A biography of the German princess who became the absolute ruler of the Russian empire and won for herself the reputation of a great enlightened monarch.

    He did extensive research into the stereotypes of the Russian people--from that work he produced this book which reveals the nature of the Russian People.

    A barbarous, volatile feudal tsar with a taste for torture; a progressive and enlightened reformer of government and science; a statesman of vision and colossal significance: Peter the Great embodied the greatest strengths and weaknesses of Russia while being at the very forefront of her development.Robert K. Massie delves deep into the life of this captivating historical figure, chronicling the pivotal events that shaped a boy into a legend - including his 'incognito' travels in Europe, his unquenchable curiosity about Western ways, his obsession with the sea and establishment of the stupendous Russian navy, his creation of an unbeatable army, and his relationships with those he loved most: Catherine, his loving mistress, wife, and successor; and Menshikov, the charming, unscrupulous prince who rose to power through Peter's friendship. Impetuous and stubborn, generous and cruel, a man of enormous energy and complexity, Peter the Great is brought fully to life.

    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.

    In this acclaimed biography, Douglas Smith separates fact from fiction to reveal the real Rasputin in all his comlexity – man of God, voice of peace, loyal subject, adulterer, drunkard. The result is not only a definitive biography of an extraordinary man, it is also a riveting portrait of the twilight of imperial Russia as it lurched toward catastrophe.

    It is at this time that he began his engagement with the work of Dostoevsky. Problems of Dostoyevsky’s Art is considered to be Bakhtin’s seminal work, and it is here that Bakhtin introduces three important concepts.First, is the concept of the unfinalizable self: individual people cannot be finalized, completely understood, known, or labeled. Though it is possible to understand people and to treat them as if they are completely known, Bakhtin’s conception of unfinalizability respects the possibility that a person can change, and that a person is never fully revealed or fully known in the world. Readers may find that this conception reflects the idea of the soul; Bakhtin had strong roots in Christianity and in the Neo-Kantian school led by Hermann Cohen, both of which emphasized the importance of an individual's potentially infinite capability, worth, and the hidden soul.Second, is the idea of the relationship between the self and others, or other groups. According to Bakhtin, every person is influenced by others in an inescapably intertwined way, and consequently no voice can be said to be isolated. In an interview, Bakhtin once explained that, In order to understand, it is immensely important for the person who understands to be located outside the object of his or her creative understanding—in time, in space, in culture. For one cannot even really see one's own exterior and comprehend it as a whole, and no mirrors or photographs can help; our real exterior can be seen and understood only by other people, because they are located outside us in space, and because they are others. ~New York Review of Books, June 10, 1993.As such, Bakhtin's philosophy greatly respected the influences of others on the self, not merely in terms of how a person comes to be, but also in how a person thinks and how a person sees him- or herself truthfully.Third, Bakhtin found in Dostoevsky's work a true representation of polyphony, that is, many voices. Each character in Dostoevsky's work represents a voice that speaks for an individual self, distinct from others. This idea of polyphony is related to the concepts of unfinalizability and self-and-others, since it is the unfinalizability of individuals that creates true polyphony.Bakhtin briefly outlined the polyphonic concept of truth. He criticized the assumption that, if two people disagree, at least one of them must be in error. He challenged philosophers for whom plurality of minds is accidental and superfluous. For Bakhtin, truth is not a statement, a sentence or a phrase. Instead, truth is a number of mutually addressed, albeit contradictory and logically inconsistent, statements. Truth needs a multitude of carrying voices. It cannot be held within a single mind, it also cannot be expressed by "a single mouth." The polyphonic truth requires many simultaneous voices. Bakhtin does not mean to say that many voices carry partial truths that complement each other. A number of different voices do not make the truth if simply "averaged" or "synthesized." It is the fact of mutual addressivity, of engagement, and of commitment to the context of a real-life event, that distinguishes truth from untruth.When, in subsequent years, Problems of Dostoyevsky’s Art was translated into English and published in the West, Bakhtin added a chapter on the concept of carnival and the book was published with the slightly different title, Problems of Dostoyevsky’s Poetics. According to Bakhtin, carnival is the context in which distinct individual voices are heard, flourish and interact together. The carnival creates the "threshold" situations where regular conventions are broken or reversed and genuine dialogue becomes possible. The notion of a carnival was Bakhtin's way of describing Dostoevsky's polyphonic style: each individual character is strongly defined, and at the same time the reader witnesses the critical influence of each character upon the other. That is to say, the voices of others are heard by each individual, and each inescapably shapes the character of the other.http://en.wikipedia.org/wiki/Mikhail_...

    Nobody knows the truth. Nine wholesome University students mountaineering in the Urals go missing, and are later uncovered from the snows of a bleak forest’s edge in the Siberian Taiga, in a series of grisly discoveries. Why were the climbers wearing no boots? Why were stout branches of the forest pines singed to a height of thirty feet? What were the mysterious markings in the bark of nearby trees? What was so-called “overwhelming force” that was capable of breaking eight ribs in a single blow without bruises? Why the KGB infiltrated all the search parties and attended the funerals? Why the clothes were tested for radiation? The authoritative book - by international author and investigative journalist: Svetlana Oss (Osadchuk) who has been the leading commentator of this profound mystery since Moscow Times first sponsored her 2007-2008 investigation. The savage events of 1st February 1959, which took nine lives and left a trail of smashed and semi-naked bodies across the slopes of Mount Ortoten, have confounded every credible explanation. Wild and convincing theories abound. All of them are flawed by the facts. Was it sex? Was it hypothermia? Was it robbers? In the first reportage to be published in the English language, The Moscow Times' meticulous coverage presented the existing versions that have proliferated over fifty years, carefully sifting each idea, from mad guesses by superstitious nuts, to reasoned findings of the official investigation. Now Svetlana Oss formulates the true answer. 'Don't go there' explains for the first time how this odyssey by nine seasoned climbers, nine experienced members of the Ekaterinburg University Climbing Society came to end in disaster. New information, new analysis, new brains - the answer will astound you. "I am sure that nothing else that I have written has ever made such a noise in the world, and no wonder. This mystery has an invariable and puzzling quirk: at least one circumstance is inevitably contradicted by some other. Not a single explanation out of the many is able to conquer the riddle – there is always at least one fact that completely ruins whatever theory one prefers. This excites people. It excites me."

