As readers of classic Russian literature know, the nineteenth century was a time of pervasive financial anxiety. With incomes erratic and banks inadequate, Russians of all social castes were deeply enmeshed in networks of credit and debt. The necessity of borrowing and lending shaped perceptions of material and moral worth, as well as notions of social respectability and personal responsibility. Credit and debt were defining features of imperial Russia’s culture of property ownership. Sergei Antonov recreates this vanished world of borrowers, bankrupts, lenders, and loan sharks in imperial Russia from the reign of Nicholas I to the period of great social and political reforms of the 1860s. Poring over a trove of previously unexamined records, Antonov gleans insights into the experiences of ordinary Russians, rich and poor, and shows how Russia’s informal but sprawling credit system helped cement connections among property owners across socioeconomic lines. Individuals of varying rank and wealth commonly borrowed from one another. Without a firm legal basis for formalizing debt relationships, obtaining a loan often hinged on subjective perceptions of trustworthiness and reputation. Even after joint-stock banks appeared in Russia in the 1860s, credit continued to operate through vast networks linked by word of mouth, as well as ties of kinship and community. Disputes over debt were common, and Bankrupts and Usurers of Imperial Russia offers close readings of legal cases to argue that Russian courts—usually thought to be underdeveloped in this era—provided an effective forum for defining and protecting private property interests.
As readers of classic Russian literature know, the nineteenth century was a time of pervasive financial anxiety. With incomes erratic and banks inadequate, Russians of all social castes were deeply enmeshed in networks of credit and debt. The necessity of borrowing and lending shaped perceptions of material and moral worth, as well as notions of social respectability and personal responsibility. Credit and debt were defining features of imperial Russia’s culture of property ownership. Sergei Antonov recreates this vanished world of borrowers, bankrupts, lenders, and loan sharks in imperial Russia from the reign of Nicholas I to the period of great social and political reforms of the 1860s. Poring over a trove of previously unexamined records, Antonov gleans insights into the experiences of ordinary Russians, rich and poor, and shows how Russia’s informal but sprawling credit system helped cement connections among property owners across socioeconomic lines. Individuals of varying rank and wealth commonly borrowed from one another. Without a firm legal basis for formalizing debt relationships, obtaining a loan often hinged on subjective perceptions of trustworthiness and reputation. Even after joint-stock banks appeared in Russia in the 1860s, credit continued to operate through vast networks linked by word of mouth, as well as ties of kinship and community. Disputes over debt were common, and Bankrupts and Usurers of Imperial Russia offers close readings of legal cases to argue that Russian courts—usually thought to be underdeveloped in this era—provided an effective forum for defining and protecting private property interests.
He was an authentic hero of World War I and the Russian Revolution. He commanded a successful Red Army that treated prisoners mercifully, refrained from pillaging the countryside, and educated the people about the objectives of the Bolshevik regime. His eloquent advocacy of the ideas and aspirations of farmers and workers in the civil war period after World War I helped to weaken the cause of the White armies. Yet Philip Mironov has been systematically defamed in official Soviet history, and today his name is remembered by very few. This Cossack leader was distrusted and even despised by the more radical Communists, removed from his army command, and tried for treason. Leon Trotsky declared him a traitor and careerist who wanted “to climb upward on the backs of the toiling masses.” After being pardoned and “rehabilitated” (at least partly through Lenin’s personal intervention), Mironov continued in his independent ways until he was again arrested by the Cheka (Secret Police). While exercising in a prison courtyard in Moscow on April 2, 1921, he was mysteriously shot in the back and killed. Drawing upon archives, reminiscences, and Mironov’s own brief, fragmentary, unpublished memoir, Sergi Starikov and the celebrated Soviet scholar Roy Medvedev have written a compelling book that helps explain the complex social processes of revolutionary Russia.
Oriented for a general reading audience, this book gives a unique and rare perspective on the KGB special operations, in Soviet Ukraine using the issues related to Soviet Ukrainian identity and cultural diplomacy of Soviet Ukraine after Stalin’s death in 1953 until the perestroika of the 1980s.
