From the royal pew of Ivan the Terrible, to Catherine the Great's use of landscape, to the struggles between the Orthodox Church and preservationists in post-Soviet Yaroslavl—across five centuries of Russian history, Russian leaders have used architecture to project unity, identity, and power. Church architecture has inspired national cohesion and justified political control while representing the claims of religion in brick, wood, and stone. The architectural vocabulary of the Soviet state celebrated industrialization, mechanization, and communal life. Buildings and landscapes have expressed utopian urges as well as lofty spiritual goals. Country houses and memorials have encoded their own messages. In Architectures of Russian Identity, James Cracraft and Daniel Rowland gather a group of authors from a wide variety of backgrounds—including history and architectural history, linguistics, literary studies, geography, and political science—to survey the political and symbolic meanings of many different kinds of structures. Fourteen heavily illustrated chapters demonstrate the remarkable fertility of the theme of architecture, broadly defined, for a range of fields dealing with Russia and its surrounding territories. The authors engage key terms in contemporary historiography—identity, nationality, visual culture—and assess the applications of each in Russian contexts.

From the time the word kul'tura entered the Russian language in the early nineteenth century, Russian arts and letters have thrived on controversy. At any given time several versions of culture have coexisted in the Russian public sphere. The question of what makes something or someone distinctly Russian was at the core of cultural debates in nineteenth-century Russia and continues to preoccupy Russian society to the present day. When Art Makes News examines the development of a public discourse on national self-representation in nineteenth-century Russia, as it was styled by the visual arts and popular journalism. Katia Dianina tells the story of the missing link between high art and public culture, revealing that art became the talk of the nation in the second half of the nineteenth century in the pages of mass-circulation press. At the heart of Dianina's study is a paradox: how did culture become the national idea in a country where few were educated enough to appreciate it? Dianina questions the traditional assumptions that culture in tsarist Russia was built primarily from the top down and classical literature alone was responsible for imagining the national community. When Art Makes News will appeal to all those interested in Russian culture, as well as scholars and students in museum and exhibition studies.

The development of post-socialist cities has become a major field of study among critical theorists from across the social sciences and humanities. Originally constructed under the dictates of central planners and designed to serve the demands of command economies, post-socialist urban centers currently develop at the nexus of varied and often competing economic, cultural, and political forces. Among these, nationalist aspirations, previously simmering beneath the official rhetoric of communist fraternity and veneer of architectural conformity, have emerged as dominant factors shaping the urban landscape. This book explores this burgeoning field of research through detailed cases studies relating to the cultural politics of architecture, urban planning, and identity in the post-socialist cities of Eurasia. This book was published as a special issue of Nationalities Papers.

Modern Russian identity and historical experience has been largely shaped by Russia's imperial past: an empire that was founded in the early modern era and endures in large part today. The Russian Empire 1450-1801 surveys how the areas that made up the empire were conquered and how they were governed. It considers the Russian empire a 'Eurasian empire', characterized by a 'politics of difference': the rulers and their elites at the center defined the state's needs minimally - with control over defense, criminal law, taxation, and mobilization of resources - and otherwise tolerated local religions, languages, cultures, elites, and institutions. The center related to communities and religions vertically, according each a modicum of rights and autonomies, but didn't allow horizontal connections across nobilities, townsmen, or other groups potentially with common interests to coalesce. Thus, the Russian empire was multi-ethnic and multi-religious; Nancy Kollmann gives detailed attention to the major ethnic and religious groups, and surveys the government's strategies of governance - centralized bureaucracy, military reform, and a changed judicial system. The volume pays particular attention to the dissemination of a supranational ideology of political legitimacy in a variety of media - written sources and primarily public ritual, painting, and particularly architecture. Beginning with foundational features, such as geography, climate, demography, and geopolitical situation, The Russian Empire 1450-1801 explores the empire's primarily agrarian economy, serfdom, towns and trade, as well as the many religious groups - primarily Orthodoxy, Islam, and Buddhism. It tracks the emergence of an 'Imperial nobility' and a national self-consciousness that was, by the end of the eighteenth century, distinctly imperial, embracing the diversity of the empire's many peoples and cultures.

Conventional readings of the history of Soviet art and architecture show modernist utopian aspirations as all but prohibited by 1932 under Stalin's totalitarianism. Soviet Architectural Avant-Gardes challenges that view. Radically redefining the historiography of the period, it reveals how the relationship between the Party and practicing architects was much more complex and contradictory than previously believed, and shows, in contrast to the conventional scholarly narrative, how the architectural avant-garde was able to persist at a time when it is widely considered to have been driven underground. In doing so, this book provides an essential perspective on how to analyse, evaluate, and “re-imagine” the history of modernist expression in its cultural context. It offers a new understanding of ways in which 20th century social revolutions and their totalitarian sequels inflected the discourse of both modernity and modernism. The book relies on close analyses of archival documents and architectural works. Many of the documents have been rarely – if ever – discussed in English before, while the architectural projects include iconic works such as the Palace of Soviets and the Soviet Pavilion at the Paris 1937 World Exposition, as well as remarkable works that until now have been neglected by architectural historians inside and outside Russia. In a fascinating final chapter, it also reveals for the first time the details of Frank Lloyd Wright's triumphant welcome at the First Congress of Soviet Architects in Moscow in 1937, at the height of Stalin's Terror.

What can Russian images and objects—a tsar’s crown, a provincial watercolor album, the Soviet Pioneer Palace—tell us about the Russian people and their culture? This wide-ranging book is the first to explore the visual culture of Russia over the entire span of Russian history, from ancient Kiev to contemporary, post-Soviet society. Illustrated with more than one hundred diverse and fascinating images, the book examines the ways that Russians have represented themselves visually, understood their visual environment, and used visual images in social and political contexts. Expert contributors discuss images and objects from all over the Russian/Soviet empire, including consumer goods, architectural monuments, religious icons, portraits, news and art photography, popular prints, films, folk art, and more. Each of the concise and accessible essays in the volume offers a fresh interpretation of Russian cultural history. Putting visuality itself in focus as never before, Picturing Russia adds an entirely new dimension to the study of Russian literature, history, art, and culture. The book enriches our understanding of visual documents and shows the variety of ways they serve as far more than mere illustration.

Rivers figure prominently in a nation’s historical memory, and the Volga and Mississippi have special importance in Russian and American cultures. Beginning in the pre-modern world, both rivers served as critical trade routes connecting cultures in an extensive exchange network, while also sustaining populations through their surrounding wetlands and bottomlands. In modern times, “Mother Volga” and the “Father of Waters” became integral parts of national identity, contributing to a sense of Russian and American exceptionalism. Furthermore, both rivers were drafted into service as the means to modernize the nation-state through hydropower and navigation. Despite being forced into submission for modern-day hydrological regimes, the Volga and Mississippi Rivers persist in the collective memory and continue to offer solace, recreation, and sustenance. Through their histories we derive a more nuanced view of human interaction with the environment, which adds another lens to our understanding of the past.