by James Millar
By the late 1950s, all children had access to a free education. Social mobility was possible on the basis of merit, although inequalities still existed. Children of the emerging Soviet elites often had access to superior secondary schools, which prepared them for higher education. Members of some non-Russian ethnic minorities had spaces reserved for them at prestigious higher educational institutions, as part of the Soviet Union’s unique affirmative action program. After the 1950s, however, unofficial quotas again limited Jewish students’ access to higher education.
There were also numerous adult education programs in the Soviet Union. These ranged from utopian attempts to train artists during the civil war to ongoing literacy campaigns. Literacy rates continued their steady rise after 1917 (88% in 1939, and 98% in 1959). Adult education programs were run by many groups, including the trade unions and the Red Army.
Soviet schools were expected to teach students loyalty to the state and instill them with socialist values; teachers who did otherwise were liable to arrest or dismissal. Political material was a conEHRENBURG, ILYA GRIGOROVICH stant part of Soviet curricula. In some periods, it was restricted mainly to the social sciences and obligatory study of Marxism-Leninism. During Stalin’s rule, however, almost every subject was politicized. Rote memorization was common and student creativity discouraged.
Despite its flaws, the Soviet educational system achieved some impressive successes. The heavily subsidized system produced millions of well-trained professionals and scientists in its last decades. After 1984 the state began to loosen its grip on education, allowing teachers some flexibility. These tentative steps were quickly overtaken by events, however. Since 1991 the Russian school system has faced serious funding problems and declining facilities. Control of education has been transferred to regional authorities. See also: ACADEMY OF ARTS; ACADEMY OF SCIENCE; HIGHER PARTY SCHOOL; LANGUAGE LAWS; LUNARCH-SKY, ANATOLY VASILIEVICH; NATIONAL LIBRARY OF RUSSIA; RUSSIAN STATE LIBRARY Matthews, Mervyn. (1982). Education in the Soviet Union: Policies and Education Since Stalin. London: Allen amp; Unwin. McClelland, James C. (1979). Autocrats and Academics: Education, Culture, and Society in Tsarist Russia. Chicago: University of Chicago Press. Mironov, Boris N. (1991). “The Development of Literacy in Russia and the USSR from the Tenth to the Twentieth Centuries.” History of Education Quarterly 31(2): 229-251. Sinel, Allen. (1973). The Classroom and the Chancellery: State Educational Reform in Russia under Count Dmitry Tolstoi. Cambridge, MA: Harvard University Press. Webber, Stephen L. (2000). School, Reform, and Society in the New Russia. New York: St. Martin’s Press. Whittaker, Cynthia H. (1984). The Origins of Modern Russian Education: An Intellectual Biography of Count Sergei Uvarov. DeKalb: Northern Illinois University Press.
BRIAN KASSOF
BIBLIOGRAPHY
Black, J. L. (1979). Citizens for the Fatherland: Education, Educators, and Pedagogical Ideals in Eighteenth Century Russia. Boulder, CO: East European Quarterly. Brooks, Jeffrey. (1985). When Russia Learned to Read: Literacy and Popular Culture, 1861-1917. Princeton, NJ: Princeton University Press. David-Fox, Michael. (1997). Revolution of the Mind: Higher Learning Among the Bolsheviks, 1918-1929. Ithaca: Cornell University Press. Dunstan, John, ed. (1992). Soviet Education under Pere-stroika. London: Routledge. Eklof, Ben. (1986). Russian Peasant Schools: Officialdom, Village Culture, and Popular Pedagogy, 1861-1914. Berkeley: University of California Press. Fitzpatrick, Sheila. (1979). Education and Social Mobility in the Soviet Union, 1921-1934. Cambridge, UK: Cambridge University Press. Hans, Nicholas. (1964). History of Russian Educational Policy, 1701-1917. New York: Russell amp; Russell, Inc. Holmes, Larry E. (1991). The Kremlin and the Schoolhouse: Reforming Education in Soviet Russia, 1917-1931. Bloomington: Indiana University Press. Kassow, Samuel D. (1989). Students, Professors, and the State in Tsarist Russia. Berkeley: University of California Press. Marker, Gary. (1990). “Literacy and Literacy Texts in Muscovy: A Reconsideration.” Slavic Review 49(1): 74-84.
