Andrei Rogatchevski - Academia.edu (original) (raw)
Papers by Andrei Rogatchevski
Academic Studies Press eBooks, Dec 31, 2020
Journal of Communist Studies and Transition Politics, Dec 1, 2008
... Thus, 'Historical personages scantily supported by documents have always been co... more ... Thus, 'Historical personages scantily supported by documents have always been considered fair game by fiction writers': Xenia Gasiorowska, The Image of ... Putin gives a shot of morphine to the wounded Taipan to alleviate his suffering and leaves a loaded Kalashnikov next to ...
Academic Studies Press eBooks, 2019
Since 1987, when he defended his PhD thesis on history teaching and politics in Russia and the So... more Since 1987, when he defended his PhD thesis on history teaching and politics in Russia and the Soviet Union from 1900-1940, he has written extensively on the Soviet history of historiography, nationality problems, state-organized terror, and migration processes. He has also published x List of Contributors several works on genocide studies and European uses of history. At present, he is conducting a large research project on the historical lessons of Communism and Nazism. Ekaterina S. Kotlova (MPhil in Indigenous studies; Specialist degree in History) is a historian and the art editor of the Arktika i Sever (Arctic and North) journal at NArFU (Arkhangelsk, Russia). Her research interests include cultural anthropology and the social, economic, and ethnic aspects of twentieth-century history of the Arctic and North.
Examples of East European influence on the British retail trade and welfare system: Michael Marks... more Examples of East European influence on the British retail trade and welfare system: Michael Marks (?-1907) and Flora Benenson-Solomon (1895-1984)
... 8 Jean d'Auvergne <Robert Bruce Lockhart>, 'Russian Literatur... more ... 8 Jean d'Auvergne <Robert Bruce Lockhart>, 'Russian Literature since Chekhov', The Russian Review (Liverpool), May 1914, p. 150. ... for the University of London in 190622 and a prominent member of the AngloJewish community.39 Magnus's mother Katie, nee Emanuel (1844 ...
Uppsala University eBooks, 2014
The editors wish to thank Acta Universitatis Upsaliensis for funding the publication of this volu... more The editors wish to thank Acta Universitatis Upsaliensis for funding the publication of this volume. We are also grateful to Riksbanken Jubileumsfond for funding the workshop on which this volume is partially based. The workshop was entitled "Punishment as a Crime? Interdisciplinary Perspectives on Prison Experience in Russian Culture" and hosted by the Uppsala Centre for Russian and Eurasian Studies (UCRS) at Uppsala University on 15-17 August 2012. The cover image is by Ilia Rogatchevski (London) and the inside images are by Igor Cherchenko (Tel Aviv). Nils Dahlqvist and Felix Cowan, interns at the Uppsala Centre for Russian and Eurasian Studies, have provided invaluable editorial assistance. This book would not have been possible without the support of the Uppsala Centre for Russian and Eurasian Studies. Special thanks are due to Professor Elena Namli, research director in the area of identity formation, and to the Centre's director Claes Levinsson. camps, on the one hand, and relevant fiction and memoirs, on the other. Gullotta considers various humorous genres, including comedy, satire, the folk doggerels of chastushki, and jokes, exemplifying how Gulag humor has evolved from the very beginnings of Soviet repression through the present. He notes that Gulag humor typically underscores the cruelty of prison authorities, as well as the Soviet system as a whole, through black humor and irony. The analysis draws on several different theories of humor, including Aristotle and Plato's superiority theory, di Cioccio's theory of aggressive humor, Mikhail Bakhtin's carnivalesque laughter, and Henri Bergson's conception of laughter as a social phenomenon. Gullotta argues that laughter's function as a coping mechanism can help to explain the proliferation of jokes about the Gulag both within and outside of the camps. The chapter concludes with a consideration how echoes of the special kind of humor that developed out of the Gulag can still be heard in post-Soviet Russia. Referring to the large body of works that have arisen from and about confinement, Brodsky called incarceration "practically the midwife of literature." Prison experience has likewise been the focus of many films. Helena Goscilo's chapter, "Complicity in the Illicit? Liube's Rock Band Bond with the Criminal Zona," analyzes the portrayal of prison life in Dmitriĭ Zolotukhin's 1994 musical film Zona Liube. The titles of both the film and this chapter play upon the Russian colloquial term for penal colonies (zona, or "zone" in English). Set to a soundtrack by the rock-pop group Liube and influenced by the aesthetics of video clips, Zona Liube features scenes in a Russian penitentiary, as well as flashbacks