The political and social turmoil of the twentieth century took Magda Nachman from a privileged childhood in St. Petersburg at the close of the nineteenth century, artistic studies with Léon Bakst and Kuzma Petrov-Vodkin at the Zvantseva Art Academy, and participation in the dynamic symbolist/modernist artistic ferment in pre-Revolutionary Russia to a refugee existence in the Russian countryside during the Russian Civil War followed by marriage to a prominent Indian nationalist, then with her husband to the hardships of émigré Berlin in the 1920s and 1930s, and finally to Bombay, where she established herself as an important artist and a mentor to a new generation of modern Indian artists.
The political changes at the end of the last century in the Soviet Union, and later the Russian Federation, had deep-reaching repercussions on the interpretation of Russian culture in the time of division between “Russia Abroad” and “Russia at Home”. Ever since, scholars have tried to understand and to describe the interrelationship between the two Russias. In spite of intensive research, numerous conferences and publications, there are still many discoveries to be made and a number of questions to be answered. This volume presents a selection of articles based on papers presented at an international conference on Russian émigré culture that was held at Saarland University, Germany, in 2015. The essays assembled here offer new insights into aspects of Russian émigré culture already known to scholarship, but also to explore new facets of it. As such, it is not the well-known centres and leading figures of Russian emigration that are highlighted; instead the authors give prominence to places of seemingly secondary importance such as Prague, Istanbul or India and to such lesser-known aspects as collections and collectors of Russian émigré art and the impact of cultural activities of the Russian emigration on the culture of the respective host countries.
A fresh approach to scholarship on the diverse nature of Indian anticolonial processes. Brings together a varied selection of literature to explore Indian anticolonialism in new ways Offers a different perspective to geographers seeking to understand political resistance to colonialism Addresses contemporary studies that argue nationalism was joined by other political processes, such as revolutionary and anarchist ideologies, to shape the Indian independence movement Includes a focus on a specific anticolonial group, the “Pondicherry Gang,” and investigates their significant impact which went beyond South India Helps readers understand the diverse nature of anticolonialism, which in turn prompts thinking about the various geographies produced through anticolonial activity
In this fascinating biography of the Indian revolutionary M. P. T. Acharya (1887-1954), Ole Birk Laursen uncovers the remarkable transnational networks, movements and activities of India's most important anticolonial anarchist in the twentieth century. Driven by the urge for complete freedom from colonialism, authoritarianism, fascism and militarism, which are rooted in the idea and politics of the nation-state, Acharya fought for an international vision of socialism and freedom. During the tumultuous opening decades of the 1900s--marked by the globalisation of radical inter-revolutionary struggles, world wars, the rise of communism and fascism, and the growth of colonial independence movements--Acharya allied himself with pacifists, anarchists, radical socialists and anticolonial fighters in exile, championing a future free from any form of oppression, whether by colonial rulers or native masters. Drawing on a wealth of archival material, private correspondence and other primary sources, Laursen demonstrates that, among his contemporaries, Acharya's turn to anarchism was unique and pioneering in the struggle for Indian independence. Anarchy or Chaos is the first comprehensive study of M. P. T. Acharya. It offers a new understanding of the global and entangled history of anarchism and anticolonialism in the first half of the twentieth century.
M.P.T. Acharya (1887–1954) was a contemporary of Mohandas Gandhi during the Indian Independence Movement. Despite political differences with Gandhi, Acharya saw a tremendous anarchistic potential in the practice of non-violent direct action. We Are Anarchists: Essays on Anarchism, Pacifism, and the Indian Independence Movement is the first collection of essays by M. P. T. Acharya. A transnational and revolutionary figure, Acharya engaged in anticolonial activism across India, Europe, the United States, and Russia. He was also a prolific writer, whose essays are testimony to a tireless agitator and intellectual. Comprising fifty essays, the collection opens a window onto the global reach of anarchism in the interwar period and beyond, and enables a more nuanced understanding of Indian anticolonial struggles against oppressive state power, be it imperialist, Bolshevik, or capitalist. Ole Birk Laursen’s biographical introduction and notes in this collection set the essays in their historical and political context, and guide readers into Acharya’s life and thoughts.
This first major critical biography of Vladimir Nabokov, one of the greatest of twentieth-century writers, finally allows us full access to the dramatic details of his life and the depths of his art. An intensely private man, Nabokov was uprooted first by the Russian Revolution and then by World War II. Transformed into a permanent wanderer, he did not achieve fame until late in life, with the success of Lolita. In this first of two volumes, Brian Boyd vividly describes the liberal milieu of the aristocratic Nabokovs, their escape from Russia, Nabokov's education at Cambridge, and the murder of his father in Berlin. Boyd then turns to the years that Nabokov spent, impoverished, in Germany and France, until the coming of Hitler forced him to flee, with wife and son, to the United States. This volume stands on its own as a fascinating exploration of Nabokov's Russian years and Russian worlds, prerevolutionary and émigré. In the course of his ten years' work on the biography, Boyd traveled along Nabokov's trail everywhere from Yalta to Palo Alto. The only scholar to have had free access to the Nabokov archives in Montreux and the Library of Congress, he also interviewed at length Nabokov's family and scores of his friends and associates. For the general reader, Boyd offers an introduction to Nabokov the man, his works, and his world. For the specialist, he provides a basis for all future research on Nabokov's life and art, as he dates and describes the composition of all Nabokov's works, published and unpublished. Boyd investigates Nabokov's relation to and his independence from his time, examines the special structures of his mind and thought, and explains the relations between his philosophy and his innovations of literary strategy and style. At the same time he provides succinct introductions to all the fiction, dramas, memoirs, and major verse; presents detailed analyses of the major books that break new ground for the scholar, while providing easy paths into the works for other readers; and shows the relationship between Nabokov's life and the themes and subjects of his art.
