Mikhail Pogodin

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Pogodin, Mikhail Petrovich

 

Born Nov. 11 (23), 1800, in Moscow; died there Dec. 8 (20), 1875. Russian historian, writer, and journalist. Academician of the St. Petersburg Academy of Sciences (1841).

The son of a serf who was freed in 1806, Pogodin graduated in 1821 from Moscow University, where he defended his master’s dissertation, On the Origin of Rus’(1825); in it he supported the Norman theory. He aligned himself with the Liubomudry (Lovers of Wisdom). From 1826 to 1844 he was a professor at Moscow University, at first of world history, and beginning in 1835 of Russian history. From 1827 to 1830 he published the journal Moskovskii vestnik (The Moscow Messenger), and from 1841 to 1856, with S. P. Shevyrev, Moskvitianin (The Muscovite).

In the 1820’s and 1830’s, Pogodin was a critic of the historian M. T. Kachenovskii and of the “skeptical school.” A student of Old Russian and Slavic history, he was close in outlook to the Slavophiles. He established the sources of the Primary Chronicle, examined the reasons for the rise of Moscow, and analyzed the gradual development of Russian serfdom. Pogodin recognized the uniqueness of Russian history and considered it impossible to interpret this history or to draw any conclusions and generalizations. He was a historian of the official school and believed that history should be chiefly “the protector and guardian of social tranquillity.”

Pogodin’s novellas of everyday life, including The Beggar, The Black Sickness, and The Bride at the Fair, were collected in his Novellas (parts 1–3, 1832). They provided an authentic picture of the life of serfs, merchants, and townspeople but had no true literary depth.

Pogodin also wrote the historical drama Marfa Posadnitsa (1830). His publicistic writings from the 1830’s to the early 1850’s were reactionary. In the literary movement of the 1840’s he was a conservative, attacking the natural school and often opposing V. G. Belinskii. In the 1860’s, Pogodin supported the Slavic national movement and Pan-Slavism. He published a number of important historical sources and gathered a collection of antiquities, including manuscripts, books, coins, arms, and utensils, most of which the Public Library in St. Petersburg acquired in the 1860’s.

WORKS

Issledovaniia, zamechaniia i lektsii o russkoi istorii, vols. 1–7. Moscow, 1846–57.
Drevniaia russkaia istoriia do mongol’skogo iga, vols. 1–3. Moscow, 1871.
Istoriko-politicheskie pis’ma i zapiski ν prodolzhenie Krymskoi voiny 1853–1856 gg. Moscow, 1874.
Prostata rech’o mudrenykh veshchakh. Moscow, 1874.

REFERENCES

Barsukov, N. Zhizn’ i trudy M. P. Pogodina, books 1–22. St. Petersburg, 1888–1910.
Plekhanov, G. V. “Pogodin i bor’ba klassov.” Soch., vol. 23. Moscow-Leningrad, 1926.
Nikitin, S. A. Slavianskie komitety ν Rossii ν 1858–1876 gg. Moscow, 1960.
Istoriografiia istorii SSSR, 2nd ed. Moscow, 1971. Pages 143–46.
Istoriia russkoi literatury XIX v.: Bibliograficheskii ukazatel’. Moscow-Leningrad, 1962.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Russia's Mekhanik Pogodin oil tanker, detained in August for no reason, still remains in the Ukrainian port of Kherson.
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When preliminary permission was granted in 1832 for Pushkin to begin work on a private newspaper, both the would-be editor and his associates expressed optimism that, as the poet put it in a letter to Pogodin, "this is an important business, for the monopoly of Grech and Bulgarin has fallen" (15: 27).
20 (BNA): A delegation of 'Ambassadors of the Russian Language' is coming to the Kingdom of Bahrain on Thursday, according to attache Alexander Pogodin, Head of Protocol at the Embassy of the Russian Federation.
Herbert Marshall, a British performer and director who trained at the Higher Film Institute in Moscow in the 1930s, witnessed agitprop happenings from TRAM (the Theatre of Young Workers), suggesting that the enthusiastic performers "even tried to interpret the principles of dialectical materialism through the productions." (34) Marshall would later act as director of the British theatrical collective Unity Theatre (which took on the mantle from the ailing WTM) where he produced a version of Nikolai Pogodin's Aristocrats (193 7).
The near future proved that the suspicions regarding Russia's intentions to have an influence in the Balkans were not without base, since Russia tried to impose its authority in Bulgaria (Pogodin, 1910: 199-224), to control it and its military forces.
Fredell Pogodin, a publicist practiced in running foreign-language Oscar campaigns, agrees.
Pogodin, for example, criticized Archbishop Innokentii Borisov's comparison of Alexander II with Christ as blasphemous, while Innokentii himself--evidently still adhering to the metaphorical baroque tradition, as did many other 19th-century clerics--defended it (75-77).
In the second half of the 19th century a school in Russian history research was established for studying the history of France in the 18th century--the l'Ancien Regime and the French revolution,--which the French historians have named ecole russe (Pogodin 1997:4-5) and to which belong as the most outstanding representatives N.
Entre sus principales figuras estan las siguientes: el conde Sergei Uvarov (1786-1855), quien fue presidente de la Academia de Ciencias y ministro de educacion publica; el historiador Mikhail Pogodin (1800-1875), uno de los lideres teoricos del movimiento conservador, famoso ademas por sus tesis sobre el quehacer historico (75); Fyodor Sidonsky (1805-1873), profesor de filosofia en la universidad de San Petersburgo, critico feroz de los democratasradicales, quien ademas pensaba, en contra de estos, que la filosofia no podia aprobar de ninguna manera a las revoluciones convulsivas que buscaban renovar el aparato estatal (76).
During his trip, Glicksman saw a play, Nicolas Pogodin's Aristocrats, that celebrated the moral and civic transformation of the slave laborers working on the murderous Belomar-White Sea Canal project.
These productions were followed by Spring Waters by Sergei Michalkov, Surovov's Dawn over Moscow, Pogodin's Man with a Rifle, and Gorky's Vassa Zheleznova.