Four Russian Serf Narratives

Although millions of Russians lived as serfs until the middle of the nineteenth century, little is known about their lives. Identifying and documenting the conditions of Russian serfs has proven difficult because the Russian state discouraged literacy among the serfs and censored public expressions of dissent. To date scholars have identified only twenty known Russian serf narratives. Four Russian Serf Narratives contains four of these accounts and is the first translated collection of autobiographies by serfs. Scholar and translator John MacKay brings to light for an English-language audience a diverse sampling of Russian serf narratives, ranging from an autobiographical poem to stories of adventure and escape. “Autobiography” (1785) recounts a highly educated serf’s attempt to escape to Europe, where he hoped to study architecture. The long testimonial poem “News About Russia” (ca. 1849) laments the conditions under which the author and his fellow serfs lived. In “The Story of My Life and Wanderings” (1881) a serf tradesman tells of his attempt to simultaneously escape serfdom and captivity from Chechen mountaineers. The fragmentary “Notes of a Serf Woman” (1911) testifies to the harshness of peasant life with extraordinary acuity and descriptive power. These accounts offer readers a glimpse, from the point of view of the serfs themselves, into the realities of one of the largest systems of unfree labor in history. The volume also allows comparison with slave narratives produced in the United States and elsewhere, adding an important dimension to knowledge of the institution of slavery and the experience of enslavement in modern times.

Harriet Beecher Stowe's 1852 antislavery novel Uncle Tom's Cabin was the nineteenth century's best-selling novel worldwide; only the Bible outsold it. It was known not only as a book but through stage productions, films, music, and commercial advertising as well. But how was Stowe's novel—one of the watershed works of world literature—actually received outside of the American context? True Songs of Freedom explores one vital sphere of Stowe's influence: Russia and the Soviet Union, from the 1850s to the present day. Due to Russia's own tradition of rural slavery, the vexed entwining of authoritarianism and political radicalism throughout its history, and (especially after 1945) its prominence as the superpower rival of the United States, Russia developed a special relationship to Stowe's novel during this period of rapid societal change. Uncle Tom's Cabin prompted widespread reflections on the relationship of Russian serfdom to American slavery, on the issue of race in the United States and at home, on the kinds of writing appropriate for children and peasants learning to read, on the political function of writing, and on the values of Russian educated elites who promoted, discussed, and fought over the book for more than a century. By the time of the Soviet Union's collapse in 1991, Stowe's novel was probably better known by Russians than by readers in any other country. John MacKay examines many translations and rewritings of Stowe's novel; plays, illustrations, and films based upon it; and a wide range of reactions to it by figures famous (Leo Tolstoy, Ivan Turgenev, Marina Tsvetaeva) and unknown. In tracking the reception of Uncle Tom's Cabin across 150 years, he engages with debates over serf emancipation and peasant education, early Soviet efforts to adapt Stowe's deeply religious work of protest to an atheistic revolutionary value system, the novel's exploitation during the years of Stalinist despotism, Cold War anti-Americanism and antiracism, and the postsocialist consumerist ethos.

The abolition of Russian serfdom in 1861 and American slavery in 1865 transformed both nations as Russian peasants and African Americans gained new rights as subjects and citizens. During the second half of the long nineteenth century, Americans and Russians responded to these societal transformations through a fascinating array of new cultural productions. Analyzing portrayals of African Americans and Russian serfs in oil paintings, advertisements, fiction, poetry, and ephemera housed in American and Russian archives, Amanda Brickell Bellows argues that these widely circulated depictions shaped collective memory of slavery and serfdom, affected the development of national consciousness, and influenced public opinion as peasants and freedpeople strove to exercise their newfound rights. While acknowledging the core differences between chattel slavery and serfdom, as well as the distinctions between each nation's post-emancipation era, Bellows highlights striking similarities between representations of slaves and serfs that were produced by elites in both nations as they sought to uphold a patriarchal vision of society. Russian peasants and African American freedpeople countered simplistic, paternalistic, and racist depictions by producing dignified self-representations of their traditions, communities, and accomplishments. This book provides an important reconsideration of post-emancipation assimilation, race, class, and political power.

