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Religion in Communist Lands最新文献

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Obituary: Alexandre A. Bennigsen 1913–1988
Pub Date : 1988-12-01 DOI: 10.1080/09637498808431400
S. E. Wimbush
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引用次数: 0
Protests in Armenia 亚美尼亚抗议活动
Pub Date : 1988-09-01 DOI: 10.1080/09637498808431378
J. Anderson
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引用次数: 1
“Rebirth and Renewal” in the Latvian Lutheran Church 拉脱维亚路德教会的“重生与更新”
Pub Date : 1988-09-01 DOI: 10.1080/09637498808431376
Marite Sapiets
The recent upsurge of religious dissent in the Baltic republic of Latvia is a somewhat unexpected phenomenon. Unlike its fervently Catholic neighbour Lithuania, Latvia has never been renowned for its religious loyalties, although before the war the majority of the population (56 per cent) were Lutherans. 1 Since the annexation of the Baltic states by the Soviet Union in 1940, Latvia has not been a centre of religious protest even in the Latvian Baptist Church, for example, the "unregistered" wing has hardly any members. The Latvian Lutheran Church in particular has always remained quiet, subdued and willing to cooperate with Soviet laws on religion. In the last few years, however, an unofficial revival movement has been growing up among the Latvian Lutheran clergy; in 1987 it developed into a religious rights movement, thus coming into open· conflict with the Soviet authorities, as well as its own church leadership.
最近波罗的海的拉脱维亚共和国宗教异议的高涨是一种有些出乎意料的现象。与其虔诚的天主教邻国立陶宛不同,拉脱维亚从未以其宗教忠诚而闻名,尽管在战前,大多数人口(56%)是路德教徒。1自1940年苏联吞并波罗的海国家以来,拉脱维亚甚至在拉脱维亚浸信会也不是宗教抗议的中心,例如,“未登记”的派别几乎没有任何成员。拉脱维亚路德教会尤其一直保持沉默、克制,并愿意在宗教方面与苏联法律合作。然而,在过去的几年里,一场非官方的复兴运动在拉脱维亚路德教会神职人员中兴起;1987年,它发展成为一场宗教权利运动,因此与苏联当局以及自己的教会领导层发生了公开冲突。
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引用次数: 5
Truthseekers, Godbuilders or culture vultures? Some supplementary remarks on religious perspectives in modern Soviet literature 真理寻求者、上帝建造者还是文化秃鹫?对现代苏联文学中宗教观点的补充评述
Pub Date : 1988-09-01 DOI: 10.1080/09637498808431375
Irena Maryniak
In her article on religious themes in recent Soviet literature (RCL. Vol. 16 No. 2) Mary Seton-Watson draws attention to a very important aspect of modern Soviet writing. Over the past twenty years religion Christianity in particular has come to be treated with a serious and at times cautiously sympathetic interest in a sizeable proportion of officially published Soviet prose. When they draw on religious ideas and experience, Soviet authors are doing little more, of course, than reviving a tradition in Russian writing, which was stifled after the Revolution and further quashed by the enforcement of the doctrine of Socialist Realism on literature in the early 1930s. Some of Russia's most highly regarded literary figures rooted their work in religious thought, and it should come as no surpris~ to see the latter-day successors of Tolstoy, Dostoyevsky, Bulgakov or Pasternak trying to do the same. It would not, then, be fully appropriate to welcome the introduction of religious ideas in official Soviet prose as an indication of a rising surge of religious faith within the Soviet literary establishment. The expression of some kind of religious perception has been given a chance, it is true, but the thinking behind it cries out for closer analysis, particularly as an examination of the way in which religious them~s have been treated in some works suggests that the purpose behi~d their introduction could be less religious than ideological.
