Podcasts about ilya ehrenburg

It's not exactly news that the Nazis didn't like the Jews. But according to the Rutgers historian Jochen Hellbeck, author of World Enemy Number One, the Nazi obsession went so far as to believe that the Soviet Union was owned and operated by a global cabal of Jews. And so, Hellbeck argues, it was not the Western powers but Communist Russia that Nazi Germany viewed as an existential threat—in fact, “World Enemy No. 1.” Jewish revolutionaries, the Nazis believed, had seized power in 1917 and were preparing the Soviet state to destroy Germany and the world. This paranoid delusion drove Nazi Germany's most catastrophic decision: launching Operation Barbarossa in 1941. While Hitler made tactical alliances and fought on multiple fronts, Hellbeck demonstrates through his meticulous archival research that the destruction of “Judeo-Bolshevism” remained the Nazis' primary ideological mission. Drawing on overlooked Soviet sources, including war correspondent Ilya Ehrenburg's writings, Hellbeck shows how this twisted worldview shaped not just propaganda but military strategy, ultimately leading to both the Holocaust and Germany's catastrophic defeat on the Eastern Front.1. The Nazis saw “Judeo-Bolshevism” as one unified threat The Nazis genuinely believed Soviet communism was a Jewish conspiracy for world domination. They conflated Russians, Bolsheviks, and Jews into a single enemy - viewing Karl Marx's Jewish heritage as proof that communism itself was a Jewish plot to destroy Germany.2. This obsession drove Nazi military strategy, not just propaganda Hitler's decision to invade the Soviet Union wasn't merely opportunistic. German military planning for attacking the USSR, including detailed preparations for different rail gauges and propaganda leaflets, began in the mid-1930s - showing this was a long-term ideological priority, not a tactical decision.3. Soviet sources deserve serious historical consideration Western historiography has often dismissed Soviet wartime accounts as propaganda. But Hellbeck's research, particularly examining war correspondent Ilya Ehrenburg's work against German documents, shows these Soviet sources accurately documented Nazi atrocities and mindsets without fabrication.4. Ordinary Germans, not just the SS, committed atrocities The Wehrmacht's brutality on the Eastern Front wasn't limited to special units. Hellbeck found that whenever German soldiers felt threatened, they defaulted to extreme racial violence - a pattern that intensified as the Red Army approached Germany in 1944-45.5. The war's memory continues shaping current conflicts The different ways Eastern and Western Ukraine remembered WWII (Soviet liberation vs. Soviet occupation) contributed to the country's political divisions. Putin's Russia still invokes the “Great Patriotic War” to justify current actions, showing how WWII's contested legacy remains politically explosive.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

BEST OF: During World War I Germany was the victim of cruel propaganda painting their soldiers as literally impaling babies on their bayonets. Pro-war cartoons also depicted German atrocities in Belgium, where they supposedly killed women and children for sport, a fact that was actually a lie. Irish Catholic rebellion forces in 1641 were accused of the same, and even cutting babies out of their mothers. Ottoman Turk troops were accused of the same in 1876 Bulgaria, of putting babies on bayonets. Such atrocious lies were carried into World War II, as well, when Germany was accused of making lampshades out of human skin and soap out of human fat. All of this was an unequivocal lie, but justified murder propaganda of everyone deemed an enemy. Toward the end of World War II, Ilya Ehrenburg, the Jewish propaganda minister for Stalin, produced leaflets dropped on Soviet troops encouraging them to: “Kill the Germans, wherever you find them! Every German is our mortal enemy. Have no mercy on women, children, or the aged! Kill every German — wipe them out.” Another leaflet said: “The Germans are not human beings. Henceforth the word German means to us the most terrible curse. From now on the word German will trigger your rifle. We shall not get excited. We shall kill. If you have not killed at least one German a day, you have wasted that day.” Fast forward to October of the 1990s when a young Kuwaiti girl gave congressional testimony of how Iraqi soldiers had removed babies from incubators to die, a  story even confirmed by evacuees of Kuwait, but later shown to be an orchestrated lie. October 2023 then gave  us not only a revival of the 1973 Yom Kippur war, to the date of the 6th, but reports that Hamas had beheaded babies. As one i24 reporter said: “about 40 babies were taken out on gurney's… cribs overturned, strollers left behind, doors left wide open.” She added, “Babies, their heads cut off, that's what they said.” Of course, none of this could be confirmed, it was and is propaganda. When propaganda of this nature begins spreading, along with the vile sentiments on both sides - “gas the Jews” and kill all Palestinians and Arabs, they are "animals" - world wars tend to ignite. With so much propaganda about history, its losers and winners, most of which is based on superficial rhetoric, the average person is unable to engage in debate and thus chooses sides by holding up symbols that convey much deeper meaning. Those waiving Israeli flags in particular, saying “I stand with Israel,” are unwilling to acknowledge, or simply don't care, how that state was formed with agreements from the British empire and deals between Zionists, Palestinian leaders, and Nazis, not to mention terrorist bombing campaigns in the late 1940s. Most are unaware of what a semite even is, let alone what Judea or Jewish means, or what Israel actually translates into. Religious, political, and ignorant rhetoric creates rabid echo chambers of hatred on both sides. Anyone trying to find balance and peace is caught in the crossfire. Become a supporter of this podcast: https://www.spreaker.com/podcast/the-secret-teachings-with-ryan-gable--5328407/support.

Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.Monica Poggi"Robert Capa, Gerda Taro"La fotografia, l'amore, la guerraCamera Torino, fino al 2 giugno 2024Un'altra grande mostra - dopo le personali dedicate a Eve Arnold, Dorothea Lange e André Kertész - che racconta con oltre 120 fotografie uno dei momenti cruciali della storia della fotografia del XX secolo, il rapporto professionale e affettivo fra Robert Capa e Gerda Taro, tragicamente interrottosi con la morte della fotografa in Spagna nel 1937.Fuggita dalla Germania nazista lei, emigrato dall'Ungheria lui, Gerta Pohorylle ed Endre – poi francesizzato André – Friedmann (questi i loro veri nomi) si incontrano a Parigi nel 1934, e l'anno successivo si innamorano, stringendo un sodalizio artistico e sentimentale che li porta a frequentare i cafè del Quartiere Latino ma anche ad impegnarsi nella fotografia e nella lotta politica. In una Parigi in grande fermento, invasa da intellettuali e artisti da tutta Europa, trovare committenze è però sempre più difficile. Per cercare di allettare gli editori, è Gerta a inventarsi il personaggio di Robert Capa, un ricco e famoso fotografo americano arrivato da poco nel continente, alter ego con il quale André si identificherà per il resto della sua vita. Anche lei cambia nome e assume quello di Gerda Taro. L'anno decisivo per entrambi è il 1936: in agosto si muovono verso la Spagna, per documentare la guerra civile in corso tra i repubblicani e fascisti; il mese dopo Robert Capa realizzerà il leggendario scatto del Miliziano colpito a morte, mentre Gerda Taro scatta la sua immagine più iconica, una miliziana in addestramento, pistola puntata e scarpe con i tacchi, in un punto di vista inedito della guerra fatta e rappresentata da donne. Insieme a queste due icone, i fotografi realizzano tanti altri scatti, che testimoniano di una partecipazione intensa all'evento, sia dal punto di vista del reportage di guerra, sia da quello della vita quotidiana dei soldati, delle soldatesse e della popolazione drammaticamente vittima del conflitto. La Spagna è, infatti, in quegli anni una terra che attira molti intellettuali, scrittori e registi da tutto il mondo come Ernest Hemingway, immortalato in uno scatto di Capa, che racconterà l'esperienza della guerra civile spagnola nel suo capolavoro “Per chi suona la campana” oppure George Orwell che ne parlerà in “Omaggio alla Catalogna”. Le loro fotografie vengono pubblicate sui maggiori giornali del tempo, da “Vu” a “Regards” a “Life”, conferendo alla coppia – che spesso firma con un'unica sigla, senza distinguere l'autore o l'autrice dello scatto – una solida fama e molte richieste di lavoro. Nel corso del 1936 e del 1937 i due si spostano tra Parigi e la Spagna, documentando ad esempio gli scioperi nella capitale francese e le elezioni del 1937, conclusesi con la vittoria del raggruppamento antifascista del Fronte Popolare. Ma anche il Convegno Internazionale degli Scrittori Antifascisti a Valencia, dove Taro fotografa personaggi come André Malraux, Ilya Ehrenburg, Tristan Tzara, Anna Seghers. Proprio poco dopo la vittoria del Fronte Popolare, però, durante la battaglia di Brunete, in Spagna, il 24 luglio del 1937, Gerda Taro viene involontariamente investita da un carro armato e muore, chiudendo così tragicamente la vita della prima reporter di guerra. L'anno successivo, Robert Capa darà alla luce l'epocale volume Death in the Making, dedicato alla compagna, nel quale si trovano molte delle immagini visibili in mostra, di entrambi i fotografi. L'intensa stagione di fotografia, guerra e amore di questi due straordinari personaggi è narrata nella mostra di CAMERA - curata da Walter Guadagnini e Monica Poggi - attraverso le fotografie di Gerda Taro e quelle di Robert Capa, nonché dalla riproduzione di alcuni provini della celebre “valigia messicana”, contenente 4.500 negativi scattati in Spagna dai due protagonisti della mostra e dal loro amico e sodale David Seymour, detto “Chim”. La valigia, di cui si sono perse le tracce nel 1939 - quando Capa l'ha affidata a un amico per evitare che i materiali venissero requisiti e distrutti dalletruppe tedesche - è stata ritrovata solamente a fine anni Novanta a Mexico City, permettendo di attribuire correttamente una serie di immagini di cui fino ad allora non era chiaro l'autore o l'autrice. La mostra si apre con una sala che introduce le figure di questi straordinari autori anche grazie a due documentari, The Mexican Suitcase (2011) di Trisha Ziff e Searching for Gerda Taro (2021) di Camille Ménager, di cui sono mostrati degli estratti particolarmente utili a fornire delle lenti di lettura utilizzate anche nella scelta delle opere esposte poi nelle sale successive. Dopo le immagini realizzate da Capa a Parigi, il percorso esplora la documentazione della guerra attraverso gli spostamenti e i focus dati da Capa e Taro, concludendosi con la pagina più straziante, quella della distruzione e della morte causata dal conflitto.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.it

