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<p class="MsoPlainText"><span style="font-size:11.0pt;font-family:"Calibri",sans-serif;color:black">The
<b>Fall 2015 issue of <i>Slavic Review</i></b> is now available. <o:p></o:p></span></p>
<p class="MsoPlainText"><span style="font-size:11.0pt;font-family:"Calibri",sans-serif;color:black"> <o:p></o:p></span></p>
<p class="MsoPlainText"><span style="font-size:11.0pt;font-family:"Calibri",sans-serif;color:black">The full Table of Contents can be viewed at
<a href="http://www.slavicreview.illinois.edu/current/">www.slavicreview.illinois.edu/current/</a> [Click on an article link to see the “image preview” feature, where you can view all published images, including color versions when available.]<o:p></o:p></span></p>
<p class="MsoPlainText"><span style="font-size:11.0pt;font-family:"Calibri",sans-serif;color:black"> <o:p></o:p></span></p>
<p class="MsoPlainText"><span style="font-size:11.0pt;font-family:"Calibri",sans-serif;color:black">You can read the issue online at
<a href="http://www.jstor.org/journal/slavicreview">www.jstor.org/journal/slavicreview</a> (your access provided through your institution, or through ASEEES if you are current regular or student member). Print copy is being mailed to all regular and student
members who did not opt out of print copies and paid international postage fees for international members.
<o:p></o:p></span></p>
<p class="MsoPlainText"><span style="font-size:11.0pt;font-family:"Calibri",sans-serif;color:black"> <o:p></o:p></span></p>
<p class="MsoNormal"><span style="color:black">The Slavic Reference Service of the University of Illinois at Urbana-Champaign Library compiled a list of print and online bibliographic sources to aid in research related to the subjects featured in the current
issue of Slavic Review. See “Topical Bibliographic Sources” at <a href="http://www.slavicreview.illinois.edu/resources/">
www.slavicreview.illinois.edu/resources/</a> for a selection of research resources related to some of the subjects discussed in this issue.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="color:black"> <o:p></o:p></span></p>
<p class="MsoPlainText"><span style="font-size:11.0pt;font-family:"Calibri",sans-serif">Also,
<i>Slavic Review</i> announces the addition of two new members to its editorial board - Agnès Kefeli (Arizona State University) and Melissa Feinberg, (Rutgers, The State University of New Jersey).<span style="color:black">
<o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="color:black"><o:p> </o:p></span></p>
<p class="MsoPlainText"><i><span style="font-size:11.0pt;font-family:"Calibri",sans-serif;color:red">*Please contact your institution’s librarian and make sure your library subscribes to Slavic Review or request a subscription. In this era of shrinking budgets,
it is vitally important that you let your librarians know how important this journal is for the field. We thank you for your assistance.</span></i><span style="font-size:11.0pt;font-family:"Calibri",sans-serif;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="color:black"> ----------</span></b><span style="color:black"><o:p></o:p></span></p>
<p class="MsoPlainText"><b><span style="font-size:12.0pt;font-family:"Calibri",sans-serif;color:black"><o:p> </o:p></span></b></p>
<p class="MsoPlainText"><b><span style="font-size:12.0pt;font-family:"Calibri",sans-serif;color:black">Slavic Review
</span></b><span style="font-size:12.0pt;font-family:"Calibri",sans-serif;color:black"> ▪
<b>Volume 74 Number 3<o:p></o:p></b></span></p>
<p class="MsoPlainText"><span style="font-size:11.0pt;font-family:"Calibri",sans-serif;color:black"><o:p> </o:p></span></p>
<p class="MsoNormal"><b>Humanizing Soviet Communication: Social-Psychological Training in the Late Socialist Period<o:p></o:p></b></p>
<p class="MsoNormal">Susanne Cohen<o:p></o:p></p>
<p class="MsoNormal">Stable URL: <span style="color:#222222;background:white"><a href="http://www.jstor.org/stable/10.5612/slavicreview.74.3.439">http://www.jstor.org/stable/10.5612/slavicreview.74.3.439</a>
</span><o:p></o:p></p>
<p class="MsoNormal">Business trainings are not a post-Soviet phenomenon but developed within the Soviet Union beginning in the mid-1970s. The social-psychological training was an interactive method of cultivating communication skills that drew on western methodologies
but adapted them to Soviet conditions. It is now considered one of the key sites for the birth of a new practical psychology that encompassed psychotherapy in the late socialist period. While often framed as a scientific intervention into individual communication
skills, trainings acquired additional meanings in the Soviet context. For many trainers, transforming language became a way of transforming Soviet social relations without targeting the entire Soviet system. Trainings created a space for reforming the impersonal,
distanced registers of “official” Soviet life and imbuing them with more “human” attention to people’s emotions, intentions, and individuality.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><b>“How Well Do You Know Your <i>Krai</i>?” The <i>Kraevedenie</i> Revival and Patriotic Politics in Late Khrushchev-Era Russia<o:p></o:p></b></p>
<p class="MsoNormal">Victoria Donovan<o:p></o:p></p>
<p class="MsoNormal">Stable URL: <span style="color:#222222;background:white"><a href="http://www.jstor.org/stable/10.5612/slavicreview.74.3.464">http://www.jstor.org/stable/10.5612/slavicreview.74.3.464</a>
</span><o:p></o:p></p>
<p class="MsoNormal">This article examines the state-sponsored rise of local patriotism in the post-1961 period, interpreting it as part of the effort to strengthen popular support for and the legitimacy of the Soviet regime during the second phase of de-Stalinization.
