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 volume presents a unique study of war songs created during and after World War II, known in Russia as the “Great Patriotic War”. The most popular war songs, such as “Katyusha”, “The Sacred War”, “Dark Night”, “My Moscow”, “In the Dugout”, “Victory Day”, provide illuminating insights into the musical culture of the former Soviet Union and modern Russia. In the year of the 70th anniversary of victory in the war, the book studies the cultural heritage of famous war songs from a new perspective, exploring the historical background of their creation and analysing their lyrics as part of Russian cultural heritage. The book also discusses the modifications required when translating the songs from Russian to English. It concludes with a description an educational project studying war songs at Moscow schools run under the auspices of UNESCO.
Russian Translation: Theory and Practice is a comprehensive practical course in translation for advanced undergraduate and postgraduate students of Russian. The course aims to provide intensive exposure with a view to mastering translation from Russian into English while carefully analyzing the specific problems that arise in the translation process. Offering over 75 practical translation exercises and texts analyzed in detail to illustrate the stage-by-stage presentation of the method, Russian Translation addresses translation issues such as cultural differences, genre and translation goals. The book features material taken from a wide range of sources, including: journalistic medical scholarly legal economic popular culture – literature (prose and poetry), media, internet, humour, music. Central grammatical and lexical topics that will be addressed across the volume through the source texts and target texts include: declensional and agreement gender; case usage; impersonal constructions; verbal aspect; verbal government; word order; Russian word formation, especially prefixation and suffixation; collocations and proverbs; and abbreviations. Russian Translation: Theory and Practice is essential reading for all students seriously interested in improving their translation skills. A Tutor’s Handbook for this course, giving guidance on teaching methods and assessment, as well as specimen answers, is available in PDF format from our website at http://www.routledge.com/books/Russian-Translation-isbn9780415473477. Edna Andrews is Professor of Linguistics and Cultural Anthropology, Director of the Center for Slavic, Eurasian and East European Studies at Duke University, USA. Elena Maksimova is Associate Professor of the Practice in the Department of Slavic and Eurasian Studies at Duke University, USA.
Originally published in 1998, in this book, a number of stereotypes, symbols and signs of Russia, such as the double-headed eagle, the star, bread-and-salt, troika, the Orthodox cross, etc., are presented as a consistent set of metaphors, revealing a symbolic world made by and for the Russians in order to sustain and reinforce their group identity. The Russian language, culture and history form the basic core of the symbolic archive, or thesaurus, of Russianness, from which the necessary images, symbols and signs of identification are provided to manifest connection with the sphere of Russian identity. Such symbolism may directly or obliquely refer either to the territory (soil) of Russia, or to the ethnically specific traits of the Russian people (soul). Both soil and soul are emphatically personified in the symbolic image of Holy Russia - Mother Russia.
A bold recovery of Yiddish anarchist history and literature Spanning the last two centuries, this fascinating work combines archival research on the radical press and close readings of Yiddish poetry to offer an original literary study of the Jewish anarchist movement. The narrative unfolds through a cast of historical characters, from the well known—such as Emma Goldman—to the more obscure, including an anarchist rabbi who translated the Talmud and a feminist doctor who organized for women’s suffrage and against national borders. Its literary scope includes the Soviet epic poemas of Peretz Markish, the journalism and modernist poetry of Anna Margolin, and the early radical prose of Malka Heifetz Tussman. Anna Elena Torres examines Yiddish anarchist aesthetics from the nineteenth-century Russian proletarian immigrant poets through the modernist avant-gardes of Warsaw, Chicago, and London to contemporary antifascist composers. The book also traces Jewish anarchist strategies for negotiating surveillance, censorship, detention, and deportation, revealing the connection between Yiddish modernism and struggles for free speech, women’s bodily autonomy, and the transnational circulation of avant-garde literature. Rather than focusing on narratives of assimilation, Torres intervenes in earlier models of Jewish literature by centering refugee critique of the border. Jewish deportees, immigrants, and refugees opposed citizenship as the primary guarantor of human rights. Instead, they cultivated stateless imaginations, elaborated through literature.
