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It was September, 1932. Gerasimovka, Western Siberia. Two children are found dead in the forest outside a remote village. Both have been repeatedly stabbed and their bloody bodies are covered in sticky, crimson cranberry juice. Who committed these horrific murders has never been proved, but the elder boy, thirteen-year-old Pavlik Morozov, was quickly to become the most famous boy in Soviet history - statues of him were erected, biographies published, and children across the country were exhorted to emulate him. Catriona Kelly's aim is not to find out who really killed the boys, but rather to explore how Stalin's regime turned Pavlik into a hero designed to produce good Soviet citizens. Pavlik's story is intriguing and multi-layered: did he denounce his own father to the authorities? Was he murdered by members of his own family? Did he ever belong to the Pioneers, the Communist youth organization who claimed him as member No. 001? This is the first book in English on Pavlik's legend, using previously inaccessible local archives.
During the period when Russia was under Stalin, a young boy namedPavlik Morozov informed the OGPU (now called the KGB) that his fatherwas an enemy of the regime. As a result, Pavlik's father wasarrested and disappeared in a Soviet concentration camp. Enemies of theparty later killed the boy, whereupon people proclaimed him a hero.Informer 001 is the first independent study of the Morozovaffair. In book after book, author Druzhnikov discoveredinconsistencies on every fact relating to Morozov. As Druzhnikov piecedtogether the story about Morozov's life, death, and legacy, itbecame clear that the campaign to keep Morozov a hero was centrallydirected. Informer hero number 001, remained a fearful reminder to all;to those who inform, and those who become the victims of denunciations.
Witness Onstage is a detailed study of the remarkable growth of documentary theatre forms in Russian since the early 2000s. It draws on the author’s work as a performer, producer, and researcher of documentary theatre both in Russia and internationally to provide new perspective on the mechanics of theatre as a venue for civic engagement.
This book is a comprehensive introduction to the relationship between communism (understood as an ideological, political, and social project) and culture, broadly defined as the field of aesthetic production. Communism was a global phenomenon, and the global civil war of the 20th century was, in more than one respect, a cultural war, which involved some of the most influential figures of the last century. The book highlights and explains the impact of political mythologies in the effiorts to transcend the “bourgeois” legacies and engage in a social, cultural, and anthropological revolution. The authors examine the interplay between utopian goals and cultural practices in fields such as literature, visual arts, film, and humanities in general.
A Companion to Soviet Children’s Literature and Film offers a comprehensive and innovative analysis of Soviet literary and cinematic production for children. Its contributors contextualize and reevaluate Soviet children’s books, films, and animation and explore their contemporary re-appropriation by the Russian government, cultural practitioners, and educators. Celebrating the centennial of Soviet children’s literature and film, the Companion reviews the rich and dramatic history of the canon. It also provides an insight into the close ties between Soviet children’s culture and Avant-Garde aesthetics, investigates early pedagogical experiments of the Soviet state, documents the importance of translation in children’s literature of the 1920-80s, and traces the evolution of heroic, fantastic, historical, and absurdist Soviet narratives for children.
The collective work deals with the problems of if, how, and why the histories of German Nazism and Soviet Communism should and could be situated within one coherent narrative. As historical phenomena, can Communism and Nazism fruitfully be compared to each other? Do they belong to the same historical contexts? Have they influenced, reacted to or learned from each other? Are they interpreted, represented and used together by posterity? The background of the book is twofold. One is external. There is an ongoing debate about the historical entanglements of Communism and Nazism, especially about Auschwitz and Gulag, respectively. Our present fascination with the evil history of genocide has situated the Holocaust as the borderline event in Western historical thinking. The crimes against humanity perpetrated by the Soviet Communist regime do not have the same position but are considered more urgent in the East and Central European states that were subdued by both Nazi and Communist regimes. The other, internal background is to develop an analytical perspective in which the “comnaz” nexus can be understood. Using a complex approach, the authors investigate Communist and Nazi histories as entangled phenomena, guided by three basic perspectives. Focusing on roots and developments, a genetic perspective highlights historical, process-oriented connections. A structural perspective indicates an attempt to narrow down “operational” parallels of the two political systems in the way they handled ideology to construct social utopia, used techniques of terror, etc. A third perspective is genealogical, emphasizing the processing and use of Communist and Nazi history by posterity in terms of meaning and memory: What past is worth remembering, celebrating, debating—but also distorting and forgetting? The chapters of the book address phenomena such as ideology, terror, secular religion, museum exhibits, and denial.
