Co-winner of the 2009 SUNY Press Dissertation/First Book Prize in Women's and Gender Studies, Imagining Russia uses U.S.–Russian relations between the fall of the Soviet Union in 1991 and the U.S.-led invasion of Iraq in 2003 as a case study to examine the deployment of gendered, racialized, and heteronormative visual and narrative depictions of Russia and Russians in contemporary narratives of American nationalism and U.S. foreign policy. Through analyses of several key post-Soviet American popular and political texts, including the hit television series The West Wing, Washington D.C.'s International Spy Museum, and the legislative hearings of the Freedom Support Act and the Trafficking Victims Protection Act, Williams calls attention to the production and operation of five types of "gendered Russian imaginaries" that were explicitly used to bolster support for and legitimize U.S. geopolitical unilateralism after the dissolution of the Soviet Union, demonstrating the ways that the masculinization of U.S. military, political, and financial power after 1991 paved the way for the invasion of Iraq in 2003.

In Imagining America, historian Alan M. Ball explores American influence in two newborn Russian states: the young Soviet Union and the modern Russian Republic. Ball deftly illustrates how in each era Russians have approached the United States with a conflicting mix of ideas—as a land to admire from afar, to shun at all costs, to emulate as quickly as possible, or to surpass on the way to a superior society. Drawing on a wide variety of sources including contemporary journals, newspapers, films, and popular songs, Ball traces the shifting Russian perceptions of American cultural, social, and political life. As he clearly demonstrates, throughout their history Russian imaginations featured a United States that political figures and intellectuals might embrace, exploit, or attack, but could not ignore.

This subtle, unusual book explores the many, often overlapping ways in which the Russian Jewish past has been remembered in history, in literature, and in popular culture. Drawing on a wide range of sources—including novels, plays, and archival material—Imagining Russian Jewry is a reflection on reading, collective memory, and the often uneasy, and also uncomfortably intimate, relationships that exist between seemingly incompatible ways of seeing the past. The book also explores what it means to produce scholarship on topics that are deeply personal: its anxieties, its evasions, and its pleasures. Zipperstein, a leading expert in modern Jewish history, explores the imprint left by the Russian Jewish past on American Jews starting from the turn of the twentieth century, considering literature ranging from immigrant novels to Fiddler on the Roof. In Russia, he finds nostalgia in turn-of-the-century East European Jewry itself, in novels contrasting Jewish life in acculturated Odessa with the more traditional shtetls. The book closes with a provocative call for a greater awareness regarding how the Holocaust has influenced scholarship produced since the Shoah.

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.

Winner of the Heldt Prize for Best Book in Slavic, East European, and Eurasian Women's and Gender Studies 2021 There was a discontent among Russian men in the nineteenth century that sometimes did not stem from poverty, loss, or the threat of war, but instead arose from trying to negotiate the paradoxical prescriptions for masculinity which characterized the era. Picturing Russia's Men takes a vital new approach to this topic within masculinity and art historical studies by investigating the dissatisfaction that developed from the breakdown in prevailing conceptions of manhood outside of the usual Western European and American contexts. By exploring how Russian painters depicted gender norms as they were evolving over the course of the century, each chapter shows how artworks provide unique insight into not only those qualities that were supposed to predominate, but actually did in lived practice. Drawing on a wide variety of source material, including previously untranslated letters, journals, and contemporary criticism, the book explores the deep structures of masculinity to reveal the conflicting desires and aspirations of men in the period. In so doing, readers are introduced to Russian artists such as Karl Briullov, Pavel Fedotov, Alexander Ivanov, Ivan Kramskoi, and Ilia Repin, all of whom produced masterpieces of realist art in dialogue with paintings made in Western European artistic centers. The result is a more culturally discursive account of art-making in the nineteenth century, one that challenges some of the enduring myths of masculinity and provides a fresh interpretive history of what constitutes modernism in the history of art.

In February 2022, Russian missiles rained on Ukrainian cities, and tanks rolled towards Kyiv to end Ukrainian independent statehood. President Zelensky declined a Western evacuation offer and Ukrainians rallied to defend their country. What are the roots of this war, which has upended the international legal order and brought back the spectre of nuclear escalation? How did these supposedly “brotherly peoples” become each other’s worst nightmare? In Russia and Ukraine: Entangled Histories, Diverging States, Maria Popova and Oxana Shevel explain how since 1991 Russia and Ukraine diverged politically, ending up on a collision course. Russia slid back into authoritarianism and imperialism, while Ukraine consolidated a competitive political system and pro-European identity. As Ukraine built a democratic nation-state, Russia refused to accept it and came to see it as an “anti-Russia” project. After political and economic pressure proved ineffective, and even counterproductive, Putin went to war to force Ukraine back into the fold of the “Russian world.” Ukraine resisted, determined to pursue European integration as a sovereign state. These irreconcilable goals, rather than geopolitical wrangling between Russia and the West over NATO expansion, are – the authors argue – essential to understanding Russia’s war on Ukraine.

This astonishing book explores the delusional imaginings of Russia's past by the pseudo-scientific 'Alternative History' movement. Despite the chaotic collapse of two empires in the last century, Russia's glorious imperial past continues to inspire millions. The lively movement of 'Alternative History', diligently re-writing Russia's past and 'rediscovering' its hidden greatness, has been growing dramatically since the collapse of Communism in 1991. Virtually unknown in the West, these pseudo-historians have published best-selling books, attracted widespread media attention, and are a prominent voice in Internet discussions about Russian and world history. Alternative History claims that Russia is much older than Ancient Egypt, Greece and Rome; that the medieval Mongol Empire was in fact a Slav-Turk world empire; and that, in the twentieth century, duplicitous foreign powers stabbed Russia in the back and stole its empire. For its followers the key to Russia's greatness in the future lies in ensuring that Russians understand the true wealth of their past. Alternative history has become a popular therapy for Russians still coming to terms with the reality of Post-Soviet life. It is one of the forces shaping a new Russian nationalism and an important factor in the geopolitics of the twenty-first century.