This book acts as a guide to simple models that describe some of the complex fluid dynamics, heat/mass transfer and combustion processes in droplets and sprays. Attention is focused mainly on the use of classical hydrodynamics, and a combination of kinetic and hydrodynamic models, to analyse the heating and evaporation of mono- and multi-component droplets. The models were developed for cases when small and large numbers of components are present in droplets. Some of these models are used for the prediction of time to puffing/micro-explosion of composite water/fuel droplets — processes that are widely used in combustion devices to stimulate disintegration of relatively large droplets into smaller ones. The predictions of numerical codes based on these models are validated against experimental results where possible. In most of the models, droplets are assumed to be spherical; some preliminary results of the generalisation of these models to the case of non-spherical droplets, approximating them as spheroids, are presented.
I.B.Tauris is delighted to announce the reissue in paperback in three volumes of the definitive, most comprehensive edition, in the finest translations and fully annotated, of the writings of this great filmmaker, theorist and teacher of film - and one of the most original aesthetic thinkers of the twentieth century. Volume 3 follows on from the 1922-34 writings of Volume 1 and parallels Volume 2's essays on the theory of montage. In the period covered by this volume, Eisenstein's film-making ran into the difficulties generated by the Soviet authorities' increasingly restrictive definition of Socialist Realism, by the show trials and the purges, the Second World War, and the post-war proclamation of rigid cultural orthodoxy by Stalin's henchman, Zhdanov. Here we experience Eisenstein's reaction to this hostile environment, as filmmaker, theorist and teacher, from his public obeisance over 'Bezhin Meadow' to his private defiance with 'Ivan the Terrible'.
I.B.Tauris is delighted to announce the reissue in paperback in three volumes of the definitive, most comprehensive edition, in the finest translations and fully annotated, of the writings of this great filmmaker, theorist and teacher of film - and one of the most original aesthetic thinkers of the twentieth century. Now in paperback for the first time, Volume 1 documents from the definitive Russian texts the complex course of Sergei Eisenstein's writings during the revolutionary years in the Soviet Union. It presents Eisenstein the innovative aesthetic thinker, socialist artist and humourist, passionately engaged in the debates over the art forms of the future. Importantly, this was also the period of Eisenstein's great silent masterpieces, 'The Strike', 'The Battleship Potemkin', 'October' and 'The General Line', and of his controversial sojourns in Hollywood and Mexico.
In Memory Eternal, Sergei Kan combines anthropology and history, anecdote and theory to portray the encounter between the Tlingit Indians and the Russian Orthodox Church in Alaska in the late 1700s and to analyze the indigenous Orthodoxy that developed over the next 200 years. As a native speaker of Russian with eighteen years of fieldwork experience among the Tlingit, Kan is uniquely qualified to relate little-known material from the archives of the Russian church in Alaska to Tlingit oral history and his own observations. By weighing the one body of evidence against the other, he has reevaluated this history, arriving at a persuasive new concept of “converged agendas”—the view that the Tlingit and the Russians tended to act in mutually beneficial ways but for entirely different reasons throughout the period of their contact with one another. The Russian-American Company began operations in southeastern Alaska in the 1790s. Against a description of Tlingit culture at the time of the Russians’ arrival, Kan examines Russian Orthodox theology, ritual practice, and missionary methods, and the Tlingit response to them. An uneasy symbiosis characterized the early era of the Russian-American Company, when the trading relationship outweighed any spiritual or social rapprochement. A second, major focus of Kan’s study is the Tlingit experience with American colonial domination. He attributes a sudden revival of Tlingit interest in Orthodoxy in the 1880s as their attempt to maintain independence in the face of concerted efforts by the newcomers (and especially Presbyterian missionaries) to Americanize them. Memory Eternal shows the colonial encounter to be both a power struggle and a dialogue between different systems of meaning. It portrays Native Alaskans not as helpless victims but as historical agents who attempted to adjust to the changing reality of their social world without abandoning fundamental principles of their precolonial sociocultural order or their strong sense of self-respect.
