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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.
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.
A study of Ivan the Terrible's depiction in Russian folklore, and the controversies surrounding it.
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.
This book looks at the past and present condition of Russian nationalism. Its chapters examine the influence of tsarist and Soviet official policies upon national identity, and seek to explain the broader political, social and cultural factors which helped or hindered the ambitions of rulers. The changeability of Russian national consciousness is exmphasised. Several chapters also highlight the various long-standing inhibitions to the emergence of a consolidated civic nationalism in a Russian Federation which gained its independence at the break-up of the USSR.
This is the first major re-assessment of Ivan the Terrible to be published in the West in the post-Soviet period. It breaks away from older stereotypes of the tsar – whether as ‘crazed tyrant’ and ‘evil genius’, on the one hand, or as a ‘great and wise statesman’, on the other – to provide a more balanced picture. It examines the ways in which Ivan’s policies contributed to the creation of Russia’s distinctive system of unlimited monarchical rule. Ivan is best remembered for his reign of terror, the book pays due attention to the horrors of his executions, tortures and repressions, especially in the period of the oprichnina (1565-72), when he mysteriously divided his realm into two parts, one of which was under the direct control of the tsar and his oprichniki (bodyguard). This work argues that the often gruesome forms assumed by the terror reflected not only Ivan’s personal cruelty and sadism, but also his religious views about the divinely ordained right of the tsar to punish his treasonous subjects, just as sinners were punished in Hell. Primarily chronological in its organisation, the book focuses on three main aspects of Ivan’s power: the territorial expansion of the state, the mythology, rituals and symbols of monarchy; and the development of the autocratic system of rule.
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.
Of all the great movements of population to and from the United States, the least heralded is the migration, in the depths of the Depression of the nineteen-thirties, of thousands of men, women and children to Stalin's Russia. Where capitalism had failed them, Communism promised dignity for the working man, racial equality, and honest labour. What in fact awaited them, however, was the most monstrous betrayal. In a remarkable piece of historical investigation that spans seven decades of political change, Tim Tzouliadis follows these thousands from Pittsburgh and Detroit and Los Angeles, as their numbers dwindle on their epic and terrible journey. Through official records, memoirs, newspaper reports and interviews he searches the most closely guarded archive in modern history to reconstruct their story - one of honesty, vitality and idealism brought up against the brutal machinery of repression. His account exposes the self-serving American diplomats who refused their countrymen sanctuary, it analyses international relations and economic causes but also finds space to retrieve individual acts of kindness and self-sacrifice.
Czar Ivan IV (1530-1584), the first Russian ruler to take the title czar, is known as one of the worst tyrants in history, but few people among the general public know how he got such an infamous reputation. Relying on extensive research based heavily on original Russian sources, this definitive biography depicts an incredibly complex man living in a time of simple, harsh realities. Robert Payne, the distinguished author of many historical and biographical works, and Russian scholar Nikita Romanoff, describe in vivid and lively detail Ivan's callous upbringing; the poisoning of his second wife and the murder of his son; his obsession with religion and sin; his predilection for mass murder, evidenced by his massacre of 30,000 citizens of Novgorod; yet his remarkable intelligence as a ruler, supporting the growth of trade and expanding Russia's borders.