ABSTRACT A strict ban on organized Jewish activities apart from those of a limited number of religious bodies, coupled with the state monopoly on all publishing, simplified the Soviet Union’s control over Holocaust-related publication. The appearance of any such work was an idiosyncratic event, associated with concurrent political and cultural contexts and official agendas. The relatively liberal climate of the first post-Stalinist decade raised the possibility of such events. Soviet publication of both the diary of Anne Frank and Masha Rolnikaite’s I Must Tell reflected in part foreign policy considerations, but each played a rather different role in the Soviet cultural sphere. Anne Frank’s diary—not reprinted for three decades—would be referred to as, and possibly read only as, an important anti-fascist narrative with distant relevance to wartime events in the Soviet Union. Masha Rolnikaite (Rolnik), a survivor of the Vilnius ghetto, would become a widely published belletrist “Soviet Anne Frank.”

中文翻译：

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1960 年代苏联出版的大屠杀日记：安妮·弗兰克和玛莎·罗尼凯特

摘要 严格禁止除少数宗教团体之外的有组织的犹太人活动，再加上国家对所有出版的垄断，简化了苏联对大屠杀相关出版物的控制。任何此类作品的出现都是一个特殊的事件，与同时发生的政治和文化背景以及官方议程相关。后斯大林时代的第一个十年相对自由的气氛增加了发生此类事件的可能性。苏联出版的安妮·弗兰克日记和玛莎·罗尔尼凯特的《我必须告诉》在一定程度上反映了外交政策的考虑，但它们在苏联文化领域都扮演着相当不同的角色。安妮·弗兰克的日记——三年未再版——将被称为，并且可能只读为，一个重要的反法西斯叙事，与苏联的战时事件有着遥远的关联。维尔纽斯隔都的幸存者玛莎·罗尼凯特 (Rolnik) 将成为广为人知的《苏维埃安妮·弗兰克》(Soviet Anne Frank)。