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"Even as the government of newly independent Turkey developed a friendly relationship with the Soviet Union, it persecuted communist writers in its own country. Writing in Red traces the literary and exilic itineraries of Turkish communist and former communist writers. These journeys were shaped by the history of Turkish and Soviet state relations of "cultural diplomacy," Comintern policies, and waves of arrests, detentions, and repressive crackdowns aimed at the Turkish Communist Party during the first half of the twentieth century. Bringing together a wide range of writings including erotic comedy, historical fiction and film, and modernist socialist realist novels and plays, Nergis Erturk argues these works by Turkish authors belong to a global archive of "world revolution" alongside those of such writers as Claude McKay and others who made the "magic pilgrimage" to Moscow during the 1920s. Writing in Red deepens our understanding of Turkish literature in relation to world literature as well as the "Soviet republic of letters," produced in the aftermath of the Bolshevik revolution. In attempting to create a universalizable politics of language, revolutionary time, and sexual ethics, Turkish communist writers developed a literature of dissent. Offering a bottom-up account of a transnational Soviet republic of letters formed by writers on the run who responded to diverse aesthetic and political demands, the book addresses the legacies of early twentieth-century communist translation and exchange for global literature"--

Turkish literature --- Socialism in literature --- Soviet influences --- History and criticism

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An understanding of contemporary North Korea's literature is virtually impossible without an investigation of its formative period, 1945-1960, which saw a gradual transformation from the initial "Soviet era" to a Korean version of "national Stalinism." This turbulent epoch established a long-lasting framework for North Korean literature and set up an elaborate system of political control over literary matters, as well as over the people who served in this field.In 1946 Democratic People's Republic of Korea (DPRK) leader Kim Il Sung described the country's writers as "soldiers on the cultural front," thus clearly defining what the nascent Communist regime expected from its intellectuals. As a result, many literary nonentities were rewarded with fame and success (often only to be relegated once again to obscurity within a few years) while many outstanding luminaries of the past were erased from the pages of official publications or even lost their lives. The Soviet cultural impact brought new tropes, artistic images, and rhetoric, which were quickly absorbed into the North Korean discourse. However, the cultural politics of the DPRK and the USSR revealed profound and irreconcilable disparities that were rooted in the different political conditions and traditions of each country.Soldiers on the Cultural Front presents the first consistent research on the early history of North Korea's literature and literary policy in Western scholarship. It traces the introduction and development of Soviet-organized conventions in North Korean literary propaganda and investigates why the "romance with Moscow" was destined to be short lived. It reconstructs the biographies and worldviews of major personalities who shaped North Korean literature and teases these historical figures out of popular scholarly myth and misconception. The book also investigates the specific forms of control over intellectuals and literary matters in North Korea. Considering the unique phenomenon of North Korean literary critique, the author analyzes the political campaigns and purges of 1947-1960 and investigates the role of North Korean critics as "political executioners" in these events. She draws on an impressive variety and number of sources-ranging from interviews with Korean and Soviet participants, public and family archives, and memoirs to original literary and critical texts-to present a balanced and eye-opening work that will benefit those interested in not only understanding North Korean literature and society, but also rethinking forms of socialist modernity elsewhere in the world.

Communism and intellectuals --- Political purges --- Authors, Korean --- Politics and literature --- Korean literature --- Socialist realism in literature. --- Literature and state --- Political and social views. --- Soviet influences.

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AT PENPOINT aims to rewrite the story of postcolonial African literary and cultural production as one profoundly influenced by the Cold War. Monica Popescu shows how postcolonial studies of African literature have too often neglected the key institutional and aesthetic influence asserted by Soviet agents, and the resulting overlapping imperalisms African writers and creators worked within and contested during the second half of the twentieth century. Popescu's analysis attends to the myriad ways in which the tension between the United States and the USSR played out in the intellectual and aesthetic clashes among Third World intellectuals as well as on the battlefields of the proxy conflicts (specifically, the war in Angola) and experiments in African-style socialism that spread across the continent. Informed by several intellectual projects that have similarly brought postcolonial studies and the history of the Cold War together, Popescu traces a new cartography of cultural communication and meaning-making apart from a Western intellectual history and reinvigorates a leftist critique of imperialism too often occluded by postcolonial studies. Popescu uses her focus on the Cold War both to reassess familiar works from the era, such as Ayi Kwei Armah's The Beautyful Ones Are Not Yet Born as well as to shine light on previously un- or under-studied publications made newly relevant, including Lotus, the journal of the Afro-Asian Writers' Alliance. The book is divided into two parts; the first providing the historical and theoretical framing for the latter's analysis. Chapter 2 in part I introduces Popescu's theory of "aesthetic world systems" in order to frame an alternative aesthetic system set up by the Soviet Union to sway intellectuals disenchanted with Western thought to align their work to the norms and aesthetic values of a Soviet ideology. Popescu illustrates this tension evident in African literature by analyzing both how African writers debated the definitions and functions of realism and modernism within Cold War parameters as well as how the aesthetic prerogatives of both the US and the USSR rendered entire corpuses of Third World texts illegible and invisible. The book's second part takes up more specific works of literature, expanding African literary history by rearticulating connections between texts and contexts. In chapter 3 in part II, which considers Armah's novel among several others, Popescu examines how accounts of decolonization and neocolonialism also bear the traces of Cold War influence in their attitudes toward revolutionary social change and its aftermath Popescu closes with a rethinking of the shift from postcolonial studies to "world literatures," centering African writers' contributions to rethinking the very concept.