I.B.Tauris is delighted to announce the reissue in paperback in three volumes of the definitive, most comprehensive edition, in the finest translations and fully annotated, of the writings of this great filmmaker, theorist and teacher of film - and one of the most original aesthetic thinkers of the twentieth century. The name of Sergei Eisenstein (1898-1948) is synonymous with the idea of montage, as exemplified in his silent classics such as "The Battleship Potemkin" (1925) and "October" (1927). In the 1930s his style changed, partly to accommodate the arrival of sound, and his ideas on audio-visual counterpoint developed. Between 1937 and 1940 he elaborated his ideas on montage in a series of essays, most of which remained unpublished until after his death and which are published in English for the first time in this volume. They present the essence of Eisenstein's thinking on cinema and aesthetics more generally and reveal him as one of the most significant philosophers of art of the twentieth century.
More is known about Nikita Khrushchev than about many former Soviet leaders, partly because of his own efforts to communicate through speeches, interviews, and memoirs. (A partial version of his memoirs was published in three volumes in 1970, 1974, and 1990, and a complete version was published in Russia in 1999 and will appear in an English translation to be published by Penn State Press.) But even with the opening of party and state archives in 1991, as William Taubman points out in his Foreword, many questions remain unanswered. "How did Khrushchev manage not only to survive Stalin but to succeed him? What led him to denounce his former master [an event that some interpreters herald as the first act in the drama that led to the end of the USSR]? How could a man of minimal formal education direct the affairs of a vast intercontinental empire in the nuclear age? Why did Khrushchev’s attempt to ease East-West tensions result in two of the worst crises of the Cold War in Berlin and Cuba? To resolve these and other contradictions, we need more than policy documents from archives and memoirs from associates. We need firsthand testimony by family members who knew Khrushchev best, especially by his only surviving son, Sergei, in whom he often confided. "As Sergei says, "During the Cold War our nations lived on opposite sides of the Iron Curtain, and not only was it an Iron Curtain but it was also a mirror: one side perceived the other as the 'evil empire,' and vice versa; so, too, each side feared the other would start a nuclear war. Neither side could understand the real reasons behind many decisions because Americans and Russians, representing different cultures, think differently. The result was a Cold War filled with misperceptions that could easily have led to tragedy, and we are lucky it never happened. And still, after the Cold War, American-Russian relations are based on many misunderstandings." In this book Sergei tells the story of how the Cold War happened in reality from the Russian side, not from the American side, and this is his most important contribution. Sergei N. Khrushchev was born in 1935 when his father was Moscow party chief. He accompanied his father on major foreign trips—to Great Britain in 1956, East Germany in 1958, the United States in 1959, Egypt in 1964, among many others. After he became a control systems engineer and went to work for leading Soviet missile designer Vladimir Chelomei, Sergei attended many meetings at which his father transacted business with key leaders in the Soviet defense establishment. He has received many awards and honors for his work in computer science, missile design, and space research. Besides his many technical publications, he has published widely on political and economic issues. In 1991 Little Brown published his memoir about his father’s last years, Khrushchev on Khrushchev. In that same year he received an appointment to the Center for Foreign Policy Development of the Thomas J. Watson Institute for International Studies at Brown University, where he is today. He and his wife, Valentina Nikolayevna, applied for U. S. citizenship in 1999, an event widely covered in the media.
Winner of the 2020 Pushkin House Book Prize Russia’s relationship with its neighbours and with the West has worsened dramatically in recent years. Under Vladimir Putin's leadership, the country has annexed Crimea, begun a war in Eastern Ukraine, used chemical weapons on the streets of the UK and created an army of Internet trolls to meddle in the US presidential elections. How should we understand this apparent relapse into aggressive imperialism and militarism? In this book, Sergei Medvedev argues that this new wave of Russian nationalism is the result of mentalities that have long been embedded within the Russian psyche. Whereas in the West, the turbulent social changes of the 1960s and a rising awareness of the legacy of colonialism have modernized attitudes, Russia has been stymied by an enduring sense of superiority over its neighbours alongside a painful nostalgia for empire. It is this infantilized and irrational worldview that Putin and others have exploited, as seen most clearly in Russia’s recent foreign policy decisions, including the annexation of Crimea. This sharp and insightful book, full of irony and humour, shows how the archaic forces of imperial revanchism have been brought back to life, shaking Russian society and threatening the outside world. It will be of great interest to anyone trying to understand the forces shaping Russian politics and society today.
