This book provides a wide-ranging history of every aspect of Stalin's dictatorship over the peoples of the Soviet Union. Drawing upon a huge array of primary and secondary sources, The Stalin Era is a first-hand account of Stalinist thought, policy and and their effects. It places the man and his ideology into context both within pre-Revolutionary Russia, Lenin's Soviet Union and post-Stalinist Russia. The Stalin Era examines: * collectivisation * industrialisation * terror * government * the Cult of Stalin * education and Science * family * religion: The Russian Orthodox Church * art and the state.

This book focuses on the extent to which Soviet scholars and cultural theoreticians were able to act autonomously during the Stalin era. The authors question how we should consider certain intellectual achievements which took place despite the pressure of Stalinism, and how best to recognise and describe such achievements. The chapters in this book offer suggestions for new interpretations on Soviet philosophy of science and humanities, linguistics, philosophy, musicology, literature and mathematics from the point of view of general cultural theory. In this way, they challenge the received image of the Stalin-era humanities which reduces them into mere propaganda. Intended for scholars of Russian and Soviet studies, this book will dispel many received views about the character of Stalinism and Soviet culture. Chapters 1, 2, 4, 6, 10 and 13 of this book are freely available as downloadable Open Access PDFs at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

Although it once issued a radical challenge that shook the existing world order, the USSR was soon thrown back to seek security within its own confines. Black Earth, Red Star vividly chronicles the Soviet experience from Lenin's 1917 revolution to the disintegration of the union in December 1991. R. Craig Nation provides the first post-Cold War history of the Soviets' seventy-four-year struggle to maintain an effective national security policy in a hostile world without altogether abandoning the commitment to their original internationalist ideals. Drawing on an unprecedented body of primary and secondary sources, Nation presents a nuanced overview of Soviet history from the triumph of the Bolshevik revolution to the emergence of Stalin, the shattering victory over Hitler, Khrushchev's frustrated efforts at reform during the Cold War, the degeneration of Soviet power under Brezhnev, and the convulsive changes since 1985. Shaped by a dynamic conflict between often contradictory aims - the promotion of Communist internationalism and the defense of national self-interest - Soviet security policy was far from static, he shows. Nation reconstructs the military, political, and economic strategies behind the succession of security policies with which the Kremlin responded to the rapid changes in the international environment and in Soviet society itself. While the red star that shines above the Kremlin no longer symbolizes a commitment to world revolution, the rich black earth of the Slavic east remains of lasting importance in international affairs. This book will be essential reading for anyone concerned with the future of the former Soviet republics, including historians of the USSR and political scientists working in international relations and security studies.

A study of the cultural implications of portraits of Stalin and his era since his death in 1953. This work explores the cultural implications of prominent images in Russian thought and literature devoted to the Stalin era since the dictator's death in 1953. Author of the works discussed include some of the most important Russian writers of the past four decades: Solzhenitsyn, Vasilii Grossman, Vladimir Voinovich, Anatolii Rybackov among others.

Born in 1879 in Georgia, Stalin joined the Bolsheviks under Lenin in 1903 and became General Secretary of the Communist Party in 1922. These edited papers reassess the deeds, policies and legacy of a man who was responsible for innumerable deaths and untold human misery.

On June 22, 1941, just less than two years after signing the Nazi-Soviet Agreements, Adolf Hitler's German army invaded the Soviet Union. The attack hardly came as a surprise to Josef Stalin; in fact, history has long held that Stalin spent the two intervening years building up his defenses against a Nazi attack. With the gradual declassifying of former Soviet documents, though, historians are learning more and more about Stalin's grand plan during the years 1939-1941. Longtime Soviet expert Albert L. Weeks has studied the newly-released information and come to a different conclusion about the Soviet Union's pre-war buildup_it was not precaution against German invasion at all. In fact, Weeks argues, the evidence now suggests Soviet mobilization was aimed at an eventual invasion of Nazi Germany. The Soviets were quietly biding their time between 1939 and 1941, allowing the capitalist powers to destroy one another, all the while preparing for their own Westward march. Stalin, Weeks shows, wasn't waiting for a Nazi attack_Hitler simply beat him to the punch.

