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Paul Robinson's Russian Conservatism examines the history of Russian conservative thought from the beginning of the nineteenth century to the present. As he shows, conservatism has made an underappreciated contribution to Russian national identity, to the ideology of Russian statehood, and to Russia's social-economic development. Robinson charts the contributions made by philosophers, politicians, and others during the Imperial, Soviet, and post-Soviet periods. Looking at cultural, political, and social-economic conservatism in Russia, he discusses ideas and issues of more than historical interest. Indeed, what Russian Conservatism demonstrates is that such ideas are helpful in interpreting Russia's present as well as its past and will be influential in shaping Russia's future, for better or for worse, in the years to come.For the past two centuries Russian conservatives have sought to adapt to the pressures of modernization and westernization and, more recently, globalization, while preserving national identity and political and social stability. Through Robinson's research we can now understand how Russian conservatives have continually proposed forms of cultural, political, and economic development seen as building on existing traditions, identity, forms of government, and economic and social life, rather than being imposed on the basis of abs tract theory and foreign models.

Political culture --- Conservatism --- Political culture --- Political culture --- Conservatism --- Conservatism --- Russian history, contemporary Russian politics, political philosophy, intellectual history.

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Artists in the Soviet Union faced a difficult choice: either join the official academies and make art that conformed to the state’s aesthetic and ideological dictates, or attempt to develop alternative artistic practices and spheres for exhibiting their work. In the early 1970s, conceptual artists Ilya Kabakov and Viktor Pivovarov chose the latter option, turning their limited resources into an asset by pioneering an entirely new artistic genre: the album. Somewhere between drawings and novels, Kabakov and Pivovarov’s albums were also the basis for unique performance pieces, as the artists invited select audiences to their Moscow apartments for private readings and viewings of the albums, helping to cultivate an alternative artistic community in the process. This exhibition catalog brings together Kabakov and Pivovarov’s key works for the first time, putting the two artists in dialogue and recreating their artistic community. It not only includes nearly hundred pages of full-color illustrations, but also provides complete English translations of the Russian texts that appear in the volume, plus new interviews with each artist. Taken together, they give viewers a new appreciation of the different aesthetic strategies each artist used to depict the absurdities of everyday life in the Soviet era. Published in partnership with the Zimmerli Museum.

Dissident art --- Non-social-realist art --- Soviet unofficial art --- Kabakov, Ilʹi︠a︡ Iosifovich, --- Pivovarov, Viktor --- Пивоваров, Виктор --- Pivovarov, Victor --- Pivovarov, V. --- Пивоваров, В. --- Pivovarov, Viktor Dmitrievich --- Пивоваров, Виктор Дмитриевич --- Кабаков, Илья Иосифович, --- Kabakov, Ilya Iossifovich, --- Kabakov, Ilja, --- Kabakow, Ilja Jossifowitsch, --- Кошелев, Степан Яковлевич, --- Koshelev, Stepan I︠A︡kovlevich, --- Soviet Union, Zimmerli Museum, Ilya Kabakov, Viktor Pivovarov, Ksenia Nouril, Tomáš Glanc, Art, Music, Architecture, Russian, Politics, Artists, art historian, the Bruce Museum, Critical Anthology, Eastern Europe, Central Europe, Post-1989.