During World War I Germany was the victim of cruel propaganda painting their soldiers as literally impaling babies on their bayonets. Pro-war cartoons also depicted German atrocities in Belgium, where they supposedly killed women and children for sport, a fact that was actually a lie. Irish Catholic rebellion forces in 1641 were accused of the same, and even cutting babies out of their mothers. Ottoman Turk troops were accused of the same in 1876 Bulgaria, of putting babies on bayonets. Such atrocious lies were carried into World War II, as well, when Germany was accused of making lampshades out of human skin and soap out of human fat. All of this was an unequivocal lie, but justified murder propaganda of everyone deemed an enemy. Toward the end of World War II, Ilya Ehrenburg, the Jewish propaganda minister for Stalin, produced leaflets dropped on Soviet troops encouraging them to: “Kill the Germans, wherever you find them! Every German is our mortal enemy. Have no mercy on women, children, or the aged! Kill every German — wipe them out.” Another leaflet said: “The Germans are not human beings. Henceforth the word German means to us the most terrible curse. From now on the word German will trigger your rifle. We shall not get excited. We shall kill. If you have not killed at least one German a day, you have wasted that day.” Fast forward to October of the 1990s when a young Kuwaiti girl gave congressional testimony of how Iraqi soldiers had removed babies from incubators to die, a story even confirmed by evacuees of Kuwait, but later shown to be an orchestrated lie. October 2023 then gave us not only a revival of the 1973 Yom Kippur war, to the date of the 6th, but reports that Hamas had beheaded babies. As one i24 reporter said: “about 40 babies were taken out on gurney's… cribs overturned, strollers left behind, doors left wide open.” She added, “Babies, their heads cut off, that's what they said.” Of course, none of this could be confirmed, it was and is propaganda. When propaganda of this nature begins spreading, along with the vile sentiments on both sides - “gas the Jews” and kill all Palestinians and Arabs, they are "animals" - world wars tend to ignite. With so much propaganda about history, its losers and winners, most of which is based on superficial rhetoric, the average person is unable to engage in debate and thus chooses sides by holding up symbols that convey much deeper meaning. Those waiving Israeli flags in particular, saying “I stand with Israel,” are unwilling to acknowledge, or simply don't care, how that state was formed with agreements from the British empire and deals between Zionists, Palestinian leaders, and Nazis, not to mention terrorist bombing campaigns in the late 1940s. Most are unaware of what a semite even is, let alone what Judea or Jewish means, or what Israel actually translates into. Religious, political, and ignorant rhetoric creates rabid echo chambers of hatred on both sides. Anyone trying to find balance and peace is caught in the crossfire.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5328407/advertisement

