Mapping the Soviet: Cartography, Culture and Power from Lenin to Stalin, 1917-53

苏联政权非常重视地理空间作为一个决定革命后国家成败的因素，并相应地重视空间知识和表征的建构与控制。地图在确认和宣传共产主义世界观方面发挥了至关重要的作用：1926年，一位到莫斯科的外国游客指出，“这幅地图几乎就像列宁的肖像一样，几乎成为俄罗斯新偶像崇拜的中心。”同样，该政权认识到精确的调查和地图对国家建设、战略规划和经济发展的重要性。苏联的制图学分为两个方向：一个是空间“神话制造”，另一个是构建空间的“科学”描述。尽管苏联地图具有“标志性”地位，但在历史研究中尚未引起重大关注。该项目首次对苏联制图的政治、社会、经济、文化和美学维度进行了综合分析。除了加强对苏联历史的学术理解外，它还将有助于更好地理解地图制作的作用——被理解为一种科学技术和社会文化实践——以及地图在现代世界中的作用。它的主要学术成果将是一部专著。我还打算利用我的研究来提高公众对20世纪制图学的广泛理解，以及我们可以从地图中学到的关于塑造我们现代现实的科学文化联系的知识。为此，我将寻求在早先与大英图书馆合作的基础上，组织一个展览，展示他们大量的地图收藏，并辅以活动计划和资源，以促进公众参与，并支持学校课程相关部分的交付。专著将分为两部分。第一个重点是苏联制图的决策、规划和生产。书中特别探讨了“文化”与“科学”（或“意识形态”与“技术”）之间的分歧所产生的矛盾和冲突，这些分歧发生在苏联制图机构内部，发生在测量师和地形师、测地学家和地理学家、艺术家和行政人员、学者、士兵和秘密警察之间，他们塑造了革命后制图的发展。第二部分将苏联制图置于其文化背景中。它探讨了苏联地图在重新想象世界、重新创造自我和社会方面的关键作用，这些都是革命愿望的核心。我认为苏联政权使用“地图文化”来创造和灌输一种新的空间视野，这种视野不仅包括重新配置的政治领域，还包括与社会和谐相处的再生自然，包括人性。地图制作本身作为一个科学、技术和艺术相结合的过程，成为理性方法和审美冲动综合的隐喻和典范，这种综合体现了革命现代主义和更普遍的全球现代性；阅读地图的能力成为一种文化的象征——尽管除了最通用的地图外，其他地图都是隐藏的。本研究主要基于最近解密的俄罗斯档案资料。除了有关政策、人事、规划和制作的官僚文件外，这些藏品还提供了对地图设计、象征意义和内容等主题的丰富见解；用地图和地球仪教学；地图保密和审查；地形考察和实地考察；妇女在制图中的作用；与国外测绘组织的互动；政治控制和恐怖。这项研究还基于对大量单张地图、地图册和地球仪的批判性分析；制作地图和阅读地图的手册；以及文学、电影、平面艺术（尤其是政治海报）、摄影、建筑和城市规划、明信片和邮票等文化媒体中的地图图像和典故。

The Soviet regime attributed huge importance to geographical space as a factor which could make or break the post-revolutionary state and accordingly to the construction and control of spatial knowledge and representation. Maps played a crucial role in affirming and propagating the communist worldview: 'the map is almost as close to becoming the centre of the new Russian iconic cult as Lenin's portrait', noted a foreign visitor to Moscow in 1926. Equally, the regime recognized the importance of accurate surveys and maps for state-building, strategic planning and economic development. Soviet cartography bifurcated in two directions: one concerned with spatial 'myth-making', the other with constructing a 'scientific' account of space.Despite their 'iconic' status, Soviet maps have not yet attracted significant attention in historical research. This project offers the first integrated analysis of the political, social, economic, cultural and aesthetic dimensions of Soviet cartography. As well as strengthening scholarly understanding of Soviet history, it will contribute to a better appreciation of the role of map-making - understood as both a scientific-technical and socio-cultural practice - and of maps in the modern world. Its main academic output will be a monograph. I also aim to use my research to enhance wider public understanding of 20th century cartography and of what we can learn from maps about the science-culture nexus that moulds our modern reality. To this end, I shall seek to build on earlier collaborations with the British Library to organise an exhibition drawing on their vast map collections, accompanied by an events programme and resources to promote public engagement and to support delivery of relevant parts of the school curriculum.The monograph will have two parts. The first focuses on Soviet cartographic policy-making, planning and production. It examines, in particular, the contradictions and conflicts which the bifurcation between 'culture' and 'science' (or between 'ideology' and 'technology') produced within Soviet mapping agencies and among the surveyors and topographers, geodesists and geographers, artists and administrators, scholars, soldiers and secret policemen who shaped the development of post-revolutionary map-making.Part two places Soviet cartography in its cultural context. It explores the crucial role of Soviet mapping in the re-imagining of the world and re-creation of self and society that were at the heart of revolutionary aspirations. I argue that the Soviet regime used 'map culture' to create and inculcate a new vision of space that encompassed not only reconfigured political territories but a regenerated nature, including human nature, brought into harmony with society. Map-making itself, as a process combining science, technology and art, became both metaphor and model for the synthesis of rational method and aesthetic impulse that characterised revolutionary modernism and global modernity more generally; and the ability to read maps became a symbol of culturedness - even while all but the most generalised maps were hidden from view.This study is mainly based on recently declassified materials from Russian archives. As well as bureaucratic documents on policy, personnel, planning and production, the collections offer rich insights into, among other themes: map design, symbolism and content; teaching with maps and globes; map secrecy and censorship; topographical expeditions and fieldwork; the role of women in cartography; interactions with foreign mapping organisations; and political control and terror. The research is also grounded in critical analysis of a huge range of sheet maps, atlases and globes; of handbooks of map-making and map-reading; and of cartographic imagery and allusions in cultural media including literature, film, graphic arts (especially political posters), photography, architecture and urban planning, postcards and postage stamps.