The gulag memoirs of a brave woman, a distinguished dissident and poet--Ratushinskaya gives her account of the four years she spent in a "strict regime" labor camp at Barashevo, where she endured several types of abuse.

    An Autobiography Robert Robinson

    A trip across Siberia on the longest continuous railway track in the world is undoubtedly the journey of a lifetime. It's also a convenient way to reach China, Mongolia, or Japan. Tickets are not expensive or difficult to arrange. Readers can now travel almost anywhere they want in Siberia: we tell them how to organize a trip, where to get tickets, and where to go.>Kilometer-by-kilometer route guide -- covering the entire routes of the Trans-Siberian, Trans-Manchurian, and Trans-Mongolian railways with thirty-eight strip maps in English, Russian, and Chinese: readers can see where they are as they travel>Siberia and the railway -- the detailed history of Siberia, the construction of the railway and the running of the Trans-Siberian today are of great interest not only to visitors but also to armchair travelers>City guides with maps -- the best sights, places to stay, and restaurants for all budgets: Moscow, St Petersburg, Ulan Bator, Beijing, and twenty-three towns in Siberia>Nutshell information on Minsk, Berlin, Baltic Republics, Helsinki, Hong Kong, and Tokyo>Rail fares and timetables>Seventh edition includes seventy maps>Plus Russian and Chinese phrases

    Wilson narrates the complex drama of the writer's life: his childhood of aristocratic privilege but emotional deprivation, his discovery of his literary genius after aimless years of gambling and womanizing, and his increasingly disastrous marriage. Wilson sweeps away the long-held belief that Tolstoy's works were the exact mirror of his life, and instead traces the roots of Tolstoy's art to his relationship with God, with women, and with Russia. He also breaks new ground in recreating the world that shaped the great novelist's life and art--the turmoil of ideas and politics in nineteenth-century Russia and the incredible literary renaissance that made Tolstoy's work possible. 24 pages of illustrations.

    Solzhenitsyn tells this story in the form of a meticulously researched historical novel, supplemented by newspaper headlines of the day, fragments of street action, cinematic screenplay, and historical overview. The first two nodes—August 1914 and November 1916—focus on Russia’s crises and recovery, on revolutionary terrorism and its suppression, on the missed opportunity of Pyotr Stolypin’s reforms, and how the surge of patriotism in August 1914 soured as Russia bled in World War I.March 1917—the third node—tells the story of the Russian Revolution itself, during which not only does the Imperial government melt in the face of the mob, but the leaders of the opposition prove utterly incapable of controlling the course of events. The action of book 1 (of four) of March 1917 is set during March 8–12. The absorbing narrative tells the stories of more than fifty characters during the days when the Russian Empire begins to crumble. Bread riots in the capital, Petrograd, go unchecked at first, and the police are beaten and killed by mobs. Efforts to put down the violence using the army trigger a mutiny in the numerous reserve regiments housed in the city, who kill their officers and rampage. The anti-Tsarist bourgeois opposition, horrified by the violence, scrambles to declare that it is provisionally taking power, while socialists immediately create a Soviet alternative to undermine it. Meanwhile, Emperor Nikolai II is away at military headquarters and his wife Aleksandra is isolated outside Petrograd, caring for their sick children. Suddenly, the viability of the Russian state itself is called into question.The Red Wheel has been compared to Tolstoy’s War and Peace, for each work aims to narrate the story of an era in a way that elevates its universal significance. In much the same way as Homer’s Iliad became the representative account of the Greek world and therefore the basis for Greek civilization, these historical epics perform a parallel role for our modern world.

    Even her name was banned in the USSR, and she was expelled from the Union of Writers in 1974. Though unable to publish at home and cut off from contacts with readers and editors, Chukovskaya continued to write. To the Memory of Childhood, her loving chronicle of growing up beside the Gulf of Finland with her father, the writer Kornei Chukovsky, reveals the sources of her strength and her belief in the power of the written word.Her father is a household name in Russia because of his tales in verse for children. But his literary accomplishments ranged far beyond bedtime stories. As a critic he wrote controversial articles and lively profiles of cultural figures; as a translator he introduced Whitman, Twain, Kipling, and Wilde to Russian readers. When his children's literature was attacked in the 1920s and 1930s, he turned to editing, scholarship, and articles on translation. A man of boundless energy, he played a vital role in his country's cultural life until his death in 1969. "I am not writing Kornei Ivanovich's biography," Chukovskaya says, "but he was the author of my childhood."

