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abortion in 1936. The Stalinist reward system for “heroine mothers,” or women who gave birth to ten or more living children, left no room for doubt about the social value of women’s sexuality. 18 Historian Deborah A. Field argues that control of Soviets’ sexual behaviors was intended as part of

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In: The Soviet and Post-Soviet Review

profound socio-economic change. In contrast to the 1860s, the market principle came to dominate all spheres of life, especially in the cities. In addition to this commercial goal, which was considered by the Association's founders as a precondition for the creative activity of its artists, there was

In: Experiment

community, some of it dating back to the Khrushchev era. There could be no question that the promise of economic re- foxms, if they meant a higher standard of living, and greater honesty from the government would animate public support. The problem was not starting such a movement but rather managing and

In: The Soviet and Post-Soviet Review
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. This concept of art as a unifying, life-creating force can be compared to God's creation of the world: out of the original chaos of the artist's multitude of individual experiences, art creates a combined whole.14 As noted, the motivating force for the artist is love. Satho Tchimichkian

In: The Soviet and Post-Soviet Review
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offered in its place the pledge to deliver immediate improvements in the living conditions of the popula- tion of the USSR. Brezhnev's concept of developed socialism was a vision of a Leninist political system enjoying the broad and stable social base made possible by a mature industrial economy. There

In: The Soviet and Post-Soviet Review
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’s inner circle. However until the publication of Sheila Fitzpatrick’s On Stalin’s Team: The Years of Living Dangerously in Soviet Politics , there has never been a comprehensive study of Stalin and his team in action. Historians have previously engaged with collective leadership in the Stalin era (often

In: The Soviet and Post-Soviet Review
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, that code represented an ideological retreat from the 1918 Code. Whereas the 1918 Code had been motivated by a desire to lead society forward to new social relationships in line with socialist thought on marriage and family, the 1926 Code attempted to solve immediate problems, in particular to ensure

In: The Soviet and Post-Soviet Review
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part illustrate the fear of death or wary anticipation of the afterlife, as in “The living fear death,” “Death without confession is a dog’s death,” and “Life on earth is not the end of all; death frees the soul.” 40) Death is a presence in folktales such as that of Koshchei the Deathless (Koshchei

In: Experiment
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real. Amd, finally, they ;xrere e'lents that led from the same priorities that had motivated the Brezhnev leadership. The same priorities that had motivated the Brezhnev leadership. The difference was that there was a new world system, where the Soviet Union was not able to win with bellicosity but had

In: The Soviet and Post-Soviet Review

of the ulterior is concentrated in the artifact. Mira- cles become manifest when the artifact is present. Appearance/disappearance, as a condition for the implementation of form, is conditioned by the presence of the artifact and is determined by the nature of the miracle. Indeed, what motivates

In: The Soviet and Post-Soviet Review