In post-Soviet Russia, there is a persistent trend to repress, control, or even co-opt national history. By reshaping memory to suit a politically convenient narrative, Russia has fashioned a good future out of a "bad past." While Putin's regime has acquired nearly complete control over interpretations of the past, The Future of the Soviet Past reveals that Russia's inability to fully rewrite its Soviet history plays an essential part in its current political agenda. Diverse contributors consider the many ways in which public narrative shapes Russian culture—from cinema, television, and music to museums, legislature, and education—as well as how patriotism reflected in these forms of culture implies a casual acceptance of the valorization of Stalin and his role in World War II. The Future of the Soviet Past provides effective and nuanced examples of how Russia has reimagined its Soviet history as well as how that past still influences Russia's policymaking.

An examination of the role of history and memory is vital in order to better understand why the grand design of a United Europe--with a common foreign policy and market yet enough diversity to allow for cultural and social differences--was overwhelmingly turned down by its citizens. The authors argue that this rejection of the European constitution was to a certain extent a challenge to the current historical grounding used for further integration and further demonstrates the lack of understanding by European bureaucrats of the historical complexity and divisiveness of Europe's past. A critical European history is therefore urgently needed to confront and re-imagine Europe, not as a harmonious continent but as the outcome of violent and bloody conflicts, both within Europe as well as with its Others. As the authors show, these dark shadows of Europe's past must be integrated, and the fact that memories of Europe are contested must be accepted if any new attempts at a United Europe are to be successful.

This two-volume reader is intended to accompany undergraduate courses in the history of Russian cinema and Russian culture through film. Each volume consists of newly commissioned essays, excerpts from English language criticism and translations of Russian language essays on subtitled films which are widely taught in American and British courses on Russian film and culture. The arrangement is chronological: Volume one covers twelve films from the beginning of Russian film through the Stalin era; volume two covers twenty films from the Thaw era to the present. General introductions to each period of film history (Early Russian Cinema, Soviet Silent Cinema, Stalinist Cinema, Cinema of the Thaw, Cinema of Stagnation, Perestroika and Post-Soviet Cinema) outline its cinematic significance and provide historical context for the non-specialist reader. Essays are accompanied by suggestions for further reading. The reader will be useful both for film studies specialists and for Slavists who wish to broaden their Russian Studies curriculum by incorporating film courses or culture courses with cinematic material. Volumes one and two may be ordered separately to accommodate the timeframe and contents of courses. Volume one films: Sten’ka Razin, The Cameraman’s Revenge, The Merchant Bashkirov’s Daughter, Child of the Big City, The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks, Battleship Potemkin, Bed and Sofa, Man with a Movie Camera, Earth, Chapaev, Circus, Ivan the Terrible, Parts I and II. Volume two films: The Cranes are Flying, Ballad of a Soldier, Lenin’s Guard, Wings, Commissar, The Diamond Arm, White Sun of the Desert, Solaris, Stalker, Moscow Does Not Believe in Tears, Repentance, Little Vera, Burnt by the Sun, Brother, Russian Ark, The Return, Night Watch, The Tuner, Ninth Company, How I Ended This Summer. Authors: Birgit Beumers, Robert Bird, David Bordwell, Mikhail Brashinsky, Oksana Bulgakova, Gregory Carlson, Nancy Condee, Julian Graffy, Jeremy Hicks, Andrew Horton, Steven Hutchings, Vida Johnson, Lilya Kaganovsky, Vance Kepley, Jr., Susan Larsen, Mark Lipovetsky, Tatiana Mikhailova, Elena Monastireva-Ansdell, Joan Neuberger, Vlada Petrić, Graham Petrie, Alexander Prokhorov, Elena Prokhorova, Rimgaila Salys, Elena Stishova, Vlad Strukov, Yuri Tsivian, Meghan Vicks, Josephine Woll, Denise J. Youngblood

This is the first attempt to systematically study the nature of the political leadership system under Stalin. It focuses both on the formal institutions of power, such as the Politburo, and on the informal networks of decision-making that were a central feature of his system of rule. It draws on a wealth of new archival material to highlight Stalin's relations with his co-leaders and wider elite groups, and offers different perspectives on the nature and degree of Stalin's system of personal power.