This publication is devoted to the natural feature – the Black Sea and its littoral states. At the same time the Azov Sea is also considered here. This region is the focus of many geopolitical, economic, social and environmental issues that involve not only the countries coming out to the Black and Azov Seas, but other world countries, too. This publication contains over 1500 articles and terms providing descriptions of geographical and oceanographic features, cities, ports, transport routes, marine biological resources, international treaties, national and international programs, research institutions, historical and archaeological monuments, activities of prominent scientists, researchers, travelers, military commanders, etc. who had relation to the Black Sea. It includes a multi-century chronology of the events that became the outstanding milestones in the history of development of the Black Sea – Azov Sea region.
Dynamics of Topological Magnetic Solitons gives a theoretical and experimental review of the dynamics of high-speed domain walls and Bloch lines. After the introduction of magnetic solitons, experimental methods for the observation of the dynamics of domain walls are presented. Further chapters discuss main features of the stimulated motion of domain walls, their magnetoelastic interaction, stability and relaxation. Finally, the dynamics of domain walls in weak ferromagnets with more than one dimension is treated. The last chapter presents the dynamics of Bloch lines and their clusters. More than 230 references guide the reader to the literature. Physicists will gain new insights in interesting applications of soliton theory in condensed matter physics. Engineers will find new information on magnetooptical effects for further applications.
In this timely and incisive book, Sergei Medvedev argues that Russia’s war in Ukraine was not merely a whim of Putin’s obsession: rather, it was the result of two decades of authoritarian degradation and post-imperial ressentiment, a culmination of Putin’s regime and of Russia’s entire imperial history. Building on his prize-winning book The Return of the Russian Leviathan, Medvedev argues that it was not only Putin that started this war, but Russia itself, which, by and large, has imagined and embraced it with enthusiasm, seeking to relive its own military glory and colonial past.
Sergei Eisenstein's greatness lies not only in his films, such as Potemkin or Ivan the Terrible, or his contributions to the technique and art of the cinema but also in his contributions as a theoretician and philosopher of the art. This edition includes a new translation of Eisenstein's essay on Orozco. Originally published in 1982. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
This account describes the development of a secret police force that was rooted in tsarist Russia, but provided a model for Soviet police organizations. Ruud (history, U. of Western Ontario) and Stepanov (history, Russian Independent Institute of Social and Nationality Problems, Moscow) provide a comprehensive study of the tsarist secret police, the Okhranka, which was designed to catch terrorists before they assassinated Russia's leaders, during the period leading up to the Revolution of 1917. The book explores the Okhranka and its allied organization, the Gendarmes, through particular cases rather than in strictly institutional terms. Annotation copyrighted by Book News, Inc., Portland, OR
A renowned Soviet director discusses his theory of film as an artistic medium which must appeal to all senses and applies it to an analysis of sequences from his major movies.
This volume will be devoted to the technical aspects of electrical and electromechanical SPM probes and SPM imaging on the limits of resolution, thus providing technical introduction into the field. This volume will also address the fundamental physical phenomena underpinning the imaging mechanism of SPMs.
For the first time in one volume, this book presents in concise, chronological form, Sergei Eisenstein's most significant work, including his famous theories of montage and articles on subjects as diverse as sound, film language and Russian history. The selection ranges from early writings on his silent masterpieces The Strike, October and The Battleship Potemkin, to later works, hatched in the hostile and paranoid environment of Stalin's Soviet Union. Drawn from the acclaimed four-volume Selected Works, this collection, which includes a new introduction and explanatory notes by Richard Taylor as well as many illustrations, further illuminates the startling originality, diversity and power of the greatest and most flamboyant of all Russian film-makers. Legendary director Sergei Eisenstein has emerged as cinema's most influential theorist and author of some of the most important aesthetic writings of the twentieth century.
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