It shifts the analytical focus away from the Secret Speech of 1956, the time of Nikita Khrushchev’s full-scale assault on Iosif Stalin and his legacy, to the Twenty-Second Party Congress of 1961, the inauguration of a utopian and pioneering plan to build communism
by 1980. I consider how this famously forward-looking program gave rise to an institutionalized retrospectivism, as Soviet policymakers turned to the past to mobilize popular support for socialist construction. I examine how this process played out in the
Russian northwest, where Soviet citizens were encouraged to turn inward, to examine their local history and traditions, and to reread these through a socialist lens.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><b>The Friendship Project: Socialist Internationalism in the Soviet Union and Czechoslovakia in the 1950s and 1960s<o:p></o:p></b></p>
<p class="MsoNormal">Rachel Applebaum<o:p></o:p></p>
<p class="MsoNormal">Stable URL: <span style="color:#222222;background:white"><a href="http://www.jstor.org/stable/10.5612/slavicreview.74.3.484">http://www.jstor.org/stable/10.5612/slavicreview.74.3.484</a>
</span><o:p></o:p></p>
<p class="MsoNormal">This article examines the evolution of socialist internationalism in the 1950s and 1960s through a case study of cultural relations between the Soviet Union and Czechoslovakia. More broadly, it explores attempts by Soviet and eastern bloc
officials to integrate their countries into a cohesive “socialist world” by constructing an extensive network of transnational, cultural, interpersonal, and commercial ties between their citizens. Accounts of Soviet-eastern bloc relations during this period
tend to focus on the iconic crises in Poland and Hungary in 1956 and Czechoslovakia in 1968. Yet in the realm of everyday life, the 1950s and 1960s were the apogee of Soviet-eastern European integration. I argue that in the case of Soviet-Czechoslovak relations,
the new version of socialist internationalism that developed during these decades was successful in so far as it shaped the lives of ordinary citizens—through participation in friendship societies, pen-pal correspondences, and the consumption of each other’s
mass media and consumer goods. As these contacts brought the two countries closer, however, they inadvertently highlighted cultural and political discord between them, which ultimately helped undermine the very alliance they were designed to support.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><b>Topography of Post-Soviet Nationalism: The Provinces—the Capital—the West<o:p></o:p></b></p>
<p class="MsoNormal">Lyudmila Parts<o:p></o:p></p>
<p class="MsoNormal">Stable URL: <span style="color:#222222;background:white"><a href="http://www.jstor.org/stable/10.5612/slavicreview.74.3.508">http://www.jstor.org/stable/10.5612/slavicreview.74.3.508</a><o:p></o:p></span></p>
<p class="MsoNormal">The cultural myth of the provinces provides the contemporary cultural elite with a semiotic apparatus for formulating Russia’s new, postimperial identity. Today, cultural production locates true Russianness outside newly prosperous, multiethnic,
and westernized Moscow. In mass culture, the traditional privileging of the center over the backward provinces gives way to the view of the provinces as a repository of national tradition and moral strength. Conversely, high literature and art-house films
provide an alternative, harshly critical image of them. In both cases, a particular concept of Russianness is negotiated, one in which the provinces play a central role. Ultimately, both redirect nationalist discourse away from the deeply unsatisfying model
of Russia versus the west and instead offer a hermetic national identity based on an “us versus us,” rather than “us versus them,” model.
<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><b>Unpacking Viazemskii’s <i>Khalat</i>: The Technologies of Dilettantism in Early Nineteenth-Century Russian Literary Culture<o:p></o:p></b></p>
<p class="MsoNormal">Katherine Bowers<o:p></o:p></p>
<p class="MsoNormal">Stable URL:<span style="color:#222222;background:white"> <a href="http://www.jstor.org/stable/10.5612/slavicreview.74.3.529">
http://www.jstor.org/stable/10.5612/slavicreview.74.3.529</a> </span><o:p></o:p></p>
<p class="MsoNormal">This article explores the image of the <i>khalat</i>,<i> </i>
or dressing gown, in and around Petr Viazemskii’s 1817 poem “Proshchanie s khalatom” (Farewell to My Dressing Gown). As the poem circulated during the period between its creation and printing, its central image—the khalat—became enshrined as a symbol for early
nineteenth-century literary culture around and within the Arzamas circle, emphasizing a creative inner life and an informal approach to writing. The poem mediates between friendship, honor, authenticity, and authorship and the formalities, duties, and expectations
of society life. The khalat image appears in later poems, correspondence, and occasional writings by Anton Del’vig, Aleksandr Pushkin, and Vasilii Zhukovskii, among others. Tracing the image through its intertextual influences, extratextual impact, and memetic
evolution, I examine the way it contributed to the development of an intellectual network through information transfer during the early nineteenth century and beyond.
