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Originally published in 2007, based on research conducted during 1996-1998, Julie Hemment's engrossing study traces the development encounter through interactions between international foundation and Russian women's groups during a decade of transformation. Prohibited from organizing independently under state socialism, women's groups became a focus of attention in the post-Soviet period for foundations eager to promote participatory democracy, but the vision of the civil society that emerged (the "third sector") was far from what Russian activists envisioned or what donor agencies promised. Drawing on ethnographic methods and participatory action research (PAR), Hemment tells the story of her introduction to and growing collaboration with members of the group Zhenskii Svet in the provincial city of Tver'. Her account offers an ethnographic perspective on the decade of the 1990s and the terrain of women's independent organizing at that time - the openings, the sense of possibility these activists experienced, as well as the challenges they encountered.

Avant-garde' Art Groups in China 1979-1989 gives a critical polylogic (multi-voiced) account of four of the most significant Chinese avant-garde art groups of the late 1970s and 1980s: The Stars, The Northern Art Group, The Pond Association and Xiamen Dada. The book includes extended conversations with members of those groups that provide detailed insights into the shifting, culturally complex and regionally diverse conditions of artistic production in mainland China during the decade leading up to the Tiananmen Square protests of 1989. The conversations are supported by an introduction situating Chinese avant-garde art groups of the 1970s and 1980s as part of the wider development of post-revolutionary Chinese modern and contemporary art as well as comprehensive notes addressing questions of historical fact and localised socio-cultural meaning. This rigorously researched and highly accessible book is essential reading for anyone interested in China's cultural, social and political development after the death of Mao Zedong.

Professionals and Marginals in Slavic and Jewish Cultural Traditions is the annual publication of the Slavic&Jewish Cultures: Dialogue, Similarities, Differences's project for 2022. It includes papers from the international conference of the same name held in Moscow on December 1-3, 2021. The book includes twelve articles by Russian and Israeli scholars who work on the social and cultural role of professionals and marginals in various ethno-confessional traditions. The question of the perception of professionals in culture falls under the opposition "one's own/another's," where belonging to "one's own" or a "foreign community or class" becomes a defining marker. Traditionally, "social strangers," to which representatives of various professions belong, were assigned a special role in calendar, magical, and occasional rites. Thus, professionals and social marginals were not considered outcasts: society assigned them a particular place and role, delegating special cultural functions to them. Like previous publications in this series, Professionals and Marginals in Slavic and Jewish Cultural Traditions is notable for the large amount of field and archival material that it makes publically available for the first time.

Where previous accounts of the Renaissance have not fully acknowledged the role that music played in this decisive period of cultural history, Laurenz Lütteken merges historical music analysis with the analysis of the other arts to provide a richer context for the emergence and evolution of creative cultures across civilizations. This fascinating panorama foregrounds music as a substantial component of the era and considers musical works and practices in a wider cultural-historical context. Among the topics surveyed are music's relationship to antiquity, the position of music within systems of the arts, the emergence of the concept of the musical work, as well as music's relationship to the theory and practice of painting, literature, and architecture. What becomes clear is that the Renaissance gave rise to many musical concepts and practices that persist to this day, whether the figure of the composer, musical institutions, and modes of musical writing and memory.

Synthesizing decades of scholarship with her own work in primary and archival sources, Barbara Alpern Engel skillfully evokes the voices of individuals to enliven the account. The book captures the diversity of women's lives, detailing how women of various social strata were affected by and shaped historical change. Adopting the perspective of women provides fresh interpretations of Russia's past and important insights into the impact of gender on the ways that Russians defined themselves and others and imagined political change. Designed for a scholarly as well as popular readership, the book integrates women's experience into broader developments in Russia's social, economic, cultural and political history.

Some of the greatest works of Russian prose first saw the light in the Russian Herald, the journal founded and edited by Mikhail Katkov: Fathers and Sons, War and Peace, Anna Karenina, Crime and Punishment, and The Brothers Karamazov. Yet because of his conservative politics and his intrusive editing practices, Katkov has been either ignored or demonized by scholars both in Russia and in the West; in contemporary Russia he has been hailed as the "savior of the fatherland" because of his aggressive Russian nationalism. This book studies Katkov's literary career without vilification or canonization, focusing on the ways in which his nationalism fueled his drive to create the canon of Russian literature as a recognized part of world literature.

