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This book investigates rapid societal change in Russia during the early 1990s. The story of the anthropologist (author) and the people he studied reveals cultural similarities and differences between them. Russians and Latvians taught the author about the Soviet Union, its people, and its cultures. Formal axiology provides a novel way to access their changing values.
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Countless studies have assessed the dramatic reforms of Mikhail Gorbachev, but their analysis of the impact on European communism has focused overwhelmingly on the Soviet Union and Eastern bloc nations. This ambitious collection takes a much broader view, reconstructing and evaluating the historical trajectories of glasnost and perestroika on both sides of the Iron Curtain. Moving beyond domestic politics and foreign relations narrowly defined, the research gathered here constitutes a transnational survey of these reforms’ collective impact, showing how they were variably received and implemented, and how they shaped the prospects for “proletarian internationalism” in diverse political contexts.
As the Soviet Union dissolved, so did the visions of past and future that informed Soviet culture. With Dystopia left behind and Utopia forsaken, where do the writers, artists, and critics who once inhabited them stand? In an "advancing present," answers editor Thomas Lahusen. Just what that present might be--in literature and film, criticism and theory, philosophy and psychoanalysis, and in the politics that somehow speaks to all of these--is the subject of this collection of essays. Leading scholars from the former Soviet Union and the West gather here to consider the fate of the people and institutions that constituted Soviet culture. Whether the speculative glance goes back (to czarist Russia or Soviet Freudianism, to the history of aesthetics or the sociology of cinema in the 1930s) or forward (to the "market Stalinism" one writer predicts or the "open text of history" another advocates), a sense of immediacy, or history-in-the-making animates this volume. Will social and cultural institutions now develop organically, the authors ask, or is the society faced with the prospect of even more radical reforms? Does the present rupture mark the real moment of Russia's encounter with modernity? The options explored by literary historians, film scholars, novelists, and political scientists make this book a heady tour of cultural possibilities. An expanded version of a special issue of South Atlantic Quarterly (Spring 1991), with seven new essays, Late Soviet Culture will stimulate scholar and general reader alike. Contributors. Katerina Clark, Paul Debreczeny, Evgeny Dobrenko, Mikhail Epstein, Renata Galtseva, Helena Goscilo, Michael Holquist, Boris Kagarlitsky, Mikhail Kuraev, Thomas Lahusen, Valery Leibin, Sidney Monas, Valery Podoroga, Donald Raleigh, Irina Rodnyanskaya, Maya Turovskaya
Since Gorbachev came to power much has happened in the Soviet Union. This book provides a comprehensive and composite analysis of the reforms that have taken place in the Soviet Union since 1985.
NATIONAL BESTSELLER • From the Pulitzer Prize-winning and best-selling author: a captivating, brilliantly imaginative story of three extraordinary animals—and a young boy—whose lives intersect in Paris in this "feel-good escape” (The New York Times). Paras, short for "Perestroika," is a spirited racehorse at a racetrack west of Paris. One afternoon at dusk, she finds the door of her stall open and—she's a curious filly—wanders all the way to the City of Light. She's dazzled and often mystified by the sights, sounds, and smells around her, but she isn't afraid. Soon she meets an elegant dog, a German shorthaired pointer named Frida, who knows how to get by without attracting the attention of suspicious Parisians. Paras and Frida coexist for a time in the city's lush green spaces, nourished by Frida's strategic trips to the vegetable market. They keep company with two irrepressible ducks and an opinionated raven. But then Paras meets a human boy, Etienne, and discovers a new, otherworldly part of Paris: the ivy-walled house where the boy and his nearly-one-hundred-year-old great-grandmother live in seclusion. As the cold weather nears, the unlikeliest of friendships bloom. But how long can a runaway horse stay undiscovered in Paris? How long can a boy keep her hidden and all to himself? Jane Smiley's beguiling new novel is itself an adventure that celebrates curiosity, ingenuity, and the desire of all creatures for true love and freedom.
Mikhail Gorbachev and Zdenek Mlynar were friends for half a century, since they first crossed paths as students in 1950. Although one was a Russian and the other a Czech, they were both ardent supporters of communism and socialism. One took part in laying the groundwork for and carrying out the Prague spring; the other opened a new political era in Soviet world politics. In 1993 they decided that their conversations might be of interest to others and so they began to tape-record them. This book is the product of that “thinking out loud” process. It is an absorbing record of two friends trying to explain to one another their views on the problems and events that determined their destinies. From reminiscences of their starry-eyed university days to reflections on the use of force to “save socialism” to contemplation of the end of the cold war, here is a far more candid picture of Gorbachev than we have ever seen before.
This book presents and analyzes artistic interactions both within the Soviet bloc and with the West between 1945 and 1989. During the Cold War the exchange of artistic ideas and products united Europe?s avant-garde in a most remarkable way. Despite the Iron Curtain and national and political borders there existed a constant flow of artists, artworks, artistic ideas and practices. The geographic borders of these exchanges have yet to be clearly defined. How were networks, centers, peripheries (local, national and international), scales, and distances constructed? How did (neo)avant-garde tendencies relate with officially sanctioned socialist realism? The literature on the art of Eastern Europe provides a great deal of factual knowledge about a vast cultural space, but mostly through the prism of stereotypes and national preoccupations. By discussing artworks, studying the writings on art, observing artistic evolution and artists? strategies, as well as the influence of political authorities, art dealers and art critics, the essays in Art beyond Borders compose a transnational history of arts in the Soviet satellite countries in the post war period. ÿ