Frente à Revolução Bolchevique (1917), as vanguardas artísticas soviéticas foram levadas a um processo de revolução da própria ideia de arte, processo esse que gerou debates acirrados e colocou em questão a própria distinção tradicional entre arte e vida. Foi nessa atmosfera revolucionária que as vanguardas construtivistas-produtivistas emergiram. Num segundo momento, diante da crescente censura por parte das forças stalinistas em ascensão, as vanguardas construtivistas-produtivistas se uniram a outros setores de vanguarda, organizando a \"Frente de Esquerda das Arte\" - LEF (1922-1928). A Frente, por meio das revistas Lef (1923-1926) e Novyi Lef (1927-1928), veiculava teorias, produções e debates. Frente à demanda de uma arte a serviço da construção da vida, surgem, sintetizadas na proposta factográfica, a ênfase na fotomontagem, na fotografia, na montagem cinematográfica e na literatura dos fatos. Objetivando identificar o que talvez tenha sido uma das aproximações mais ricas entre fotografia e política, o presente trabalho tem como propósito central investigar, nesse ambiente de práxis revolucionaria, o debate sobre a fotografia. / Facing the Bolshevik Revolution (1917), the Soviet artistic avant-garde movements were taken to a process of revolution of the very idea of art, process that engendered fierce debates and put in question the traditional distinctions between art and life. It was from this revolutionary atmosphere that the constructivist-productivists emerged. Later on, given the increasing censorship by Stalinist forces on the rise, the avant-garde constructivist-productivist joined other sectors of the leading movements organizing the \"Left Front of Art\" - LEF (1922- 1928). The Front propagated theories, productions and debates through the journals of Lef (1923-1926) and Novyi Lef (1927-1928). Facing the demand for a kind of art in service of the construction of a life arises in a summarized factographic proposal the emphasis on the use of photomontage, photography, film editing and literature of the facts. On the perspective of identifying what had been, maybe, one of the richest approaches between photography and politics, the present work has as its central purpose to investigate the debate about photography in this atmosphere of revolutionary praxis.

Frente à Revolução Bolchevique (1917), as vanguardas artísticas soviéticas foram levadas a um processo de revolução da própria ideia de arte, processo esse que gerou debates acirrados e colocou em questão a própria distinção tradicional entre arte e vida. Foi nessa atmosfera revolucionária que as vanguardas construtivistas-produtivistas emergiram. Num segundo momento, diante da crescente censura por parte das forças stalinistas em ascensão, as vanguardas construtivistas-produtivistas se uniram a outros setores de vanguarda, organizando a \"Frente de Esquerda das Arte\" - LEF (1922-1928). A Frente, por meio das revistas Lef (1923-1926) e Novyi Lef (1927-1928), veiculava teorias, produções e debates. Frente à demanda de uma arte a serviço da construção da vida, surgem, sintetizadas na proposta factográfica, a ênfase na fotomontagem, na fotografia, na montagem cinematográfica e na literatura dos fatos. Objetivando identificar o que talvez tenha sido uma das aproximações mais ricas entre fotografia e política, o presente trabalho tem como propósito central investigar, nesse ambiente de práxis revolucionaria, o debate sobre a fotografia. / Facing the Bolshevik Revolution (1917), the Soviet artistic avant-garde movements were taken to a process of revolution of the very idea of art, process that engendered fierce debates and put in question the traditional distinctions between art and life. It was from this revolutionary atmosphere that the constructivist-productivists emerged. Later on, given the increasing censorship by Stalinist forces on the rise, the avant-garde constructivist-productivist joined other sectors of the leading movements organizing the \"Left Front of Art\" - LEF (1922- 1928). The Front propagated theories, productions and debates through the journals of Lef (1923-1926) and Novyi Lef (1927-1928). Facing the demand for a kind of art in service of the construction of a life arises in a summarized factographic proposal the emphasis on the use of photomontage, photography, film editing and literature of the facts. On the perspective of identifying what had been, maybe, one of the richest approaches between photography and politics, the present work has as its central purpose to investigate the debate about photography in this atmosphere of revolutionary praxis.

A presente dissertação tem como objeto um debate que se desenvolveu durante o processo revolucionário russo, entre os anos de 1923 e 1928. Tal debate envolveu dois grupos: a Oposição de Esquerda, liderada por Leon Trotsky, e a Frente de Esquerda das Artes (LEF), movimento que aglutinou os artistas construtivistas. Ambos os grupos estavam interessados na reestruturação do modo de vida do proletariado russo como uma das dimensões do combate à burocratização do regime soviético e ao processo de modernização iniciado com a promulgação da Nova Política Econômica. A pesquisa examina, assim, as distintas posições e estratégias formuladas pela Oposição de Esquerda (e, posteriormente, Oposição Unificada) e pela LEF para o combate nos campos da cultura e do psiquismo. / This dissertation is about a debate that developed during the Russian revolutionary process, between the years 1923 and 1928. This debate involved two groups: the Left Opposition - led by Leon Trotsky - and the Left Front of Arts (LEF), a movement that brought the constructivist artists together. Both groups were interested in restructuring the way of life of the Russian proletariat as a crucial part of the fight against bureaucratization of the Soviet regime and the process of modernization, started with the enactment of the New Economic Politcy. The research thus examines the different positions and strategies formulated by the Left Opposition (and, later, the United Opposition) and the LEF for the combat in the fields of culture and psychism