As the Nazi invasion of the Soviet Union swept over vast areas of Ukraine and Belorussia from the summer of 1941, over three million Jews were deliberately targeted for annihilation. Shot, hung, butchered, a million and a half Jewish souls were buried in vast pits in Babi Yar, Rumbula, Mariupol, Minsk, Kyiv and Riga. Many accounts began to flood into the Soviet Union where journalist and writer Ilya Ehrenburg began gathering testimonies of the mass murder. This became The Black Book, a chronicle of the Nazi extermination of Soviet Jews. Historian Catherine Merridale travels to Riga, Latvia and Yad Vashem, where the Black Book was smuggled, to uncover this complex story of loss, silence and rediscovery.

In the fall of 1942, only the city of Stalingrad stood between Soviet survival and defeat as Hitler's army ran rampant. With the fate of the USSR hanging in the balance, Soviet propaganda chiefs sent their finest writers into the heat of battle. After six months of terrifying work, these men succeeded in creating an enduring epic of Stalingrad. Their harrowing tales of valour and heroism offered hope for millions of readers. “Stalingrad lives!” went the rallying cry: the city had to live if the nation was to stave off defeat.  In Stalingrad Lives!: Stories of Combat and Survival (McGill-Queen's Press, 2022) Ian Garner brings together a selection of short stories written at and after the battle. They reveal, for the first time in English, the real Russian narrative of Stalingrad - an epic story of death, martyrdom, resurrection, and utopian beginnings. Following the authors into the hellish world of Stalingrad, Garner traces how tragedy was written as triumph. He uncovers how, dealing with loss and destruction on an unimaginable scale, Soviet readers and writers embraced the story of martyred Stalingrad, embedding it into the Russian psyche for decades to come. Featuring lost work by Vasily Grossman alongside texts by luminaries such as Konstantin Simonov, Viktor Nekrasov, and Ilya Ehrenburg, Stalingrad Lives offers a literary perspective on the Soviet Union at war. Ian Garner is a cultural historian and translator in Kingston, Ontario. He completed his PhD at the University of Toronto in 2017 after studying at the University of Bristol and the St. Petersburg State Conservatory. Follow Ian on Twitter. Yelizaveta Raykhlina is a historian of Russia and Eurasia and holds a PhD from Georgetown University. She is a faculty member at New York University. To learn more, visit her website or follow her on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In the fall of 1942, only the city of Stalingrad stood between Soviet survival and defeat as Hitler's army ran rampant. With the fate of the USSR hanging in the balance, Soviet propaganda chiefs sent their finest writers into the heat of battle. After six months of terrifying work, these men succeeded in creating an enduring epic of Stalingrad. Their harrowing tales of valour and heroism offered hope for millions of readers. “Stalingrad lives!” went the rallying cry: the city had to live if the nation was to stave off defeat.  In Stalingrad Lives!: Stories of Combat and Survival (McGill-Queen's Press, 2022) Ian Garner brings together a selection of short stories written at and after the battle. They reveal, for the first time in English, the real Russian narrative of Stalingrad - an epic story of death, martyrdom, resurrection, and utopian beginnings. Following the authors into the hellish world of Stalingrad, Garner traces how tragedy was written as triumph. He uncovers how, dealing with loss and destruction on an unimaginable scale, Soviet readers and writers embraced the story of martyred Stalingrad, embedding it into the Russian psyche for decades to come. Featuring lost work by Vasily Grossman alongside texts by luminaries such as Konstantin Simonov, Viktor Nekrasov, and Ilya Ehrenburg, Stalingrad Lives offers a literary perspective on the Soviet Union at war. Ian Garner is a cultural historian and translator in Kingston, Ontario. He completed his PhD at the University of Toronto in 2017 after studying at the University of Bristol and the St. Petersburg State Conservatory. Follow Ian on Twitter. Yelizaveta Raykhlina is a historian of Russia and Eurasia and holds a PhD from Georgetown University. She is a faculty member at New York University. To learn more, visit her website or follow her on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In the fall of 1942, only the city of Stalingrad stood between Soviet survival and defeat as Hitler's army ran rampant. With the fate of the USSR hanging in the balance, Soviet propaganda chiefs sent their finest writers into the heat of battle. After six months of terrifying work, these men succeeded in creating an enduring epic of Stalingrad. Their harrowing tales of valour and heroism offered hope for millions of readers. “Stalingrad lives!” went the rallying cry: the city had to live if the nation was to stave off defeat.  In Stalingrad Lives!: Stories of Combat and Survival (McGill-Queen's Press, 2022) Ian Garner brings together a selection of short stories written at and after the battle. They reveal, for the first time in English, the real Russian narrative of Stalingrad - an epic story of death, martyrdom, resurrection, and utopian beginnings. Following the authors into the hellish world of Stalingrad, Garner traces how tragedy was written as triumph. He uncovers how, dealing with loss and destruction on an unimaginable scale, Soviet readers and writers embraced the story of martyred Stalingrad, embedding it into the Russian psyche for decades to come. Featuring lost work by Vasily Grossman alongside texts by luminaries such as Konstantin Simonov, Viktor Nekrasov, and Ilya Ehrenburg, Stalingrad Lives offers a literary perspective on the Soviet Union at war. Ian Garner is a cultural historian and translator in Kingston, Ontario. He completed his PhD at the University of Toronto in 2017 after studying at the University of Bristol and the St. Petersburg State Conservatory. Follow Ian on Twitter. Yelizaveta Raykhlina is a historian of Russia and Eurasia and holds a PhD from Georgetown University. She is a faculty member at New York University. To learn more, visit her website or follow her on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history