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Communism, or as Ken Jowitt prefers, Leninism, has attracted, repelled, mystified, and terrified millions for nearly a century. In his brilliant, timely, and controversial study, New World Disorder, Jowitt identifies and interprets the extraordinary character of Leninist regimes, their political corruption, extinction, and highly unsettling legacy. Earlier attempts to grasp the essence of Leninism have treated the Soviet experience as either a variant of or alien to Western history, an approach that robs Leninism of much of its intriguing novelty. Jowitt instead takes a "polytheist" approach, Weberian in tenor and terms, comparing the Leninist to the liberal experience in the West, rather than assimilating it or alienating it. Approaching the Leninist phenomenon in these terms and spirit emphasizes how powerful the imperatives set by the West for the rest of the world are as sources of emulation, assimilation, rejection, and adaptation; how unyielding premodern forms of identification, organization, and action are; how novel, powerful, and dangerous charisma as a mode of organized indentity and action can be. The progression from essay to essay is lucid and coherent. The first six essays reject the fundamental assumptions about social change that inform the work of modernization theorists. Written between 1974 and 1990, they are, we know now, startingly prescient. The last three essays, written in early 1991, are the most controversial: they will be called alarmist, pessimistic, apocalyptic. They challenge the complacent, optimistic, and self-serving belief that the world is being decisively shaped in the image of the West--that the end of history is at hand.

Communist state. --- Political culture --- Communism. --- Communist state --- Communism --- Political Theory of the State --- Political Science --- Law, Politics & Government --- Bolshevism --- Communist movements --- Leninism --- Maoism --- Marxism --- Trotskyism --- Collectivism --- Totalitarianism --- Post-communism --- Socialism --- Village communities --- Culture --- Political science --- State, Communist --- State, The --- Dictatorship of the proletariat --- People's democracies --- 316.323.72 --- 321.74 --- 321.74 Arbeidersraden. Communisme. Dictatuur van het proletariaat. Sovjets volksdemokratie --- Arbeidersraden. Communisme. Dictatuur van het proletariaat. Sovjets volksdemokratie --- 316.323.72 Socialistische maatschappijvormen --- Socialistische maatschappijvormen --- Communist countries --- 1945 --- -Communist state --- adaptation. --- assimilation. --- bolshevik. --- communism. --- communist government. --- controversial. --- emulation. --- extinction. --- gorbachev. --- government and governing. --- inclusion. --- lenin. --- leninism. --- leninist regimes. --- menshevik. --- modernization. --- moscow centre. --- neotraditionalism. --- political charisma. --- political corruption. --- political culture. --- political ideology. --- political legacy. --- politics. --- polytheist approach. --- rejection. --- russia. --- russian history. --- russian politics. --- social change. --- soviet government. --- soviet history. --- soviet politics. --- soviet union. --- soviet.

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This book explores Benjamin Britten's creative relationship with Russia throughout his life by examining his engagement with Russian composers, musicians and writers in the context of twentieth-century politics. The remarkable relationship between Britten and Shostakovich is a central theme, but it also evaluates other key influences, particularly Britten's passion for Tchaikovsky, his more elusive fascination with Prokofiev, and his ambiguous attitude towards Stravinsky; and it places Britten's enduring friendships with Rostropovich, Vishnevskaya and Richter in the context of his musical output. The book also analyses Britten's responses to various Russian composers and musicians - why, for example, did he dislike Musorgsky? - and considers personal and political perceptions of Britten inthe Soviet Union. Finally, it assesses the wider question of Russian influence on Britten's works and in turn whether Britten's music had any influence on the younger generation of Russian composers,such as Alfred Schnittke. This study draws on Foreign Office and British Council files at the National Archives, published and unpublished material from the former Soviet Union, including the Shostakovich Family Archive, and oral history, in addition to the Britten-related archives. Benjamin Britten and Russia will appeal not only to Britten scholars and students but also to those interested in twentieth-century culture, history and politics more widely.

CAMERON PYKE is Deputy Master (External) at Dulwich College and part-time lecturer at the Centre of Russian Music, Goldsmiths, University of London.

