24 research outputs found
The Curious Fate of Edward Said in Russia
This article examines the reception of Edward Saidâs book Orientalism in Russia. While Said made little mention of Russia, a number of scholars, including Russians abroad like Vera Tolz and Alexander Etkind, have examined Russian Orientalism according to Saidâs schema. As for Russia itself, the book remains relatively understudied. I explain why Said has been largely ignored in Russia, as well as the appropriation of his ideas by the nationalist right.La prĂ©sente Ă©tude porte sur la rĂ©ception russe de lâouvrage dâEdward SaĂŻd, Orientalisme. MĂȘme si cet ouvrage ne parle que trĂšs peu de la Russie, un certain nombre de chercheurs en Occident, y compris des Russes comme Vera Tolz et Alexander Etkind, ont Ă©tudiĂ© lâorientalisme russe dans lâoptique de SaĂŻd. Il nâen a pas Ă©tĂ© de mĂȘme en Russie. Alors que lâouvrage a Ă©tĂ© publiĂ© en 1978 et quâil avait dĂ©jĂ Ă©tĂ© traduit en 36 autres langues en 2005, la version russe nâa paru quâen 2006. Je propose donc de montrer ici pourquoi SaĂŻd a Ă©tĂ© largement ignorĂ© en Russie, et comment en mĂȘme temps la droite nationaliste sâest appropriĂ© ses idĂ©es
Taline Ter Minassian, Reginald Teague-Jones. Au service secret de lâEmpire britannique
As if to distract from its own sanguinary excesses, many of the twentieth centuryâs more repressive regimes took great care to establish a martyrology to inspire the masses. Thus the Third Reich commemorated the assassinated SA-activist Horst Wessel with its second anthem, Maoâs China celebrated âSisterâ Jiang Zhuyun with an opera, and every Soviet schoolchild was well acquainted with the story of Pavlik Morozov, the teenager who was murdered by relatives after he had denounced his father to ..
Vasilij V. Vereshchaginâs Canvases of Central Asian Conquest
This paper analyzes the art and writings of the nineteenth century Russian painter Vasilij Vereshchagin. Focusing on his Turkestan series of 1869-1873, it examines the artistâs views about the tsarist conquest of Central Asia. The paper also discusses the place of Vereshchagin in the context of his contemporaries, the aesthetic views of N. G. Chernyshevskij and Edward Saidâs ideas about Orientalism. An examination of his canvases and writings about the region suggests that the painter saw the Russian conquest as a positive development, but was critical of the way it was carried out.Cet article analyse lâart et les Ă©crits du peintre russe du XIXe siĂšcle Vasilij Vereshchagin. Se concentrant sur sa sĂ©rie turkestanaise de 1869-1873, il examine les perceptions par lâartiste de la conquĂȘte tsariste de lâAsie centrale. Lâarticle discute Ă©galement de la place de Vereshchagin parmi ses contemporains, des idĂ©es esthĂ©tiques de N. G. Chernyshevskij et des idĂ©es dâEdward SaĂŻd Ă propos de lâorientalisme. Une analyse des toiles et Ă©crits de Vereshchagin au sujet de la rĂ©gion suggĂšre que le peintre aurait vu la conquĂȘte russe comme un dĂ©veloppement positif, tout en critiquant la maniĂšre dont elle a Ă©tĂ© rĂ©alisĂ©e
Taline Ter Minassian, Reginald Teague-Jones. Au service secret de lâEmpire britannique
As if to distract from its own sanguinary excesses, many of the twentieth centuryâs more repressive regimes took great care to establish a martyrology to inspire the masses. Thus the Third Reich commemorated the assassinated SA-activist Horst Wessel with its second anthem, Maoâs China celebrated âSisterâ Jiang Zhuyun with an opera, and every Soviet schoolchild was well acquainted with the story of Pavlik Morozov, the teenager who was murdered by relatives after he had denounced his father to ..
