...Peter Steiner © 2009 by Porter Institute for Poetics and Semiotics 2009 This content is made freely available by the publisher. It may not be redistributed or altered. All rights reserved. Boiter, Albert 1972 “Samizdat: Primary Source Material in the Study of Current Soviet Affairs...

...Ann Komaromi This article proposes to treat samizdat in terms of a textual culture opposed to modern print culture. The choice to cast samizdat as an “extra-Gutenberg” phenomenon represents a way of extending the observation that samizdat can no longer simply be defined as the mouthpiece...

...Olga Zaslavskaya Historians turn to archives for historical evidence, the availability of which is not to be taken for granted. In many cases, archival practice excludes a significant part of documentation from archival solicitation.1 This can be applied to the history of the samizdat documents...

...Leona Toker The article offers an explanation of Varlam Shalamov's negative attitude to the samizdat in the 1970s, particularly puzzling in view of the samizdat's role in making him unofficially famous in the 1960s. It explains the change in Shalamov's views by his struggle for authorial control...

...Martin Machovec The term samizdat , now widespread, denotes the unofficial dissemination of any variety of text (book, magazine, leaflet, etc.) within “totalitarian” political systems, especially those after World War II. Such publishing, though often not explicitly forbidden by law, was always...

... recordings of avtorskaia pesnia , the musical genre most closely associated with the first generation of magnitizdat dubbers in the 1960s. After drawing parallels between the rhizomic, uncensored distribution of reel-to-reel tapes and samizdat's dissemination of uncensored texts, I move on to consider...

...Stiliana Milkova Iurii Trifonov (1925–1981) was a successful Soviet writer and sports journalist. He did not belong to samizdat print culture. But like other officially published Soviet literature, his works enacted an Aesopian game of hide-and-seek with the censor and the reader, whereby meaning...

...Alexander Gribanov; Masha Kowell Among the many documents released one way or another during the early 1990s, there are two that open the window into the perception of samizdat by the top Soviet authorities. The first of them was signed by Yuri Andropov, then the head of the KGB, in the last days...

...Alexei Yurchak The Russian term samizdat originally referred to self-published literature that was forbidden by or at least unavailable in the Soviet state, circulated through unofficial channels, and represented certain views that were alternative to the official ideology of that state. Sometimes...

...Albena Lutzkanova-Vassileva The article focuses on the brief history of Bulgarian samizdat and its attempts to challenge the regime through written discourse as well as on two forms of oral discursive resistance: the Seminar, a mode of discourse rather than any organized and rigid structure...

... 2009 Notes on Contributors Ann Komaromi is assistant professor of comparative literature at the University of Toronto. Her publications include “The Material Existence of Soviet Samizdat” and “The Unofficial Field of Late Soviet Culture,” both in Slavic Review. She is working...

... Press,” Modern Language Review 84 (2): 406 -13. McMillin, Svetlana 2005 “Georgi Vladimov,” in Russian Prose Writers after World War II , edited by Christine Rydel, 397 -405 (Detroit: Thomson Gale). Oushakine, Serguei 2001 “The Terrifying Mimicry of Samizdat,” Public Culture 13 (2...

... readership) of the audience who had and would care to have access to the samizdat, to foreign publications, or to foreign radio broadcasts. Indeed, in the 1970s and the early 1980s, this audience included two major groups whose unseen presence as Solzhenitsyn’s addressees has left its imprint...

... of social collaboration,” and begin by remembering that every “big-model A.I. is made of people—and the way to open the black box is to reveal them.” Every LLM draws on the work of human writers, artists, and creators to create a new samizdat creative production. Instead of erasing human poiesis...

...). Dragomoshchenko, Arkadii 1986 “Nebo sootvetstvii” (“Sky of Correspondences”), Mitin zhurnal 7 [samizdat], www.mitin.com/mj07/dragom.shtml (accessed 10 November 2005). 1990a Description , translated by Lyn Hejinian and Elena Balashova (Los Angeles, CA: Sun and Moon). 1990b Nebo sootvetstvii (Sky...

..., not coincidentally, deals with sailors who, right after the French Revolution, look for an island utopia called Envy Bay and discuss the social contract. Yet Third Factory itself is an example of neither samizdat nor dissident writing; rather, it is an attempt to negotiate some kind of contract between...