Several stark premises have long prevailed in our approach to Russian history. It was commonly assumed that Russia had always labored under a highly centralized and autocratic imperial state. The responsibility for this lamentable state of affairs was ultimately assigned to the profoundly agrarian character of Russian society. The countryside, home to the overwhelming majority of the nation's population, was considered a harsh world of cruel landowners and ignorant peasants, and a strong hand was required for such a crude society. A number of significant conclusions flowed from this understanding. Deep and abiding social divisions obstructed the evolution of modernity, as experienced "naturally" in other parts of Europe, so there was no Renaissance or Reformation; merely a derivative Enlightenment; and only a distorted capitalism. And since only despotism could contain these volatile social forces, it followed that the 1917 Revolution was an inevitable explosion resulting from these intolerable contradictions—and so too were the blood-soaked realities of the Soviet regime that came after. In short, the sheer immensity of its provincial backwardness could explain almost everything negative about the course of Russian history. This book undermines these preconceptions. Through her close study of the province of Nizhnii Novgorod in the nineteenth century, Catherine Evtuhov demonstrates how nearly everything we thought we knew about the dynamics of Russian society was wrong. Instead of peasants ground down by poverty and ignorance, we find skilled farmers, talented artisans and craftsmen, and enterprising tradespeople. Instead of an exclusively centrally administered state, we discover effective and participatory local government. Instead of pervasive ignorance, we are shown a lively cultural scene and an active middle class. Instead of a defining Russian exceptionalism, we find a world recognizable to any historian of nineteenth-century Europe. Drawing on a wide range of Russian social, environmental, economic, cultural, and intellectual history, and synthesizing it with deep archival research of the Nizhnii Novgorod province, Evtuhov overturns a simplistic view of the Russian past. Rooted in, but going well beyond, provincial affairs, her book challenges us with an entirely new perspective on Russia's historical trajectory.

What can Russian images and objects—a tsar’s crown, a provincial watercolor album, the Soviet Pioneer Palace—tell us about the Russian people and their culture? This wide-ranging book is the first to explore the visual culture of Russia over the entire span of Russian history, from ancient Kiev to contemporary, post-Soviet society. Illustrated with more than one hundred diverse and fascinating images, the book examines the ways that Russians have represented themselves visually, understood their visual environment, and used visual images in social and political contexts. Expert contributors discuss images and objects from all over the Russian/Soviet empire, including consumer goods, architectural monuments, religious icons, portraits, news and art photography, popular prints, films, folk art, and more. Each of the concise and accessible essays in the volume offers a fresh interpretation of Russian cultural history. Putting visuality itself in focus as never before, Picturing Russia adds an entirely new dimension to the study of Russian literature, history, art, and culture. The book enriches our understanding of visual documents and shows the variety of ways they serve as far more than mere illustration.

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Ò . . . a marvelous source for the social history of Russian peasant society in the years before the revolution. . . . The translation is superb.Ó ÑSteven Hoch Ò . . . one of the best ethnographic portraits that we have of the Russian village. . . . a highly readable text that is an excellent introduction to the world of the Russian peasantry.Ó ÑSamuel C. Ramer Village Life in Late Tsarist Russia provides a unique firsthand portrait of peasant family life as recorded by Olga Semyonova Tian-Shanskaia, an ethnographer and painter who spent four years at the turn of the twentieth century observing the life and customs of villagers in a central Russian province. Unusual in its awareness of the rapid changes in the Russian village in the late nineteenth century and in its concentration on the treatment of women and children, SemyonovaÕs ethnography vividly describes courting rituals, marriage and sexual practices, childbirth, infanticide, child-rearing practices, the lives of women, food and drink, work habits, and the household economy. In contrast to a tradition of rosy, romanticized descriptions of peasant communities by Russian upper-class observers, Semyonova gives an unvarnished account of the harsh living conditions and often brutal relationships within peasant families.

Who is this Vladimir Putin? Who is this man who suddenly--overnight and without warning--was handed the reigns of power to one of the most complex, formidable, and volatile countries in the world? How can we trust him if we don't know him? First Person is an intimate, candid portrait of the man who holds the future of Russia in his grip. An extraordinary compilation of over 24 hours of in-depth interviews and remarkable photographs, it delves deep into Putin's KGB past and explores his meteoric rise to power. No Russian leader has ever subjected himself to this kind of public examination of his life and views. Both as a spy and as a virtual political unknown until selected by Boris Yeltsin to be Prime Minister, Putin has been regarded as man of mystery. Now, the curtain lifts to reveal a remarkable life of struggles and successes. Putin's life story is of major importance to the world.

A fascinating account of Russia's famous dissident and the politics he embodies. Who is Alexei Navalny? Poisoned in August 2020 and transported to Germany for treatment, the politician returned to Russia in January 2021 in the full glare of the world media. His immediate detention at passport control set the stage for an explosive showdown with Vladimir Putin. But Navalny means very different things to different people. To some, he is a democratic hero. To others, he is betraying the Motherland. To others still, he is a dangerous nationalist. This book explores the many dimensions of Navalny's political life, from his pioneering anti-corruption investigations to his ideas and leadership of a political movement. It also looks at how his activities and the Kremlin's strategies have shaped one another. Navalny makes sense of this divisive character, revealing the contradictions of a man who is the second most important political figure in Russia--even when behind bars. In order to understand modern Russia, you need to understand Alexei Navalny.

During the seventeenth and eighteenth centuries the expanding Russian empire was embroiled in a dramatic confrontation with the nomadic people known as the Kalmyks who had moved westward from Inner Asia onto the vast Caspian and Volga steppes. Drawing on an unparalleled body of Russian and Turkish sources--including chronicles, epics, travelogues, and previously unstudied Ottoman archival materials--Michael Khodarkovsky offers a fresh interpretation of this long and destructive conflict, which ended with the unruly frontier becoming another province of the Russian empire.Khodarkovsky first sketches a cultural anthropology of the Kalmyk tribes, focusing on the assumptions they brought to the interactions with one another and with the sedentary cultures they encountered. In light of this portrait of Kalmyk culture and internal politics, Khodarkovsky rereads from the Kalmyk point of view the Russian history of disputes between the two peoples. Whenever possible, he compares Ottoman accounts of these events with the Russian sources on which earlier interpretations have been based. Khodarkovsky's analysis deepens our understanding of the history of Russian expansion and establishes a new paradigm for future study of the interaction between the Russians and the non-Russian peoples of Central Asia and Transcaucasia.

For the first time since the Russian Revolution, the Soviet government has opened up its great photographic archives to the West. Here is the first selection from this treasure trove of photographs of pre-revolutionary Russia: from the archives of the Centre for Film and Photographic Archive, Leningrad; Central Archive for Russian Film and Photography, Krasnogorsk; State History Museum, Moscow; Leningrad Public Library; Hermitage Museum, Leningrad; State Museum, Leningrad and State Literature Museum, Moscow.

Looks at the contested place of the provinces in twenty-first-century Russia, surveying cultural discourse in journalism, literature, and film to analyze changing notions of nationalism, authenticity, and postimperial identity.

An interpretive biography of one of Russia's most formidable leaders.