In this remarkable book, Albert Baiburin provides the first in-depth study of the development and uses of the passport, or state identity card, in the former Soviet Union. First introduced in 1932, the Soviet passport took on an exceptional range of functions, extending not just to the regulation of movement and control of migrancy but also to the constitution of subjectivity and of social hierarchies based on place of residence, family background, and ethnic origin. While the basic role of the Soviet passport was to certify a person’s identity, it assumed a far greater significance in Soviet life. Without it, a person literally ‘disappeared’ from society. It was impossible to find employment or carry out everyday activities like picking up a parcel from the post office; a person could not marry or even officially die without a passport. It was absolutely essential on virtually every occasion when an individual had contact with officialdom because it was always necessary to prove that the individual was the person whom they claimed to be. And since the passport included an indication of the holder’s ethnic identity, individuals found themselves accorded a certain rank in a new hierarchy of nationalities where some ethnic categories were ‘normal’ and others were stigmatized. Passport systems were used by state officials for the deportation of entire population categories – the so-called ‘former people’, those from the pre-revolutionary elite, and the relations of ‘enemies of the people’. But at the same time, passport ownership became the signifier of an acceptable social existence, and the passport itself – the information it contained, the photographs and signatures – became part of the life experience and self-perception of those who possessed it. This meticulously researched and highly original book will be of great interest to students and scholars of Russia and the Soviet Union and to anyone interested in the shaping of identity in the modern world.
Inventing the Enemy uses stories of personal relationships to explore the behaviour of ordinary people during Stalin's terror. Communist Party leaders strongly encouraged ordinary citizens and party members to 'unmask the hidden enemy' and people responded by flooding the secret police and local authorities with accusations. By 1937, every workplace was convulsed by hyper-vigilance, intense suspicion and the hunt for hidden enemies. Spouses, co-workers, friends and relatives disavowed and denounced each other. People confronted hideous dilemmas. Forced to lie to protect loved ones, they struggled to reconcile political imperatives and personal loyalties. Workplaces were turned into snake pits. The strategies that people used to protect themselves - naming names, pre-emptive denunciations, and shifting blame - all helped to spread the terror. Inventing the Enemy, a history of the terror in five Moscow factories, explores personal relationships and individual behaviour within a pervasive political culture of 'enemy hunting'.
Offers an array of documents, short fiction, poems, songs, plays, movie scripts, and folklore to offer a look at the mass culture that was consumed by millions in Soviet Russia between 1917 and 1953. This work focuses on the entertainment genres that both shaped and reflected the social, political, and personal values of the regime and the masses.
This volume examines how numerous international transfers, circulations, and exchanges shaped the world of socialism during the Cold War. Over the course of half a century, the Soviets shaped politics, values and material culture throughout the vast space of Eurasia, and foreign forces in turn often influenced Soviet policies and society. The result was the distinct and interconnected world of socialism, or the Socialist Second World. Drawing on previously unavailable archival sources and cutting-edge insights from “New Cold War” and transnational histories, the twelve contributors to this volume focus on diverse cultural and social forms of this global socialist exchange: the cults of communist leaders, literature, cinema, television, music, architecture, youth festivals, and cultural diplomacy. The book’s contributors seek to understand the forces that enabled and impeded the cultural consolidation of the Socialist Second World. The efforts of those who created this world, and the limitations on what they could do, remain key to understanding both the outcomes of the Cold War and a recent legacy that continues to shape lives, cultures and policies in post-communist states today.