    In this study, historian Richard Stites offers a vivid portrayal of revolutionary life and the cultural factors--myth, ritual, cult, and symbol--that sustained it, and describes the principal forms of utopian thinking and experimental impulse. Analyzing the inevitable clash between the authoritarian elements in the Bolshevik's vision and the libertarian behavior and aspirations of large segments of the population, Stites interprets the pathos of utopian fantasy as the key to the emotional force of the Bolshevik revolution which gave way in the early 1930s to bureaucratic state centralism and a theology of Stalinism.

    Interpreting totalitarian art and literature in the context of cultural history, this brilliant essay likens totalitarian aims to the modernists' demands that art should move from depicting to transforming the world. The revolutionaries of October 1917 promised to create a society that was not only more just and more economically stable but also more beautiful, and they intended that the entire life of the nation be completely subordinate to Communist party leaders commissioned to regulate, harmonize, and create a single "artistic" whole out of even the most minute details. What were the origins of this idea? And what were its artistic and literary ramifications? In addressing these issues, Groys questions the view that socialist realism was an "art for the masses." Groys argues instead that the "total art" proposed by Stalin and his followers was formulated by well-educated elites who had assimilated the experience of the avant-garde and been brought to socialist realism by the future-oriented logic of avant-garde thinking. After explaining the internal evolution of Stalinist art, Groys shows how socialist realism gradually disintegrated after Stalin's death. In an undecided and insecure Soviet culture, artists focused on restoring historical continuity or practicing "sots art," a term derived from the combined names of socialist realism (sotsrealizm) and pop art. Increasingly popular in the West, sots-artists incorporate the Stalin myth into world mythology and demonstrate its similarity to supposedly opposing myths.

    Here readers will be able to view the dramatic story of the circumstances behind the signing, and twenty-two months later, the breaking of this notorious pact.

    This provides the most substantial selection of his stories ever available in English. Garshin gives voice to the unease of an era that knew the horrors of modern war, and the squalors of rapid industrialization.This selection, the most substantial in English for three-quarters of a century, contains the best of Garshin’s fiction – sixteen stories, almost all the published work completed in a tragically short life. The epic title story on the Russo-Turkish War of 1877-78; The Red Flower, Carshin’s haunting masterpiece set in a lunatic asylum; the compact war story Four Days which pioneers stream-of-consciousness technique; masterly and moving stories such as Artists and Orderly and Officer; the semiotic tour de force The Signal; the reworked legend Haggai the Proud, here translated into English for the first time; a handful of fables, including the allegory on the revolutionary movement Attalea princeps – the thematic and stylistic variety is impressive.

    Fully updated in line with the latest developments in new media such as CD ROMs and the internet, the guide also shows how to use traditional media, such as print, to the best advantage.

    

    Today, the Jewish population of the former Soviet Union has dwindled to half a million, but remains probably the world's third largest Jewish community. In the intervening century the Jews of that area have been at the center of some of the most dramatic events of modern history -- two world wars, revolutions, pogroms, political liberation, repression, and the collapse of the USSR. They have gone through tumultuous upward and downward economic and social mobility and experienced great enthusiasms and profound disappointments. In startling photographs from the archives of the YIVO Institute for Jewish Research and with a lively and lucid narrative, A Century of Ambivalence traces the historical experience of Jews in Russia from a period of creativity and repression in the second half of the 19th century through the paradoxes posed by the post-Soviet era. This redesigned edition, which includes more than 200 photographs and two substantial new chapters on the fate of Jews and Judaism in the former Soviet Union, is ideal for general readers and classroom use.

    Exploring the beliefs, ideology, and political culture of monarchs, dictators, revolutionaries and reformers, this work illuminates the course of Russian history as it sheds light on the Soviet's future.