to inmates' lives prior to incarceration. Goscilo relates these depictions to the context of the first post-Soviet decade in Russia, when crime rates went up dramatically, and popular culture reflected a growing fascination with crime. This is exemplified by the band Liube's public image, which was informed, as Goscilo demonstrates, by stylized criminality. She also examines the film's gender-marked representations of inmates and administrative personnel, relating these to significant differences between women's and men's experiences of prison conditions in Russia. The third part opens with Inessa Medzhibovskaya's exploration of the theme of confinement in literary, philosophical, and existential writings by a variety of well-known Russian and Western thinkers. Entitled "Punishment and the Human Condition: Hannah Arendt, Leo Tolstoy, and Lessons from Life, Philosophy, and Literature," this chapter argues that literature can reveal aspects of universal human responses to prison that are often absent from the discourse in the social sciences and humanities. She considers narratives of confinement by
The Slavonic and East European Review, Jul 1, 2021
Historical Journal of Film, Radio and Television, Feb 24, 2020
Press pp. 230, illus., £19.99 (paperback), £75.00 (hardback) In this book, neither 'East' nor 'no... more Press pp. 230, illus., £19.99 (paperback), £75.00 (hardback) In this book, neither 'East' nor 'noir' appear as they are often expected to. Mrozewicz's 'East' is not the Orient but the European territory to the east of West Berlin, whereas her 'noir' is not so much the classical film noir genre but rather 'the atmosphere of fear, bleakness and chaos' (p. 16), typically invoked in Danish, Finnish, Norwegian and Swedish films when they mention or portray Eastern Europe and Russia. The book contains an overview of sixty-five such feature films (predominantly post-1989), as well as forty documentaries and seven television series, of which a total of thirty-three are analysed in some depth. The relationship between Scandinavia, on the one hand, and Eastern Europe/ Russia, on the other, is that of close/distant neighbours, and therefore fits neatly into the border studies framework. Mrozewicz's approach is based on Edward S. Casey's distinction between a border and a boundary, summarised by her as follows: 'Unlike boundary, which problematises the very idea of border and is porous in character, border is hierarchical and vertical as such: delineated from the centre, it designates both a core and its margin' (p. 31). In connection with the representations of Russia and Eastern Europe in Fenno-Scandinavian (i.e. Nordic) cinema, it is the border discourse that is defined by Mrozewicz as 'Eastern noir'. According to this discourse, which consolidated during the Cold War and tends to function as a 'master narrative' (exemplified, for instance, by Renny Harlin's 1986 Born American/Arctic Heat), Russia and Eastern Europe (lumped together) are spaces 'inherently related to crime and violence. … The evil is … embodied by Russian and Eastern European criminals, former Soviet spies and state security (KGB) agents, who threaten the Nordic idyll' (p. 14). This idyll, incidentally, is normally associated with not only specific geographical locations and higher living standards but also the presumed ideological equidistance from the world's superpowers. By contrast, boundary discourses, more noticeable in post-Cold War Nordic film and TV productions, are 'oriented towards a horizontal and non-hierarchical imaginary of the Nordic/Eastern connections, [and] pluralise and destabilise
On the eve of the parliamentary election in Russia, Jan Čulík talks about the political situation... more On the eve of the parliamentary election in Russia, Jan Čulík talks about the political situation there with Professor Andrei Rogatchevsky, a Russian specialist at the University of Tromsø, Norway, formerly from Glasgow University. This interview was broadcast by the Czech cable TV station Regionalnitelevize.cz from Tuesday 14th September 2021. It is in English with Czech subtitles
The article establishes the previously undetected influence of Leo Arnshtam's war film Zoya o... more The article establishes the previously undetected influence of Leo Arnshtam's war film Zoya on Andrei Tarkovsky's masterpiece; the influence's significance in the light of Tarkovsky's latent Socialist Realist tendencies is discussed
Intellect Books, Feb 20, 2015
Prace i Studia Geograficzne
We propose to look at the 1950s–60s Polish documentaries about Svalbard through the prism of visu... more We propose to look at the 1950s–60s Polish documentaries about Svalbard through the prism of visual geography. We analyse the films by Włodzimierz Puchalski and Jarosław Brzozowski. Svalbard’s landscape appears as a character in these films. The films have not been considered from a geographical viewpoint before, and some of them have not yet been studied at all.