EHRENBURG, ILYA GRIGOROVICH
(1891-1967), poet, journalist, novelist.
Ilya Grigorovich Ehrenburg was an enigma. Essentially Western in taste, he was at times the spokesman for the Soviet Union, the great anti-Western power of his age. He involved himself with Bolsheviks beginning in 1907, writing pamphlets and doing some organizational work, and then, after his arrest, fled to Paris, where he would spend most of the next thirty years. In the introduction to his first major work, and probably his life’s best work, the satirical novel Julio Jurentino (1922), his good friend Nikolai Bukharin described Ehrenburg’s liminal existence, saying that he was not a Bolshevik, but “a man of broad vision, with a deep insight into the Western European way of life, a sharp eye, and an acid tongue” (Goldberg, 1984, p. 5). These characteristics probably kept him alive during the Josef Stalin years, along with his service to the USSR as a war correspondent and spokesman in the anticosmopolitan campaign. Arguably, his most important service to the USSR came in the period after Stalin’s death, when his novel The Thaw (1956) deviated from the norms of Socialist Realism. His activities in Writer’s Union politics consistently pushed a kind of socialist literature (and life) “with a human face,” and his memoirs, printed serially during the early 1960s, were culled by thaw-generation youth for inspiration. When Stalin was alive, Ehrenburg may well
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have proven a coward. After his death, he proved much more courageous than most. See also: BUKHARIN, NIKOLAI IVANOVICH; JEWS; WORLD WAR II
BIBLIOGRAPHY
Goldberg, Anatol. (1984). Ilya Ehrenburg: Writing, Politics, and the Art of Survival. London: Weidenfeld and Nicolson. Johnson, Priscilla. (1965). Khrushchev and the Arts: The Politics of Soviet Culture, 1962-1964. Cambridge, MA: M.I.T. Press.
JOHN PATRICK FARRELL
EISENSTEIN, SERGEI MIKHAILOVICH
(1898-1948), film director, film theorist, teacher, arts administrator, and producer. Acclaimed film director Sergei Eisenstein. ARCHIVE PHOTOS, INC. REPRODUCED BY PERMISSION.
Sergei Eisenstein, born in Riga, was the most accomplished of Russia’s first generation of Soviet filmmakers. Eisenstein both benefited from the communist system of state patronage and suffered the frustrations and dangers all artists faced in functioning under state control.
The October Revolution and the civil war allowed Eisenstein to embark on a career in theater and film. His first moving picture was Glumov’s Diary, a short piece for a theatrical adaptation of an Alexander Ostrovsky comedy. Between 1924 and 1929 he made four feature-length films on revolutionary themes and with revolutionary cinematic techniques: The Strike (1924), The Battleship Potemkin (1926), October (1928), and The General Line (also known as The Old and the New, 1929). In Potemkin Eisenstein developed the rapid editing and dynamic shot composition known as montage. Potemkin made Eisenstein world-famous, but at the same time he became embroiled in polemics with others in the Soviet film community over the purpose of cinema in “the building of socialism.” Eisenstein believed that film should educate rather than just entertain, but he also believed that avant-garde methods could be educational in socialist society. This support for avant-garde experimentation would be used against him during the far more dangerous cultural politics of the 1930s. His last two films of the 1920s, The General Line and October, were influenced by the increasing interference of powerful political leaders. All of Eisenstein’s Russian films were state commissions, but Eisen-stein never joined the Communist Party, and he continued to experiment even as he began to accommodate himself to political reality.
From 1929 to 1932 Eisenstein traveled abroad and had a stint in Hollywood. None of his three projects for Paramount Pictures, however, was put into production. The wealthy socialist writer Upton Sinclair rescued him from the impasse by offering to fund a film about Mexico, Qu? Viva M?xico! Eisenstein thrived in Mexico, but Sinclair became disgruntled when filming ran months over schedule and rumors of sexual escapades reached him. When Stalin threatened to bani
sh Eisenstein permanently if he did not return to the Soviet Union, Sinclair seized the opportunity to pull the plug on Qu? Viva M?xico! Eisenstein never recovered the year’s worth of footage and he was haunted by the loss for the rest of his life.
