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Stalin's Quest for Gold tells the story of Torgsin, a chain of retail shops established in 1930 with the aim of raising the hard currency needed to finance the USSR's ambitious industrialization program. At a time of desperate scarcity, Torgsin had access to the country's best foodstuffs and goods. Initially, only foreigners were allowed to shop in Torgsin, but the acute demand for hard-currency revenues forced Stalin to open Torgsin to Soviet citizens who could exchange tsarist gold coins and objects made of precious metals and gemstones, as well as foreign monies, for foods and goods in its shops. Through her analysis of the large-scale, state-run entrepreneurship represented by Torgsin, Elena Osokina highlights the complexity and contradictions of Stalinism. Driven by the state's hunger for gold and the people's starvation, Torgsin rejected Marxist postulates of the socialist political economy: the notorious class approach and the state hard-currency monopoly. In its pursuit for gold, Torgsin advertised in the capitalist West, encouraging foreigners to purchase goods for their relatives in the USSR; and its seaport shops and restaurants operated semilegally as brothels, inducing foreign sailors to spend hard currency for Soviet industrialization. Examining Torgsin from multiple perspectives—economic expediency, state and police surveillance, consumerism, even interior design and personnel—Stalin's Quest for Gold radically transforms the stereotypical view of the Soviet economy and enriches our understanding of everyday life in Stalin's Russia.
This wide-ranging cultural history explores the expression of Bolshevik Party ideology through the lens of landscape, or, more broadly, space. Portrayed in visual images and words, the landscape played a vital role in expressing and promoting ideology in the former Soviet Union during the Stalin years, especially in the 1930s. At the time, the iconoclasm of the immediate postrevolutionary years had given way to nation building and a conscious attempt to create a new Soviet �culture.� In painting, architecture, literature, cinema, and song, images of landscape were enlisted to help mold the masses into joyful, hardworking citizens of a state with a radiant, utopian future -- all under the fatherly guidance of Joseph Stalin. From backgrounds in history, art history, literary studies, and philosophy, the contributors show how Soviet space was sanctified, coded, and �sold� as an ideological product. They explore the ways in which producers of various art forms used space to express what Katerina Clark calls �a cartography of power� -- an organization of the entire country into �a hierarchy of spheres of relative sacredness,� with Moscow at the center. The theme of center versus periphery figures prominently in many of the essays, and the periphery is shown often to be paradoxically central. Examining representations of space in objects as diverse as postage stamps, a hikers� magazine, advertisements, and the Soviet musical, the authors show how cultural producers attempted to naturalize ideological space, to make it an unquestioned part of the worldview. Whether focusing on the new or the centuries-old, whether exploring a built cityscape, a film documentary, or the painting Stalin and Voroshilov in the Kremlin, the authors offer a consistently fascinating journey through the landscape of the Soviet ideological imagination. Not all features of Soviet space were entirely novel, and several of the essayists assert continuities with the prerevolutionary past. One example is the importance of the mother image in mass songs of the Stalin period; another is the "boundless longing" inspired in the Russian character by the burden of living amid vast empty spaces. But whether focusing on the new or the centuries-old, whether exploring a built cityscape, a film documentary, or the painting Stalin and Voroshilov in the Kremlin, the authors offer a consistently fascinating journey through the landscape of the Soviet ideological imagination.
Placing Stalinism in its international context, The Stalinist Era explains the origins and consequences of Soviet state intervention and violence.
This book presents, above all, a study of the establishment and development of the Soviet organization and system of fashion industry and design as it gradually evolved in the years after the Second World War in the Soviet Union, which was, in the understanding of its leaders, reaching the mature or last stage of socialism when the country was firmly set on the straight trajectory to its final goal, Communism. What was typical of this complex and extensive system of fashion was that it was always loyally subservient to the principles of the planned socialist economy. This did not by any means indicate that everything the designers and other fashion professionals did was dictated entirely from above by the central planning agencies. Neither did it mean that their professional judgment would have been only secondary to ideological and political standards set by the Communist Party and the government of the Soviet Union. On the contrary, as our study shows, the Soviet fashion professionals had a lot of autonomy. They were eager and willing to exercise their own judgment in matters of taste and to set the agenda of beauty and style for Soviet citizens. The present book is the first comprehensive and systematic history of the development of fashion and fashion institutions in the Soviet Union after the Second World War. Our study makes use of rich empirical and historical material that has been made available for the first time for scientific analysis and discussion. The main sources for our study came from the state, party and departmental archives of the former Soviet Union. We also make extensive use of oral history and the writings published in Soviet popular and professional press.
How the last years of Stalin’s rule led to the formation ofan imperial Soviet consciousness In this nuanced historical analysis of late Stalinism organized chronologically around the main events of the period—beginning with Victory in May 1945 and concluding with the death of Stalin in March 1953—Evgeny Dobrenko analyzes key cultural texts to trace the emergence of an imperial Soviet consciousness that, he argues, still defines the political and cultural profile of modern Russia.
Pre-publication subtitle: Soviet-German military cooperation in the interwar period.