在她关于近代苏联文学中的宗教主题的文章中(RCL)。第16卷第2期)玛丽·西顿-沃森提请注意现代苏联写作的一个非常重要的方面。在过去的二十年里,宗教,尤其是基督教,在相当大比例的官方出版的苏联散文中,被严肃地对待,有时是谨慎地同情。当然,当苏联作家借鉴宗教思想和经验时,他们所做的不过是复兴俄罗斯文学的一种传统,这种传统在革命后被扼杀,并在20世纪30年代初被社会主义现实主义的文学教义进一步压制。俄罗斯一些最受尊敬的文学人物将他们的作品根植于宗教思想,看到托尔斯泰、陀思妥耶夫斯基、布尔加科夫或帕斯捷尔纳克的后继者也在尝试这样做,也不足为奇。因此,欢迎在苏联官方散文中引入宗教思想,作为苏联文学界宗教信仰高涨的迹象,是不完全合适的。的确,某种宗教观念的表达已经有了机会,但其背后的思想迫切需要更深入的分析,特别是当我们对某些作品中对待宗教人物的方式进行考察时,我们会发现,引入这些人物背后的目的可能与其说是宗教,不如说是意识形态。
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引用次数: 0
Refugees from Romania in Hungary 来自罗马尼亚的难民在匈牙利
Pub Date : 1988-09-01 DOI: 10.1080/09637498808431379
J. Eibner
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引用次数: 0
Anniversary of the Warsaw Ghetto uprising 华沙犹太区起义纪念日
Pub Date : 1988-09-01 DOI: 10.1080/09637498808431380
Zeev Ben‐Shlomo
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引用次数: 7
Religious themes in recent Soviet cinema 最近苏联电影中的宗教主题
Pub Date : 1988-09-01 DOI: 10.1080/09637498808431374
J. Dunlop
Like Soviet literature, Soviet cinema has in recent decades exhibited a persistent interest in religious themes, though this has usually been expressed in Aesopian fashion. The reason for the often elliptical and coded articulation of this interest has been the rigorous Soviet censorship. Lenin, as is well known, once termed the cinema "the most important art", because of its potential to reach a mass audience, and the Soviet authorities have traditionally subjected film to extremely close scrutiny. During the long Brezhnev years, films which raised serious questions about their possible political or ideational effect on viewers were placed on the shelf.) Instead of combing through Soviet cinema over the past thirty years for evidence of religious leanings, I have decided to concentrate on two distinguished modern filmmakers who, unlike other Soviet directors, have had the opportunity to make their religious commitment explicit: the late Andrei Tarkovsky (1932-86) and Andrei Konchalovsky (b. 1937). A number of other Soviet filmmakers also appear to have a keen interest in religious themes. One could cite, for example, the nameS of the late Vasili Shukshin (1929-74); the late Larisa Shepitko (1938-79); Elem Klimov (b. 1933), the recently-elected first secretary of the filmmakers' union; Rolan Bykov (b. 1929), ,director of the acclaimed Scarecrow (Chuche/o) (1984); and Georgian 'lfilm-maker Tengiz Abuladze (b. 1924), whose remarkable Repentance (Monanieba) (1984) took Moscow by storm when released in 1987. Since these individuals did not have the opportunity· to work in the West, however, the extent of their religious commitment remains problematic. It is politically impossible, even under the Gorbachev leadership, for a writer or film-maker to admit to being religious. Hence even writers like tpe eminent Kirghiz novelist Chingiz Aitmatov and directors like Abuladze, who are clearly focused on religious. themes, must, in interviews with Soviet and Western journalists, profess to being unbelievers. 2
和苏联文学一样,近几十年来,苏联电影对宗教主题表现出了持久的兴趣,尽管这种兴趣通常以伊索寓言的方式表现出来。对这种兴趣的表述常常是隐晦和隐晦的,原因是苏联严格的审查制度。众所周知,列宁曾将电影称为“最重要的艺术”,因为它有可能接触到大量观众,而苏联当局传统上对电影进行了极其严格的审查。在勃列日涅夫执政的漫长岁月里,那些对观众可能产生的政治或思想影响提出严重质疑的电影都被搁置了。)我没有梳理过去三十年来苏联电影中宗教倾向的证据,而是决定把重点放在两位杰出的现代电影人身上,他们与其他苏联导演不同,有机会明确表达他们的宗教信仰:已故的安德烈·塔可夫斯基(1932-86)和安德烈·康查洛夫斯基(生于1937年)。其他一些苏联电影人似乎也对宗教题材有浓厚的兴趣。例如,我们可以引用已故的Vasili Shukshin(1929-74)的名字;已故的Larisa Shepitko (1938-79);埃莱姆·克里莫夫(生于1933年),最近当选的电影人工会第一书记;罗兰·拜科夫(生于1929年),导演广受好评的《稻草人》(1984);格鲁吉亚电影制作人Tengiz Abuladze(生于1924年),1987年上映的《忏悔》(1984年)轰动了莫斯科。然而,由于这些人没有机会在西方工作,他们的宗教信仰程度仍然存在问题。即使在戈尔巴乔夫的领导下,一个作家或电影制作人承认自己是宗教信徒,在政治上也是不可能的。因此,即使是像著名的吉尔吉斯小说家奇吉兹·艾特马托夫这样的作家和像阿布拉泽这样的导演,他们也明显专注于宗教。在接受苏联和西方记者的采访时,他们必须承认自己是无神论者。2
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引用次数: 1
Limitations on the right to believe on the Chinese Mainland 中国大陆对信仰权利的限制
Pub Date : 1988-06-01 DOI: 10.1080/09637498808431361
W. Newell
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引用次数: 0
Ten years on: The Church‐state discussions of 6 March 1978 in the GDR 十年后:1978年3月6日在德意志民主共和国的政教讨论
Pub Date : 1988-06-01 DOI: 10.1080/09637498808431360
A. Schönherr
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引用次数: 0
Competition for Hearts and Minds 心灵的竞争
Pub Date : 1988-06-01 DOI: 10.1080/09637498808431362
J. Eibner, P. Walters
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引用次数: 0
期刊
Religion in Communist Lands
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