African literature --- Cold War --- Postcolonialism --- Politics and literature --- Literature and society --- History and criticism. --- Soviet influences. --- Influence. --- Africa --- Intellectual life --- History and criticism --- Soviet influences --- Influence --- Black literature (African) --- Authors, African --- #SBIB:39A5 --- #SBIB:39A73 --- #SBIB:327.4H21 --- Kunst, habitat, materiële cultuur en ontspanning --- Etnografie: Afrika --- Kolonisatie / dekolonisatie / post-kolonisatie

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In Cold War in Universities: U.S. and Soviet Cultural Diplomacy, 1945-1990 Natalia Tsvetkova recounts how the United States and the Soviet Union aspired to transform overseas academic institutions according to their political aims during the Cold War. The book depicts how U.S. and Soviet attempts to impose certain values, disciplines, teaching models, structures, statutes, and personnel at universities in divided Germany, Afghanistan, Ethiopia, both Vietnams, and Cuba as well as Guatemala were foiled by sabotage, ignorance, and resistance on the part of the local academic elite, particularly professors. Often at odds with local academic communities, U.S. and Soviet university policies endured unexpected frustrations as their efforts toward Americanization and Sovietization faced developmental setbacks, grassroots resistance, and even political fear.

378.4 <47> --- 378.4 <73> --- Education, Higher --- Higher education and state --- Cultural diplomacy --- Cold War --- Universiteiten--Rusland. Sovjet-Unie --- Universiteiten--Verenigde Staten van Amerika. VSA. USA --- American influences --- History --- Soviet influences --- Commercial policy --- United States

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A reconstruction of Cold War-era cultural networks between the Second and Third Worlds that offers a compelling genealogy of contemporary postcolonial studies. Would there have been a Third World without the Second? Perhaps, but it would have looked very different. Although most histories of these geopolitical blocs and their constituent societies and cultures are written in reference to the West, the interdependence of the Second and Third Worlds is evident not only from a common nomenclature but also from their near-simultaneous disappearance around 1990. From Internationalism to Postcolonialism addresses this historical blind spot by recounting the story of two Cold War-era cultural formations that claimed to represent the Third World project in literature and cinema: the Afro-Asian Writers Association (1958-1991) and the Tashkent Festival for African, Asian, and Latin American Film (1968-1988). The inclusion of writers and filmmakers from the Soviet Caucasus and Central Asia and extensive Soviet support aligned these organizations with Soviet internationalism. While these cultural alliances between the Second and the Third World never achieved their stated aim--the literary and cinematic independence of the literatures and cinemas of these societies from the West--they did forge what Ngũgĩ wa Thiong'o called "the links that bind us," along which now-canonical postcolonial authors, texts, and films could circulate across the non-Western world until the end of the Cold War. In the process of this historical reconstruction, From Internationalism to Postcolonialism inverts the traditional relationship between Soviet and postcolonial studies: rather than studying the (post-) Soviet experience through the lens of postcolonial theory, it documents the multiple ways in which that theory and its attendant literary and cinematic production have been shaped by the Soviet experience.

Motion pictures --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Soviet influences --- History and criticism --- Developing countries --- Soviet Union --- Emerging nations --- Fourth World --- Global South --- LDC's --- Least developed countries --- Less developed countries --- Newly industrialized countries --- Newly industrializing countries --- NICs (Newly industrialized countries) --- Third World --- Underdeveloped areas --- Underdeveloped countries --- Советский Союз --- Ber. ha-M. --- Zwia̦zek Socjalistycznych Republik Radzieckich --- Szovjetunió --- TSRS --- Tarybų Socialistinių Respublikų Sąjunga --- SRSR --- Soi︠u︡z Radi︠a︡nsʹkykh Sot︠s︡ialistychnykh Respublik --- SSSR --- Soi︠u︡z Sovetskikh Sot︠s︡ialisticheskikh Respublik --- UdSSR --- Shūravī --- Ittiḥād-i Jamāhīr-i Ishtirākīyah-i Shūrāʼīyah --- Russia (1923- U.S.S.R.) --- Sovetskiy Soyuz --- Soyuz SSR --- Sovetskiĭ Soi︠u︡z --- Soi︠u︡z SSR --- Uni Sovjet --- Union of Soviet Socialist Republics --- USSR --- SSṚM --- Sovetakan Sotsʻialistakan Ṛespublikaneri Miutʻyun --- SSHM --- Sovetakan Sotsʻialistakan Hanrapetutʻyunneri Miutʻyun --- URSS --- Unión de Repúblicas Socialistas Soviéticas --- Berit ha-Moʻatsot --- Rusyah --- Ittiḥād al-Sūfiyītī --- Rusiyah --- Rusland --- Soṿet-Rusland --- Uni Soviet --- Union soviétique --- Zȯvlȯlt Kholboot Uls --- Związek Radziecki --- ESSD --- Sahaphāp Sōwīat --- KhSHM --- SSR Kavširi --- Russland --- SNTL --- PSRS --- Su-lien --- Sobhieṭ Ẏuniẏana --- FSSR --- Unione Sovietica --- Ittiḥād-i Shūravī --- Soviyat Yūniyan --- Russian S.F.S.R. --- Foreign relations --- Literatures --- Soviet influences. --- Cinéma --- Influence soviétique. --- Relations extérieures --- Związek Socjalistycznych Republik Radzieckich --- ZSRR --- Związek Socjalistycznych Republik Sowieckich --- ZSRS --- Cinéma --- Relations extérieures --- Influence soviétique.