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Ivan IV, the sixteenth-century Russian tsar notorious for his reign of terror, became an unlikely national hero in the Soviet Union during the 1940s. This book traces the development of Ivan's positive image, placing it in the context of Stalin's campaign for patriotism. In addition to historians' images of Ivan, the author examines literary and artistic representations, including Sergei Eisenstein's famous film, banned for its depiction of the tsar which was interpreted as an allegorical criticism of Stalin.
"Integrating military history into the broader themes of Russian history, and drawing comparisons to developments in Europe, Stone traces Russia's fascinating military history, and its long struggle to master Western military technology without Western social and political institutions. Starting with the military dimensions of the emergence of Muscovy and the disastrous reign of Ivan the Terrible, he traces Russia's emergence as a great power under Peter the Great, and her mixed record following her triumph in the Napoleonic wars. The Russian Revolution created a new Soviet Russia, but this book shows how the Soviet Union's harrowing experience in World War II owed much to Imperial Russian precedents."--BOOK JACKET.
Tsar Ivan the Terrible (Ivan IV, 1533-1584) is one of the most controversial rulers in Russian history, infamous for his cruelty. He was the first Russian ruler to use mass terror as a political instrument, and the only Russian ruler to do so before Stalin. Comparisons of Ivan to Stalin only exacerbated the politicization of his image. Russians have never agreed on his role in Russian history, but his reign is too important to ignore. Since the abolition of censorship in 1991 professional historians and amateurs have grappled with this problem. Some authors have manipulated that image to serve political and cultural agendas. This book explores Russia’s contradictory historical memory of Ivan in scholarly, pedagogical and political publications.
In this ambitious book, Kevin M. F. Platt focuses on a cruel paradox central to Russian history: that the price of progress has so often been the traumatic suffering of society at the hands of the state. The reigns of Ivan IV (the Terrible) and Peter the Great are the most vivid exemplars of this phenomenon in the pre-Soviet period. Both rulers have been alternately lionized for great achievements and despised for the extraordinary violence of their reigns. In many accounts, the balance of praise and condemnation remains unresolved; often the violence is simply repressed. Platt explores historical and cultural representations of the two rulers from the early nineteenth century to the present, as they shaped and served the changing dictates of Russian political life. Throughout, he shows how past representations exerted pressure on subsequent attempts to evaluate these liminal figures. In ever-changing and often counterposed treatments of the two, Russians have debated the relationship between greatness and terror in Russian political practice, while wrestling with the fact that the nation's collective selfhood has seemingly been forged only through shared, often self-inflicted trauma. Platt investigates the work of all the major historians, from Karamzin to the present, who wrote on Ivan and Peter. Yet he casts his net widely, and "historians" of the two tsars include poets, novelists, composers, and painters, giants of the opera stage, Party hacks, filmmakers, and Stalin himself. To this day the contradictory legacies of Ivan and Peter burden any attempt to come to terms with the nature of political power—past, present, future—in Russia.
Spanning the divide between Europe and Asia, Russia is a multi-ethnic empire with a huge territory, strategically placed and abundantly provided with natural resources. But Russia's territory has a harsh climate, is cut off from most maritime contact with the outside world, and has open and vulnerable land frontiers. It has therefore had to devote much of its wealth to the armed forces, and the sheer size of the empire has made it difficult to mobilise resources and to govern effectively, especially given the diversity of its people. In this Very Short Introduction, Geoffrey Hosking discusses all aspects of Russian history, from the struggle by the state to control society, the transformation of the empire into a multi-ethnic empire, Russia's relationship with the West/Europe, the Soviet experience, and the post-Soviet era. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
A manual on household management, the Domostroi is one of the few sources on the social history and secular life of Russia in the time of Ivan the Terrible. It depicts a society that prized religious orthodoxy, reliance on tradition, and absolute subordination of the individual to the family and the state. Specific instructions tell how to arrange hay, visit monasteries, distill vodka, treat servants, entertain clergy, cut out robes, and carry out many other daily activities. Carolyn Johnston Pouncy here offers, with an informative introduction, the first complete English translation.
An authoritative history of Russia from early Rus' to the reign of Peter the Great.
This Thing of Darkness, Joan Neuberger's engrossing production history of Sergei Eisenstein's Ivan the Terrible, is a major contribution to the study of Eisenstein and thus informs the history and theory of cinema and the study of Soviet culture and politics. Neuberger's ability to mine, interpret, and connect Eisenstein's voluminous, intriguingly digressive writings makes this book exceptional.— Karla Oeler, Stanford University Sergei Eisenstein's unfinished masterpiece, Ivan the Terrible, was no ordinary movie. Commissioned by Joseph Stalin in 1941 to justify state terror in the sixteenth century and in the twentieth, the film's politics, style, and epic scope aroused controversy even before it was released. In This Thing of Darkness, Joan Neuberger offers a sweeping account of the conception, making, and reception of Ivan the Terrible that weaves together Eisenstein's expansive thinking and experimental practice with a groundbreaking new view of artistic production under Stalin. Drawing on Eisenstein's unpublished production notebooks, diaries, and manuscripts, Neuberger's riveting narrative chronicles Eisenstein's personal, creative, and political challenges and reveals the ways cinematic invention, artistic theory, political critique, and historical and psychological analysis went hand in hand in this famously complex film. Neuberger's bold arguments and daring insights into every aspect of Eisenstein's work during this period, together with her ability to lucidly connect his wide-ranging late theory with his work on Ivan, show the director exploiting the institutions of Soviet artistic production not only to expose the cruelties of Stalin and his circle but to challenge the fundamental principles of Soviet ideology itself. Ivan the Terrible, she argues, shows us one of the world's greatest filmmakers and one of the 20th century's greatest artists observing the world around him and experimenting with every element of film art to explore the psychology of political ambition, uncover the history of recurring cycles of violence and lay bare the tragedy of absolute power.
A biography of the infamous czar.