34 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
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
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
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Russische literatuur en oorlogspropaganda tijdens de Eerste Wereldoorlog. 'Antwerpen' van Aleksander Blok
status: publishe
ΠΠΎ ΡΡΠΎΠΏΠ°ΠΌ Π. Π‘. Π’ΡΡΠ³Π΅Π½Π΅Π²Π°? Π ΡΡΡΠΊΠΈΠ΅ ΠΏΠΈΡΠ°ΡΠ΅Π»ΠΈ Π² Π±Π΅Π»ΡΠ³ΠΈΠΉΡΠΊΠΎΠΉ ΡΠΌΠΈΠ³ΡΠ°ΡΠΈΠΈ
ΠΠ΅ΡΠΌΠΎΡΡΡ Π½Π° ΡΠΎ, ΡΡΠΎ Π.Π‘. Π’ΡΡΠ³Π΅Π½Π΅Π² ΠΏΡΠΎΠΆΠΈΠ» ΠΌΠ½ΠΎΠ³ΠΈΠ΅ Π³ΠΎΠ΄Ρ Π·Π°Π³ΡΠ°Π½ΠΈΡΠ΅ΠΉ ΠΈ ΡΠ»ΡΠ» ΠΎΠ±ΡΠ°Π·ΡΠΎΠΌ 'ΡΡΡΡΠΊΠΎΠ³ΠΎ Π΅Π²ΡΠΎΠΏΠ΅ΠΉΡΠ°', ΠΎΠ½ Π½Π΅ ΠΏΠΎΠ»ΡΠ·ΠΎΠ²Π°Π»ΡΡ ΠΏΠΎΠΏΡΠ»ΡΡΠ½ΠΎΡΡΡΡ Π² ΡΡΡΡΠΊΠΎΠΉ ΡΠΌΠΈΠ³ΡΠ°ΡΠΈΠΈ ΠΏΠ΅ΡΠ²ΠΎΠΉ Π²ΠΎΠ»Π½Ρ. Π ΠΎΡΠ»ΠΈΡΠΈΠ΅ ΠΎΡ Π.Π‘. ΠΡΡΠΊΠΈΠ½Π°, ΠΊΠΎΡΠΎΡΡΠΉ ΡΡΠ°Π» ΡΠΈΠΌΠ²ΠΎΠ»ΠΎΠΌ ΠΊΡΠ»ΡΡΡΡΡ ΡΡΡΡΠΊΠΎΠ³ΠΎ Π·Π°ΡΡΠ±Π΅ΠΆΡΡ, Π’ΡΡΠ³Π΅Π½Π΅Π² ΡΠ»ΠΈΡΠΊΠΎΠΌ Π°ΡΡΠΎΡΠΈΠΈΡΠΎΠ²Π°Π»ΡΡ Ρ ΠΏΠ΅ΡΠ΅Π΄ΠΎΠ²ΡΠΌ ΠΎΠ±ΡΠ΅ΡΡΠ²Π΅Π½Π½ΡΠΌ Π΄Π²ΠΈΠΆΠ΅Π½ΠΈΠ΅ΠΌ, ΠΏΡΠΈΠ²ΠΎΠ΄ΠΈΠ²ΡΠΈΠΌ ΠΊ ΡΡΡΡΠΊΠΎΠΉ ΡΠ΅Π²ΠΎΠ»ΡΡΠΈΠΈ. ΠΠ°ΡΡΠΎΡΡΠ°Ρ ΡΡΠ°ΡΡΡ ΠΈΠ·ΡΡΠ°Π΅Ρ ΠΏΠΎΠ»ΠΎΠΆΠ΅Π½ΠΈΠ΅ ΡΡΡΡΠΊΠΈΡ
ΠΏΠΈΡΠ°ΡΠ΅Π»Π΅ΠΉ Π² ΠΠ΅Π»ΡΠ³ΠΈΠΈ Π² ΠΌΠ΅ΠΆΠ²ΠΎΠ΅Π½Π½ΡΠΉ ΠΏΠ΅ΡΠΈΠΎΠ΄; Π² Π½Π΅ΠΉ ΡΠ΄Π΅Π»ΡΠ΅ΡΡΡ ΠΎΡΠΎΠ±ΠΎΠ΅ Π²Π½ΠΈΠΌΠ°Π½ΠΈΠ΅ ΠΎΡΠ½ΠΎΡΠ΅Π½ΠΈΡ ΠΈΡ
ΠΊ Π.Π‘. Π’ΡΡΠ³Π΅Π½Π΅Π²Ρ ΠΈ ΡΠ°ΡΡΠΌΠ°ΡΡΠΈΠ²Π°Π΅ΡΡΡ, ΠΊΠ°ΠΊ ΡΡΠΈ ΡΠΌΠΈΠ³ΡΠ°Π½ΡΡΠΊΠΈΠ΅ ΠΏΠΈΡΠ°ΡΠ΅Π»ΠΈ ΠΎΡΠ½ΠΎΡΠΈΠ»ΠΈΡΡ ΠΊ ΠΏΡΠΎΠ±Π»Π΅ΠΌΠ΅ "Π±ΡΡΡ ΡΡΡΡΠΊΠΈΠΌ Π² Π΅Π²ΡΠΎΠΏΠ΅ΠΉΡΠΊΠΎΠΉ ΡΡΠ΅Π΄Π΅".status: publishe