Frustrated Democracy in Post-Soviet Azerbaijan follows a newly independent oil-rich former Soviet republic as it adopts a Western model of democratic government and then turns toward corrupt authoritarianism. Audrey L. Altstadt begins with the Nagorno-Karabagh War (1988–1994) which triggered Azerbaijani nationalism and set the stage for the development of a democratic movement. Initially successful, this government soon succumbed to a coup. Western oil companies arrived and money flowed in—a quantity Altstadt calls "almost unimaginable"—causing the regime to resort to repression to maintain its power. Despite Azerbaijan's long tradition of secularism, political Islam emerged as an attractive alternative for those frustrated with the stifled democratic opposition and the lack of critique of the West's continued political interference. Altstadt's work draws on instances of censorship in the Azerbaijani press, research by embedded experts and nongovernmental and international organizations, and interviews with diplomats and businesspeople. The book is an essential companion to her earlier works, The Azerbaijani Turks: Power and Identity Under Russian Rule and The Politics of Culture in Soviet Azerbaijan, 1920–1940.

In its first years as an independent state, Azerbaijan was a prime example of post-Soviet chaos - beset by coups and civil strife and astride an ethnic, political and religious divide. Author Goltz was detoured in Baku in mid-1991 and decided to stay, this diary is the record of his experiences.

"In Black Garden, Thomas de Waal tells the full story of this tragic quarrel and its aftermath for the first time. He travels the length and breadth of Armenia and Azerbaijan, talking to veterans, refugees and the inhabitants of ruined towns and villages. He recreates the story of the descent into conflict of two former Soviet neighbors, its disastrous consequences and the confused efforts of the "Great Powers" - Russia, France and the United states - to bring peace to the Caucasus."--BOOK JACKET.

Dictionary of places, people and events in Azerbaijan history.

The Armenian-Azerbaijani conflict for control of the mountainous territory of Nagorny Karabakh is the longest-running dispute in post-Soviet Eurasia. Laurence Broers shows how more than 20 years of dynamic territorial politics, shifting power relations, international diffusion and unsuccessful mediation efforts have contributed to the resilience of this stubbornly unresolved dispute. Looking beyond tabloid tropes of 'frozen conflict' or 'Russian land-grab', Broers unpacks the unresolved territorial issues of the 1990s and the strategic rivalry that has built up around them since.

The purpose of this book is twofold. First, it will place in historical context Azerbaijan's recent emergence as an independent republic with increasing importance as a regional and global actor. Chapter two will therefore provide an overview of the geography, history, and oil resources of the Republic in order to provide background for discussion of the current situation. The second purpose of the book is to analyse the potential pitfalls of investment in the country and explore possible scenarios for the future.

This book traces the development of Azerbaijani art music from its origins in the Eastern, modal, improvisational tradition known as mugham through its fusion with Western classical, jazz, and world art music. Aida Huseynova places the fascinating and little-known history of music in Azerbaijan against the vivid backdrop of cultural life under Soviet influence, which paradoxically both encouraged and repressed the evolution of national musics and post-Soviet independence. Inspired by their neighbors to the East and West, Azerbaijani musicians enjoyed a period of remarkable creativity, composing and performing the first opera and the first ballet in the Muslim East, establishing the region's first Opera and Ballet Theater and Conservatory of Music, and discovering ways to merge the modal lyricism of mugham with the rhythmic dynamics of jazz. Drawing on previously unstudied archives, letters, and documents as well as her experience as an Azerbaijani musician and educator, Huseynova shows how Azerbaijani musical development was not a product of Soviet cultural policies but rather grew from and reflected deep and complex cultural processes.