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On the Threshold of Eurasia: Intersecting Discourses of Empire and Identity in the Russian Empire
Get PDFThis dissertation considers the foundation of discourses of Orientalism and Postcolonialism in representations of the Caucasus in the literature of Russians and Muslims of the empire from 1828 through 1920. From the mid-nineteenth century through World War I, the Russian empire continued an era of expansion, colonizing the diverse ethnic and cultural territories of the Muslim Caucasus and Central Asia. The oil boom, the creation of an international Turkic language press, the spread of Russian language education and the construction of the Transcaspian Baku-Batumi Railroad during this period all contributed to the development of a cosmopolitan literary and artistic scene in the administrative and industrial capitals of Tbilisi and Baku. While discussions about the destiny of the Russian Empire - its relationship to the European Enlightenment, Byzantium and its own imperial acquisitions percolated in Moscow and Petersburg, debates about the role of Islam and language politics as well as Pan-Turkic, Pan-Islamic and proletarian discourses of identity dominated discussions among writers and thinkers in the Caucasus. Russian writers imagined a civic identity amidst an expanding empire, and in so doing, they represented the Caucasus as a space of freedom, heroism and spiritual enlightenment. I trace the ways in which Muslim writers and thinkers of the Caucasus translated and transformed this imaginary, debating the role of Islam and language politics in the construction of supranational discourses of cultural, ethnic and political identity. Building on Edward Said's theory of Orientalism and Mikhail Bakhtin's theory of narrative discourse, I present a portrait of the intellectual milieu between a series of intertextual encounters across Europe, Russia and the Turkic Muslim world.My dissertation is organized into four chapters, each of which addresses intertextual encounters in these diverse literary traditions. My first chapter, "Heterodoxy and Heteroglossia: Axundov on the Threshold of Russian Literature" discusses Mirza Fatali Akhundov's contribution to the foundation of a modern Azeri literary tradition through his invocation of Aleksandr Sergeevich Pushkin's orientalist literary legacy. Drawing upon Pushkin's representation of the Caucasian imaginary as a prophetic legacy of freedom, Axundov generates supranational texts that incorporate diverse Islamic, Russian and European theological, philosophical, cultural and political discourses. My second chapter, "Prisoners of the Caucasian Imaginary: Lermontov and Kazy-Girei's Heroes in Exile" examines the idea of heroism in Russian Romantic representations of the Caucasus through the Caucasian tales of Mikhail Iur'evich Lermontov and a Russophone story by the Adyghe writer Sultan Kazy-Girei. I illustrate the ways Kazy-Girei contests and expands the ideas of heroism embedded in Russian representations of the Caucasus through his foundational contribution to Muslim Russophone literature. My third chapter, "Textual Deviance in Russian Empire: Gogol' and Mammedquluzadeh's Parodic Innovations," discusses the comedic space of the Russian Empire and Soviet Union. Comparing the works of Nikolai Vasilevich Gogol and the Azeri writer Jalil Mammedquluzadeh, I discuss the role of textual deviance in Russian literature. Though Gogol's work entered a supranational Soviet literary space through his appropriation by Formalist literary critics, this chapter highlights the importance of his work in the literature of the Muslims of the Russian empire more broadly, as well the early twentieth century in the Caucasus. My final chapter, "Translating Early Twentieth Century Baku: The Romantic Poetic Futures of the Russian and Azeri Avant-gardes," examines the role of Romantic poetics in the emergence of revolutionary and early Soviet politics. I compare the works of Russian writers in Baku, including Velimir Khlebnikov, Aleksei Eliseevich Kruchenykh, Viacheslav Ivanovich Ivanov, and Vladimir Vladimirovich Maiakovskii to the works of the Azeri writers Abbas Sahhat, Mehammed Hadi, and Mikayil Rafili. In so doing, this chapter illustrates the role of the Baku avant-garde in shaping Soviet hegemony, as well as diverse forms of anti-imperial agency. This moment in the formation of the Soviet Union, envisioned from the vantage point of the Caucasus, frames my discussion of the architecture of a supranational literary tradition informed by Russian Orientalism, anti-imperial Soviet hegemony, and postcolonial politics
Kazakh intellectuals, identity, and collective memory : echoes of recent debates
Get PDFIt can be argued that the voices of the iconoclastic Kazakh intellectuals which this essay has identified, add a new layer of meaningful nuances to the already rich heteroglossia of identity. What they have in common is their critique of the establishment, and the primacy they give to tradition in general, and nomadic tradition in particular in the equation of identity. The differences they exhibit, however, be it the infatuation of the Amrekulov/Masanov team with the socio-economic dimension or Nurpeisova's elitism and absolute dedication to the primacy of the spiritual, can be seen as responses to some of the undeniable legacies of the Soviet regime: economic impoverishment and spiritual sterility. Having embarked on the search for a solution, Kazakh intellectuals seem to be determined to sort out the dimensions of their identity and eventually gain Antaean invincibility by reconnecting in a meaningful way with the soil of the steppe
