Das Buch betrachtet die sowjetische Provinz in der Region Altai während dieser Ära des Wandels. Oleg Garms gelingt es, ein facettenreiches Bild der Epoche zu zeichnen, das sowohl die großen historischen Prozesse und regionalen Besonderheiten als auch die kleinen Akteure, ihre Lebensweisen und Alltagspraktiken berücksichtigt.
Die Studie zeigt die Entstalinisierung nicht nur als Demontage der repressiven Staatspolitik und Ende des Terrors, sondern auch als eine umfassende Reform des sowjetischen Alltags, die vielfältige Bereiche des Lebens in Staat und Öffentlichkeit umfasste.
The article focuses on Aleksei Mikhailovich Kremkov (1898-1948), graduate of the St. Petersburg Naval Corps, who received his military education—and baptism of fire—during the First World War and Civil War, and who, in emigration, worked as caricaturist in France and USA under the pseudonym Alex Gard. Gard collaborated with The New York Herald Tribune and many other serials, his cartoons graced the walls of the prestigious Sardi’s Restaurant in New York, and he published several albums of caricatures (including skits on military service, the Russian ballet, and the cream of America’s theater and cinema bohemia in the 1930s and 1940s). True, his cartoons brought tears to many an eye, but they also inspired people to understand themselves better and even to bolster self-confidence. Little has been written about Gard and biographical data are often contradictory. This article publishes vintage photographs and inscriptions, including a drawing from the collection of the author, whose great-uncle—the Russian ballet dancer in exile—Dimitri Rostoff (D.N. Kulchitsky), was one of Gard’s closest friends.
The subject of this article is the evolution of Soviet political caricature as reflected in the work of artist Boris Efimov. The article focuses on the post-revolutionary period of Efimov’s career up to the eve of World War II, with particular attention to changes in his work following Stalin’s consolidation of dictatorial power by the early 1930s. While examining the nature of several key political caricatures by Efimov of the 1920s and 1930s, the article also considers the political context and circumstances surrounding Efimov’s work, especially the dramatic reversal of the official Communist Party attitude toward one of the Revolution’s principal leaders and heroes, Lev Trotsky. Based mainly on testimony in Efimov’s later memoirs, as well as two contemporaneous reviews of Efimov’s work by Trotsky and critic Viacheslav Polonsky, the article aims to demonstrate how political expediency compelled Efimov, who had received the support and patronage of these two influential figures, to alter both the content and style of his political caricatures for the purpose of attacking new imaginary enemies in Stalin’s Russia.