Composers --- Music --- Compositeurs --- Musique --- Biography --- History and criticism --- Biographies --- Histoire et critique --- Britten, Benjamin, --- Criticism and interpretation. --- Travel --- Soviet Union. --- Russland. --- Sowjetunion. --- Britten, Edward Benjamin --- Britten, Benjamin --- Britten, Benjamin E. --- Ber. ha-M. --- Berit ha-Moʻatsot --- ESSD --- FSSR --- Ittiḥād al-Sūfiyīt --- Ittiḥād-i Jamāhīr-i Ishtirākīyah-i Shūrāʼīyah --- Ittiḥād-i Shūrav --- KhSHM --- PSRS --- Rusiyah --- Rusland --- Russia --- Russland --- Rusyah --- Sahaphāp Sōwīat --- Shūrav --- SNTL --- Sobhieṭ Ẏuniẏana --- Soi͡uz Radi͡ansʹkykh Sot͡sialistychnykh Respublik --- Soi͡uz Sovetskikh Sot͡sialisticheskikh Respublik --- Soi͡uz SSR --- Soṿet-Rusland --- Sovetakan Sotsʻialistakan Hanrapetutʻyunneri Miutʻyun --- Sovetakan Sotsʻialistakan Ṛespublikaneri Miutʻyun --- Sovetskiĭ Soi͡uz --- Sovetskiy Soyuz --- Soviyat Yūniyan --- Soyuz SSR --- SRSR --- SSHM --- SSR Kavširi --- SSṚM --- SSSR --- Su-lien --- Szovjetuni --- Tarybų Socialistinių Respublikų Sąjunga --- TSRS --- UdSSR --- Uni Soviet --- Uni Sovjet --- Unión de Repúblicas Socialistas Soviéticas --- Union of Soviet Socialist Republics --- Union soviétique --- Unione Sovietica --- URSS --- USSR --- Zȯvlȯlt Kholboot Uls --- ZSRR --- ZSRS --- Związek Radziecki --- Związek Socjalistycznych Republik Radzieckich --- Związek Socjalistycznych Republik Sowieckich --- Republik-Republik Kesatuan Soviet Sosialis --- Sojuz Sovetskich Socialističeskich Respublik --- Union der Sozialistischen Sowjet-Republiken --- Union der SSR --- Union des Républiques Socialistes Soviétiques --- Padomju Sociālistiko Republiku Savienība --- SSṘM --- ZSSR --- Savez Sovjetskih Socijalističkih Republika --- Soviet Union --- Sojuz Radjans'kich Sozialističnich Respublik --- Şyra Sosjalist Cumhyrijjẹtlẹri Ittifakĭ --- Šura Socialist Gümhurietleri Ittipaky --- Šura Sosyalist Ǧümhuriyetleri Ittifaqï --- SSCB --- Союз Советских Социалистических Республик --- СССР --- 1923-25.12.1991 --- Rußland --- Krievija --- Federazione Russa --- RF --- Großrussland --- Großrußland --- Rossijskaja Imperija --- Russie --- Empire de Russie --- Russian Federation --- Federacja Rosyjska --- Rosja --- Rossija --- Rossijskaja Federacija --- Russische Föderation --- Russisches Reich --- РФ --- Российская Федерация --- Российская Империя --- Russische SFSR --- -1917 --- 25.12.1991 --- -Britten, Benjamin, --- Sojuz Sovetskich Socialističeskich Respublik --- Union des Républiques Socialistes Soviétiques --- Padomju Sociālistiko Republiku Savienība --- SSṘM --- Savez Sovjetskih Socijalističkih Republika --- Sojuz Radjans'kich Sozialističnich Respublik --- Şyra Sosjalist Cumhyrijjẹtlẹri Ittifakĭ --- Šura Socialist Gümhurietleri Ittipaky --- Šura Sosyalist Ǧümhuriyetleri Ittifaqï --- MUSIC / Genres & Styles / Classical. --- Art History. --- Benjamin Britten. --- Biography. --- Chamber music. --- Choral. --- Composer. --- Conductor. --- Dmitri Shostakovich. --- History. --- Music history. --- Music. --- Opera. --- Orchestra. --- Pianist. --- Politics. --- Russia. --- Russian Politics. --- Tchaikovsky. --- Twentieth-Century.