The Russian Revolutions of 1917
Andreyev’s story Krasnyi smekh (The Red Laugh, 1905) describes mass madness as a combat-related c... more Andreyev’s story Krasnyi smekh (The Red Laugh, 1905) describes mass madness as a combat-related contagious epidemic engulfing an unnamed country (at war with another unnamed country). It thus predicts the Great War and the imminent East/Central European revolutions. Moreover, the story retained its significance up until the late Soviet period and can also be read as a proto-zombie apocalypse scenario, still resonant today in the context of a triumphant onslaught of illiberal populism. How to explain such an extraordinary clairvoyance and long-lasting relevance? A spaces-of-illness approach may give us a clue. Four such spaces are identifiable in Krasnyi smekh, two objective and two subjective. The objective ones consist of, first, the Russo-Japanese war of 1904-05 as an inspiration for the story’s unspecified military conflict; and second, the spreading of mass madness from the frontline to behind the lines and further, to areas thousands of miles away from the actual fighting. The ...
The article offers a new perspective on Stanisław Siedlecki’s biography through visual history, w... more The article offers a new perspective on Stanisław Siedlecki’s biography through visual history, with a particular emphasis on film history. The connections between Siedlecki’s life and the cinema can be grouped in three sections: 1. films starring Siedlecki, 2. films by Siedlecki and 3. films about Siedlecki. The film Do Ziemi Torella (To Torell Land) represents the pre-war period; the post-war period is marked by Siedlecki’s collaboration with Jarosław Brzozowcki on the making of Skroplone Powietrze (Liquefied Air) and Wieliczka – both from 1946. In the International Geophysical Year 1957/1958, Siedlecki led the Polish polar expedition, during which the visual material was created. He appeared in all three ‘roles’ (as a co-writer, protagonist, and consultant) in Jarosław Brzozowski’s film W Zatoce Białych Niedźwiedzi (In the Polar Bear Bay). He consulted polar films until the early 1990s. There are also two film biographies (portraits) of Siedlecki by Wanda Rollna and Iwona Bartóle...
Poljarnyj vestnik
This short article offers an introduction to Poljarnyj Vestnik’s special issue on Svalbard Studies.
Historical Journal of Film, Radio and Television, 2022
The use of general descriptive names, registered names, trademarks, service marks, etc. in this p... more The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.
Academic Studies Press eBooks, Dec 31, 2020
Journal of Communist Studies and Transition Politics, Dec 1, 2008
... Thus, &#x27;Historical personages scantily supported by documents have always been co... more ... Thus, &#x27;Historical personages scantily supported by documents have always been considered fair game by fiction writers&#x27;: Xenia Gasiorowska, The Image of ... Putin gives a shot of morphine to the wounded Taipan to alleviate his suffering and leaves a loaded Kalashnikov next to ...
Academic Studies Press eBooks, 2019
Since 1987, when he defended his PhD thesis on history teaching and politics in Russia and the So... more Since 1987, when he defended his PhD thesis on history teaching and politics in Russia and the Soviet Union from 1900-1940, he has written extensively on the Soviet history of historiography, nationality problems, state-organized terror, and migration processes. He has also published x List of Contributors several works on genocide studies and European uses of history. At present, he is conducting a large research project on the historical lessons of Communism and Nazism. Ekaterina S. Kotlova (MPhil in Indigenous studies; Specialist degree in History) is a historian and the art editor of the Arktika i Sever (Arctic and North) journal at NArFU (Arkhangelsk, Russia). Her research interests include cultural anthropology and the social, economic, and ethnic aspects of twentieth-century history of the Arctic and North.
Examples of East European influence on the British retail trade and welfare system: Michael Marks... more Examples of East European influence on the British retail trade and welfare system: Michael Marks (?-1907) and Flora Benenson-Solomon (1895-1984)
... 8 Jean d'Auvergne <Robert Bruce Lockhart>, 'Russian Literatur... more ... 8 Jean d'Auvergne <Robert Bruce Lockhart>, 'Russian Literature since Chekhov', The Russian Review (Liverpool), May 1914, p. 150. ... for the University of London in 190622 and a prominent member of the AngloJewish community.39 Magnus's mother Katie, nee Emanuel (1844 ...
