Aleksandr Aleksandrov was an author and soldier in service of the Russian tsar, active in the Prussian theater of the War of the Fourth Coalition (1806–7) and in the Napoleonic wars. In scholarship, he is better known by his birth name, Nadezhda Andreevna Durova, and often referred to with the female pronouns bestowed upon him at birth. In this first book-length study of Aleksandrov, Ruth Averbach argues that we should understand this celebrated figure of Imperial Russia, whose sex was legally changed by Tsar Aleksandr I, simply as a man, one whose masculinity was intimately connected to the imperialist cause and Russian nationalism.

For the majority of his life, Aleksandrov lived, wrote, and fought as a man, and was recognized as such by most of his contemporaries. This contradicts the dominant position in especially Western feminist scholarship, which understands “Durova” either as a woman so patriotic that she dressed as a man to fight Russia’s wars or as a woman so frustrated by gender restrictions that she dramatically sought to cast them aside. Averbach makes the contrary case that we should take Aleksandrov at his word and accept his transition as genuine. Doing so allows for fresh interpretations of both his autobiographical writings and his works of fiction, interpretations that Averbach deftly shows have salience not just for a single man’s life but also for how we understand masculinity, imperialism, and nationalism in nineteenth-century Russia more broadly.

Offering a fundamental reinterpretation of the emergence of the Soviet state, Peter Holquist situates the Bolshevik Revolution within the continuum of mobilization and violence that began with World War I and extended through Russia's civil war. In so doing, Holquist provides a new genealogy for Bolshevik political practices, one that places them clearly among Russian and European wartime measures. From this perspective, the Russian Revolution was no radical rupture with the past, but rather the fulcrum point in a continent-wide era of crisis and violence that began in 1914.

While Tsarist and Revolutionary governments implemented policies for total mobilization common to other warring powers, they did so in a supercharged and concentrated form. Holquist highlights how the distinctive contours of Russian political life set its experience in these years apart from other wartime societies. In pursuit of revolution, statesmen carried over crisis-created measures into political life and then incorporated them into the postwar political structure. Focusing on three particular policies--state management of food; the employment of official violence for political ends; and state surveillance--Holquist demonstrates the interplay of state policy and local implementation, and its impact on the lives of ordinary citizens. Making War, Forging Revolution casts a new light on Russia's revolution and boldly inserts it into the larger story of the Great War and twentieth-century European history.

Examining Russian-language media from the “long 1990s”—the period beginning with Mikhail Gorbachev’s policy of glasnost (“openness”) and ending with the election of President Vladimir Putin—Media Cultures of the Russian 1990s shows how post-Soviet civil society emerged simultaneously with the explosion of new media, especially a newly liberated television and internet. A brief and contested period of media independence ensued as explosive creativity collided with rank commercialism, journalistic integrity with burgeoning political ambitions, and fringe with mainstream. By the late 1990s, however, the media landscape had succumbed to economic and political exploitation. The causes and nature of this shift, which set the stage for Putin’s crackdown on independent media after 2000—as well as Russia’s slide into aggressive authoritarianism—are embedded in the era’s media artifacts.

Written by an interdisciplinary group of experts, this edited collection addresses the mutual influence among disparate spheres of public life that enabled the media “Wild West” of the first post-Soviet decade. As a joint platform, the volume and the associated Multimedia Sourcebook of the Russian 1990s present the decade’s media cultures in a manner that reflects their historical interconnectedness and relationship to the global present.

Edited by Maya Vinokour with contributions from Bradley Gorski, Courtney Doucette, Fabrizio Fenghi, Rita Safariants, Daniil Leiderman, Thomas Keenan, and Pavel Khazanov.

Examines the theoretical and practical outlook of forensic physicians in Imperial Russia, from the 18th to the early 20th centuries, arguing that the interaction between state and these professionals shaped processes of reform in contemporary Russia. It demonstrates the ways in which the professional evolution of forensic psychiatry in Russia took a different turn from Western models, and how the process of professionalization in late imperial Russia became associated with liberal legal reform and led to the transformation of the autocratic state system.

This new monograph is devoted to a detailed exploration of the ways in which the medieval past has been wielded to propagandic effect in Imperial, Soviet, and post-Soviet Russia.

From politicians’ speeches to popular culture, from Orthodox Christianity to neo-paganism, the medieval Russian past remains crucial in constructing national identity, mobilizing society during times of crisis, and providing alternative models of communal belonging. Frequent appeals to a medieval Slavic past, its heroes and myths, have provided—and continue to provide—a particularly powerful tool for animating imperialist and populist sentiments.