This is a study of six women who lived in Britain during the early twentieth century. A mother and five daughters, they immigrated to Britain from Russia in 1909, and their letters provide a window into the lives of women during times of great strain and changes. The daughters attended school in Britain and expected to live a comfortable upper-class lifestyle funded by their family’s business in Russia. However, World War I and the February and October Revolutions in Russia made that future impossible. Instead the women became both military and civilian nurses, adopting professional careers and remaining unmarried. Their letters allow one to examine issues ranging from the cultural identities of émigrés and exiles to the effects of gender roles on life choices. This paper serves as a case study of their family, examining how larger political, social, and cultural events affected the practical and emotional facets of their lives. / text

A presente dissertação tem como objeto um debate que se desenvolveu durante o processo revolucionário russo, entre os anos de 1923 e 1928. Tal debate envolveu dois grupos: a Oposição de Esquerda, liderada por Leon Trotsky, e a Frente de Esquerda das Artes (LEF), movimento que aglutinou os artistas construtivistas. Ambos os grupos estavam interessados na reestruturação do modo de vida do proletariado russo como uma das dimensões do combate à burocratização do regime soviético e ao processo de modernização iniciado com a promulgação da Nova Política Econômica. A pesquisa examina, assim, as distintas posições e estratégias formuladas pela Oposição de Esquerda (e, posteriormente, Oposição Unificada) e pela LEF para o combate nos campos da cultura e do psiquismo. / This dissertation is about a debate that developed during the Russian revolutionary process, between the years 1923 and 1928. This debate involved two groups: the Left Opposition - led by Leon Trotsky - and the Left Front of Arts (LEF), a movement that brought the constructivist artists together. Both groups were interested in restructuring the way of life of the Russian proletariat as a crucial part of the fight against bureaucratization of the Soviet regime and the process of modernization, started with the enactment of the New Economic Politcy. The research thus examines the different positions and strategies formulated by the Left Opposition (and, later, the United Opposition) and the LEF for the combat in the fields of culture and psychism

This article studies the evolution of housing rents in St. Petersburg between 1880 and 1917 covering an eventful period of Russian and world history. We collect and digitize over 5,000 rental advertisements from historic newspapers, which we use together with geo-coded addresses and detailed structural characteristics to construct a quality-adjusted rent price index in continuous time. We provide the first pre-war and pre-Soviet index based on market data for any Russian housing market. In 1915, one of the world's earliest rent control and tenant protection policies was introduced as a response to soaring prices following the outbreak of World War I. We analyze the impact of this policy: while before the regulation rents were increasing at a similar rapid pace as other consumer prices, the policy reversed this trend. We find evidence for official compliance with the policy, document a rise in tenure duration and strongly increased rent affordability among workers after the introduction of the policy. We conclude that the immediate prelude to the October Revolution was indeed characterized by economic turmoil, but rent affordability and rising rents were no longer the prevailing problems. / Series: Department of Economics Working Paper Series

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俄國內戰包含了許多面向，其過程不是官方紀錄所登載的表象，蘇維埃政權的因應之道是依循既定步驟計畫，抑或是只是蘇維埃政權順應時勢且戰且走的結果，對日後蘇維埃國家的產生有何種催化作用是本文的研究動機。本文的中心旨在探究俄國革命初成在奪權成功後，內戰對蘇維埃政權鞏固的挑戰，戰爭期間俄國社會經歷的變遷，以及因應戰爭的進行蘇維埃政權的回應之道。 / Unlike the single-dimensioned description by the Soviet government, the Russian civil war includes many dimensions.What is the response of the Soviet government to the civil war and how it enables the creation of the Soviet Union is the motive of the dissertation.The main purpose of the dissertation focuses on how the soviet regime faces the challenges of power consolidation, the social changes during the war and the response of the soviet government after the Bolshevik party seizes the power.

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This Master’s thesis explores Jewish masculinity and identity within early twentieth-century literature (1903-1925), using texts written by Jewish authors in late imperial Russia and the early Soviet Union. This was a period of change for Russia’s Jewish community, involving increased secularization and reform, massive pogroms such as in Kishinev in 1903, newfound leadership within the 1905 and 1917 Revolutions, and a rise in both Zionist and Revolutionary ideology. Subsequently, Jewish literary masculinity experienced a significant shift in characterization. Historically, a praised Jewish man had been portrayed as gentle, scholarly, and faithful, yet early twentieth century Jewish male literary figures were asked to be physically strong, hypermasculine, and secular. This thesis first uses H.N. Bialik’s “In the City of Slaughter” (1903) and Sholem Aleichem’s “Tevye Goes to Palestine” (1914) to introduce a concept of “Jewish shame,” or a sentiment that historical Jewish masculinity was insufficient for a contemporary Russian world. It then creates two models for these new men to follow. The Assimilatory Jew, seen in Isaac Babel’s Red Cavalry cycle (published throughout the 1920s), held that perpetual outsider Jewish men should imitate the behaviour of a secular whole in order to be accepted. The Jewish Superman is depicted in Vladimir Jabotinsky’s “In Memory of Herzl” (1904) and Ilya Selvinsky’s “Bar Kokhba” (1920), and argues that masculine glory is entirely compatible with a proud Jewish identity, without an external standard needed. Judith Butler’s theories on gender performativity are used to analyze these diverse works, published in Hebrew, Yiddish, and Russian by authors of varying political alignments, to establish commonalities among these literary canons and plot a new spectrum of desired identities for Jewish men. / Graduate / 2020-04-10