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Study commenting on the relationship between the legal system and political system as refleted in legislation in the USSR - discusses the ideology of Soviet law; examines issues relating to democracy, freedom of thought, freedom of expression, the right to work, religious freedom, cultural rights, etc.; considers the impact of social stratification on the legal status of citizens and on judicial procedures; includes judicial decisions. References.
Thank you, our Stalin, for a happy childhood." "Thank you, dear Marshal [Stalin], for our freedom, for our children's happiness, for life." Between the Russian Revolution and the Cold War, Soviet public culture was so dominated by the power of the state that slogans like these appeared routinely in newspapers, on posters, and in government proclamations. In this penetrating historical study, Jeffrey Brooks draws on years of research into the most influential and widely circulated Russian newspapers--including Pravda, Isvestiia, and the army paper Red Star--to explain the origins, the nature, and the effects of this unrelenting idealization of the state, the Communist Party, and the leader. Brooks shows how, beginning with Lenin, the Communists established a state monopoly of the media that absorbed literature, art, and science into a stylized and ritualistic public culture--a form of political performance that became its own reality and excluded other forms of public reflection. He presents and explains scores of self-congratulatory newspaper articles, including tales of Stalin's supposed achievements and virtue, accounts of the country's allegedly dynamic economy, and warnings about the decadence and cruelty of the capitalist West. Brooks pays particular attention to the role of the press in the reconstruction of the Soviet cultural system to meet the Nazi threat during World War II and in the transformation of national identity from its early revolutionary internationalism to the ideology of the Cold War. He concludes that the country's one-sided public discourse and the pervasive idea that citizens owed the leader gratitude for the "gifts" of goods and services led ultimately to the inability of late Soviet Communism to diagnose its own ills, prepare alternative policies, and adjust to new realities. The first historical work to explore the close relationship between language and the implementation of the Stalinist-Leninist program, Thank You, Comrade Stalin! is a compelling account of Soviet public culture as reflected through the country's press.
Everyday Law in Russia challenges the prevailing common wisdom that Russians cannot rely on their law and that Russian courts are hopelessly politicized and corrupt. While acknowledging the persistence of verdicts dictated by the Kremlin in politically charged cases, Kathryn Hendley explores how ordinary Russian citizens experience law. Relying on her own extensive observational research in Russia’s new justice-of-the-peace courts as well as her analysis of a series of focus groups, she documents Russians’ complicated attitudes regarding law. The same Russian citizen who might shy away from taking a dispute with a state agency or powerful individual to court might be willing to sue her insurance company if it refuses to compensate her for damages following an auto accident. Hendley finds that Russian judges pay close attention to the law in mundane disputes, which account for the vast majority of the cases brought to the Russian courts. Any reluctance on the part of ordinary Russian citizens to use the courts is driven primarily by their fear of the time and cost—measured in both financial and emotional terms—of the judicial process. Like their American counterparts, Russians grow more willing to pursue disputes as the social distance between them and their opponents increases; Russians are loath to sue friends and neighbors, but are less reluctant when it comes to strangers or acquaintances. Hendley concludes that the "rule of law" rubric is ill suited to Russia and other authoritarian polities where law matters most—but not all—of the time.
How both the Soviet Union and the United States manipulated and weakened the drafting of the United Nations Genocide Convention treaty in the midst of the Cold War.
Vlasov and the Russian Liberation Movement deals with the attempt by Soviet citizens to create a Russian anti-Stalinist liberation movement during the Second World War. These Soviet citizens were mainly prisoners-of-war, forced labourers or part of the population of the occupied territories of the USSR. The Liberation Movement was encouraged by German officers who disagreed with Nazi policy towards the USSR, as their experience showed that treating the population as 'subhumans' (Untermensch) merely increased resistance to Nazi occupation. Throughout the development of the Liberation Movement there existed a divergence of aims between the Russian members who wished to form an army and a political movement which would effect change within the USSR, and its German supporters who merely wished to alter the type of propaganda directed towards the population of the USSR. Catherine Andreyev provides an account of the evolution of the Russian Liberation Movement and examines the motivation of the titular leader of the movement, Lieutenant-General Andrey Andreyevich Vlasov. The main focus of the book is the ideology of the Liberation Movement, the importance of which lies in the fact that it represented the first grass-roots opposition movement within the Soviet Union since the end of the Civil War in 1922. The programme of the Movement reflects issues which would have been raised by citizens in the 1930s had they been free to do so. Catherine Andreyev examines influences on the programme, and the ideas expressed are placed within the context of the pre-war Soviet and Russian émigré society.
