More rarely, that book goes on to become a phenomenon of its own. The 2004 publication of the "Russian Criminal Tattoo Encyclopaedia" was such a phenomenon, spawning two further volumes and alerting a fascinated readership worldwide to the extraordinary and hermetic world of Russian criminal tattoos (David Cronenberg, for example, made regular use of the "Encyclopaedia" during the making of his 2007 movie "Eastern Promises"). Now, Fuel has reprinted volume one of this bestselling series, whose first edition already fetches considerable sums online. The photographs, drawings and texts published in this book are part of a collection of more than 3,000 tattoos accumulated over a lifetime by a prison attendant named Danzig Baldaev. Tattoos were his gateway into a secret world in which he acted as ethnographer, recording the rituals of a closed society. The icons and tribal languages he documented are artful, distasteful, sexually explicit and sometimes just strange, reflecting as they do the lives and traditions of Russian convicts. Skulls, swastikas, harems of naked women, a smiling Al Capone, medieval knights in armor, daggers sheathed in blood, benign images of Christ, sweet-faced mothers and their babies, armies of tanks and a horned Lenin: these are the signs by which the people of this hidden world mark and identify themselves. With a foreword by Danzig Baldaev, and an introduction by Alexei Plutser-Sarno, exploring the symbolism of the Russian criminal tattoo.

    A historical investigation with references to a wealth of sources, this book also features remarkable quotes from travelers passing through. A list of these includes artistic giants (such as writers Dostoyevsky, Tolstoy, Ostrovsky, Doblin, and Brodsky), political and cultural icons (like the German general Ludendorff and Emperors Napoleon as well as Alexander), and compelling European personas going back to the 14th century, who, though forgotten, are representative of their generation. The subtitle refers to the fact that until quite recently, ethnic Lithuanians rarely made up a majority among the inhabitants of Vilnius. Published by Baltos Iankos, Vilnius, distributed by CEU Press.

    Yet despite the attention lavished on this epic battle by historians, much about it has been greatly misunderstood or hidden from view--as David Glantz, the world's foremost authority on the Red Army in World War II, now shows.This first volume in Glantz's masterly trilogy draws on previously unseen or neglected sources to provide the definitive account of the opening phase of this iconic Eastern Front campaign. Glantz has combed daily official records from both sides--including the Red Army General Staff, the People's Commissariat of Internal Affairs, the German Sixth Army, and the Soviet 62nd Army--to produce a work of unparalleled detail and fresh interpretations. Jonathan House, an authority on twentieth-century warfare, adds further insight and context.Hitler's original objective was not Stalingrad but the Caucasus oilfields to the south of the city. So he divided his Army Group South into two parts--one to secure the city on his flank, one to capture the oilfields. Glantz reveals for the first time how Stalin, in response, demanded that the Red Army stand and fight rather than withdraw, leading to the numerous little-known combat engagements that seriously eroded the Wehrmacht's strength before it even reached Stalingrad. He shows that, although advancing German forces essentially destroyed the armies of the Soviet Southwestern and Southern Fronts, the Soviets resisted the German advance much more vigorously than has been thought through constant counterattacks, ultimately halting the German offensive at the gates of Stalingrad.This fresh, eye-opening account and the subsequent companion volumes--on the actual battle for the city itself and the successful Soviet counteroffensive that followed--will dramatically revise and expand our understanding of what remains a military campaign for the ages.

    A broad group of intellectuals and artists in Soviet Russia were able to take advantage of this, and in no realm of the arts was thisperhaps more true than in music. Students at Soviet conservatories were at last able to use various channels--many of questionable legality--to acquire and hear music that had previously been forbidden, and visiting performers and composers brought young Soviets new sounds and new compositions. Inthe 1960s, composers such as Andrey Volkonsky, Edison Denisov, Alfred Schnittke, Arvo P�rt, Sofia Gubaidulina, and Valentin Silvestrov experimented with a wide variety of then new and unfamiliar techniques ranging from serialism to aleatory devices, and audiences eager to escape the music ofpredictable sameness typical to socialist realism were attracted to performances of their new and unfamiliar creations.This unofficial music by young Soviet composers inhabited the gray space between legal and illegal. Such Freedom, If Only Musical traces the changing compositional styles and politically charged reception of this music, and brings to life the paradoxical freedoms and sense of resistance oropposition that it suggested to Soviet listeners. Author Peter J. Schmelz draws upon interviews conducted with many of the most important composers and performers of the musical Thaw, and supplements this first-hand testimony with careful archival research and detailed musical analyses. The firstbook to explore this period in detail, Such Freedom, If Only Musical will appeal to musicologists and theorists interested in post-war arts movements, the Cold War, and Soviet music, as well as historians of Russian culture and society.

    Through a careful and comprehensive investigation of policymaking in both Moscow and Beijing, Radchenko creates a new framework for understanding the role of power struggle, ideology, personalities, and culture in Sino-Soviet relations.Part of the Cold War International History Project Series from Woodrow Wilson Center Press

    These cultural warriors sought to recast themselves and other Jews not only as a modern nation but as a nation of moderns.Kenneth Moss offers the first comprehensive look at this fascinating moment in Jewish and Russian history. He examines what these numerous would-be cultural revolutionaries, such as El Lissitzky and Haim Nahman Bialik, meant by a new Jewish culture, and details their fierce disagreements but also their shared assumptions about what culture was and why it was so important. In close readings of Hebrew, Yiddish, and Russian texts, he traces how they sought to realize their ideals in practice as writers, artists, and thinkers in the burgeoning cultural centers of Moscow, Kiev, and Odessa. And he reveals what happened to them and their ideals as the Bolsheviks consolidated their hold over cultural life.Here is a brilliant, revisionist argument about the nature of cultural nationalism, the relationship between nationalism and socialism as ideological systems, and culture itself, the axis around which the encounter between Jews and European modernity has pivoted over the past century.