This sweeping work, at once a panoramic overview and an ambitious critical reinterpretation of European modernism, provides a bold new perspective on a movement that defined the cultural landscape of the early twentieth century. Walter L. Adamson embarks on a lucid, wide-ranging exploration of the avant-garde practices through which the modernist generations after 1900 resisted the rise of commodity culture as a threat to authentic cultural expression. Taking biographical approaches to numerous avant-garde leaders, Adamson charts the rise and fall of modernist aspirations in movements and individuals as diverse as Ruskin, Marinetti, Kandinsky, Bauhaus, Purism, and the art critic Herbert Read. In conclusion, Adamson rises to the defense of the modernists, suggesting that their ideas are relevant to current efforts to think through what it might mean to create a vibrant, aesthetically satisfying form of cultural democracy.

Following Joseph Stalin's death in 1953, the Soviet Union experienced a dramatic resurgence in cinematic production. The period of the Soviet Thaw became known for its relative political and cultural liberalization; its films, formally innovative and socially engaged, were swept to the center of international cinematic discourse. In The Cinema of the Soviet Thaw, Lida Oukaderova provides an in-depth analysis of several Soviet films made between 1958 and 1967 to argue for the centrality of space-as both filmic trope and social concern-to Thaw-era cinema. Opening with a discussion of the USSR's little-examined late-fifties embrace of panoramic cinema, the book pursues close readings of films by Mikhail Kalatozov, Georgii Danelia, Larisa Shepitko and Kira Muratova, among others. It demonstrates that these directors' works were motivated by an urge to interrogate and reanimate spatial experience, and through this project to probe critical issues of ideology, social progress, and subjectivity within post-Stalinist culture.

Intoxicating Manchuria reveals how the powerful alcohol and opium industries in Northeast China were altered by warlord rule, Japanese occupation, political conflict, and a vigorous anti-intoxicant movement. Through the lens of the Chinese media's depictions of alcohol and opium, Norman Smith examines how intoxicants and addiction were understood in this society, the role the Japanese occupation of Manchuria played in the portrayal of intoxicants, and the efforts made to reduce opium and alcohol consumption. This is the first English-language book-length study to focus on alcohol use in modern China and the first dealing with intoxicant restrictions in the region.

Though over one hundred private schools for Jewish girls thrived in the Russian empire between 1831 and 1881, their story has been largely overlooked. In Her Hands: The Education of Girls in Tsarist Russia restores these schools to their rightful place of prominence in training thousands of Jewish girls in secular and Judaic subjects and also paving the way for the modern schools that followed them. Through extensive archival research, author Eliyana R. Adler examines the schools' curriculum, teachers, financing, students, and educational innovation and demonstrates how each of these aspects evolved over time. In telling the story of Russia's private schools for Jewish girls, Adler argues that these schools were crucibles of educational experimentation that merit serious examination. Students and scholars of Jewish history, educational history, and women's studies will enjoy this pathbreaking study.

In this prize-winning work on the American Civil War, Joan E. Cashin explores the struggle between armies and civilians over the human and environmental resources necessary to wage war. This war "stuff" included the skills of white Southern civilians, as well as such material resources as food, timber,and housing. At first, civilians were willing to help Confederate or Union forces, but the war took such a toll that all civilians, regardless of politics, began focusing on their own survival. Both armies took whatever they needed from human beings and the material world, which eventually destroyed theregion's ability to wage war. Cashin draws on a wide range of documents, as well as the perspectives of food studies, environmental history, architectural history, and material culture studies. This book provides an entirely new perspective on the war era.

This collection of essays covers a hundred-year history of Russian-language literature in Israel, including the pre-state period. Some of the studies are devoted to an overview of the literary process and the activities of its participants, others-to individual genres and movements. As a result, a complex and multifaceted picture emerges of a not quite fully defined, but very lively and dynamic community that develops in the most difficult conditions. The contributors trace the paths of Russian-Israeli prose, poetry and drama, various waves of avant-garde, fantasy, and critical thought. Today, in Russian-Israeli literature, the voices of writers of various generations and waves of repatriation are intertwined: from the "seventies" to the "war aliyah" of the recent times. Both the Russian-Israeli authors and their critics often hold different opinions of their respective roles in Israel's historical and literary storms. While disagreeing on the definition of their place on the map of modern culture, Russian-Israeli writers are united by a shared bond with the fate of the Jewish state.