In conversations with the poet-biographer Felix Chuev, Molotov offers an incomparable view of the politics of Soviet society and the nature of Kremlin leadership under communism. Filled with startling insights and indelible portraits, the book is an historical source of the first order. A mesmerizing and chilling chronicle. —Kirkus Reviews
Between 1925 and 1936, Josef Stalin wrote frequently to his trusted friend and political colleague Viacheslav Molotov. The more than 85 letters collected in this volume constitute a unique historical record of Stalin's thinking--both personal and political--and throw valuable light on the way he controlled the government, plotted the overthrow of his enemies, and imagined the future. Illustrations.
The Nuremberg Trials (IMT), most notable for their aim to bring perpetrators of Nazi war crimes to justice in the wake of World War II, paved the way for global conversations about genocide, justice, and human rights that continue to this day. As Francine Hirsch reveals in this new history of the trials, a central part of the story has been ignored or forgotten: the critical role the Soviet Union played in making them happen in the first place. While there were practical reasons for this omission--until recently, critical Soviet documents about Nuremberg were buried in the former Soviet archives, and even Russian researchers had limited access--Hirsch shows that there were political reasons as well. The Soviet Union was regarded by its wartime Allies not just as a fellow victor but a rival, and it was not in the interests of the Western powers to highlight the Soviet contribution to postwar justice. Stalin's Show Trials of the 1930s had both provided a model for Nuremberg and made a mockery of it, undermining any pretense of fairness and justice. Further complicating matters was the fact that the Soviets had allied with the Nazis before being invaded by them. The Molotov-Ribbentrop Pact of 1939 hung over the courtroom, as did the fact that the everyone knew that the Soviet prosecution had presented the court with falsified evidence about the Katyn massacre of Polish officers, attempting to pin one of their own major war crimes on the Nazis. For lead American prosecutor Robert Jackson and his colleagues, focusing too much on the Soviet role in the trials threatened the overall credibility of the IMT and possibly even the collective memory of the war. Soviet Justice at Nuremberg illuminates the ironies of Stalin's henchmen presiding in moral judgment over the Nazis. In effect, the Nazis had learned mass-suppression and mass-murder techniques from the Soviets, their former allies, and now the latter were judging them for crimes they had themselves committed. Yet the Soviets had borne the brunt of the fighting--and the losses--in World War II, and this gave them undeniable authority. Moreover, Soviet jurists were the first to conceive of a legal framework for viewing war as a crime, and without that framework the IMT would have had no basis. In short, there would be no denying their place at the tribunal, nor their determination to make the most of it. Illuminating the shifting relationships between the four countries involved (the U.S., Great Britain, France, and the U.S.S.R.) Hirsch's book shows how each was not just facing off against the Nazi defendants, but against each other and offers a new history of Nuremberg.
What madness meant was a fiercely contested question in Soviet society. State of Madness examines the politically fraught collision between psychiatric and literary discourses in the years after Joseph Stalin's death. State psychiatrists deployed set narratives of mental illness to pathologize dissenting politics and art. Dissidents such as Aleksandr Vol'pin, Vladimir Bukovskii, and Semen Gluzman responded by highlighting a pernicious overlap between those narratives and their life stories. The state, they suggested in their own psychiatrically themed texts, had crafted an idealized view of reality that itself resembled a pathological work of art. In their unsanctioned poetry and prose, the writers Joseph Brodsky, Andrei Siniavskii, and Venedikt Erofeev similarly engaged with psychiatric discourse to probe where creativity ended and insanity began. Together, these dissenters cast themselves as psychiatrists to a sick society. By challenging psychiatry's right to declare them or what they wrote insane, dissenters exposed as a self-serving fiction the state's renewed claims to rationality and modernity in the post-Stalin years. They were, as they observed, like the child who breaks the spell of collective delusion in Hans Christian Andersen's story "The Emperor's New Clothes." In a society where normality means insisting that the naked monarch is clothed, it is the truth-teller who is pathologized. Situating literature's encounter with psychiatry at the center of a wider struggle over authority and power, this bold interdisciplinary study will appeal to literary specialists; historians of culture, science, and medicine; and scholars and students of the Soviet Union and its legacy for Russia today.