Search results for ""Author Stephen M. Norris""

How did communities come to terms with the collapse of communism? In order to guide the wider narrative, many former communist countries constructed museums dedicated to chronicling their experiences. Museums of Communism explores the complicated intersection of history, commemoration, and victimization made evident in these museums constructed after 1991. While contributors from a diverse range of fields explore various museums and include nearly 90 photographs, a common denominator emerges: rather than focusing on artifacts and historical documents, these museums often privilege memories and stories. In doing so, the museums shift attention from experiences of guilt or collaboration to narratives of shared victimization under communist rule. As editor Stephen M. Norris demonstrates, these museums are often problematic at best and revisionist at worst. From occupation museums in the Baltic States to memorial museums in Ukraine, former secret police prisons in Romania, and nostalgic museums of everyday life in Russia, the sites considered offer new ways of understanding the challenges of separating memory and myth.

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Seeking to rebuild the Russian film industry after its post-Soviet collapse, directors and producers sparked a revival of nationalist and patriotic sentiment by applying Hollywood techniques to themes drawn from Russian history. Unsettled by the government's move toward market capitalism, Russians embraced these historical blockbusters, packing the American-style multiplexes that sprouted across the country. Stephen M. Norris examines the connections among cinema, politics, economics, history, and patriotism in the creation of "blockbuster history"—the adaptation of an American cinematic style to Russian historical epics.

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Seeking to rebuild the Russian film industry after its post-Soviet collapse, directors and producers sparked a revival of nationalist and patriotic sentiment by applying Hollywood techniques to themes drawn from Russian history. Unsettled by the government's move toward market capitalism, Russians embraced these historical blockbusters, packing the American-style multiplexes that sprouted across the country. Stephen M. Norris examines the connections among cinema, politics, economics, history, and patriotism in the creation of "blockbuster history"—the adaptation of an American cinematic style to Russian historical epics.

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How did communities come to terms with the collapse of communism? In order to guide the wider narrative, many former communist countries constructed museums dedicated to chronicling their experiences. Museums of Communism explores the complicated intersection of history, commemoration, and victimization made evident in these museums constructed after 1991. While contributors from a diverse range of fields explore various museums and include nearly 90 photographs, a common denominator emerges: rather than focusing on artifacts and historical documents, these museums often privilege memories and stories. In doing so, the museums shift attention from experiences of guilt or collaboration to narratives of shared victimization under communist rule. As editor Stephen M. Norris demonstrates, these museums are often problematic at best and revisionist at worst. From occupation museums in the Baltic States to memorial museums in Ukraine, former secret police prisons in Romania, and nostalgic museums of everyday life in Russia, the sites considered offer new ways of understanding the challenges of separating memory and myth.

Read more less

For more than three centuries, St. Petersburg, founded in 1703 by Peter the Great as Russia's westward-oriented capital and as a visually stunning showcase of Russia's imperial ambitions, has been the country's most mythologized city. Like a museum piece, it has functioned as a site for preservation, a literal and imaginative place where Russians can commune with idealized pasts. Preserving Petersburg represents a significant departure from traditional representations. By moving beyond the "Petersburg text" created by canonized writers and artists, the contributors to this engrossing volume trace the ways in which St. Petersburg has become a "museum piece," embodying history, nostalgia, and recourse to memories of the past. The essays in this attractively illustrated volume trace a process of preservation that stretches back nearly three centuries, as manifest in the works of noted historians, poets, novelists, artists, architects, filmmakers, and dramatists.

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The Akunin Project is the first book to study the fiction and popular history of Grigorii Chkhartishvili, one of the most successful writers in post-Soviet Russia. In the first two decades of the twenty-first century, Chkhartishvili published over sixty books under the pen names Anatolii Brusnikin, Anna Borisova, Akunin-Chkhartishvili, and, most commonly, Boris Akunin. His series featuring the tsarist secret policeman Erast Fandorin has sold over 15 million books in Russia alone, making Akunin one of the bestselling authors of the post-Soviet era. Combining intertextuality, allusions, pastiche, and other markers of postmodern playfulness, many of Akunin’s works have been translated into English and have also been adapted for film and television. Akunin’s public profile has been further enhanced by his active involvement in mass political protests against Vladimir Putin. Despite Akunin’s international reputation as a celebrated writer, there is very little critical work on his literary output and his mysterious persona. Bringing together scholars of literature, history, and culture, The Akunin Project fills this gap by exploring the author’s bestselling adventure novels and recent histories of the Russian state. The book includes translations of five short works previously unavailable in English as well as an interview with the author.

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Identifying who was "inside" and who was "outside" the Soviet/Russian body politic has been a matter of intense and violent urgency, especially in the high Stalinist and post-Soviet periods. It is a theme encountered prominently in film. Employing a range of interpretive methods practiced in Russian/Soviet film studies, Insiders and Outsiders in Russian Cinema highlights the varied ways that Russian and Soviet cinema constructed otherness and foreignness. While the essays explore the "us versus them" binary well known to students of Russian culture and the ways in which Russian films depicted these distinctions, the book demonstrates just how impossible maintaining this binary proved to be.Contributors are Anthony Anemone, Julian Graffy, Peter Kenez, Joan Neuberger, Stephen M. Norris, Oleg Sulkin, Yuri Tsivian, Emma Widdis, and Josephine Woll.

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The Akunin Project is the first book to study the fiction and popular history of Grigorii Chkhartishvili, one of the most successful writers in post-Soviet Russia. In the first two decades of the twenty-first century, Chkhartishvili published over sixty books under the pen names Anatolii Brusnikin, Anna Borisova, Akunin-Chkhartishvili, and, most commonly, Boris Akunin. His series featuring the tsarist secret policeman Erast Fandorin has sold over 15 million books in Russia alone, making Akunin one of the bestselling authors of the post-Soviet era. Combining intertextuality, allusions, pastiche, and other markers of postmodern playfulness, many of Akunin’s works have been translated into English and have also been adapted for film and television. Akunin’s public profile has been further enhanced by his active involvement in mass political protests against Vladimir Putin. Despite Akunin’s international reputation as a celebrated writer, there is very little critical work on his literary output and his mysterious persona. Bringing together scholars of literature, history, and culture, The Akunin Project fills this gap by exploring the author’s bestselling adventure novels and recent histories of the Russian state. The book includes translations of five short works previously unavailable in English as well as an interview with the author.

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A fundamental dimension of the Russian historical experience has been the diversity of its people and cultures, religions and languages, landscapes and economies. For six centuries this diversity was contained within the sprawling territories of the Russian Empire and the Soviet Union, and it persists today in the entwined states and societies of the former USSR. Russia's People of Empire explores this enduring multicultural world through life stories of 31 individuals—famous and obscure, high born and low, men and women—that illuminate the cross-cultural exchanges at work from the late 1500s to post-Soviet Russia. Working on the scale of a single life, these microhistories shed new light on the multicultural character of the Russian Empire, which both shaped individuals' lives and in turn was shaped by them.

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