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Ilya Repin (1844-1930) is a key figure of Russian nineteenth-century realism; this presents the life and work of the most celebrated Russian painted of his generation. A painter of immense technical and aesthetic talent, Ilya Repin's vibrant, colourful and highly topical canvases offer a fascinating panorama of all strata of life in late-Tsarist Russia and a microcosm of the issues that preoccupied Russian thought during this crucial period of historical change. Ilya Repin (1844-1930) is a key figure of Russian nineteenth-century realism; his career spanned a period of huge cultural, social and political change, bearing witness to the challenge to the Russian autocracy, the coming of the October Revolution and the dawn of the Soviet Union. From humble peasant beginnings Repin rose to a place of artistic pre-eminence and international acclaim and was the most important influence in shaping a distinctly Russian school of art. Through a series of successful but controversial works he addressed such issues as the hard lives of the peasants, the fate of revolutionary activists and Russian history, as well as painting some of the nation's greatest cultural figures, many of whom - such as Tolstoy, Mussorgsky and Gorky - he counted as personal friends. 'The Russian Vision: The Art of Ilya Repin' presents the life and work of the most celebrated Russian painted of his generation. A comprehensive survey of Repin's oeuvre, featuring a wealth of little-seen paintings; dramatic, distinctive images that evoke the hardships, pleasures and everyday routines of Russian society in the twilight years of Tsarist rule. Having declined in the twentieth century, Repin's reputation is growing again. Combining close readings of all his major canvases, as well as many of his lesser-known works, within the broader context of Russian art, society and culture, written in an accessible style, David Jackson's book, featuring more than 100 colour plates of Repin's work, and telling the story of his life, will do much to help restore his stature.
Unlike most Soviet-centered histories, A Vision Unfulfilled begins with a chapter summarizing late nineteenth-century Russian history, allowing instructors to begin their course with 1894, 1905, 1914, or 1917. The book also gives fuller attention to the history of the non-Russian populations in the tsarist and Soviet empires than other texts of its kind.
The revolutionary ideals of equality, communal living, proletarian morality, and technology worship, rooted in Russian utopianism, generated a range of social experiments which found expression, in the first decade of the Russian revolution, in festival, symbol, science fiction, city planning, and the arts. In this study, historian Richard Stites offers a vivid portrayal of revolutionary life and the cultural factors--myth, ritual, cult, and symbol--that sustained it, and describes the principal forms of utopian thinking and experimental impulse. Analyzing the inevitable clash between the authoritarian elements in the Bolshevik's vision and the libertarian behavior and aspirations of large segments of the population, Stites interprets the pathos of utopian fantasy as the key to the emotional force of the Bolshevik revolution which gave way in the early 1930s to bureaucratic state centralism and a theology of Stalinism.
Russian Realism analyzes Russian contemporary geopolitical thinking, or realism, and explores the notion of Derzhava as the foundation of Russian realism. The author defines Russian realists as all those favoring actions by the Russian state in defense of its interests, including protection of national sovereignty, security, power, and prestige on the international scene. What makes Russian realism distinct is its "vision of Russianness" formed by the country’s historical, cultural/religious experience, and its semi-peripheral position in the international system. The vision stresses the importance of survival, preservation of strong state, and protection of national interests from external infringement. Mainstream literature, especially in the West, tends to ignore Russian theoretical debates and narratives; this book remedies this by providing significant insights into Russian realist thinking. It explores the historical unfolding of the longstanding national debates about Russia’s role in Europe/the West and how realists have reframed these debates in response to multiple international and domestic developments. The book also identifies distinct groups and debates within the broad school of Russian realism. This book will be of interest to students and scholars of Russian foreign policy, IR theory, diplomatic studies, political science, and European history. It will also appeal to a broader general audience of those interested in Russia and international politics.
In most analyses of the Cold War's end the ideological aspects of Gorbachev's "new thinking" are treated largely as incidental to the broader considerations of power. English demonstrates that Gorbachev's foreign policy was the result of an intellectual revolution. He analyzes the rise of a liberal policy-academic elite and its impact on the Cold War's end.
This is a unique attempt to visualise space exploration¹s future through the eyes of Russian space engineers and to describe that nation¹s plans in space. Based on actual documents, rather than on guesswork, it is the first comprehensive illustrated book dedicated to the Russian vision for the future of manned spaceflight from the dawn of manned spaceflight until today. Lavishly illustrated with images of unparalleled artistic quality and technical accuracy, the book: puts the development of the Russian manned spacecraft into political and historical context; uniquely describes the future of space exploration through the eyes of Russian space engineers and planners; introduces hitherto unrevealed systems developed for the Russian space program; describes past events and future plans in the historical context of the fall and rise of the Russian space program.
Artwork by Ilya Repin.
Arthur P. Mendel argues that throughout history man has worried about the Apocalypse, a phenomenon that has changed from God to reason, to history, and then to nature. He calls for a more modest and humane philosophy with regard to the Earth.'
Beyond Vision is the first English-language collection of essays on art by Pavel Florensky (1882–1937), Russian philosopher, priest, linguist, scientist, mathematician – and art historian. In addition to seven essays by Florensky, the book includes a biographical introduction and an examination of Florensky’s contribution as an art historian by Nicoletta Misler. Beyond Vision reveals Florensky’s fundamental attitudes to the vital questions of construction, composition, chronology, function and destination in the fields of painting, sculpture and design. His reputation as a theologian and philosopher is already established in the English-speaking world, but this first collection in English of his art essays (translated by Wendy Salmond) will be a revelation to those in the field. Pavel Florensky was a true polymath: trained in mathematics and philosophy at Moscow University, he rejected a scholarship in advanced mathematics in order to study theology at the Moscow Theological Academy. He was also an expert linguist, scientist and art historian. A victim of the Soviet government’s animosity towards religion, he was condemned to a Siberian labor camp in 1933 where he continued his work under increasingly difficult circumstances. He was executed in 1937.