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This volume brings together two classic works on the culture of the Russian people which have been long out of print. Gorer's Great Russian Culture and Mead's Soviet Attitudes towards Authority: An Interdisciplinary Approach to Problems of Soviet Character were among the first attempts by anthropologists to analyze Russian society. They were influential both for several generations of anthropologists and in shaping American governmental attitudes toward the Soviet Union during the Cold War period. Additionally they offer fascinating insights into the early anthropological use of psychological data to analyze cultural patterns. Read as part of the history of the anthropology of complex contemporary societies, they are as fascinating for their more questionable conclusions as for their accurate characterizations of Russian life.
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A veteran writer on Russia and the Soviet Union explains why Russia refuses to draw from the lessons of its past and what this portends for the future Russia today is haunted by deeds that have not been examined and words that have been left unsaid. A serious attempt to understand the meaning of the Communist experience has not been undertaken, and millions of victims of Soviet Communism are all but forgotten. In this book David Satter, a former Moscow correspondent and longtime writer on Russia and the Soviet Union, presents a striking new interpretation of Russia's great historical tragedy, locating its source in Russia's failure fully to appreciate the value of the individual in comparison with the objectives of the state. Satter explores the moral and spiritual crisis of Russian society. He shows how it is possible for a government to deny the inherent value of its citizens and for the population to agree, and why so many Russians actually mourn the passing of the Soviet regime that denied them fundamental rights. Through a wide-ranging consideration of attitudes toward the living and the dead, the past and the present, the state and the individual, Satter arrives at a distinctive and important new way of understanding the Russian experience.
This volume brings together two classic works on the culture of the Russian people which have been long out of print. Gorer's Great Russian Culture and Mead's Soviet Attitudes towards Authority: An Interdisciplinary Approach to Problems of Soviet Character were among the first attempts by anthropologists to analyze Russian society. They were influential both for several generations of anthropologists and in shaping American governmental attitudes toward the Soviet Union during the Cold War period. Additionally they offer fascinating insights into the early anthropological use of psychological data to analyze cultural patterns. Read as part of the history of the anthropology of complex contemporary societies, they are as fascinating for their more questionable conclusions as for their accurate characterizations of Russian life.
From the late 1950s to the early 1980s, the Soviet people's acceptance of official state ideology was gradually replaced by an emphasis on the family and the individual. Perhaps one of the most important social, economic, and political processes to occur in modern Soviet society, privatization has caused people to withdraw their time, energy, and emotion from state controlled activities, investing them instead in family and friendship. Utilizing novels, films, and his own surveys done in the Soviet Union, the author, an emigre sociologist, analyzes the evolution of attitudes toward family and friendship and the emergence and development of civil society as a sphere of interaction not directed by the state. Finally, Shlapentokh examines Gorbachev's reforms as an attempt by the political elite to restore the authority of the state and the prestige of official public activity as well as to exploit some elements of privatization in the interests of the state. A gripping and revealing account of an aspect of Soviet society usually hidden from Westerners, this book will attract a broad audience.
During the 1930's, 23 million peasants left their villages and moved to Soviet cities, where they comprised almost half the urban population and more than half the nation's industrial workers. Drawing on previously inaccessible archival materials, David L. Hoffmann shows how this massive migration to the cities—an influx unprecedented in world history—had major consequences for the nature of the Soviet system and the character of Russian society even today.Hoffmann focuses on events in Moscow between the launching of the industrialization drive in 1929 and the outbreak of war in 1941. He reconstructs the attempts of Party leaders to reshape the social identity and behavior of the millions of newly urbanized workers, who appeared to offer a broad base of support for the socialist regime. The former peasants, however, had brought with them their own forms of cultural expression, social organization, work habits, and attitudes toward authority. Hoffmann demonstrates that Moscow's new inhabitants established social identities and understandings of the world very different from those prescribed by Soviet authorities. Their refusal to conform to the authorities' model of a loyal proletariat thwarted Party efforts to construct a social and political order consistent with Bolshevik ideology. The conservative and coercive policies that Party leaders adopted in response, he argues, contributed to the Soviet Union's emergence as an authoritarian welfare state.
Mention twentieth-century Russian music, and the names of three &"giants&"&—Igor Stravinsky, Sergei Prokofiev, and Dmitrii Shostakovich&—immediately come to mind. Yet during the turbulent decade following the Bolshevik Revolution, Stravinsky and Prokofiev lived abroad and Shostakovich was just finishing his conservatory training. While the fame of these great musicians is widely recognized, little is known about the creative challenges and political struggles that engrossed musicians in Soviet Russia during the crucial years after 1917. Music for the Revolution examines musicians&’ responses to Soviet power and reveals the conditions under which a distinctively Soviet musical culture emerged in the early thirties. Given the dramatic repression of intellectual freedom and creativity in Stalinist Russia, the twenties often seem to be merely a prelude to Totalitarianism in artistic life. Yet this was the decade in which the creative intelligentsia defined its relationship with the Soviet regime and the aesthetic foundations for socialist realism were laid down. In their efforts to deal with the political challenges of the Revolution, musicians grappled with an array of issues affecting musical education, professional identity, and the administration of musical life, as well as the embrace of certain creative platforms and the rejection of others. Nelson shows how debates about these issues unfolded in the context of broader concerns about artistic modernism and elitism, as well as the more expansive goals and censorial authority of Soviet authorities. Music for the Revolution shows how the musical community helped shape the musical culture of Stalinism and extends the interpretive frameworks of Soviet culture presented in recent scholarship to an area of artistic creativity often overlooked by historians. It should be broadly important to those interested in Soviet history, the cultural roots of Stalinism, Russian and Soviet music, and the place of music and the arts in revolutionary change.