Since the political whirlwinds of the mid-1980s and the fall of communism in 1991, Russia has undergone dramatic social change, much of which has escaped the attention of Western media. In her new book, Hilary Pilkington applies the methods of cultural studies research to the study of Russian youth. She does this by `deconstructing' the social discourses within which Russian youth has been constructed and by providing an alternative reading of youth cultural activity, based on an ethnographic study of Moscow youth culture at the end of the 1980s. The book also charts the passage of western youth cultural studies in the twentieth century and suggests some new ways forward in the light of the Russian experience. Hilary Pilkington traces the cultural themes of youth culture in the Anglo-American tradition and within the Soviet Union, before examining the impact of perestroika on the media and its ramifications for the discussion of youth. The book ends with a study of young people in Moscow and youth cultural groups; the product of field work and interviews in the city.

Russian youth culture has been a subject of great interest to researchers since 1991, but most studies to date have failed to consider the global context. Looking West? engages theories of cultural globalization to chart how post-Soviet Russia&’s opening up to the West has been reflected in the cultural practices of its young people. Visitors to Russia&’s cities often interpret the presence of designer clothes shops, Internet caf&és, and a vibrant club scene as evidence of the &"Westernization&" of Russian youth. As Looking West? shows, however, the younger generation has adopted a &"pick and mix&" strategy with regard to Western cultural commodities that reflects a receptiveness to the global alongside a precious guarding of the local. The authors show us how young people perceive Russia to be positioned in current global flows of cultural exchange, what their sense of Russia&’s place in the new global order is, and how they manage to &"live with the West&" on a daily basis. Looking West? represents an important landmark in Russian-Western collaborative research. Hilary Pilkington and Elena Omel&’chenko have been at the heart of an eight-year collaboration between the University of Birmingham (U.K.) and Ul&’ianovsk State University (Russia). This book was written by Pilkington and Omel&’chenko with the team of researchers on the project&—Moya Flynn, Ul&’iana Bliudina, and Elena Starkova.

This book brings together scholars from across a variety of disciplines who use different methodologies to interrogate the changing nature of Russian culture in the twenty-first century. The book considers a wide range of cultural forms that have been instrumental in globalizing Russia. These include literature, art, music, film, media, the internet, sport, urban spaces, and the Russian language. The book pays special attention to the processes by which cultural producers negotiate between Russian government and global cultural capital. It focuses on the issues of canon, identity, soft power and cultural exchange. The book provides a conceptual framework for analyzing Russia as a transnational entity and its contemporary culture in the globalized world.

Youth and Rock in the Soviet Bloc explores the rise of youth as consumers of popular culture and the globalization of popular music in Russia and Eastern Europe. This collection of essays challenges assumptions that Communist leaders and Western-influenced youth cultures were inimically hostile to one another. While initially banning Western cultural trends like jazz and rock-and-roll, Communist leaders accommodated elements of rock and pop music to develop their own socialist popular music. They promoted organized forms of leisure to turn young people away from excesses of style perceived to be Western. Popular song and officially sponsored rock and pop bands formed a socialist beat that young people listened and danced to. Young people attracted to the music and subcultures of the capitalist West still shared the values and behaviors of their peers in Communist youth organizations. Despite problems providing youth with consumer goods, leaders of Soviet bloc states fostered a socialist alternative to the modernity the capitalist West promised. Underground rock musicians thus shared assumptions about culture that Communist leaders had instilled. Still, competing with influences from the capitalist West had its limits. State-sponsored rock festivals and rock bands encouraged a spirit of rebellion among young people. Official perceptions of what constituted culture limited options for accommodating rock and pop music and Western youth cultures. Youth countercultures that originated in the capitalist West, like hippies and punks, challenged the legitimacy of Communist youth organizations and their sponsors. Government media and police organs wound up creating oppositional identities among youth gangs. Failing to provide enough Western cultural goods to provincial cities helped fuel resentment over the Soviet Union’s capital, Moscow, and encourage support for breakaway nationalist movements that led to the Soviet Union’s collapse in 1991. Despite the Cold War, in both the Soviet bloc and in the capitalist West, political elites responded to perceived threats posed by youth cultures and music in similar manners. Young people participated in a global youth culture while expressing their own local views of the world.

Soviet literature in general and Soviet children’s literature in particular have often been labeled by Western and post-Soviet Russian scholars and critics as propaganda. Below the surface, however, Soviet children’s literature and culture allowed its creators greater experimental and creative freedom than did the socialist realist culture for adults. This volume explores the importance of children’s culture, from literature to comics to theater to film, in the formation of Soviet social identity and in connection with broader Russian culture, history, and society.

