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Written in the light of critical discourse about the social value of literary sympathy and against the backdrop of critical whiteness studies, the article deals with John Steinbeck’s non-fiction book Travels with Charley in Search of America. Framed by an interest in how the writer responded to the racial separation in the United States, the article demonstrates that this work, which is often dismissed as a “charming portrayal of America,” is a serious intervention in all sites of discrimination and domination.

"A Russian Journal", published in 1948, is an unusual record of the great other side of Russia, wherein American Nobel Prize winner John Steinbeck and the distinguished photojournalist Robert Capa struggle to present the Soviet Union in cultural rather than political terms. The authors make a sweeping journey through the USSR, portraying the landscapes and ways of life of ordinary Russians who were emerging from the rubble of WWII with the hope of peaceful coexistence of capitalism and communism in the atomic decade. Reporting on the unknown, Steinbeck and Capa take up a delicate task of introducing simple and unexplored truths about America‘s wartime ally and its immediate postwar adversary. Consequently, A Russian Journal becomes a unique journalistic account of two countries trapped in the rigidities of the Cold War miscommunication patterns.

This article tracks how mid-20th century US and Latin American documentary filmmakers created a visual and narrative repertoire that encouraged spectators worldwide to imagine a global transformation from the stagnant living death of underdevelopment to striving, productive life-in-development. It explores how development institutions, theorists, and filmmakers made connections between the experience of spectatorship and the odd mixture of passivity and striving that constituted the ideal “developing” subject. However, it attends not only to the ideal spectators these films attempted to create, but also to the experiences of spectators themselves, concluding that audience reactions to development films, particularly among non-experts, were often skeptical of the universal modernization trajectories on which the films insisted.

Zhdanova Liya Iskanderovna The article discusses the features of the Soviet reception of the novel by John Steinbeck. «The winter of our anxiety» published in the USSR within the sunset of «thaw» in 1962. Despite the restrained assessment of the novel at its homeland and the general low opinion about the post-war work of Steinbeck, in the USSR «Winter of our anxiety» was accepted very warmly, after the Nobel committee of Soviet critics began to talk about the return of «old times of Steinbeck>s «Grapes of wrath». However, no doubt that the reason for the success of this book in the USSR was not much Steinbeck>s «critics of bourgeois reality», the «American Dream», which commonly was written by the domestic press as guessable Soviet readers parallels between the way the main character of the novel Ethan Allen Hawley, committed them to choose between good and evil, «money and humanity» - and his own life, ambiguous and unstable situation of the creative intelligentsia in the Soviet Union at the beginning of 1960. However, the inability to say publicly about his own doubts and problems that inevitably led to a repetition of the rhetoric of the 1930s reduced the value of the novel «Winter of our anxiety» in denouncing the American way of life. Documentary base article made reviews of the novel members of the editorial board of the magazine «Foreign Literature «, research works by R.D. Orlova «Money against humanity» («Foreign Literature», 1962, № 3) and I.M. Levidova «Postwar books of John Steinbeck» («Questions of Literature», 1962, № 8). Key words : John Steinbeck, USSR, «Winter of our anxiety», American literature, Soviet-American literary connections.

John Steinbeck（1902-1968）の、East of Eden (1952) における、登場人物のAdamに焦点を当てて、Adamの本性と彼が何を表現しているかを考察する。