    Importantly, this was also the period of Eisenstein’s great silent masterpieces, The Strike, The Battleship Potemkin, October and The General Line, and of his controversial sojourns in Hollywood and Mexico.

    

    Book annotation not available for this title.Title: Creative SufferingAuthor: De Beausobre, IuliaPublisher: Liturgical PrPublication Date: 1988/11/01Number of Pages: Binding Type: PAPERBACKLibrary of Congress:

    

    An influential journalist and literary critic, a theoretician of the aesthetic relations of art to reality, and a prominent political activist, Chernyshevsky is the author of What Is to Be Done? (1863), the novel that has had the greatest impact on human lives in the history of Russian literature. This book approaches culture from a semiotic perspective, seeing it as a language that organizes human behaviour. But the author takes a direction quite different from that of semiotic work: rather than solely emphasize how the code shapes individuals, she also explores how individuals can influence the cultural code. Through an examination of Chernyshevsky's life and works, the author traces the transformation of personal experience into literary structure, then, in reverse, the work's ensuing influence in structuring the experience and behaviour of others. Exploring Chernyshevsky's role in the crucial cultural developments of the 1860s, the author discusses such issues as the disintegration of the Romantic tradition and the rise of realism, the emergence of the non-noble intelligentsia, the rise of positivism and atheism, and the women's liberation movement. She shows how Chernyshevsky achieved a unique integration of diverse traditions that stood as a compelling model for others in this time.<

    Within a few decades, a ragtag assembly of semi-educated authors, publishers, and distributors supplanted an oral tradition of songs and folktales with a language of popular imagination suitable for millions of new readers of common origins eager for entertainment and information. When Russia Learned to Read tells the story of this profound transformation of culture, custom, and belief.With a new introduction that underscores its relevance to a post-Soviet Russia, When Russia Learned to Read addresses the question of Russia's common heritage with the liberal democratic market societies of Western Europe and the United States. This prize-winning book also exposes the unsuspected complexities of a mass culture little known and less understood in the West. Jeffrey Brooks brings out the characteristically Russian aspect of the nation's popular writing as he ranges through chapbooks, detective stories, newspaper serials, and women's fiction, tracing the emergence of secular, rational, and cosmopolitan values along with newly minted notions of individual initiative and talent. He shows how crude popular tales and serials of the era find their echoes in the literary themes of Dostoevsky, Tolstoy, and other great Russian writers, as well as in the current renaissance of Russian detective stories and thrillers.

    The first of two volumes, this is the most comprehensive account of the Revolution of 1905—a decisive turning point in modern Russian history—to appear in any Western language in a generation.

    

    Within less than a hundred years those palaces, and the grandiose apartments which sprang up alongside them in the burst of building activity that gripped Russia at the end of the eighteenth century, were filled with magnificent furniture, as befitted their sumptuous decor. Russia had enjoyed a cultural renaissance, in which the skills of decorative artists were nurtured as never before, and out of this ferment emerged an autonomous Russian style, distinguished by its exhilarating freedom of expression and ornamentation, its exceptional diversity of forms and materials, and the dazzling virtuosity of its craftsmanship." "This period and the flamboyant style it engendered have only recently excited interest in the west; literature on the subject is not only scarce but also largely in Russian. Russian Furniture - the culmination of many years' research in the Soviet Union and the west - is therefore valuable as the first comprehensive study in English of the development and evolution of Russian furniture styles during the late eighteenth and early nineteenth centuries." Some 335 photographs in colour and black and white illustrate the text, many of them specially commissioned in the Soviet Union and never before seen in the West. They demonstrate the skill of the gifted Russian craftsmen, while contemporary watercolours provide an insight into the rare warmth and charm of the interiors. Together text and photographs combine to present a lavish portrait of this important era in the history of Russian decorative art.

    The Stakhanovite movement commemorated the mining of 108 tons of coal by Alexi Stakhanov in 1935 and it was an important symbol by which the state urged workers to achieve greater productivity. As Siegelbaum shows, Stakhanovism can be used to explore the social relations within Soviet industry at a critical stage in its development. In this sense, Stakhanovism was an important symbol of a shift in official priorities from construction of the means of production via increasing inputs of labor to intensive use of capital and labor.