In the fall of 1942, only the city of Stalingrad stood between Soviet survival and defeat as Hitler's army ran rampant. With the fate of the USSR hanging in the balance, Soviet propaganda chiefs sent their finest writers into the heat of battle. After six months of terrifying work, these men succeeded in creating an enduring epic of Stalingrad. Their harrowing tales of valour and heroism offered hope for millions of readers. “Stalingrad lives!” went the rallying cry: the city had to live if the nation was to stave off defeat.  In Stalingrad Lives!: Stories of Combat and Survival (McGill-Queen's Press, 2022) Ian Garner brings together a selection of short stories written at and after the battle. They reveal, for the first time in English, the real Russian narrative of Stalingrad - an epic story of death, martyrdom, resurrection, and utopian beginnings. Following the authors into the hellish world of Stalingrad, Garner traces how tragedy was written as triumph. He uncovers how, dealing with loss and destruction on an unimaginable scale, Soviet readers and writers embraced the story of martyred Stalingrad, embedding it into the Russian psyche for decades to come. Featuring lost work by Vasily Grossman alongside texts by luminaries such as Konstantin Simonov, Viktor Nekrasov, and Ilya Ehrenburg, Stalingrad Lives offers a literary perspective on the Soviet Union at war. Ian Garner is a cultural historian and translator in Kingston, Ontario. He completed his PhD at the University of Toronto in 2017 after studying at the University of Bristol and the St. Petersburg State Conservatory. Follow Ian on Twitter. Yelizaveta Raykhlina is a historian of Russia and Eurasia and holds a PhD from Georgetown University. She is a faculty member at New York University. To learn more, visit her website or follow her on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In the fall of 1942, only the city of Stalingrad stood between Soviet survival and defeat as Hitler's army ran rampant. With the fate of the USSR hanging in the balance, Soviet propaganda chiefs sent their finest writers into the heat of battle. After six months of terrifying work, these men succeeded in creating an enduring epic of Stalingrad. Their harrowing tales of valour and heroism offered hope for millions of readers. “Stalingrad lives!” went the rallying cry: the city had to live if the nation was to stave off defeat.  In Stalingrad Lives!: Stories of Combat and Survival (McGill-Queen's Press, 2022) Ian Garner brings together a selection of short stories written at and after the battle. They reveal, for the first time in English, the real Russian narrative of Stalingrad - an epic story of death, martyrdom, resurrection, and utopian beginnings. Following the authors into the hellish world of Stalingrad, Garner traces how tragedy was written as triumph. He uncovers how, dealing with loss and destruction on an unimaginable scale, Soviet readers and writers embraced the story of martyred Stalingrad, embedding it into the Russian psyche for decades to come. Featuring lost work by Vasily Grossman alongside texts by luminaries such as Konstantin Simonov, Viktor Nekrasov, and Ilya Ehrenburg, Stalingrad Lives offers a literary perspective on the Soviet Union at war. Ian Garner is a cultural historian and translator in Kingston, Ontario. He completed his PhD at the University of Toronto in 2017 after studying at the University of Bristol and the St. Petersburg State Conservatory. Follow Ian on Twitter. Yelizaveta Raykhlina is a historian of Russia and Eurasia and holds a PhD from Georgetown University. She is a faculty member at New York University. To learn more, visit her website or follow her on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