Dans le contexte américain des années trente, la rencontre entre la littérature et la sociologie peut être en partie évaluée dans une comparaison entre le réalisme social de John Steinbeck, exemplifié dans son roman The Grapes of Wrath (Les raisins de la colère) et les développements méthodologiques de l’interactionnisme symbolique de Herbert Blumer, qui veulent assurer une suite à la tradition des études empiriques de l’école de Chicago. Cette rencontre, qui pose une possibilité de saisir l’expression sociale dans son contexte « naturel » et qui met en oeuvre une méthodologie « naturaliste » en sociologie faisant appel plus largement à des concepts hérités de la philosophie du pragmatisme, est en fait portée par l’idée d’une possibilité de communication « immédiate » de la vie sociale. On peut prendre la mesure critique de ce qui s’exprime alors dans ce contexte, en fonction des exigences de la réflexion actuelle en sociologie concernant les modalités d’analyse et d’expression du « monde vécu », ainsi que des liens possibles à établir dans cette perspective entre littérature et sociologie., In the United States of the 1930s the meeting between literature and sociology can be partly evaluated by a comparison of John Steinbeck's social realism, exemplified in his novel The Grapes of Wrath, with the methodological developments of Herbert Blumer's symbolic interactionism, which was intended as a continuation of the Chicago School's empirical studies. This meeting, which provides the possibility of studying social expression in its "natural" context and deploys a "naturalist" methodology in sociological analysis relying largely on concepts inherited from pragmatism, is in fact infused by the idea of the possibility of "immediate" communication of social life. One can critically examine what was expressed in that context within the critical framework of current sociological analysis pertaining to the modalities of analysis and expression of the "lived world" as well as the possible links to be established in this perspective between literature and sociology., En el contexto norteamericano de los años treinta, se puede evaluar en parte el encuentro entre literatura y sociología mediante una comparación del realismo social de John Steinbeck, ejemplificado por su novela The Grapes of Wrath (Las Uvas de la Ira) con los desarrollos metodológicos del interaccionismo simbólico de Herbert Blumer, cuya intención es asegurar la continuación de la tradición de estudios empíricos de la escuela de Chicago. Este encuentro, que propone la posibilidad de captar la expresión social en su contexto «natural» y que implementa en sociología una metodología «naturalista» haciendo amplio uso de conceptos heredados de la filosofía del pragmatismo, es vehiculado de hecho por la idea de la posibilidad de una comunicación «inmediata» de la vida social. Se puede así apreciar críticamente lo que se expresa en aquel contexto, en función de las exigencias de la reflexión sociológica actual en lo que respecta a las modalidades de análisis y de expresión del «mundo de la vida»; siendo posible también, desde esta perspectiva, interrogarse acerca de las relaciones que puedan establecerse entre literatura y sociología.

The aim of this paper is to reassess John Steinbeck’s presence and significance within American modernism by advancing a myth-critical reading of his early novel “To a God Unknown” (1933). Considering the interplay between this novel and the precedent literary tradition and other contextual aspects that might have influenced Steinbeck’s text, this study explores Steinbeck’s often disregarded novel as an eloquent demonstration of the malleability of myths characteristic of Anglo-American modernism. Taking myth-ritualism—the most prominent approach to myth at the time—as a critical prism to reappraise Steinbeck’s own reshaping of modernist aesthetics, this article examines recurrent frustrated and misguided ritual patterns along with the rewriting of flouted mythical motifs as a series of aesthetic choices that give shape and meaning to a state of stagnation common to the post-war American literary landscapes, but now exacerbated as it has finally spread, as a plague of perverse remythologization, to the Eden of the West.

John Steinbeck et la censure: le cas de The Moon is Down traduit en français pendant la Seconde Guerre mondiale. Prenant la notion de censure dans le sens restreint où un texte appartenant au champ littéraire est manipulé selon des enjeux du champ politique dans une société à une période donnée de son histoire, nous analysons le cas de la présumée censure de The Moon is Down dans deux traductions françaises effectuées pendant la Seconde Guerre mondiale: celle publiée aux éditions Marguerat à Lausanne en 1943 dans une traduction de Marvède-Fischer et celle publiée aux éditions de Minuit à Paris en 1944 dans une traduction d’Y. Desvignes (pseud. d’Yvonne Paraf). Selon les éditions de Minuit, les éditions Marguerat auraient produit une version censurée du texte de Steinbeck, et c’est à ce titre qu’elles s’autorisent à retraduire le texte. L’examen attentif du roman publié aux éditions Marguerat montre que cette traduction n’est pas censurante, en tous cas pas dans le sens indiqué dans la préface à la traduction des éditions de Minuit et qui fait entre autres état de prétendues «coupures» et «altérations» du texte original. La traduction des éditions Marguerat est, à la rigueur, une traduction que l’on pourrait dire «hypertextuelle», après Berman, du texte de Steinbeck, ce qui est sans doute l’une des raisons pour lesquelles les éditions de Minuit se sont méprises sur la nature de cette traduction., In this paper, the restricted meaning of the word censorship, whereby a text belonging to the literary field is manipulated in accordance with the issues of the political field in a society at a given period in its history, is applied to the analysis of the case of presumed censorship in two French translations of The Moon is Down made during the Second World War: the first by Marvède-Fischer published by éditions Marguerat in Lausanne in 1943; the second by Y. Desvignes (pseudoname of Yvonne Paraf) published by the éditions de Minuit in Paris in 1944. According to the éditions de Minuit, éditions Marguerat produced a censured version of Steinbeck’s text, which justified their retranslation of the novel. A careful examination of the text published by éditions Marguerat shows that this translation was not censored, at least not in the way indicated in the preface to the translation published by the éditions de Minuit that reports alleged ‘cuts’ and ‘modifications’ to the original text, among other textual manipulations. The Marguerat translation is, at best, a “hypertextual” (after Berman) translation of Steinbeck’s text. This is, without doubt, one of the reasons why the Minuit publishing house mistook the nature of this translation.

