Anna Karenina instal the new2/29/2024 The great Russian novelists, as well as many of the characters in their novels, are continuously concerned not merely with their purposes as human beings or members of families or classes or professions, but with their condition or mission or future as Russians, members of a unique society with unique problems. From the 1800s until today, the subject of almost all critical and imaginative writing in Russia is Russia. Russian society (at least as portrayed by their own cultural exports) is deeply and exclusively preoccupied with itself, its own nature and destiny. Beyond our US foreign policy qualms, however, exists the acknowledgement and teaching of Russian art as it has influenced us even today up to the modern Western world: music, dance, art, and novels, unparalleled in a certain je ne sais quoi that has us coming back for more time and time again, repeatedly being remolded and adapted, speaking to multiple generations and countries over time. The tightrope between glamorizing historical Russian culture and condoning modern Russian political terror is precarious in 2019 one need only flip through an average day’s news cycle to see this conundrum play out in situations such as the Ukraine’s ban on Russian culture last year, or the questionable balance of politics and art by DC’s Carmel Institute of Russian Culture and History.
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