The Moscow that Eisenstein found on his return in May 1932 was more constricted and impoverished than the city he had left. His polemics of the 1920s were not forgotten, and Eisenstein was criticized by party hacks and old friends alike for being out of step and a formalist, which is to say he cared more about experiments with cinematic
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form than with making films “accessible to the masses.” Political attacks on the director culminated in 1937, at the height of the Great Terror, as Eisen-stein was nearing completion of Bezhin Meadow, his first film since returning from abroad. Boris Shumyatsky, chief of the Soviet film industry, had the production halted; he proceeded to denounce Eisenstein to the Central Committee and then directly to Stalin, inviting a death sentence on the filmmaker. After barely surviving this attack, and after ten years of blocked film projects, Eisenstein wrote the required self-criticism and was given the opportunity to make a historical film. Alexander Nevsky, a medieval military encounter between Russians and Germans, would become his most popular film; however, Eisenstein was ashamed of it, and except for its “battle on the ice,” it is generally considered to be his least interesting in technical and intellectual terms. The success of Alexander Nevsky catapulted him to the highest of inner circles; he won both the Order of Lenin and, in 1941, the newly created Stalin Prize. Then, in a restructuring of the film industry, Eisenstein was made Artistic Director of Mosfilm, a prestigious and powerful position.
In 1941, just months before World War II began in Russia, Eisenstein accepted a state commission to make a film about the sixteenth-century tsar, Ivan the Terrible. He worked on Ivan the Terrible for the next six years, eventually completing only two parts of the planned trilogy. Eisenstein’s masterpiece, Ivan the Terrible is a complex film containing a number of coordinated and conflicting narratives and networks of imagery that portray Ivan as a great leader, historically destined to found the Russian state but personally doomed by the murderous means he had used. Part I (1945) received a Stalin Prize, Part II (1946, released 1958) did not please Stalin and was banned.
Eisenstein was one of few practicing film directors to develop an important body of theoretical writing about cinema. In the 1920s he wrote about the psychological effect of montage on the viewer; the technique was intended to both startle the viewer into an awareness of the constructed nature of the work and to shape the viewing experience. During the 1930s, when he was barred from filmmaking, Eisenstein wrote and taught. A gifted teacher, he relied on his wide reading and sense of humor to draw students into the creative process. Work on Ivan the Terrible in the 1940s stimulated his most productive period of writing. He produced several volumes of theoretical works in Method and Nonindifferent Nature, as well as a large volume of memoirs. This work developed his earlier concept of montage by broadening its scope to include sound and color as well as imagery within the shot.
By nature Eisenstein was a private and cautious man. He could be charming and charismatic as well as serious and demanding, but these were public masks; he guarded his private life. It seems clear that he had sexual relationships with both men and women but also that these affairs were rare and short-lived; he consulted with psychoanalysts on several occasions about his bisexuality in the 1920s and 1930s. In 1934, just after a law was passed making male homosexuality illegal in the Soviet Union, Eisenstein married his good friend and assistant, Pera Atasheva. It is fair to say that Eisenstein’s sexuality was a source of some dissatisfaction for him and that his private life in general brought him considerable pain. He suffered from periodic bouts of serious depression and from the 1930s onward his health was also threatened by heart disease and influenza.
Eisenstein suffered a serious heart attack just hours after finishing Part II of Ivan the Terrible. He never recovered the strength to return to film production, but he wrote extensively until the night of February 11, 1948, when he suffered a fatal heart attack. See also: CENSORSHIP; MOTION PICTURES
BIBLIOGRAPHY
Bordwell, David. (1994). The Cinema of Eisenstein. Cambridge, MA: Harvard University Press. Bulgakowa, Oksana. (2001). Sergei Eisenstein: A Biography. San Francisco: PotemkinPress. Neuberger, Joan. (2003). Ivan the Terrible: The Film Companion. London: I. B. Tauris. Taylor, Richard. (2002). The Battleship Potemkin: The Film Companion. London: I. B. Tauris. Taylor, Richard. (2002). October. London: British Film Institute.