In Revisiting Women's Cinema, Lingzhen Wang ponders the roots of contemporary feminist stagnation and the limits of both commercial mainstream and elite minor cultures by turning to socialist women filmmakers in modern China. She foregrounds their sociopolitical engagements, critical interventions, and popular artistic experiments, offering a new conception of socialist and postsocialist feminisms, mainstream culture, and women's cinema. Wang highlights the films of Wang Ping and Dong Kena in the 1950s and 1960s and Zhang Nuanxin and Huang Shuqin in the 1980s and 1990s to unveil how they have been profoundly misread through extant research paradigms entrenched in Western Cold War ideology, post-second-wave cultural feminism, and post-Mao intellectual discourses. Challenging received interpretations, she elucidates how socialist feminism and culture were conceptualized and practiced in relation to China's search not only for national independence and economic development but also for social emancipation, proletarian culture, and socialist internationalism. Wang calls for a critical reevaluation of historical materialism, socialist feminism, and popular culture to forge an integrated emancipatory vision for future transnational feminist and cultural practices.

The fifty months of the Siberian Intervention encompass the existential crisis which affected Japanese at virtually all levels when confronted with the new world situation left in the wake of the First World War. From elite politicians and military professionals, to public intellectuals and the families of servicemen in small garrison to wns, the intervention was perceived as a test of how Japan might fit itself into the emerging postwar world order. Both domestically and internationally Japan actions in Siberia were seen as critical proof of the nation's ability, depending on one viewpoint, to embrace or to ride out the trends of the times, the seeming triumph of constitutional democracy and Wilsonian internationalism. The course of the Siberian Intervention illuminates the struggle to cement responsible party cabinets at the heart of Japanese decision making, the high water mark of efforts to bring the Japanese military under civilian control, the attempt to fundamentally reshape Japanese continental policy, and the hopes of millions of Japanese that their voices be heard and their desires respected by the nation's leaders. The book attempts a broad examination of domestic politics, foreign policy, and military action by incorporating a wide array of voices through a detailed examination of public comment and discussion in journals and magazines, the major circulation daily newspapers of Tokyo and Osaka as well as those of smaller cities such as Nara, Mito, Oita, and Tsuruga.

The first half of the twentieth century witnessed the rise of modernist architects. Brokers of Modernity reveals how East Central Europe turned into one of the pre-eminent testing grounds of the new belief system of modernism. By combining the internationalism of the CIAM organization and the modernising aspirations of the new states built after 1918, the reach of modernist architects extended far beyond their established fields. Yet, these architects paid a price when Europe's age of extremes intensified. Mainly drawing on Polish, but also wider Central and Eastern European cases, this book delivers a pioneering study of the dynamics of modernist architects as a group, including how they became qualified, how they organized, communicated and attempted to live the modernist lifestyle themselves. In doing so, Brokers of Modernity raises questions concerning collective work in general and also invites us to examine the social role of architects today.

This study explores the evolution of Lomonosov's imposing stature in Russian thought from the middle of the eighteenth century to the closing years of the Soviet period. It reveals much about the intersection in Russian culture of attitudes towards the meaning and significance of science, as well as about the rise of a Russian national identity, of which Lomonosov became an outstanding symbol. Idealized depictions of Lomonosov were employed by Russian scientists, historians, and poets, among others, in efforts to affirm to their countrymen and to the state the pragmatic advantages of science to a modernizing nation. In setting forth this assumption, Usitalo notes that no sharply drawn division can be upheld between the utilization of the myth of Lomonosov during the Soviet period of Russian history and that which characterized earlier views. The main elements that formed the mythology were laid down in the eighteenth and nineteenth centuries; Soviet scholars simply added more exaggerated layers to existing representations.

