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By G. Alexopoulos, J. Hessler, K. Tomoff
Sheila Fitzpatrick’s quite a few stories of the 1st 3 many years of Soviet heritage have essentially inspired the way within which historians understand the Soviet Union this day. This quantity presents a helpful point of view at the present kingdom of the sector as mirrored in a number of features of her paintings, together with the character and evolution of her interpretation of Soviet historical past; the influence of her scholarship on numerous scholars; and the interplay of character and person stories. Bringing jointly amazing essays on such diversified elements of the Stalin period because the Soviet monopoly on info and communique, violence within the Gulag, and gender relatives after global struggle II, this quantity either highlights Fitzpatrick’s legacy and introduces readers to intriguing new paintings within the box.
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Extra resources for Writing the Stalin Era: Sheila Fitzpatrick and Soviet Historiography
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This is certainly an accurate portrayal of her oeuvre. Yet my response to a systematic reading and rereading of a number of Fitzpatrick’s works was in some ways the opposite: what struck me was their overall interpretive, thematic, and stylistic unity. Each of her major research projects grew directly out of previous projects, though professional fashions and changing access to sources also left their mark. Her interventions into historiographical disputes, it seems to me, were also prompted by preexisting interests, as opposed to her agenda having been determined by professional debates.
Fitzpatrick was also taken by Nicholas Timasheff’s The Great Retreat: The Growth and Decline of Communism in Russia (New York: E. P. , 1946), which similarly highlighted a conservative cultural shift. This tendency appeared so early (intelligent comments on sources figure in writings from her undergraduate days) that it may have been in-born rather than taught. Cf. Sheila Fitzpatrick, “Soviet Literary Politics,” Dissent: A Radical Quarterly, Spring 1964, no. 13 (Melbourne, Australia): 13–16. Sheila Fitzpatrick, “Editor’s Introduction,” Cultural Revolution in Russia, 7.
Her first book, The Commissariat of Enlightenment,7 had centered on the immediate aftermath of 1917, but by 1979, when she wrote the first edition of The Russian Revolution, she had come to view the First Five-Year Plan period as part of a revolutionary process extending from 1917 to 1932. The specific issue that absorbed her during the 1970s was the question of social support for the regime. On the one hand, Fitzpatrick viewed social support for the Bolsheviks as against their opponents as the key determinant of the outcome of the revolution; the politics of the civil war years, not to mention purely military aspects of the Red and White campaigns, played, in her estimation, a secondary role.