden meaning was thus expressed in its form. The structure of a canon reproduced in a piece of fiction allowed Dostoevsky to link the contemporary and the all-embracing, bring up eternally important issues of losing faith in God and provide true answers in the discovery of new faith in Jesus