As many as half a million Russians lived in Germany in the 1920s, most of them in Berlin, clustered in and around the Charlottenburg neighborhood to such a degree that it became known as “Charlottengrad.” Traditionally, the Russian émigré community has been understood as one of exiles aligned with Imperial Russia and hostile to the Bolshevik Revolution and the Soviet government that followed. However, Charlottengrad embodied a full range of personal and political positions vis-à-vis the Soviet project, from enthusiastic loyalty to questioning ambivalence and pessimistic alienation. By closely examining the intellectual output of Charlottengrad, Roman Utkin explores how community members balanced their sense of Russianness with their position in a modern Western city charged with artistic, philosophical, and sexual freedom. He highlights how Russian authors abroad engaged with Weimar-era cultural energies while sustaining a distinctly Russian perspective on modernist expression, and follows queer Russian artists and writers who, with their German counterparts, charted a continuous evolution in political and cultural attitudes toward both the Weimar and Soviet states. Utkin provides insight into the exile community in Berlin, which, following the collapse of the tsarist government, was one of the earliest to face and collectively process the peculiarly modern problem of statelessness. Charlottengrad analyzes the cultural praxis of “Russia Abroad” in a dynamic Berlin, investigating how these Russian émigrés and exiles navigated what it meant to be Russian—culturally, politically, and institutionally—when the Russia they knew no longer existed.
A major historian tells the dramatic and untold story of the shadowy networks of revolutionaries across Asia who laid the foundations in the early twentieth century for the end of European imperialism on their continent. This is the epic tale of how modern Asia emerged out of conflict between imperial powers and a global network of revolutionaries in the turbulent early decades of the twentieth century. In 1900, European empires had not yet reached their territorial zenith. But a new generation of Asian radicals had already planted the seeds of their destruction. They gained new energy and recruits after the First World War and especially the Bolshevik Revolution, which sparked utopian visions of a free and communist world order led by the peoples of Asia. Aided by the new technologies of cheap printing presses and international travel, they built clandestine webs of resistance from imperial capitals to the front lines of insurgency that stretched from Calcutta and Bombay to Batavia, Hanoi, and Shanghai. Tim Harper takes us into the heart of this shadowy world by following the interconnected lives of the most remarkable of these Marxists, anarchists, and nationalists, including the Bengali radical M. N. Roy, the iconic Vietnamese leader Ho Chi Minh, and the enigmatic Indonesian communist Tan Malaka. He recreates the extraordinary milieu of stowaways, false identities, secret codes, cheap firearms, and conspiracies in which they worked. He shows how they fought with subterfuge, violence, and persuasion, all the while struggling to stay one step ahead of imperial authorities. Undergound Asia shows for the first time how Asia’s national liberation movements crucially depended on global action. And it reveals how the consequences of the revolutionaries’ struggle, for better or worse, shape Asia’s destiny to this day.
Amal Allana’s compelling biography of her father is the first carefully researched, full-length account of the life, work and times of Ebrahim Alkazi, one of the giants of twentieth-century theatre and a key promoter of the visual arts movement in India. Evoking the excitement of Alkazi’s student years in England, the controversies that surrounded his provocative ideas to transform the theatre movement in Bombay and later in Delhi, as the director of the National School of Drama (NSD), this book charts Alkazi’s meteoric rise to the top, with his modernist staging of plays and his aim of putting Hindi theatre on the map. It was at the Sangeet Natak Akademi that Alkazi first confronted resistance to his ideas on the role of tradition in the making of a new ‘national’ culture. By the 1970s, disillusioned with the curtailing of civil liberties and a dysfunctional bureaucracy, he ultimately resigned from the NSD, developing his own independent institutions for the promotion of the visual arts in India as well as abroad. Staging the cultural history of India between the 1940s and 2000s, and featuring a galaxy of artists and actors as the dramatis personae—including M.F. Husain, F.N. Souza, Akbar Padamsee, Gieve Patel, Nissim Ezekiel, Alyque Padamsee, Girish Karnad, Manohar Singh, Vijaya Mehta, Kusum Haidar and Gerson da Cunha—Allana’s chronicle is charged with their fierce energy and commitment as contributors to a vibrant new India. The author’s personal perspective as Alkazi’s daughter brings to the narrative an added dimension of veracity and sensitivity. With objective candour, Allana shares details of her parents’ relationship as they examine their marriage on entirely new terms, as a partnership of equals. Holding Time Captive shows a dynamic Alkazi in his quest to bring about an inclusive, international, intercultural and interdisciplinary thinking in artistic expressions that is transformative and liberating. This book offers unique glimpses into an enigmatic personality whose emotionally charged life closely reflected and ran parallel to the growth and evolution of his startlingly fresh ideas and vision for a modern cultural movement in India.
