Origins of Modern Russian Education: An Intellectual Biography of Count Sergei Uvarov. DeKalb: Northern Illinois University Press.
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Black, J. L. (1979). Citizens for the Fatherland: Education, Educators, and Pedagogical Ideals in Eighteenth Century Russia. Boulder, CO: East European Quarterly. Brooks, Jeffrey. (1985). When Russia Learned to Read: Literacy and Popular Culture, 1861-1917. Princeton, NJ: Princeton University Press. David-Fox, Michael. (1997). Revolution of the Mind: Higher Learning Among the Bolsheviks, 1918-1929. Ithaca: Cornell University Press. Dunstan, John, ed. (1992). Soviet Education under Pere-stroika. London: Routledge. Eklof, Ben. (1986). Russian Peasant Schools: Officialdom, Village Culture, and Popular Pedagogy, 1861-1914. Berkeley: University of California Press. Fitzpatrick, Sheila. (1979). Education and Social Mobility in the Soviet Union, 1921-1934. Cambridge, UK: Cambridge University Press. Hans, Nicholas. (1964). History of Russian Educational Policy, 1701-1917. New York: Russell amp; Russell, Inc. Holmes, Larry E. (1991). The Kremlin and the Schoolhouse: Reforming Education in Soviet Russia, 1917-1931. Bloomington: Indiana University Press. Kassow, Samuel D. (1989). Students, Professors, and the State in Tsarist Russia. Berkeley: University of California Press. Marker, Gary. (1990). “Literacy and Literacy Texts in Muscovy: A Reconsideration.” Slavic Review 49(1): 74-84.
EHRENBURG, ILYA GRIGOROVICH
(1891-1967), poet, journalist, novelist.
Ilya Grigorovich Ehrenburg was an enigma. Essentially Western in taste, he was at times the spokesman for the Soviet Union, the great anti-Western power of his age. He involved himself with Bolsheviks beginning in 1907, writing pamphlets and doing some organizational work, and then, after his arrest, fled to Paris, where he would spend most of the next thirty years. In the introduction to his first major work, and probably his life’s best work, the satirical novel Julio Jurentino (1922), his good friend Nikolai Bukharin described Ehrenburg’s liminal existence, saying that he was not a Bolshevik, but “a man of broad vision, with a deep insight into the Western European way of life, a sharp eye, and an acid tongue” (Goldberg, 1984, p. 5). These characteristics probably kept him alive during the Josef Stalin years, along with his service to the USSR as a war correspondent and spokesman in the anticosmopolitan campaign. Arguably, his most important service to the USSR came in the period after Stalin’s death, when his novel The Thaw (1956) deviated from the norms of Socialist Realism. His activities in Writer’s Union politics consistently pushed a kind of socialist literature (and life) “with a human face,” and his memoirs, printed serially during the early 1960s, were culled by thaw-generation youth for inspiration. When Stalin was alive, Ehrenburg may well
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have proven a coward. After his death, he proved much more courageous than most. See also: BUKHARIN, NIKOLAI IVANOVICH; JEWS; WORLD WAR II
Goldberg, Anatol. (1984). Ilya Ehrenburg: Writing, Politics, and the Art of Survival. London: Weidenfeld and Nicolson. Johnson, Priscilla. (1965). Khrushchev and the Arts: The Politics of Soviet Culture, 1962-1964. Cambridge, MA: M.I.T. Press.
(1898-1948), film director, film theorist, teacher, arts administrator, and producer. Acclaimed film director Sergei Eisenstein. ARCHIVE PHOTOS, INC. REPRODUCED BY PERMISSION.
Sergei Eisenstein, born in Riga, was the most accomplished of Russia’s first generation of Soviet filmmakers. Eisenstein both benefited from the communist system of state patronage and suffered the frustrations and dangers all artists faced in functioning under state control.