The "new mobilities paradigm" which emerged at the beginning of the twenty-first century has identified mobility as a process intrinsic to the human experience and fundamental to the formation of social and political structures. This volume breaks new ground by demonstrating the role of the journey as a key motor of human development in Russia, central and east Europe in the modern period. It does so by means of twelve case studies that examine different types of movement, both voluntary and involuntary, temporary and permanent, short- and long-distance, into, out of, and around the region.

Every subject of the Russian Empire had an official, legal place in society marked by his or her social estate, or soslovie. These sosloviia (noble, peasant, merchant, and many others) were usually inherited, and defined the rights, opportunities, and duties of those who possessed them. They were also usually associated with membership in a specific geographically defined society in a particular town or village. Moreover, although laws increasingly insisted that every subject of the empire possess a soslovie "for the common good and their own well-being," they also allowed individuals to change their soslovie by following a particular bureaucratic procedure. The process of changing soslovie brought together three sets of actors: the individuals who wished to change their opportunities or duties, or who at times had change forced upon them; local societies, which wished to control who belonged to them; and the central, imperial state, which wished above all to ensure that every one of its subjects had a place, and therefore a status. This book looks at the many ways that soslovie could affect individual lives and have meaning, then traces the legislation and administration of soslovie from the early eighteenth through to the early twentieth century. This period saw a shift from soslovie as above all a means of extracting duties or taxes, to an understanding of soslovie as instead a means of providing services and ensuring security. The book ends with an examination of the way that a change in soslovie could affect not just an individual's biography, but the future of his or her entire family. The result is a new image of soslovie as both a general and a very specific identity, and as one that had persistent meaning, for the Imperial statue, for local authorities, or for individual subjects, even through 1917.

In the footsteps of Andre Bazin, this anthology of 15 original essays argues that the photographic origin of twentieth-century cinema is anti-anthropocentric. Well aware that the twentieth century stands out as the only period in history with its own photographic film record for posterity, Angela Dalle Vacche has convened international scholars at The Sterling and Francine Clark Art Institute, and asked them to rethink the history and theory of the cinema as a new model for the museum of the future. By exploring the art historical tropes of face and landscape, and key areas of film studies such as early cinema, Soviet film theory, documentary, the avant-garde and the newly-born genre of the museum film, this collection includes detailed discussions of installation art, and close analyses of media relations which range from dance to painting to performance art. Thanks to the title of Andre Malraux's famous project, Film, Art, New Media: Museum Without Walls? invites readers to reflect on the museum of the future, where twentieth-century cinema will play a pivotal role by interrogating the relation between art and science, technology and nature, from the side of photography in dialogue with digitalization.

With a focus on Honduras, James J. Phillips explores the deeper causes of the massive emigration of Central Americans to the United States. Going beyond the frequently given reasons for migration, Phillips provides a detailed account of how the frenzied extraction of natural resources has created massive community displacement, dependency, poverty, and vulnerability, while encouraging corruption, violence, gang recruitment, drug trafficking, militarization of Honduran society, and systematic repression of popular protest and resistance. Highlighting how this situation is tied to the colonial (or imperial) extractive relationship of Honduras to the United States, Phillips contends that the usual policy of development aid and investment to stem migration will only worsen the conditions that create migration. With this book, Phillips depicts how the Central American immigration “crisis” shapes life in the United States and Honduras, while making clear that the effects are not what populist politics imagine.

Grand Duchess Elena Pavlovna of Russia and Princess Isabel of Brazil were active participants in the struggle to end servile labor in their respective countries. They acted in defiance of political conventions which excluded women from any political activity. Both women were determined to do all in their power to further the cause of emancipation and to determine the terms under which serfs and slaves were emancipated. This book examines the political activities of the two royal women within the context of their respective societies and adopts a comparative approach.