In the fall of 1942, only the city of Stalingrad stood between Soviet survival and defeat as Hitler's army ran rampant. With the fate of the USSR hanging in the balance, Soviet propaganda chiefs sent their finest writers into the heat of battle. After six months of terrifying work, these men succeeded in creating an enduring epic of Stalingrad. Their harrowing tales of valour and heroism offered hope for millions of readers. “Stalingrad lives!” went the rallying cry: the city had to live if the nation was to stave off defeat.  In Stalingrad Lives!: Stories of Combat and Survival (McGill-Queen's Press, 2022) Ian Garner brings together a selection of short stories written at and after the battle. They reveal, for the first time in English, the real Russian narrative of Stalingrad - an epic story of death, martyrdom, resurrection, and utopian beginnings. Following the authors into the hellish world of Stalingrad, Garner traces how tragedy was written as triumph. He uncovers how, dealing with loss and destruction on an unimaginable scale, Soviet readers and writers embraced the story of martyred Stalingrad, embedding it into the Russian psyche for decades to come. Featuring lost work by Vasily Grossman alongside texts by luminaries such as Konstantin Simonov, Viktor Nekrasov, and Ilya Ehrenburg, Stalingrad Lives offers a literary perspective on the Soviet Union at war. Ian Garner is a cultural historian and translator in Kingston, Ontario. He completed his PhD at the University of Toronto in 2017 after studying at the University of Bristol and the St. Petersburg State Conservatory. Follow Ian on Twitter. Yelizaveta Raykhlina is a historian of Russia and Eurasia and holds a PhD from Georgetown University. She is a faculty member at New York University. To learn more, visit her website or follow her on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/russian-studies

In the fall of 1942, only the city of Stalingrad stood between Soviet survival and defeat as Hitler's army ran rampant. With the fate of the USSR hanging in the balance, Soviet propaganda chiefs sent their finest writers into the heat of battle. After six months of terrifying work, these men succeeded in creating an enduring epic of Stalingrad. Their harrowing tales of valour and heroism offered hope for millions of readers. “Stalingrad lives!” went the rallying cry: the city had to live if the nation was to stave off defeat.  In Stalingrad Lives!: Stories of Combat and Survival (McGill-Queen's Press, 2022) Ian Garner brings together a selection of short stories written at and after the battle. They reveal, for the first time in English, the real Russian narrative of Stalingrad - an epic story of death, martyrdom, resurrection, and utopian beginnings. Following the authors into the hellish world of Stalingrad, Garner traces how tragedy was written as triumph. He uncovers how, dealing with loss and destruction on an unimaginable scale, Soviet readers and writers embraced the story of martyred Stalingrad, embedding it into the Russian psyche for decades to come. Featuring lost work by Vasily Grossman alongside texts by luminaries such as Konstantin Simonov, Viktor Nekrasov, and Ilya Ehrenburg, Stalingrad Lives offers a literary perspective on the Soviet Union at war. Ian Garner is a cultural historian and translator in Kingston, Ontario. He completed his PhD at the University of Toronto in 2017 after studying at the University of Bristol and the St. Petersburg State Conservatory. Follow Ian on Twitter. Yelizaveta Raykhlina is a historian of Russia and Eurasia and holds a PhD from Georgetown University. She is a faculty member at New York University. To learn more, visit her website or follow her on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/eastern-european-studies

Thép đã tôi thế đấy không phải là một tác phẩm văn học chỉ nhìn đời mà viết. Nhân vật trung tâm Pa-ven cũng chính là hiện thân của tác giả. Là một chiến sĩ cách mạng tháng Mười, ông đã sống một cách nồng cháy nhất, nhiệt tình nhất như nhân vật Pa-ven của ông. Thép đã tôi thế đấy có một địa vị đặc biệt trong lịch sử văn học Liên Xô và nền văn học tiên tiến thế giới. Nhà văn Xô Viết Ilya Ehrenburg gọi Thép đã đã tôi thế đấy là "thánh kinh mới" của thanh niên Xô Viết. Tải ứng dụng để nghe trọn bộ Sách nói : voiz.vn/download

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonor Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonor Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonory Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonory Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonor Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonor Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonor Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonor Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonor Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonor Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonor Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonor Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonor Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonor Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices