Stochastic systems provide powerful abstract models for a variety of important real-life applications: for example, power supply, traffic flow, data transmission. They (and the real systems they model) are often subject to phase transitions, behaving in one way when a parameter is below a certain critical value, then switching behaviour as soon as that critical value is reached. In a real system, we do not necessarily have control over all the parameter values, so it is important to know how to find critical points and to understand system behaviour near these points. This book is a modern presentation of the 'semimartingale' or 'Lyapunov function' method applied to near-critical stochastic systems, exemplified by non-homogeneous random walks. Applications treat near-critical stochastic systems and range across modern probability theory from stochastic billiards models to interacting particle systems. Spatially non-homogeneous random walks are explored in depth, as they provide prototypical near-critical systems.
From Tolstoy to Lenin, from Diaghilev to Stalin, The Empire Must Die is a tragedy of operatic proportions with a cast of characters that ranges from the exotic to utterly villainous, the glamorous to the depraved. In 1912, Russia experienced a flowering of liberalism and tolerance that placed it at the forefront of the modern world: women were fighting for the right to vote in the elections for the newly empowered parliament, Russian art and culture was the envy of Europe and America, there was a vibrant free press and intellectual life. But a fatal flaw was left uncorrected: Russia's exuberant experimental moment took place atop a rotten foundation. The old imperial order, in place for three hundred years, still held the nation in thrall. Its princes, archdukes, and generals bled the country dry during the First World War and by 1917 the only consensus was that the Empire must die. Mikhail Zygar's dazzling, in-the-moment retelling of the two decades that prefigured the death of the Tsar, his family, and the entire imperial edifice is a captivating drama of what might have been versus what was subsequently seen as inevitable. A monumental piece of political theater that only Russia was capable of enacting, the fall of the Russian Empire changed the course of the twentieth century and eerily anticipated the mood of the twenty-first.
A NEW YORKER BEST BOOK OF THE YEAR From “one of Russia’s smartest and best-sourced young journalists” (The New York Times)—the first work by a Russian author to reveal his country’s history of oppressing Ukraine, providing an unprecedented overview of the war for Ukrainian independence that affects us all. As soon as the Russian invasion of Ukraine began, prominent independent Russian journalist Mikhail Zygar circulated a Facebook petition signed first by hundreds of his cultural and journalistic contacts and then by thousands of others. That act led to a new law in Russia criminalizing criticism of the war, and Zygar fled Russia. In his time as a journalist, Zygar has interviewed President Zelensky and had access to many of the major players—from politicians to oligarchs. As an expert on Putin’s moods and behavior, he has spent years studying the Kremlin’s plan regarding Ukraine, and here, in clear, chronological order he explains how we got here. In 1996 to 2004, Ukraine became an independent post-Soviet country where everyone was connected to the former empire at all levels, financially, culturally, psychologically. However, the elite anticipated that the empire would be back and punish them. From 2004 to 2018, there were many states inside one state, each with its own rulers/oligarchs and its own interests—some of them directly connected with Russia. In 2018, a new generation of Ukrainians arrive, and having grown in an independent country, they do not consider themselves to be part of Russia—and that was the moment when the war began, as Putin could not tolerate losing Ukraine forever. Authoritative, timely, and vitally important, this is an unique overview of the war that continues to threaten the future of the entire world as we know it.
This book consists largely of previously untranslated work. Kuzmin was a master of many genres: poet, dramatist, writer of narrative prose, and influential literary manifestos. All these facets of Kuzmin's creativity are represented in this volume, which traces his development from a decadent to a key figure of Russia's artistic underground during the repression of the Soviet period. A cycle of poems, Thrall (1919), published here for the first time in English, provides the book with its dominant theme. Thrall is a leitmotif of Kuzmin's early love poetry, where it signifies a lover's impassioned submission. Kuzmin the playwright is represented here by his only full-length drama, The Death of Nero (1929); Kuzmin the prose writer by two short stories that exemplify contrasting periods of his evolution. The collection also contains two literary manifestos that played pivotal roles in the development of Russian letters. -- Bucknell University Press.
In a style reminiscent of Anton Chekhov himself--realistic, intimate, and dynamic--Mikhail Chekhov shares unparalleled memories and insights, transporting readers into the world of the Chekhov family. He visits the places where his brother lived and worked and introduces the people he knew and loved, Leo Tolstoy and Piotr Tchaikovsky among them. As a unique eyewitness to the beloved writer's formative years and his artistic maturity, Mikhail Chekhov shows here first-hand the events that inspired the plots for The Seagull, The Black Monk, and The Steppe, among other enduring works. Captivating, surprising, and a joy to read, this memoir reveals the remarkable life of one the most masterful storytellers of our time.
The award-winning translators bring us a new translation of an 1870 comic novel by Russia's greatest satirist—whose mockery of Russian autocracy is as relevant as ever. “Pevear and Volokhonsky [are the] reigning translators of Russian literature. . . . In Russia, The History of a Town is read in schools and regarded as a masterpiece of 19th-century satire. . . . [This new translation] is an argument for the book’s Swiftian wit and its relevance to Russia and the United States today.” —The New York Times A major classic in Russia since its publication, Foolsburg is the farcical chronicle of a fictional town and its hapless inhabitants as they passively endure the violence and lunacy of their rulers. The succession of brutal mayors of the town include such surreal extremes as a man with a music box instead of a brain and one so tall that he snaps in half during a windstorm. Mikhail Saltykov-Shchedrin marries biting satire reminiscent of Jonathan Swift with the fantastical absurdity of Nikolai Gogol, imbued throughout with his own brand of playful wordplay. The award-winning translators Richard Pevear and Larissa Volokhonsky have produced the first translation of this work into English that successfully captures its zany humor and enduring relevance.
A volume of the renowned Russian author’s letters and diary entries: “an evocative chronicle of [his] life, beginning with the 1917 revolution” (The Guardian, UK). Mikhail Bulgakov was one of the most important literary voices of Soviet Russia. Yet his books were banned in his own country and his greatest novel, The Master and Margarita, was only published more than twenty years after his death. In Manuscripts Don't Burn—the title, a line from his famous novel—J.A. E. Curtis presents a gripping and intimate chronicle of Bulgakov's life, drawn from his own personal writings. Among other documents, Curtis draws on a partial copy of one of Bulgakov’s diaries which was presumed lost until it was uncovered in the KGB’s archives. That diary and those of the author’s third wife record the nightmarish precariousness of life during the Stalinist purges. Also included are letters to Stalin, in which Bulgakov pleads to be allowed to emigrate; letters to his siblings; intimate notes to his second and third wives; and letters to and from other writers such as Gorky and Zamyatin.
This book is a unique collection of experimental data in the field of internal friction, anelastic relaxation, and damping properties of metallic materials. It reviews virtually all anelastic relaxation phenomena ever published. The reader is also supplied with explanations of the basic physical mechanisms of internal friction, a summary of typical effects for different groups of metals, and more than 2000 references to original papers.
Mikhail Aleksandrovich Vrubel (1856-1910) was a painter whose art has been described as a Symbolist and Proto-Expressionist. He exerted a tremendous influence on Russian avant-garde painters. After graduating from the Academy of Fine Art in St. Petersburg, Vrubel made many trips to Italy and earned his living restoring medieval art treasures. This greatly influenced Vrubel's choice of subject matter, although he was also heavily influenced by the literature of his own country, which was then in full flower. The magnificent full-colour reproductions in this book of the Russian master, whose work deserves to be far better known in the West, will be a revelation to all who are unfamiliar with his work and a delight to the enthusiast.
In Michael Romanov: Brother of the Last Tsar, translator Helen Azar and Romanov historian Nicholas B.A. Nicholson present for the first time in English the annotated 1916-1918 diaries and letters of Grand Duke Michael from the period in which he learns of the murder of Rasputin, attempts to preserve the throne for his brother Nicholas during the February Revolution, and finds himself named Emperor when his brother abdicates not only for himself, but for his son Alexei. Michael's diaries provide rare insight into the fall of the Empire, the rise and fall of the Provisional Government and the brief Russian republic, and the terrifying days of the February and October Revolutions after which Michael finds himself a prisoner who would meet his end in the Siberian city of Perm."--
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