<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><b>Sentimental Novels and Pushkin: European Literary Markets and Russian Readers<o:p></o:p></b></p>
<p class="MsoNormal">Hilde Hoogenboom<o:p></o:p></p>
<p class="MsoNormal">Stable URL: <span style="color:#222222;background:white"><a href="http://www.jstor.org/stable/10.5612/slavicreview.74.3.553">http://www.jstor.org/stable/10.5612/slavicreview.74.3.553</a>
</span><o:p></o:p></p>
<p class="MsoNormal">This article examines literature in Russia, as opposed to Russian literature, through the window of Tat’iana’s reading in Aleksandr Pushkin’s
<i>Eugene Onegin</i>, especially two novels by Sophie Cottin. A quantitative, sociological approach to European markets for novels shows that Russians and Europeans were reading the same popular French, German, and English sentimental novels by August von Kotzebue;
Stéphanie-Félicité, comtesse de Genlis; August Lafontaine; and Cottin. Pushkin, however, positioned himself in the Russian literary field with the canonical novels of Jean-Jacques Rousseau, Samuel Richardson, and Madame de Staël, against the “mediocre” novels
of Cottin. Nevertheless, in his ongoing efforts to write Russian novels, Pushkin covertly engaged with popular sentimental novels to integrate their conservative emphasis on duty, virtue, and love with Russian noble life. I argue that a likely intertext for
the eponymous heroine of <i>The Captain’s Daughter</i> was Cottin’s European bestseller
<i>Élisabeth, ou Les exilés de Sibérie</i> (1806).<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><b>Investigations into the Unpoliced Novel: <i>Moll Flanders
</i>and<i> The Comely Cook</i><o:p></o:p></b></p>
<p class="MsoNormal">Emma Lieber<o:p></o:p></p>
<p class="MsoNormal"><span style="color:#222222;background:white">Stable URL: <a href="http://www.jstor.org/stable/10.5612/slavicreview.74.3.575">
http://www.jstor.org/stable/10.5612/slavicreview.74.3.575</a> </span><o:p></o:p></p>
<p class="MsoNormal">Taking its cue from Lev Tolstoi’s claim, in “A Few Words Apropos of the Book
<i>War and Peace</i>,” that the Russian novel is a “deviation from European form,” this article investigates deviance as a formal and thematic aspect of the Russian novel. Concentrating on Mikhail Chulkov’s
<i>The Comely Cook</i> as an early exemplar of the Russian novel form, and locating its deviance against the backdrop of Daniel Defoe’s
<i>Moll Flanders</i> (the English novel with which it is most frequently paired), I examine both formal matters and the texts’ thematic and imaginative clusters. These questions of commercialism, capital, and the role of money; of gender difference, the regulation
of sexuality and pleasure, and bodily life generally; of Oedipal family arrangements and communal organization; and of repetition and the production of the new are especially at stake in investigating issues of normativity and abnormality, or regularity and
deformity, as they are given shape in the works. In particular, this article concentrates on the police as a multivalent literary, and particularly novelistic, construct to present the Russian novel as a distinctively unpoliced and unregulated genre whose
lawlessness is brought into relief by the culture of discipline and legality that pervades Defoe’s work.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Lynda Park, Executive Director<o:p></o:p></p>
<p class="MsoNormal">Association for Slavic, East European, and Eurasian Studies <o:p>
</o:p></p>
<p class="MsoNormal">203C Bellefield Hall | University of Pittsburgh | Pittsburgh, PA 15260-6424 USA<o:p></o:p></p>
<p class="MsoNormal">+1 (412) 648-9788 (direct), +1 (412) 648-9911 (main)<o:p></o:p></p>
<p class="MsoNormal">+1 (412) 648-9815 (fax)<o:p></o:p></p>
<p class="MsoNormal"><a href="http://www.aseees.org/"><span style="color:#0563C1">www.aseees.org</span></a><o:p></o:p></p>
<p class="MsoNormal"><span style="color:red"><a href="http://www.aseees.org/convention"><span style="color:red">ASEEES2015 Convention, Philadelphia, Nov 19-22</span></a></span><span style="color:red"><o:p></o:p></span></p>
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