Russiaâs ambivalent response to the Boxers
La rĂ©action ambiguĂ« de la Russie Ă lâinsurrection des Boxers. â à lâinstar des autres puissances ayant des intĂ©rĂȘts en Chine, la Russie prit part Ă lâintervention militaire visant Ă Ă©craser lâinsurrection des Boxers, cette explosion de violence xĂ©nophobe qui eut lieu Ă PĂ©kin et dans les provinces voisines dans le courant de lâĂ©tĂ© 1900. Cependant, la participation de Saint-PĂ©tersbourg Ă cette opĂ©ration se distinguait de celle de ses partenaires par son ambiguĂŻtĂ©. Lorsquâau dĂ©but de lâannĂ©e 1900 les diplomates russes furent informĂ©s des troubles pour la premiĂšre fois, ils rejetĂšrent cette nouvelle comme alarmiste et ne joignirent pas leur voix aux protestations europĂ©ennes. Quand lâĂ©meute se transforma en insurrection et que les lĂ©gations Ă©trangĂšres furent assiĂ©gĂ©es lâĂ©tĂ© suivant, câest Ă contrecoeur que Nicolas II marcha sur PĂ©kin avec les autres nations. Pendant lâautomne 1900 et au dĂ©but de lâannĂ©e suivante, le reprĂ©sentant russe implora ses collĂšgues de faire preuve de modĂ©ration dans leur demande de rĂ©parations au gouvernement chinois. Les apprĂ©hensions de la Russie reflĂ©taient le dĂ©sir de celle-ci de maintenir une relation privilĂ©giĂ©e entre la dynastie des Romanov et celle des Qing, dĂ©sir qui sâexprimait surtout au niveau des hauts fonctionnaires des ministĂšres des Finances et des Affaires Ă©trangĂšres et dans certains articles de presse.Like the other powers with interests in China, Russia intervened militarily to suppress the Boxer rising, a violent xenophobic eruption in Peking and the surrounding provinces during summer 1900. However, St.ĂPetersburgâs participation in the operation was much more ambivalent than that of its partners. When unrest was first reported at the start of 1900, Russian diplomats dismissed the news as alarmist, and refrained from joining the European protests. As the disorders grew into a full-scale uprising and the foreign legations came undersiege that summer, Tsar Nicholas II participated in the multinational march on Peking with the greatest reluctance. During autumn 1900 and into the following year, Russiaâs envoy pleaded with his colleagues to moderate their demands for retribution from the Chinese government. Russiaâs misgivings reflected a belief in a special relationship between the Romanov and Qing dynasties, especially among officials at the ministries of Finance and of Foreign Affairs, as well as many commentators in the press
Tomohiko Uyama, ed., Asiatic Russia
Since at least the early seventeenth century the bulk of its territory has lain in Asia, but scholars have only seriously begun to pay much attention to Russiaâs East over the past two decades. Nevertheless, the field has made substantial progress, as a growing number of books, symposia, and dissertations suggest. A case in point is the essay collection, Asiatic Russia: Imperial Power in Regional and International Contexts. The volume is the outcome of a conference in 2007 at Hokkaido Univers..
Vasilij V. Vereshchaginâs Canvases of Central Asian Conquest
This paper analyzes the art and writings of the nineteenth century Russian painter Vasilij Vereshchagin. Focusing on his Turkestan series of 1869-1873, it examines the artistâs views about the tsarist conquest of Central Asia. The paper also discusses the place of Vereshchagin in the context of his contemporaries, the aesthetic views of N. G. Chernyshevskij and Edward Saidâs ideas about Orientalism. An examination of his canvases and writings about the region suggests that the painter saw the Russian conquest as a positive development, but was critical of the way it was carried out.Cet article analyse lâart et les Ă©crits du peintre russe du XIXe siĂšcle Vasilij Vereshchagin. Se concentrant sur sa sĂ©rie turkestanaise de 1869-1873, il examine les perceptions par lâartiste de la conquĂȘte tsariste de lâAsie centrale. Lâarticle discute Ă©galement de la place de Vereshchagin parmi ses contemporains, des idĂ©es esthĂ©tiques de N. G. Chernyshevskij et des idĂ©es dâEdward SaĂŻd Ă propos de lâorientalisme. Une analyse des toiles et Ă©crits de Vereshchagin au sujet de la rĂ©gion suggĂšre que le peintre aurait vu la conquĂȘte russe comme un dĂ©veloppement positif, tout en critiquant la maniĂšre dont elle a Ă©tĂ© rĂ©alisĂ©e