Fellow Travellers: Enver Pasha and the Bolshevik Government 1918-1920
No full textThis article explores the relationship between Enver Pasha, the former Ottoman leader, and the Bolshevik government, focusing on their joint efforts and tensions in Central Asia
Kazakh intellectuals, identity, and collective memory : echoes of recent debates
Get PDFIt can be argued that the voices of the iconoclastic Kazakh intellectuals which this essay has identified, add a new layer of meaningful nuances to the already rich heteroglossia of identity. What they have in common is their critique of the establishment, and the primacy they give to tradition in general, and nomadic tradition in particular in the equation of identity. The differences they exhibit, however, be it the infatuation of the Amrekulov/Masanov team with the socio-economic dimension or Nurpeisova's elitism and absolute dedication to the primacy of the spiritual, can be seen as responses to some of the undeniable legacies of the Soviet regime: economic impoverishment and spiritual sterility. Having embarked on the search for a solution, Kazakh intellectuals seem to be determined to sort out the dimensions of their identity and eventually gain Antaean invincibility by reconnecting in a meaningful way with the soil of the steppe
Islam Under Communist Rule
No full textInvestigates the transformations of Islamic institutions and practices under Soviet rule, with a focus on Central Asia
Kazakh intellectuals, identity, and collective memory : echoes of recent debates
No full textAzade-Ayşe Rorlich, «Kazakh intellectuals, identity, and collective memory : echoes of recent debates», pp 261-270.
It can be argued that the voices of the iconoclastic Kazakh intellectuals which this essay has identified, add a new layer of meaningful nuances to the already rich heteroglossia of identity. What they have in common is their critique of the establishment, and the primacy they give to tradition in general, and nomadic tradition in particular in the equation of identity. The differences they exhibit, however, be it the infatuation of the Amrekulov/Masanov team with the socio-economic dimension or Nurpeisova's elitism and absolute dedication to the primacy of the spiritual, can be seen as responses to some of the undeniable legacies of the Soviet regime : economic impoverishment and spiritual sterility. Having embarked on the search for a solution, Kazakh intellectuals seem to be determined to sort out the dimensions of their identity and eventually gain Antaean invincibility by reconnecting in a meaningful way with the soil of the steppe. CPCRorlich Azade-Ayse. Kazakh intellectuals, identity, and collective memory : echoes of recent debates. In: CEMOTI, n°29, 2000. L'humanitaire. L'Albanie. pp. 261-270
Which way will Tatar cultur go ? A controversial essay by Galimdzhan Ibragimov
No full textAzade-Ayse Rorlich, Which way will Tatar culture go ? A controversial essay by Galimdzhan Ibragimov.
The present article discusses G. Ibragimov's essay Which way will Tatar culture go ? which demonstrates his awareness of the historical traditions, peculiarities of the Volga Tatars as well as the need to preserve and develop the national identity in the future. Since in his essay Ibragimov posed two alternatives for the future of Tatar culture: russification or survival, the author of this article concentrated around the same issue, comparing Ibragimov's theses with those of other Tatar intellectuals concerned with the future of the Tatar nation. Ibragimov considered the national language as the main ingredient of a national culture and the present article discusses his struggle around this issue as well as his belief that the future of the Tatar culture depended upon the future of the Tatar language.Azade-Ayse Rorlich, Où ira la culture tatare ? Un essai critique de Galimdzhan Ibragimov.
Le présent article discute un essai de G. Ibragimov intitulé Оù ira la culture tatare ? qui démontre la haute conscience qu'avait Ibragimov des traditions historiques et des caractères propres aux Tatars de la Volga, ainsi que la nécessité de préserver et de développer à l'avenir leur identité nationale. Étant donné que, dans son essai, Ibragimov a posé, pour l'avenir de la culture tatare, l'alternative suivante : russification ou survie, la présente étude est centrée sur le même problème et compare les thèses ď Ibragimov à celles des autres intellectuels tatars préoccupés de l'avenir de la nation tatare. Ibragimov considérait la langue nationale comme le principal élément d'une culture nationale ; le présent article remet en cause la bataille qu'il livra à ce sujet et sa conviction que l'avenir de la culture tatare dépendait de celui de la langue tatare.Rorlich Azade-Ayse. Which way will Tatar cultur go ? A controversial essay by Galimdzhan Ibragimov. In: Cahiers du monde russe et soviétique, vol. 15, n°3-4, Juillet-décembre 1974. pp. 363-371
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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