Uppsala University eBooks, 2014
The editors wish to thank Acta Universitatis Upsaliensis for funding the publication of this volu... more The editors wish to thank Acta Universitatis Upsaliensis for funding the publication of this volume. We are also grateful to Riksbanken Jubileumsfond for funding the workshop on which this volume is partially based. The workshop was entitled "Punishment as a Crime? Interdisciplinary Perspectives on Prison Experience in Russian Culture" and hosted by the Uppsala Centre for Russian and Eurasian Studies (UCRS) at Uppsala University on 15-17 August 2012. The cover image is by Ilia Rogatchevski (London) and the inside images are by Igor Cherchenko (Tel Aviv). Nils Dahlqvist and Felix Cowan, interns at the Uppsala Centre for Russian and Eurasian Studies, have provided invaluable editorial assistance. This book would not have been possible without the support of the Uppsala Centre for Russian and Eurasian Studies. Special thanks are due to Professor Elena Namli, research director in the area of identity formation, and to the Centre's director Claes Levinsson. camps, on the one hand, and relevant fiction and memoirs, on the other. Gullotta considers various humorous genres, including comedy, satire, the folk doggerels of chastushki, and jokes, exemplifying how Gulag humor has evolved from the very beginnings of Soviet repression through the present. He notes that Gulag humor typically underscores the cruelty of prison authorities, as well as the Soviet system as a whole, through black humor and irony. The analysis draws on several different theories of humor, including Aristotle and Plato's superiority theory, di Cioccio's theory of aggressive humor, Mikhail Bakhtin's carnivalesque laughter, and Henri Bergson's conception of laughter as a social phenomenon. Gullotta argues that laughter's function as a coping mechanism can help to explain the proliferation of jokes about the Gulag both within and outside of the camps. The chapter concludes with a consideration how echoes of the special kind of humor that developed out of the Gulag can still be heard in post-Soviet Russia. Referring to the large body of works that have arisen from and about confinement, Brodsky called incarceration "practically the midwife of literature." Prison experience has likewise been the focus of many films. Helena Goscilo's chapter, "Complicity in the Illicit? Liube's Rock Band Bond with the Criminal Zona," analyzes the portrayal of prison life in Dmitriĭ Zolotukhin's 1994 musical film Zona Liube. The titles of both the film and this chapter play upon the Russian colloquial term for penal colonies (zona, or "zone" in English). Set to a soundtrack by the rock-pop group Liube and influenced by the aesthetics of video clips, Zona Liube features scenes in a Russian penitentiary, as well as flashbacks to inmates' lives prior to incarceration. Goscilo relates these depictions to the context of the first post-Soviet decade in Russia, when crime rates went up dramatically, and popular culture reflected a growing fascination with crime. This is exemplified by the band Liube's public image, which was informed, as Goscilo demonstrates, by stylized criminality. She also examines the film's gender-marked representations of inmates and administrative personnel, relating these to significant differences between women's and men's experiences of prison conditions in Russia. The third part opens with Inessa Medzhibovskaya's exploration of the theme of confinement in literary, philosophical, and existential writings by a variety of well-known Russian and Western thinkers. Entitled "Punishment and the Human Condition: Hannah Arendt, Leo Tolstoy, and Lessons from Life, Philosophy, and Literature," this chapter argues that literature can reveal aspects of universal human responses to prison that are often absent from the discourse in the social sciences and humanities. She considers narratives of confinement by
The Slavonic and East European Review, Jul 1, 2021
Historical Journal of Film, Radio and Television, Feb 24, 2020
Press pp. 230, illus., £19.99 (paperback), £75.00 (hardback) In this book, neither 'East' nor 'no... more Press pp. 230, illus., £19.99 (paperback), £75.00 (hardback) In this book, neither 'East' nor 'noir' appear as they are often expected to. Mrozewicz's 'East' is not the Orient but the European territory to the east of West Berlin, whereas her 'noir' is not so much the classical film noir genre but rather 'the atmosphere of fear, bleakness and chaos' (p. 16), typically invoked in Danish, Finnish, Norwegian and Swedish films when they mention or portray Eastern Europe and Russia. The book contains an overview of sixty-five such feature films (predominantly post-1989), as well as forty documentaries and seven television series, of which a total of thirty-three are analysed in some depth. The relationship between Scandinavia, on the one hand, and Eastern Europe/ Russia, on the other, is that of close/distant neighbours, and therefore fits neatly into the border studies framework. Mrozewicz's approach is based on Edward S. Casey's distinction between a border and a boundary, summarised by her as follows: 'Unlike