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By Peter G. Zarrow
Naphtali Lewis and Meyer Reinhold's Roman Civilization is a vintage. initially released via Columbia college Press in 1955, the authors have undertaken one other revision which takes under consideration contemporary paintings within the box. those volumes encompass chosen fundamental records from old Rome, protecting a variety of over 1,000 years of Roman tradition, from the basis of town to its sacking by way of the Goths.The decisions conceal a huge spectrum of Roman civilization, together with literature, philosophy, faith, schooling, politics, army affairs, and economics. those English translations of literary, inscriptional, and papyrological assets, lots of that are on hand nowhere else, create a mosaic of the brilliance, the sweetness, and the facility of Rome.
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This applies to a large degree to foreign classics, even though such authors as Jack London, Upton Sinclair and J. B. Priestley (as well as such, to me, little-known figures as James Aldridge and Walter Greenwood) enter the pantheon on political rather than literary merit. The main burden of Russian critical writing is at present directed to the rehabilitation of everything Russian, particularly in the region of abstract thought, which is represented as owing as little as possible to the West; and to the glorification of Russian (and occasionally non-Russian) scientific and artistic pioneers active within the historic limits of the Russian empire.
Utis. I hope this is not too much for you – do not, I beg you, give me up as altogether beyond the bounds of sweet reasonableness and accommodation. I really think that the arrangement proposed is the best all round. 1 2 See p. xvi above, note 1. The story has been added below (p. 98) as an epigraph, as Berlin suggests. xxxi 00_SOVMINDFM. 12/19/03 10:48 AM Page xxxii the soviet mind The revised script is acknowledged by a relieved and satisfied Armstrong on 16 November, though he wonders again whether anyone will be taken in by the pseudonym; on 20 November Berlin sends further thoughts: I see that a somewhat different analysis of U[ncle] J[oe] is presented by Mr A.
Indeed, this will probably turn out to be the most valuable single contribution which Stalin’s personal influence will have made to the development of Russian letters. 1 All of them today make their bow in the manner prescribed by their political directors, and in general produce work of high mediocrity modelled on late nineteenth-century archetypes, written with professional craftsmanship, long, competent, politically bien pensant; earnest, at times readable, but on the whole undistinguished. The purges of 1937 and 1938 appear to have stamped out that blazing fire of modern Russian art to which the Revolution of 1917 had added fuel and which the recent war could scarcely have extinguished so swiftly if political causes had not begun to do so earlier.