This study explores persuasive—and pervasive—recourse to tropes concerned with the Middle Ages in Imperial, Soviet, and post-Soviet Russia, seeking to explain why an often romanticized medieval past remains potent in Russian politics, society, and culture today.

This account of historical politics in Ukraine, framed in a broader European context, shows how social, political, and cultural groups have used and misused the past from the final years of the Soviet Union to 2020. Georgiy Kasianov details practices relating to history and memory by a variety of actors, including state institutions, non-governmental organizations, political parties, historians, and local governments. He identifies the main political purposes of these practices in the construction of nation and identity, struggles for power, warfare, and international relations.

Kasianov considers the Ukrainian case in the context of a global increase in the politics of history and memory, with particular emphasis on a distinctive East-European variety. He pays special attention to the use and abuse of history in relations between Ukraine, Russia, and Poland.

Mennonites and their forebears are usually thought to be a people with little interest or involvement in politics. Mennonites, Politics, and Peoplehood reveals that since their early history, Mennonites have, in fact, been active participants in worldly politics. From western to eastern Europe and through different migrations to North America, James Urry’s meticulous research traces Mennonite links with kingdoms, empires, republics, and democratic nations in the context of peace, war, and revolution. He stresses a degree of Mennonite involvement in politics not previously discussed in literature, including Mennonite participation in constitutional reform and party politics, and shows the polarization of their political views from conservatism to liberalism and even revolutionary activities. Using a wide variety of sources, Mennonite, Politics, and Peoplehood combines an inter-disciplinary approach to reveal that Mennonites, far from being the “Quiet in the Land,” have deep roots in politics.

Modern Russia has been shaped by Peter the Great's sudden attempt to transform it into a European country. Since shapeshifting and identity are so closely linked in Russian history, it is hardly surprising that metamorphosis is a prevalent - albeit hitherto neglected - theme in Russian literature. Metamorphoses in Russian Modernism provides the first detailed account of metamorphosis as a Russian theme, structuring principle, and source of artistic identity. Barta examines how the magical transformations depicted in the ancient classics and in the oral epic heritage resonate in Russian literature and film at the fin de siècle and the early decades of the twentieth century - a period of dynamic change in Russian culture. Two hundred years after Peter's forceful westernization and facing its second crucial transformation in 1917, Russia witnessed the decay of classic realism and positivism and the rise of irrational philosophies, psychoanalysis, artistic experimentation, Marxism, as well as the birth of the new genre of film. This in-depth volume examines metamorphosis in the works of prominent representatives of the divided Russian intelligentsia: the Symbolists; the most famous émigré writer, Nabokov; Olesha, the 'fellow traveller' attempting to find his place in the Soviet state; the enthusiastic poet of the Bolshevik movement, Maiakovskii; and finally, Russia's greatest film director, Sergei Eisenstein. The volume directs attention to the fact that Russia itself is a metamorph. The shapeshifter always retains features of previous identities and is sometimes capable of returning into previous forms; whether today's Russia will want to, or be able to do so, remains to be seen. It is futile to attempt to try to understand this civilisation - let alone predict its future - without considering the intellectual, social and emotional reasons why it is not at rest with itself. It is to this end that this volume hopes to make a contribution.

Did Tsarist Russia's political and industrial backwardness result from its rigid and archaic agrarian structure? Did the Russian revolution stem in large part from a parasitical elite's exploitation of an enormous peasant class? Was the Russian peasantry itself backward and 'dark' as a result? The attention contemporaries and historians have lavished on these questions has enshrined them as fundamental issues in Russian history. This text endeavours to recast our understanding of the agrarian problem by uncovering the history of both the physical and mental dimensions of agriculture. Employing literary, agronomic and statistical information on peasant labour and culture, this book also offers new perspectives on the limitations of traditional agriculture to adapt to a rapidly changing economic geography, such as that of late nineteenth and early twentieth century Russia. By taking a ground level view of the evolution of Russian agricultural technique, the author arrives at a very different understanding of the agrarian problem. The book identifies both the achievements and limitations of peasant farmers in adapting farming practices to the economic and technological challenges of the half century preceding the revolution. Most importantly, the book delves deeply into peasant life and culture to demonstrate how and why farming imrovements did not pass determinable levels.

One of the most powerful poets of his generation consolidates his reputation as an exceptionally forthright and astringent critic in this book that analyzes the relationship between English-language literature, especially poetry, and nineteenth and twentieth-century politics. Tom Paulin's criticism stays on track, always responsive to a work's characteristic genius and sensitive to its social setting.

