In 1899 Chernov left Russia, and for the next
six years he worked for the revolutionary cause in
exile. He joined the newly formed Socialist Revolu-
tionary Party in 1901, and from 1903 he was a
central committee member. His role in the party
was predominantly as a political theorist and
writer. He formulated the party’s philosophy
around a blending of Marxist and Populist ideas,
propounding that Russia’s communal system of-
fered a “third way” to the development of social-
ism. He reluctantly supported the use of terror as
a means of advancing the revolutionary cause.
Chernov returned to St. Petersburg in October
1905, and proposed that the party follow a mod-
erate line, suspending terrorist activity and oppos-
ing further strike action. In July 1906 he again left
Russia, this time for Finland. He continued his rev-
olutionary work abroad, not returning to Russia
until April 1917. Chernov joined the first coalition
Provisional Government as Minister for Agriculture
in May 1917, despite misgivings about socialist
participation in the Provisional Government. His
three months in government raised popular expec-
tations about an imminent land settlement, but his
tenure as minister was marked by impotency. The
Provisional Government refused to sanction his
radical proposals for reform of land use.
Chernov struggled to hold the fractured Social-
ist Revolutionary Party together, and stepped down
from the Central Committee in September 1917. He
was made president of the Constituent Assembly,
and after the Constituent Assembly’s dissolution,
was a key figure in leftist anti-Bolshevik organiza-
tions, including the Komuch. He believed that the So-
cialist Revolutionary Party needed to form a “third
front” in the civil war period, fighting for democ-
racy against both the Bolsheviks and the Whites.
He left Russia in 1920, and was a passionate con-
tributor to the emigré anti-Bolshevik movement
until his death in 1952 in New York. Chernov was
a gifted intellectual and theorist who ultimately
lacked the ruthless single-mindedness required of a
revolutionary political leader.
See also: SOCIALIST REVOLUTIONARIES
BIBLIOGRAPHY
Burbank, Jane. (1985). “Waiting for the People’s Revo-
lution: Martov and Chernov in Revolutionary Rus-
sia, 1917–1923.” Cahiers du monde russe et sovietique
26(3–4):375–394.
Chernov, Victor Mikhailovich. (1936). The Great Russian
Revolution. New Haven, CT: Yale University Press.
Melancon, Michael. (1997). “Chernov.” In Critical Com-
panion to the Russian Revolution, 1914–1921, ed. Ed-
ward Acton, Vladimir Chernaiev, and William G.
Rosenberg. London: Arnold.
S
ARAH
B
ADCOCK
CHERNUKHA
Pessimistic neo-naturalism and muckraking during
and after glasnost.
Chernukha is a slang term popularized in the
late 1980s, used to describe a tendency toward un-
relenting negativity and pessimism both in the arts
and in the mass media. Derived from the Russian
word for “black” (cherny), chernukha began as a
perestroika phenomenon, a rejection of the enforced
optimism of official Soviet culture. It arose simul-
taneously in three particular areas: “serious” fic-
tion (published in “thick” journals such as Novy
mir), film, and investigative reporting. One of the
hallmarks of Mikhail Gorbachev’s glasnost was the
open discussion of the misery and violence that was
a part of everyday Soviet life, transforming the
form and content of the nation’s news coverage. In
journalism, chernukha was most clearly incarnated
in Alexander Nevzorov’s evening television pro-
gram “600 Seconds,” which exposed the Soviet
viewing audience to some of its first glimpses into
the lives of prostitutes and gangsters, never shy-
ing away from images of graphic violence.
In literature and film, chernukha refers to the
naturalistic depiction of and obsession with bodily
functions, sexuality, and often sadistic violence,
usually at the expense of more traditional Russian
themes, such as emotion and compassion. The most
famous examples of artistic chernukha include
Sergei Kaledin’s 1987 novel The Humble Cemetery,
which tells a story about gravediggers in Moscow,
and Vasilii Pichul’s 1988 Little Vera, a film about
a dysfunctional family, complete with alcoholics,
knife fights, arrests, and virtually nonstop shout-
ing. Also emblematic was Stanislav Govorukhin’s
1990 documentary This Is No Way to Live, whose
very title sums up the general critical thrust of
chernukha in the glasnost era.
Often condemned by critics across the ideolog-
ical spectrum as “immoral,” chernukha actually
played an important part in the shift in values and
in the ideological struggles concerning the coun-
try’s legacy and future course. Intentionally or not,
CHERNUKHA
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