But in 1928, the Central Committee established the right of the party to exercise guidance over literature; and in 1932 literary and artistic organizations were restructured to promote a specified style called socialist realism. Works that did not contribute to the building of socialism were banned. Lenin had seen the need for increasing revolutionary consciousness in workers. Stalin now asserted that art should not merely serve society, but do so in a way determined by the party and its megalomaniacal plans for transforming society. As a result, artists and intellectuals as well as political figures became victims of the Great Terror of the 1930s.
The Western maneuvers that autumn, called Autumn Forge, were depicted by the Pentagon as simply a large military exercise. But its scope was hardly routine, as Americans learned in detail this week, for the first time, from declassified documents published by the National Security Archive, a Washington-based nonprofit research organization.
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More ominously, U.S. and NATO officers practiced the procedures they would have to follow to authorize and conduct nuclear strikes in an unpublicized exercise called Able Archer 83, shifting their headquarters as the game escalated toward chemical and nuclear warfare. In communications, they several times referred to non-nuclear B-52 sorties as nuclear "strikes" -- slips of the tongue that could have been intercepted by Soviet eavesdroppers.
But the Pentagon knew that the Soviets were monitoring his troops' every move. "The series of exercises are watched very carefully by the Eastern Bloc nations, just as we try to watch their exercises as closely as we can, to learn tactics and procedures," Air Force Maj. Gen. William E. Overacker told Air Man.
According to an unclassified summary of the nuclear exercise scenario, prepared for the National Security Archive by a NATO historian, the war game began with briefings on an imaginary East-West conflict in the Middle East, including "Orange" -- that is, Soviet -- arms deliveries to Syria, coupled with unrest in Eastern Europe.
Rising tensions and a change in the Soviet leadership triggered an invasion by the Red Army of Yugoslavia, Finland, Norway and Greece, according to the exercise scenario. After the "Orange" Soviets finally attacked "Blue" -- U.S. and NATO forces -- with chemical weapons, NATO decided to respond with two series of nuclear strikes.
Even if his intelligence advisers were sanguine, Reagan himself was worried after the exercise that the Soviets genuinely feared the U.S. was preparing to commit nuclear aggression, writing at one point in his diaries that "I feel the Soviets are so defense minded, so paranoid about being attacked that without being in any way soft on them we ought to tell them that no one here has any intention of doing anything like that. What the h--l have they got that anyone would want."
After every care has been exercised, every step taken to avert official disapproval, the most distinguished among the older authors still find themselves in a peculiar condition of being at once objects of adulation to their readers, and half-admiring, half-suspicious toleration to the authorities; looked up to, but imperfectly understood by, the younger generation of writers; a small and decimated but still distinguished Parnassus, oddly insulated, living on memories of Europe, particularly of France and Germany, proud of the defeat of Fascism by the victorious armies of their country, and comforted by the growing admiration and absorbed attention of the young. Thus the poet Boris Pasternak told me that when he reads his poetry in public, and occasionally halts for a word, there are always at least a dozen listeners present who prompt him at once and from memory, and could clearly carry on for as long as may be required.
As for opera and ballet, wherever past tradition exists to guide it, it acquits itself honorably, if dully. When something new is put on, for example the new ballet Gayaneh by the Armenian composer Khachaturyan, playing in Leningrad this year, it is capable of displaying exuberance and temperament, which disarm the spectator by the gusto and delight in the art of the dancers. But it is also, particularly in Moscow, capable of sinking to depths of vulgarity of dcor and production (and of music too) which can scarcely ever have been surpassed even in Paris under the Second Empire; the inspiration of the scenes of clumsily heaped-up opulence with which the Bolshoy Theater in Moscow is so lavish derives at least as much from the tawdry splendors of the early Hollywood of ten and even twenty years ago, as from anything conceived in Offenbach?s day; and such crude display is made to seem all the more grotesque and inappropriate by the individual genius of a truly great lyrical and dramatic dancer like Ulanova, or of such impeccable new virtuosi as Dudinskaya, Lepeshinskaya, and the aging Semenova, Preobrazhensky, Sergeev, and Ermolaev. In either case it lacks the fusion of undeviatingly precise, inexorable discipline with imaginative originality and wide range, and that combination of intensity, lyricism, and elegance which had raised the Russian ballet to its former unattainable height.
Over the past few years, military contingentsof NATO countries have been almost constantly present on Ukrainian territory underthe pretext of exercises. The Ukrainian troop control system has already beenintegrated into NATO. This means that NATO headquarters can issue direct commandsto the Ukrainian armed forces, even to their separate units and squads.
The United States and NATO havestarted an impudent development of Ukrainian territory as a theatre of potential military operations. Their regular joint exercises are obviouslyanti-Russian. Last year alone, over 23,000 troops and more than a thousandunits of hardware were involved.
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This advanced language course is for students with at least two years of language training, including heritage speakers who completed RUSS 111-212 course sequence or placed into an advanced class through an examination. The course explores previously untranslated works by prominent Russian writers, covering diverse themes and writing styles for class discussions. Objectives include expanding vocabulary, enhancing comprehension, and fostering lively conversations. The grammar review includes the case system, verbal aspect, prefixed motion verbs, verbal adverbs, adjectives, and complex sentence construction. Assignments consist of oral presentations, discussion participation, and homework with grammar exercises and creative writing. 0852c4b9a8
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