The October Revolution and the civil war allowed Eisenstein to embark on a career in theater and film. His first moving picture was Glumov’s Diary, a short piece for a theatrical adaptation of an Alexander Ostrovsky comedy. Between 1924 and 1929 he made four feature-length films on revolutionary themes and with revolutionary cinematic techniques: The Strike (1924), The Battleship Potemkin (1926), October (1928), and The General Line (also known as The Old and the New, 1929). In Potemkin Eisenstein developed the rapid editing and dynamic shot composition known as montage. Potemkin made Eisenstein world-famous, but at the same time he became embroiled in polemics with others in the Soviet film community over the purpose of cinema in “the building of socialism.” Eisenstein believed that film should educate rather than just entertain, but he also believed that avant- garde methods could be educational in socialist society. This support for avant-garde experimentation would be used against him during the far more dangerous cultural politics of the 1930s. His last two films of the 1920s, The General Line and October, were influenced by the increasing interference of powerful political leaders. All of Eisenstein’s Russian films were state commissions, but Eisen-stein never joined the Communist Party, and he continued to experiment even as he began to accommodate himself to political reality.
From 1929 to 1932 Eisenstein traveled abroad and had a stint in Hollywood. None of his three projects for Paramount Pictures, however, was put into production. The wealthy socialist writer Upton Sinclair rescued him from the impasse by offering to fund a film about Mexico, Qu? Viva M?xico! Eisenstein thrived in Mexico, but Sinclair became disgruntled when filming ran months over schedule and rumors of sexual escapades reached him. When Stalin threatened to banish Eisenstein permanently if he did not return to the Soviet Union, Sinclair seized the opportunity to pull the plug on Qu? Viva M?xico! Eisenstein never recovered the year’s worth of footage and he was haunted by the loss for the rest of his life.
The Moscow that Eisenstein found on his return in May 1932 was more constricted and impoverished than the city he had left. His polemics of the 1920s were not forgotten, and Eisenstein was criticized by party hacks and old friends alike for being out of step and a formalist, which is to say he cared more about experiments with cinematic
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form than with making films “accessible to the masses.” Political attacks on the director culminated in 1937, at the height of the Great Terror, as Eisen-stein was nearing completion of Bezhin Meadow, his first film since returning from abroad. Boris Shumyatsky, chief of the Soviet film industry, had the production halted; he proceeded to denounce Eisenstein to the Central Committee and then directly to Stalin, inviting a death sentence on the filmmaker. After barely surviving this attack, and after ten years of blocked film projects, Eisenstein wrote the required self-criticism and was given the opportunity to make a historical film. Alexander Nevsky, a medieval military encounter between Russians and Germans, would become his most popular film; however, Eisenstein was ashamed of it, and except for its “battle on the ice,” it is generally considered to be his least interesting in technical and intellectual terms. The success of Alexander Nevsky catapulted him to the highest of inner circles; he won both the Order of Lenin and, in 1941, the newly created Stalin Prize. Then, in a restructuring of the film industry, Eisenstein was made Artistic Director of Mosfilm, a prestigious and powerful position.
In 1941, just months before World War II began in Russia, Eisenstein accepted a state commission to make a film about the sixteenth-century tsar, Ivan the Terrible. He worked on Ivan the Terrible for the next six years, eventually completing only two parts of the planned trilogy. Eisenstein’s masterpiece, Ivan the Terrible is a complex film containing a number of coordinated and conflicting narratives and networks of imagery that portray Ivan as a great leader, historically destined to found the Russian state but personally doomed by the murderous means he had used. Part I (1945) received a Stalin Prize, Part II (1946, released 1958) did not please Stalin and was banned.
Eisenstein was one of few practicing film directors to develop an important body of theoretical writing about cinema. In the 1920s he wrote about the psychological effect of montage on the viewer; the technique was intended to both startle the viewer into an awareness of the constructed nature of the work and to shape the viewing experience. During the 1930s, when he was barred from filmmaking, Eisenstein wrote and taught. A gifted teacher, he relied on his wide reading and sense of humor to draw students into the creative process. Work on Ivan the Terrible in the 1940s stimulated his most productive period of writing. He produced several volumes of