Sarah Pratt traces interwoven questions in the work of Nikolai Zabolotsky, a figure ranking just behind Pasternak, Mandelstram and Akhmatova in modern Russian poetry and the first major poet to come to light in the Soviet period. The book identifies a ""Soviet"" impulse, marked by a veneer of Marxist ideology and political acceptability, and a ""Russian"" impulse that reflects prerevolutionary mores and the cultural bedrock of Russian Orthodoxy.

Offering a rare look at the musical life of Russia Abroad as it unfolded in New York City, Natalie K. Zelensky examines the popular music culture of the post-Bolshevik Russian emigration and the impact made by this group on American culture and politics. By combining archival research with fieldwork and interviews with Russian emigres of various generations and emigration waves, this book presents a close historical and ethnographic examination of music's potential as an aesthetic, discursive, and social space through which diasporans can engage with an idea of a mythologized homeland, and, in turn, the vital role played by music in the organization, development, and reception of Russia Abroad, from the 1920s until the present day.

Politically and militarily powerful, early modern Scandinavia played an essential role in the development of Central European culture from the sixteenth to the eighteenth century. In this volume, Kristoffer Neville shows how the cultural ambitions of Denmark and Sweden were inextricably bound to those of other Central European kingdoms. Tracing the visual culture of the Danish and Swedish courts from the Reformation to their eventual decline in the eighteenth century, Neville explains how and why they developed into important artistic centers. He examines major projects by figures largely unknown outside of Northern Europe alongside other, more canonical artists ¿ including Cornelis Floris, Adriaen de Vries, and Johann Bernhard Fischervon Erlach ¿ to propose a more coherent view of this part of Europe, one that rightly includes Scandinavia as a vital component. The seventeenth century has long seemed a bleak moment in Central European culture. Neville's authoritative and unprecedented study does much to change this perception, showing that the arts did not die in the Reformation and Thirty Years' War but rather flourished in the Baltic region.

Bruno De Nicola investigates the development of women's status in the Mongol Empire from its original homeland in Mongolia up to the end of the Ilkhanate of Iran in 1335. Taking a thematic approach, the chapters show a coherent progression of this development and contextualise the evolution of the role of women in medieval Mongol society. The arrangement serves as a starting point from where to draw comparison with the status of Mongol women in the later period. Exploring patterns of continuity and transformation in the status of these women in different periods of the Mongol Empire as it expanded westwards into the Islamic world, the book offers a view on the transformation of a nomadic-shamanist society from its original homeland in Mongolia to its settlement in the mostly sedentary-Muslim Iran in the mid-13th century.

Uneasy Warriors presents a rare and intimate view into the psychological and social workings of the Self-Defense Forces. As the first scholar permitted to participate in basic Self-Defense Forces training, Frühstück offers a firsthand look at an army trained for combat that nevertheless serves nontraditional military needs. She expertly describes their ambiguous status, revealing insights gained from several years of sustained research, including a stint "in uniform" at an army base near Mt. Fuji.

She Animates examines the work of twelve female animation directors in the Soviet Union and Russia, who have long been overlooked by film scholars and historians. Our approach examines these directors within history, culture, and industrial practice in animation. In addition to making a case for including these women and their work in the annals of film and animation history, this volume also makes an argument for why their work should be considered part of the tradition of women's cinema. We offer textual analysis that focuses on the changing attitudes towards both the woman question and feminism by examining the films in light of the emergence and evolution of a Soviet female subjectivity that still informs women's cinema in Russia today.

Voiceless Vanguard: The Infantilist Aesthetic of the Russian Avant-Garde offers a new approach to the Russian avant-garde. It argues that central writers, artists, and theorists of the avant-garde self-consciously used an infantile aesthetic, as inspired by children's art, language, perspective, and logic, to accomplish the artistic renewal they were seeking in literature, theory, and art. It treats the influence of children's drawings on the Neo-Primitivist art of Mikhail Larionov, the role of children's language in the Cubo- Futurist poetics of Aleksei Kruchenykh, the role of the naive perspective in the Formalist theory of Viktor Shklovsky, and the place of children's logic and lore in Daniil Kharms's absurdist writings for children and adults. This interdisciplinary and cultural study not only illuminates a rich period in Russian culture but also offers implications for modernism in a wider Western context, where similar principles apply.