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Gives children an introduction to Russia, which is part of two continents. This title contains photographs featuring Russia's many diverse people, its unique plants and animals, and its dramatic landscape, including beautiful Lake Baikal. It features the traditions and symbols of Russia from classical ballet to the Moscow Circus.
How to handle Russia? This question has become ever more prominent as the Euro-Atlantic community’s relations with Russia languish in systemic crisis, with dialogue suspended, reciprocal sanctions in place and proxy wars raging. The wars in Ukraine and Syria, accusations of Russian interference in domestic politics and the attempted murder of the Skripals on UK soil have all contributed to soaring tension in the relationship. Yet faced with this array of serious challenges, Euro-Atlantic thinking about Russia remains stuck in twentieth-century rhetoric, trapped by misleading abstract labels and unsure whether to engage Moscow in dialogue or enhance deterrence and collective defence. Instead of thinking in these terms, leading Russia expert Andrew Monaghan argues that we must devise a new grand strategy for dealing with the Russians. Examining the ongoing Euro-Atlantic debate over Russia and framing Moscow’s own position towards the West, he sets out the foundations of a forward-looking strategy; one that can accommodate the many complex challenges presented by this new era of competition between Russia, Europe and the United States.
Epic in scope, precise in detail, and heart-breaking in its human drama, Former People is the first book to recount the history of the aristocracy caught up in the maelstrom of the Bolshevik Revolution and the creation of Stalin's Russia. Filled with chilling tales of looted palaces and burning estates, of desperate flights in the night from marauding peasants and Red Army soldiers, of imprisonment, exile, and execution, it is the story of how a centuries'-old elite, famous for its glittering wealth, its service to the Tsar and Empire, and its promotion of the arts and culture, was dispossessed and destroyed along with the rest of old Russia. Yet Former People is also a story of survival and accommodation, of how many of the tsarist ruling class—so-called "former people" and "class enemies"—overcame the psychological wounds inflicted by the loss of their world and decades of repression as they struggled to find a place for themselves and their families in the new, hostile order of the Soviet Union. Chronicling the fate of two great aristocratic families—the Sheremetevs and the Golitsyns—it reveals how even in the darkest depths of the terror, daily life went on. Told with sensitivity and nuance by acclaimed historian Douglas Smith, Former People is the dramatic portrait of two of Russia's most powerful aristocratic families, and a sweeping account of their homeland in violent transition.
Modern Russian identity and historical experience has been largely shaped by Russia's imperial past: an empire that was founded in the early modern era and endures in large part today. The Russian Empire 1450-1801 surveys how the areas that made up the empire were conquered and how they were governed. It considers the Russian empire a 'Eurasian empire', characterized by a 'politics of difference': the rulers and their elites at the center defined the state's needs minimally - with control over defense, criminal law, taxation, and mobilization of resources - and otherwise tolerated local religions, languages, cultures, elites, and institutions. The center related to communities and religions vertically, according each a modicum of rights and autonomies, but didn't allow horizontal connections across nobilities, townsmen, or other groups potentially with common interests to coalesce. Thus, the Russian empire was multi-ethnic and multi-religious; Nancy Kollmann gives detailed attention to the major ethnic and religious groups, and surveys the government's strategies of governance - centralized bureaucracy, military reform, and a changed judicial system. The volume pays particular attention to the dissemination of a supranational ideology of political legitimacy in a variety of media - written sources and primarily public ritual, painting, and particularly architecture. Beginning with foundational features, such as geography, climate, demography, and geopolitical situation, The Russian Empire 1450-1801 explores the empire's primarily agrarian economy, serfdom, towns and trade, as well as the many religious groups - primarily Orthodoxy, Islam, and Buddhism. It tracks the emergence of an 'Imperial nobility' and a national self-consciousness that was, by the end of the eighteenth century, distinctly imperial, embracing the diversity of the empire's many peoples and cultures.