boundary, which problematises the very idea of border and is porous in character, border is hierarchical and vertical as such: delineated from the centre, it designates both a core and its margin' (p. 31). In connection with the representations of Russia and Eastern Europe in Fenno-Scandinavian (i.e. Nordic) cinema, it is the border discourse that is defined by Mrozewicz as 'Eastern noir'. According to this discourse, which consolidated during the Cold War and tends to function as a 'master narrative' (exemplified, for instance, by Renny Harlin's 1986 Born American/Arctic Heat), Russia and Eastern Europe (lumped together) are spaces 'inherently related to crime and violence. … The evil is … embodied by Russian and Eastern European criminals, former Soviet spies and state security (KGB) agents, who threaten the Nordic idyll' (p. 14). This idyll, incidentally, is normally associated with not only specific geographical locations and higher living standards but also the presumed ideological equidistance from the world's superpowers. By contrast, boundary discourses, more noticeable in post-Cold War Nordic film and TV productions, are 'oriented towards a horizontal and non-hierarchical imaginary of the Nordic/Eastern connections, [and] pluralise and destabilise
On the eve of the parliamentary election in Russia, Jan Čulík talks about the political situation... more On the eve of the parliamentary election in Russia, Jan Čulík talks about the political situation there with Professor Andrei Rogatchevsky, a Russian specialist at the University of Tromsø, Norway, formerly from Glasgow University. This interview was broadcast by the Czech cable TV station Regionalnitelevize.cz from Tuesday 14th September 2021. It is in English with Czech subtitles
The article establishes the previously undetected influence of Leo Arnshtam's war film Zoya o... more The article establishes the previously undetected influence of Leo Arnshtam's war film Zoya on Andrei Tarkovsky's masterpiece; the influence's significance in the light of Tarkovsky's latent Socialist Realist tendencies is discussed
Intellect Books, Feb 20, 2015
Prace i Studia Geograficzne
We propose to look at the 1950s–60s Polish documentaries about Svalbard through the prism of visu... more We propose to look at the 1950s–60s Polish documentaries about Svalbard through the prism of visual geography. We analyse the films by Włodzimierz Puchalski and Jarosław Brzozowski. Svalbard’s landscape appears as a character in these films. The films have not been considered from a geographical viewpoint before, and some of them have not yet been studied at all.
The Russian Revolutions of 1917
Andreyev’s story Krasnyi smekh (The Red Laugh, 1905) describes mass madness as a combat-related c... more Andreyev’s story Krasnyi smekh (The Red Laugh, 1905) describes mass madness as a combat-related contagious epidemic engulfing an unnamed country (at war with another unnamed country). It thus predicts the Great War and the imminent East/Central European revolutions. Moreover, the story retained its significance up until the late Soviet period and can also be read as a proto-zombie apocalypse scenario, still resonant today in the context of a triumphant onslaught of illiberal populism. How to explain such an extraordinary clairvoyance and long-lasting relevance? A spaces-of-illness approach may give us a clue. Four such spaces are identifiable in Krasnyi smekh, two objective and two subjective. The objective ones consist of, first, the Russo-Japanese war of 1904-05 as an inspiration for the story’s unspecified military conflict; and second, the spreading of mass madness from the frontline to behind the lines and further, to areas thousands of miles away from the actual fighting. The ...
The article offers a new perspective on Stanisław Siedlecki’s biography through visual history, w... more The article offers a new perspective on Stanisław Siedlecki’s biography through visual history, with a particular emphasis on film history. The connections between Siedlecki’s life and the cinema can be grouped in three sections: 1. films starring Siedlecki, 2. films by Siedlecki and 3. films about Siedlecki. The film Do Ziemi Torella (To Torell Land) represents the pre-war period; the post-war period is marked by Siedlecki’s collaboration with Jarosław Brzozowcki on the making of Skroplone Powietrze (Liquefied Air) and Wieliczka – both from 1946. In the International Geophysical Year 1957/1958, Siedlecki led the Polish polar expedition, during which the visual material was created. He appeared in all three ‘roles’ (as a co-writer, protagonist, and consultant) in Jarosław Brzozowski’s film W Zatoce Białych Niedźwiedzi (In the Polar Bear Bay). He consulted polar films until the early 1990s. There are also two film biographies (portraits) of Siedlecki by Wanda Rollna and Iwona Bartóle...
Poljarnyj vestnik
This short article offers an introduction to Poljarnyj Vestnik’s special issue on Svalbard Studies.
Historical Journal of Film, Radio and Television, 2022
The use of general descriptive names, registered names, trademarks, service marks, etc. in this p... more The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.