This book focusses on Russia’s cultural statecraft in dealing with a number of institutional cultural domains such as education, museums and monuments, high arts and sport. It analyses to what extent Russia’s cultural activities abroad have been used for foreign policy purposes, and perceived as having a political dimension. Building on the concept of cultural statecraft, the authors present a broad and nuanced view of how Russia sees the role of culture in its external relations, how this shapes the image of Russia, and the ways in which this cultural statecraft is received by foreign audiences. The expert team of contributors consider: what choices are made in fostering this agenda; how Russian state authorities see the purpose and limits of various cultural instruments; to what extent can the authorities shape these instruments; what domains have received more attention and become more politicised and what fields have remained more autonomous. The methodological research design of the book as a whole is a comparative case study comparing the nature of Russian cultural statecraft across time, target countries and diverse cultural domains. It will be of interest to scholars and students of Russian foreign policy and external relations and those working on the role of culture in world politics.

This Collection of Original Essays gives surprising insights into what foodways reveal about Russia's history and culture from Kievan times to the present. A wide array of sources - including chronicles, diaries, letters, police records, poems, novels, folklore, paintings, and cookbooks - help to interpret the moral and spiritual role of food in Russian culture. Stovelore in Russian folklife, fasting in Russian peasant culture, food as power in Dostoevsky's fiction, Tolstoy and vegetarianism, restaurants in early Soviet Russia, Soviet cookery and cookbooks, and food as art in Soviet paintings are among the topics discussed in this appealing volume.

Cultural diversity---the multitude of different lifestyles that are not necessarily based on ethnic culture---is a catchphrase increasingly used in place of multiculturalism and in conjunction with globalization. Even though it is often used as a slogan it does capture a widespread phenomenon that cities must contend with in dealing with their increasingly diverse populations. The contributors examine how Russian cities are responding and through case studies from Moscow, St. Petersburg, Novosibirsk, and Sochi explore the ways in which different cultures are inscribed into urban spaces, when and where they are present in public space, and where and how they carve out their private spaces. Through its unique exploration of the Russian example, this volume addresses the implications of the fragmented urban landscape on cultural practices and discourses, ethnicity, lifestyles and subcultures, and economic practices, and in doing so provides important insights applicable to a global context. --Book Jacket.

This volume brings together two classic works on the culture of the Russian people which have been long out of print. Gorer's Great Russian Culture and Mead's Soviet Attitudes towards Authority: An Interdisciplinary Approach to Problems of Soviet Character were among the first attempts by anthropologists to analyze Russian society. They were influential both for several generations of anthropologists and in shaping American governmental attitudes toward the Soviet Union during the Cold War period. Additionally they offer fascinating insights into the early anthropological use of psychological data to analyze cultural patterns. Read as part of the history of the anthropology of complex contemporary societies, they are as fascinating for their more questionable conclusions as for their accurate characterizations of Russian life.

These essays will interest readers familiar with the work of Nobel Prize–winner Aleksandr Solzhenitsyn and are a great starting point for those eager for an introduction to the great Russian’s work. When people think of Russia today, they tend to gravitate toward images of Soviet domination or, more recently, Vladimir Putin’s war against Ukraine. The reality, however, is that, despite Russia’s political failures, its rich history of culture, religion, and philosophical reflection—even during the darkest days of the Gulag—have been a deposit of wisdom for American artists, religious thinkers, and political philosophers probing what it means to be human in America. Aleksandr Solzhenitsyn stands out as the key figure in this conversation, as both a Russian literary giant and an exile from Russia living in America for two decades. This anthology reconsiders Solzhenitsyn’s work from a variety of perspectives—his faith, his politics, and the influences and context of his literature—to provide a prophetic vision for our current national confusion over universal ideals. In Solzhenitsyn and American Culture: The Russian Soul in the West, David P. Deavel and Jessica Hooten Wilson have collected essays from the foremost scholars and thinkers of comparative studies who have been tracking what Americans have borrowed and learned from Solzhenitsyn and his fellow Russians. The book offers a consideration of what we have in common—the truth, goodness, and beauty America has drawn from Russian culture and from masters such as Solzhenitsyn—and will suggest to readers what we can still learn and what we must preserve. The last section expands the book's theme and reach by examining the impact of other notable Russian authors, including Pushkin, Dostoevsky, and Gogol. Contributors: David P. Deavel, Jessica Hooten Wilson, Nathan Nielson, Eugene Vodolazkin, David Walsh, Matthew Lee Miller, Ralph C. Wood, Gary Saul Morson, Edward E. Ericson, Jr., Micah Mattix, Joseph Pearce, James F. Pontuso, Daniel J. Mahoney, William Jason Wallace, Lee Trepanier, Peter Leithart, Dale Peterson, Julianna Leachman, Walter G. Moss, and Jacob Howland.