The “altogether astonishing” true story of a black American finding fame and fortune in Moscow and Constantinople at the turn of the 20th century (Booklist, starred review). The Black Russian tells the true story of Frederick Bruce Thomas, a man born in 1872 to former slaves who became prosperous farmers in Mississippi. But when his father was murdered, Frederick left the South to work as a waiter in Chicago and Brooklyn. Seeking greater freedom, he traveled to London, then crisscrossed Europe, and—in a highly unusual choice for a black American at the time—went to Russia. Because he found no color line there, Frederick settled in Moscow, becoming a rich and famous owner of variety theaters and restaurants. When the Bolshevik Revolution ruined him, he barely escaped to Constantinople, where he made another fortune by opening celebrated nightclubs as the “Sultan of Jazz.” Though Frederick reached extraordinary heights, the long arm of American racism, the xenophobia of the new Turkish Republic, and Frederick’s own extravagance brought his life to a sad close, landing him in debtor’s prison, where he died a forgotten man in 1928. “In his assiduously researched, prodigiously descriptive, fluently analytical” narrative (Booklist, starred review), Alexandrov delivers “a tale . . . so colourful and improbable that it reads more like a novel than a work of historical biography.” (The Literary Review). “[An] extraordinary story . . . [interpreted] with great sensitivity.” —The New York Review of Books
"This lively and often moving collection of essays is an important contribution to Western scholarship on Soviet society and culture during the Second World War. . . . [a] straightforward but lively description of cultural life, unhampered by excessive interpretation or cultural theory. For all those who love Russia's cultural heritage, these essays cast a welcome spotlight on some of the people and pockets of life from that tragic but compelling time." —Canadian Slavonic Papers "Enjoyable to read and accessible to the nonspecialist, Culture and Entertainment is not only an indispensable addition to any Soviet studies library but will prove valuable to anyone interested in or teaching courses on World War II, propaganda and popular culture, homefront politics, or the interacation between cultural creation and governmental power." —Journal of Modern History "This comprehensive recollection of articles goes beyond cultural history, and provides an original approach to the study of war. War, we learn, is fought on many fronts, and the cultural one should not be underestimated." —SAIS Review " . . . takes the reader to the heart of the patriotic struggle, to the cultural and spiritual imperatives that roused Russian resistance." —Canadian Military History "This collection . . . furthers knowledge of Soviet high and popular culture, and also demonstrates the extremely important role that cultural productions played in helping to maintain Soviet spirits in the midst of the Nazi onslaught." —Choice "This anthology of scholarly articles provides surprising insights into Soviet cultural propaganda during the Great Patriotic War." —War, Literature and the Arts ". . . the essays here provide much food for thought and constitute a valuable addition to a relatively neglected area of study." —The Slavonic Review World War II (The Great Patriotic War) had a pronounced cultural and emotional impact on the Russian people. The subjects of these essays range from the Moscow press to frontline correspondents, from entertainment brigades to amateur songs by fighting men and women, from symphonic compositions to revivals of literary classics, and from Moscow stages to folk ensembles on the battlefield—the cultural outpourings in the hearts and souls of ordinary Russians at war.
Provides a bold new interpretation of the origins and development of World War II's remembrance in the USSR.
WINNER OF THE ORWELL PRIZE WINNER OF THE CORNELIUS RYAN AWARD FINALIST FOR THE LIONEL GELBER PRIZE FINANCIAL TIMES BOOK OF THE YEAR “Fast-paced and excellently written…much needed, dispassionate and eminently readable.” —New York Times “Filled with sparkling prose and deep analysis.” –The Wall Street Journal The breakup of the Soviet Union was a time of optimism around the world, but Russia today is actively involved in subversive information warfare, manipulating the media to destabilize its enemies. How did a country that embraced freedom and market reform 25 years ago end up as an autocratic police state bent once again on confrontation with America? A winner of the Orwell Prize, The Invention of Russia reaches back to the darkest days of the cold war to tell the story of Russia's stealthy and largely unchronicled counter revolution. A highly regarded Moscow correspondent for the Economist, Arkady Ostrovsky comes to this story both as a participant and a foreign correspondent. His knowledge of many of the key players allows him to explain the phenomenon of Valdimir Putin - his rise and astonishing longevity, his use of hybrid warfare and the alarming crescendo of his military interventions. One of Putin's first acts was to reverse Gorbachev's decision to end media censorship and Ostrovsky argues that the Russian media has done more to shape the fate of the country than its politicians. Putin pioneered a new form of demagogic populism --oblivious to facts and aggressively nationalistic - that has now been embraced by Donald Trump.
Six tales of witches, and wizardry, perilous journeys, wise animals, frightful giants and beautiful princesses, among them the legendary Fire-Bird, and more. Newly reset in large, easy-to-read type, with six new illustrations.
Russian novels, poetry and ballet put the country squarely in the European family of cultures and yet there is something different about this country, especially in terms of its political culture. What makes Russia different? Maxim Trudolyubov uses private property as a lens to highlight the most important features that distinguish Russia as a political culture. In many Western societies, private property has acted as the private individual’s bulwark against the state; in Russia, by contrast, it has mostly been used by the authorities as a governance tool. Nineteenth-century Russian liberals did not consider property rights to be one of the civil causes worthy of defending. Property was associated with serfdom, and even after the emancipation of the serfs the institution of property was still seen as an attribute of retrograde aristocracy and oppressive government. It was something to be destroyed – and indeed it was, in 1917. Ironically, it was the Soviet Union that, with the arrival of mass housing in the 1960s, gave the concept of private ownership a good name. After forced collectivization and mass urbanization, people were yearning for a space of their own. The collapse of the Soviet ideology allowed property to be called property, but not all properties were equal. You could own a flat but not an oil company, which could be property on paper but not in reality. This is why most Russian entrepreneurs register their businesses in offshore jurisdictions and park their money abroad. This fresh and highly original perspective on Russian history will be of great interest to anyone who wants to understand Russia today.