East of Eden one of the most controversial works by John Steinbeck since its publication up to now has been receptive to many critical discourses in almost all of the critical approaches. One of the most important reasons to this critical reception is its wide circle of themes and symbolic nature. Having created a world full of universal values, Steinbeck succeeded to challenge many of these values. This paper tries to examine East of Eden with regard to feminist approach. By an over view of the main female characters in the novel especially Cathy Ames as devil incarnate and also the relationship between male and female characters, this paper intends to go through the issue much more deeply and find the dominant viewpoint dominating the whole atmosphere of the novel toward the expected role of women in society and family.

Deeply influenced by emotional, ethical, and ecological principles, John Steinbeck developed a holistic ideology to describe and analyze the relationships among individuals, society, and the more-than-human world. Although he explored environmental issues with ecological insight and philosophical contemplation that placed him well beyond his literary and scientific contemporaries, Steinbeck’s contributions to modern ecological inquiry and environmental thought have received only intermittent attention from literary scholars. Throughout his writing, Steinbeck develops a view of intellectual holism that encourages (perhaps even enables) us to dovetail science and ethics as we attempt to construct a new environmental paradigm. Viewing the world through his holistic lens, Steinbeck was able to see the global ecosystem, local environments, human communities, and even minute tide pools as objects of scientific and artistic inquiry. Specifically, it is my contention that the American environmental movement owes a greater debt to John Steinbeck than it realizes. In short, John Steinbeck made significant contributions to the growing awareness of human-nature interconnectedness and the parallels between social ills and ecological ailments. Yet, for whatever reasons Steinbeck is not granted a position of honor alongside the other giants of American environmental thought. Now witnessing the full blossoming of 21st century environmentalism, it is useful to cast a reflexive eye upon our ideological forebears with the intent to better understand the genealogy of the American environmental movement. Doing so will not only provide a richer and fuller family tree, but will also promote additional flourishing of new approaches to solving ongoing environmental troubles. Master of Arts

xxx Critics have argued that John Steinbeck's The Grapes of Wrath is a novel about social and inner changes. As the Joad family starts its journey to California, the reorganization of the family becomes essential to their survival. In times of material loss, Ma Joad breaks with patriarchal rules, emerges as the new leader of her family, and plays more than the housewife role assigned to the women of her time. She becomes, then, an essential figure to the maintenance of the family's integrity. The aim of this study is to analyze the way in which the determination of new social values, especially those regarding the role of women in the family, occur in the novel, taking into consideration the historical context of migration in which the narrative takes place. It was observed that the migratory movement to the west contributes to the ascertaining of new social values and to the establishment of new family roles. With Pa Joad's loss of control over his family during the journey, Ma is capable of breaking with the patriarchal ideology to assume a more influential position in the family. This thesis endorses some previous studies on The Grapes of Wrath, and represents an opportunity for new studies on the novel on the Brazilian academic environment.

Santamaría, José Miguel; Pajares, Eterio; Olsen, Vickie; Merino, Raquel; Eguíluz, Federico (eds.)

Helen Hosmer was a writer, activist, and historian of California agribusiness. Her knowledge of California's agriculture dated back to the 1930s when, as a student at the University of California, Berkeley, she worked at the Poultry Division, College of Agriculture. Later she worked for the Information Division of the Farm Security Administration (FSA), which established camps for migrant workers in California. During this period Hosmer came to know FSA photographer Dorothea Lange, agricultural economist Paul S. Taylor, and many important figures in the labor movement in San Francisco. Because of her conviction that labor organizing was essential among agricultural workers, Hosmer resigned her government position at Farm Security in 1935 in order to have the freedom to work on behalf of her political beliefs. She co-founded the Simon J. Lubin Society, an organization that promoted unity between family farmers and migrant labor and exposed the anti-progressive political activities of California agribusiness. From 1935 to 1941 she published and edited the Lubin Society's "Rural Observer". The Society also issued special publications, such as Who Are the Associated Farmers? (reproduced in this volume) and John Steinbeck's Their Blood is Strong. Hosmer's memoirs also discuss California intellectual, cultural, and political life in the 1920s, and 1930s, red-baiting, the San Francisco General Strike and the Criminal Syndicalism trial, and the La Follette Civil Liberties Committee. After World War II, Hosmer temporarily put aside her political activism and spent over 25 years living in Mill Valley as a housewife, mother, pianist, and gardener. In the early 1960s she resumed her research and writing. She again turned her attention to California agriculture, writing articles for American West magazine, and serving as director for the research committee for the California Farm Reporter.