JOAN NEUBERGER
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Electoral commissions play a large role in the organization and holding of elections under Russia’s so-called guided democracy. They exist at four fundamental levels: precincts (approximately 95,000),
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territorial (TIK, 2,700), regional (RIK), and central (TsIK). There are also municipal commissions in some of the large cities, and there are district commissions for elections to the State Duma (around 190 to 225 districts according to Duma elections, minus those falling on a region’s borders).
The central, regional, and territorial commissions are permanent bodies with four-year terms. The district and precinct commissions are organized one to three months before elections, and curtail their activity ten days after the publication of results.
The electoral commissions have from three to fifteen voting members, at least half of whom are appointed based on nominations by electoral associations with fractions in the Duma and by the regional legislatures. Half of the members of the regional electoral commissions are appointed by the regional executive, the other half by the legislative assembly. This means that for all practical matters the electoral commissions are under the control of the executive power. Parties, blocs, and candidates participating in elections may appoint one member of the electoral commission with consultative rights in the commission at their level and the levels below them. The precinct and territorial commissions are organized by the regional commissions with the participation of local government.
A new form of central electoral commission arose in 1993, when it was necessary to hold parliamentary elections and vote on a constitution in a short time. Officials considered the election deadlines unrealistic. At that time the president named all members of the commission and its chair. The central electoral commission has fifteen members and is organized on an equal footing by the Duma, the Federation Council, and the president. The central commission is essentially a Soviet institution, with the actual power, including control over the numerous apparatuses, concentrated in the hands of the chair. Between 2001 and 2003, an electoral vertical was established whereby the central commission can directly influence the lower-level commissions. The central commission names at least two members of the regional commission and nominates candidates for its head. Moreover, in the future the regional electoral commissions may be disbanded in favor of central commission representation (this mechanism was tested in 2003 with the Krasnoyarsk Krai electoral commission). The role of the central commission, and also of the Kremlin, in regional and local elections has grown significantly. The central commission’s authority to interpret ambiguous legal clauses enables it to punish and pardon candidates, parties, electoral associations, and mass media organizations. As a bureaucratic structure, the central electoral commission has turned into a highly influential election ministry with an enormous budget and powerful leverage in relation to other federal and regional power structures and the entire political life of the country. See also: DUMA; PRESIDENCY
BIBLIOGRAPHY
McFaul, Michael. (2001). Russia’s Unfinished Revolution: Political Change from Gorbachev to Putin. Ithaca, NY: Cornell University Press. McFaul, Michael, and Markov, Sergi. (1993). The Troubled Birth of Russian Democracy: Parties, Personalities, and Programs. Stanford, CA: Hoover Institution Press. McFaul, Michael; Petrov, Nikolai; an
d Ryabov, Andrei, eds. (1999). Primer on Russia’s 1999 Duma Elections. Washington, DC: Carnegie Endowment for International Peace. Reddaway, Peter, and Glinski, Dmitri. (2001). The Tragedy of Russia’s Reforms: Market Bolshevism against Democracy. Washington, DC: U.S. Institute of Peace Press.
NIKOLAI PETROV
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In 1920, Lenin famously said, “Communism equals Soviet power plus electrification of the whole country.” He created the State Commission for Electrification of Russia (GOELRO) to achieve this, and the expansion of electricity generation and transmission became a core element in Soviet modernization. Total output rose from 8.4 billion kilowatt hours in 1930, to 49 billion in 1940 and 290 billion in 1960. After World War II the Soviet Union became the second largest electricity generator in the world, with the United States occupying first place. The soviets built the world’s largest hydroelectric plant, in Krasnoyarsk in 1954, and the world’s first nuclear power reactor, in Obninsk.
Electrification had reached 80 percent of all villages by the 1960s, and half of the rail track was electrified. Power stations also provided steam heating for neighboring districts, accounting for one-third of the nation’s heating. This may have been efficient from the power-generation point of view, but there was no effort to meter customers or
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conserve energy. By 1960 the Soviet Union had 167,000 kilometers of high transmission lines (35 kilovolts and higher). This grew to 600,000 kilometers by 1975. Initially, there were ten regional grids, which by the 1970s were gradually combined into a unified national grid that handled 75 percent of total electricity output. In 1976 the Soviet grid was connected to that of East Europe (the members of Comecon).