Grigor'ian, Ivan Petrovich Pavlov, 1849-1936: Uchenyi, grazhdanin
, gumanist (Moscow: Nauka, 1999).
Frank deals here with Dostoevskii's fifteen-month editorship, in 1873-74, of the magazine Grazhdanin
(The Citizen), owned by the powerful and rather louche Prince Meshcherskii.
Their trip was sponsored by the Civitas International Exchange Program in partnership with APSA, the Grazhdanin
Training Center, the American Federation of Teachers, and others.
He resigned his editorship after a year, but in 1876 he revived as a separate monthly publication a column entitled "Dnevnik pisatelya" ("The Diary of a Writer"), which he had contributed to Grazhdanin
. He continued the publication for over a year, with a few additional issues in 1880 and 1881.
He began the project as a section in Grazhdanin
(The Citizen), a weekly newspaper he edited (1873 - 74).
The role of conservative publications increased with the accession of Alexander III when Konstantin Petrovich Pobedonostsev's allies--Katkov and Prince Vladimir Petrovich Meshcherskii--reached the height of influence through their respective publications Moskovskie vedomosti and Grazhdanin
. State Secretary of the Emperor Aleksandr Aleksandrovich Polovtsov described Katkov's weekly salon as a synapse of power where careers were made and ruined.
After his return to Russia in 1871, Dostoyevsky again entered journalistic work, editing the weekly Grazhdanin
(The Citizen) in 1873 - 74.
Korolev, Rossii bespokoinyi grazhdanin
(Moscow: Komi knizhnoe izdatel'stvo, 1987).
Kovalevskii: Uchenyi, gosudarstvennyi i obshchestvennyi deiatel' i grazhdanin
(1851-1916) (Petrograd: A.
Meshcherskii, the editor of the newspaper Grazhdanin
who had developed close ties to Nicholas II, proposed using the phrase "freedom of word and conscience" in the first draft of a manifesto that was eventually published in 1903.
His reputation suffered from rumors about his relationship with the notorious Vladimir Petrovich Meshcherskii, the editor of the government-subsidized journal Grazhdanin
, and because of his unscrupulous collaboration under various pennames with a number of newspapers of often conflicting political orientations.25 He had many contacts in the bureaucratic world, and at different stages of his career he was close to S.
Miller broadens his analysis of the cinema of the 1930s in his Politics and Persuasion under Stalin, which also looks in detail at such films as Grigorii Aleksandrov's Tsirk (Circus, 1936), Pyr'ev's The Party Card, and Ermler's Velikii grazhdanin
(The Great Citizen, 1937 and 1939).