Each of these essays—on poets ranging from Robert Southey and Christina Rossetti to Philip Larkin, from John Clare to Elizabeth Bishop and Ted Hughes, with a few excursions into the poetry of Eastern Europe for contrast—is informed by a love for poetry and a lively attention to detail. At every turn, Paulin demonstrates the intricate connection between the private imagination and society at large, simultaneously illuminating the kinship between the literature of the past and of the present. He also relates the poetry to themes of nationhood and to ideas about orality, speech rhythms, and vernacular background. Minotaur exemplifies the sort of general, accessible criticism of the arts that will interest a wide range of readers.

Masked and costume balls thrived in Russia in the late nineteenth and early twentieth centuries during a period of rich literary and theatrical experimentation. The first study of its kind, The Modernist Masquerade examines the cultural history of masquerades in Russia and their representations in influential literary works.

From the late nineteenth century to the eve of World War II, America's experts on Russia watched as Russia and the Soviet Union embarked on a course of rapid industrialization. Captivated by the idea of modernization, diplomats, journalists, and scholars across the political spectrum rationalized the enormous human cost of this path to progress. In a fascinating examination of this crucial era, David Engerman underscores the key role economic development played in America's understanding of Russia and explores its profound effects on U.S. policy.

American intellectuals from George Kennan to Samuel Harper to Calvin Hoover understood Russian events in terms of national character. Many of them used stereotypes of Russian passivity, backwardness, and fatalism to explain the need for--and the costs of--Soviet economic development. These costs included devastating famines that left millions starving while the government still exported grain.

This book is a stellar example of the new international history that seamlessly blends cultural and intellectual currents with policymaking and foreign relations. It offers valuable insights into the role of cultural differences and the shaping of economic policy for developing nations even today.

During the Cold War, dancers and musicians from the United States and the USSR were drawn into the battle for hearts and minds, crossing the Iron Curtain to prove their artistic and ideological prowess. After the passage of the Lacy-Zarubin Agreement, direct cultural exchange between the two superpowers opened up, and the Moiseyev Dance Company arrived in the United States in 1958. The first Soviet cultural representatives to tour America, this folk-dance troupe’s repertoire included dances from territories controlled or influenced by the USSR, including Uzbekistan, Crimea, and Poland.

Drawing on contemporary personal and published accounts, Victoria Hallinan explores why the dancers garnered overwhelming acclaim during their multicity tour and Ed Sullivan Show appearance. The “boy-meets-girl” love stories of the dances, and their idealized view of multiple Soviet cultures living together in harmony, presented a comforting image of post–World War II gender norms and race relations for audiences. Americans saw the dancers—their supposed enemies—as humans rather than agents of communist contagion.

Monuments Askew: An Elliptical History of the Factory of the Eccentric Actor presents a cultural history of the Factory of the Eccentric Actor (FEKS), an avant-garde collective of Ukrainian artists whose unique approach to monumental history generated a new kind of cinema for a modernizing Soviet era. Often lost in the shuffle of this period, FEKS’s vibrant and experimental cinematic output initiated a youthful and cheeky overhaul of Soviet revolutionary culture. Monuments Askew reveals the foundational role of this understudied group of artists—including Grigori Kozintsev and Leonid Trauberg—and uses their own theoretical contributions to undo the “foundations” of our understanding of Soviet media and arts. As a counter to a solely cinema-focused conceptualization of this era, Corrigan develops a transnational media theory of eccentricity. Defining eccentric circles as warped, irregular orbits that force a realignment of centers, Monuments Askew shows how FEKS’s body of work inspires an eccentric realignment of the pillars of Soviet visual culture, and indeed of monumentality itself.
 

Joseph Stalin had been dead for three years when his successor, Nikita Khrushchev, stunned a closed gathering of Communist officials with a litany of his predecessor’s abuses. Meant to clear the way for reform from above, Khrushchev’s “Secret Speech” of February 25, 1956, shattered the myth of Stalin’s infallibility. In a bid to rejuvenate the Party, Khrushchev had his report read out loud to members across the Soviet Union that spring. However, its message sparked popular demands for more information and greater freedom to debate.

Moscow 1956: The Silenced Spring brings this first brief season of thaw into fresh focus. Drawing on newly declassified Russian archives, Kathleen Smith offers a month-by-month reconstruction of events as the official process of de-Stalinization unfolded and political and cultural experimentation flourished. Smith looks at writers, students, scientists, former gulag prisoners, and free-thinkers who took Khrushchev’s promise of liberalization seriously, testing the limits of a more open Soviet system.

But when anti-Stalin sentiment morphed into calls for democratic reform and eventually erupted in dissent within the Soviet bloc—notably in the Hungarian uprising—the Party balked and attacked critics. Yet Khrushchev had irreversibly opened his compatriots’ eyes to the flaws of monopolistic rule. Citizens took the Secret Speech as inspiration and permission to opine on how to restore justice and build a better society, and the new crackdown only reinforced their discontent. The events of 1956 set in motion a cycle of reform and retrenchment that would recur until the Soviet Union’s collapse in 1991.