    The DNA analysis and identification of the bones were the conclusive proof the world was waiting for, and the case was considered closed. Until now.Shay McNeal's controversial, groundbreaking new account challenges this accepted view. She presents convincing new scientific analysis questioning the authenticity of the "Romanov" bones and uncovers an extraordinary tale of espionage and double dealing that has been kept secret for more than eighty years.Based on extensive study of American, Allied and Bolshevik documents, including recently declassified intelligence files, McNeal reveals the existence of a shadowy group of operatives working at the highest levels of the Allied, Bolshevik and German governments to free the Imperial family and guide them to safety.Most controversially, McNeal believes that one of the plots to rescue the Tsar and his family may, possibly, have succeeded -- and she has compelling evidence to support it.Told with the pace of a thriller, this highly readable and vigorously researched book forces a dramatic reappraisal of one of the most enduring mysteries of the twentieth century.

    This deeper content - the metahistorical element - indicates what an appropriate historical explanation might be.In pursuing his thesis, White provides a book that will be of interest to philosophers as well as historians. He explicates the styles of such historians as Michelet, Ranke, Tocueville, and Borchardt and of such philosophers of history as Hegel, Marx, Nietzsche, and Croce.

    16-page, full-color insert, 2 photos, maps & family trees.

    Petersburg, a failed uprising ignited a process that would, one red October, finally sweep the autocracy away. The Shadow of the Winter Palace recounts an extraordinary century of Russian history, a politically tempestuous time that was also a Golden Age of intellectual and artistic achievement -- the century of Dostoyevsky and Tolstoy, of Rimsky-Korsakov and Tchaikovsky. A master stylist and a distinguished historian, Edward Crankshaw limns dazzling portraits of the czars, the revolutionaries, and a host of other unforgettable characters -- and provides a riveting, sweeping history "jam-packed with information about the past and implications for the present"(Atlantic Monthly).

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    A distinguished team of historians has stripped away the propaganda of the past to tell the definitive story of Russia, from tenth-century Kiev and Muscovy through empire and revolution to the fall of Communism and the new order of the early 21st century. What emergesis a nation of extremes--of imperial opulence and abject poverty, tyrannical power and subversive resistance, artistic achievement and economic crisis, glittering cities and frozen steppes. A compelling story in its own right, it is essential reading for anyone with an interest in Russia and itsplace in the world. This new edition has been thoroughly updated to take into account developments under Vladimir Putin.

    When the old world is unexpectedly brought down in a total war, the band seizes control of the country, and the new regime it founds as the vanguard of a new world order is ruthlessly dominated from within by the former seminarian until he stands as the absolute ruler of a vast and terrible state apparatus, with dominion over Eurasia. But the largest country in the world is also a poor and backward one, far behind the great capitalist countries in industrial and military power, encircled on all sides. Shortly after seizing total power, Stalin conceives of the largest program of social reengineering ever attempted: the root-and-branch uprooting and collectivization of agriculture and industry across the entire Soviet Union. To stand up to the capitalists he will force into being an industrialized, militarized, collectivized great power is an act of will. Millions will die, and many more will suffer, but Stalin will push through to the end against all resistance and doubts. Where did such power come from? We think we know the story well. Remarkably, Stephen Kotkin’s epic new biography shows us how much we still have to learn. The product of a decade of scrupulous and intrepid research, Stalin contains a host of astonishing revelations. Kotkin gives an intimate first-ever view of the Bolshevik regime’s inner geography, bringing to the fore materials from Soviet military intelligence and the secret police. He details Stalin’s invention of a fabricated trial and mass executions as early as 1918, the technique he would later impose across the whole country. The book places Stalin’s momentous decision for collectivization more deeply than ever in the tragic history of imperial Russia. Above all, Kotkin offers a convincing portrait and explanation of Stalin’s monstrous power and of Russian power in the world. Stalin restores a sense of surprise to the way we think about the former Soviet Union, revolution, dictatorship, the twentieth century, and indeed the art of history itself.

    The entire family, including their personal physician, retainers, and even their pets, became tragic victims of the Bolshevik revolution. They were arrested, exiled, and ultimately secretly murdered in a small cellar of a house in the Urals, in the summer of 1918. In this book, you will follow the events which led up to their eventual tragic fate through personal words of each family member, as well as their close friends and associates. Their letters, diaries, and postcards - many of which have been translated into English here for the first time - tell a unique story, and have yet a lot to reveal. Translated from Russian by Helen Azar, along with Eva and Dan McDonald, who translated most of the 1918 letters from French, this book offers an extraordinary glimpse into the very private world, and the final years, of the last Russian imperial family - which they chronicle in their own words.