As waves of composers migrated from Russia in the 20th century, they grappled with the complex struggle between their own traditions and those of their adopted homes. Russian Composers Abroad explores the self-identity of these émigrés, especially those who left from the 1970s on, and how aspects of their diasporic identities played out in their music. Elena Dubinets provides a journey through the complexities of identity formation and cultural production under globalization and migration, elucidating sociological perspectives of the post-Soviet world that have caused changes in composers' outlooks, strategies, and rankings. Russian Composers Abroad is an illuminating study of creative ideas that are often shaped by the exigencies of financing and advancement rather than just by the vision of the creators and the demands of the public.
The Roma presence in the European part of the Ottoman Empire - the Balkans - is centuries old and it is not by accident that this regions has often been called the second motherland of the Gypsies. From this region Gypsies moved westwards taking with them inherited Balkan cultural models and traditions. This book explores the history, ethnography, social structure and culture of the Gypsies in the Ottoman Empire. It is based on archival sources, mainly detailed tax registers, special laws, guild registers and court documents. Notes on Gypsies in books by foreign travellers are also included.
Extraordinarily, it was men born in the former Russian Empire that constituted the most numerous group in the First Australian Imperial Force, after those of Anglo-Celtic background. This book, a history of Russin multiethnic communities in Australia, follows the hidden lives of these Anzacs through and beyond the war.
Oleg Nikolayevich Yefremov is an actor and stage director of legendary rank, a face of his time. In 1956 he created "Sovremennik" Moscow theater, and he also headed the Gorky's Moscow Art Theater from 1970 to his death in 2000. His numerous roles in movies won him people's love. Yet his name is love is veiled with rumors and legends. Today Soviet stuff is fad amongst the people: the youth swallows the knowledge about it from TV-shows and prints on T-shirts; whilst the older ones skim through their memories of the real one. That book oriented to both of these sides. To understand the starry yet tragic way of Yefremov means to come closer to understanding of Soviet Union and reasons behind its Dissolution. Here you can learn about Soviet and theatric lifes, about a life of a person of art of the border of times.
Felix Berezin was an outstanding Soviet mathematician who in the 1960s and 70s was the driving force behind the emergence of the branch of mathematics now known as supermathematics. The integral over the anticommuting Grassmann variables that he introduced in the 1960s laid the foundation for the path integral formulation of quantum field theory with fermions, the heart of modern supersymmetric field theories and superstrings. The Berezin integral is named for him, as is the closely related construction of the Berezinian, which may be regarded as the superanalog of the determinant.This book features a masterfully written memoir by Berezin's widow, Elena Karpel, who narrates a remarkable account of Berezin's life and his struggle for survival under the totalitarian Soviet regime. Supplemented with recollections by his close friends and colleagues, Berezin's accomplishments in mathematics, his novel ideas and breakthrough works, are reviewed in two articles written by Andrei Losev and Robert Minlos.
Theatre in Passing explores spaces of performance in contemporary Moscow. Inspired by French philosopher Michel de Certeau’s model of a "second, poetic geography" in which the walker—the everyday practitioner—invents the space observed by the voyeur, this book takes the reader on a tour of spaces of performance in contemporary Moscow. Through text and photography, the city’s "theatrical geography" is uncovered, from the Bolshoi Theater in Theater Square to hidden gems like the recently restored Kuskovo estate. With additional sections on street theater and other public gatherings, Theatre in Passing is a must-read book for anyone curious about the theatrical architecture and geography of Russia’s capital.
The second book, "Cats of Magic City. Dreams and Realities of Cat Tosha", tells about Tosha's flights from the balcony, his trip to the Black Sea, his nightly adventures and battles with the local cats on the Black sea.Tosha was sure that he was the highest being, and sought to subjugate all who lived nearby. When he happened to visit Gelendzik, he met local cats there and fought for his life. Then, cat Tosha reevaluated his St. Petersburg sybaritic life. He began to cherish everything that he had before his trip to the South
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