Once the hub of the tsarist state, later Brezhnev's "model Communist city"--home of the Kremlin, Red Square, and St. Basil's Cathedral--Moscow is for many the quintessence of everything Russian. Timothy Colton's sweeping biography of this city at the center of Soviet life reveals what such a position has meant to Moscow and ultimately to Russia itself.

Linchpin of the Soviet system and exemplar of its ideology, Moscow was nonetheless instrumental in the Soviet Union's demise. It was in this metropolis of nine million people that Boris Yeltsin, during two frustrating years as the city's party boss, began his move away from Communist orthodoxy. Colton charts the general course of events that led to this move, tracing the political and social developments that have given the city its modern character. He shows how the monolith of Soviet power broke down in the process of metropolitan governance, where the constraints of censorship and party oversight could not keep up with proliferating points of view, haphazard integration, and recurrent deviation from approved rules and goals. Everything that goes into making a city--from town planning, housing, and retail services to environmental and architectural concerns--figures in Colton's account of what makes Moscow unique. He shows us how these aspects of the city's organization, and the actions of leaders and elite groups within them, coordinated or conflicted with the overall power structure and policy imperatives of the Soviet Union. Against this background, Colton explores the growth of the anti-Communist revolution in Moscow politics, as well as fledgling attempts to establish democratic institutions and a market economy.

As it answers persistent questions about Soviet political history, this lavishly illustrated volume may also point the way to understanding Russia's future.

In the early sixteenth century, the monk Filofei proclaimed Moscow the “Third Rome.” By the 1930s, intellectuals and artists all over the world thought of Moscow as a mecca of secular enlightenment. In Moscow, the Fourth Rome, Katerina Clark shows how Soviet officials and intellectuals, in seeking to capture the imagination of leftist and anti-fascist intellectuals throughout the world, sought to establish their capital as the cosmopolitan center of a post-Christian confederation and to rebuild it to become a beacon for the rest of the world.

Clark provides an interpretative cultural history of the city during the crucial 1930s, the decade of the Great Purge. She draws on the work of intellectuals such as Sergei Eisenstein, Sergei Tretiakov, Mikhail Koltsov, and Ilya Ehrenburg to shed light on the singular Zeitgeist of that most Stalinist of periods. In her account, the decade emerges as an important moment in the prehistory of key concepts in literary and cultural studies today—transnationalism, cosmopolitanism, and world literature. By bringing to light neglected antecedents, she provides a new polemical and political context for understanding canonical works of writers such as Brecht, Benjamin, Lukacs, and Bakhtin.

Moscow, the Fourth Rome breaches the intellectual iron curtain that has circumscribed cultural histories of Stalinist Russia, by broadening the framework to include considerable interaction with Western intellectuals and trends. Its integration of the understudied international dimension into the interpretation of Soviet culture remedies misunderstandings of the world-historical significance of Moscow under Stalin.

Much of the story about the Soviet Union’s victory over Nazi Germany has yet to be told. In Motherland in Danger, Karel Berkhoff addresses one of the most neglected questions facing historians of the Second World War: how did the Soviet leadership sell the campaign against the Germans to the people on the home front?

For Stalin, the obstacles were manifold. Repelling the German invasion would require a mobilization so large that it would test the limits of the Soviet state. Could the USSR marshal the manpower necessary to face the threat? How could the authorities overcome inadequate infrastructure and supplies? Might Stalin’s regime fail to survive a sustained conflict with the Germans?

Motherland in Danger takes us inside the Stalinist state to witness, from up close, its propaganda machine. Using sources in many languages, including memoirs and documents of the Soviet censor, Berkhoff explores how the Soviet media reflected—and distorted—every aspect of the war, from the successes and blunders on the front lines to the institution of forced labor on farm fields and factory floors. He also details the media’s handling of Nazi atrocities and the Holocaust, as well as its stinting treatment of the Allies, particularly the United States, the UK, and Poland. Berkhoff demonstrates not only that propaganda was critical to the Soviet war effort but also that it has colored perceptions of the war to the present day, both inside and outside of Russia.

With the disintegration of the Soviet Union, a number of new states were created that had little or no claim to any previous existence. Ukraine is one of the countries that faced not only political, social and economic transformation, but also state formation and the redefinition of national identity. This book uses Ukraine as a case study in trying to trace the key moments of decision making in the course of creating a new state while shedding the legacies of "Soviet-type" statehood.