"Analyses Russian Orthodox perspectives on the Russo-Japanese War of 1904-5, focusing on the writings of the Russian priest Nikolai of Japan"--

How should Christians think about the relationship between the exercise of military power and the spread of Christianity? In Russian Orthodoxy and the Russo-Japanese War, Betsy Perabo looks at the Russo-Japanese War of 1904-5 through the unique concept of an 'interreligious war' between Christian and Buddhist nations, focusing on the figure of Nikolai of Japan, the Russian leader of the Orthodox Church in Japan. Drawing extensively on Nikolai's writings alongside other Russian-language sources, the book provides a window into the diverse Orthodox Christian perspectives on the Russo-Japanese War – from the officials who saw the war as a crusade for Christian domination of Asia to Nikolai, who remained with his congregation in Tokyo during the war. Writings by Russian soldiers, field chaplains, military psychologists, and leaders in the missionary community contribute to a rich portrait of a Christian nation at war. By grounding its discussion of 'interreligious war' in the historical example of the Russo-Japanese War, and by looking at the war using the sympathetic and compelling figure of Nikolai of Japan, this book provides a unique perspective which will be of value to students and scholars of both Russian history, the history of war and religion and religious ethics.

"Analyses Russian Orthodox perspectives on the Russo-Japanese War of 1904-5, focusing on the writings of the Russian priest Nikolai of Japan"--

Colonizing Russia's Promised Land: Orthodoxy and Community on the Siberian Steppe, examines how Russian Orthodoxy acted as a basic building block for constructing Russian settler communities in current-day southern Siberia and northern Kazakhstan.

In recent years, the Russian Orthodox Church has become a more prominent part of post-Soviet Russia. A number of assumptions exist regarding the Church’s relationship with the Russian state: that the Church has always been dominated by Russia’s secular elites; that the clerics have not sufficiently fought this domination and occasionally failed to act in the Church’s best interest; and that the Church was turned into a Soviet institution during the twentieth century. This book challenges these assumptions. It demonstrates that church-state relations in post-communist Russia can be seen in a much more differentiated way, and that the church is not subservient, very much having its own agenda. Yet at the same time it is sharing the state’s, and Russian society’s nationalist vision. The book analyses the Russian Orthodox Church’s political culture, focusing on the Putin and Medvedev eras from 2000. It examines the upper echelons of the Moscow Patriarchate in relation to the governing elite and to Russian public opinion, explores the role of the church in the formation of state religious policy, and the church’s role within the Russian military. It discusses how the Moscow Patriarchate is asserting itself in former Soviet republics outside Russia, especially in Estonia, Ukraine and Belarus. It concludes by re-emphasising that, although the church often mirrors the Kremlin’s political preferences, it most definitely acts independently.

In The Icon and the Square, Maria Taroutina examines how the traditional interests of institutions such as the crown, the church, and the Imperial Academy of Arts temporarily aligned with the radical, leftist, and revolutionary avant-garde at the turn of the twentieth century through a shared interest in the Byzantine past, offering a counternarrative to prevailing notions of Russian modernism. Focusing on the works of four different artists—Mikhail Vrubel, Vasily Kandinsky, Kazimir Malevich, and Vladimir Tatlin—Taroutina shows how engagement with medieval pictorial traditions drove each artist to transform his own practice, pushing beyond the established boundaries of his respective artistic and intellectual milieu. She also contextualizes and complements her study of the work of these artists with an examination of the activities of a number of important cultural associations and institutions over the course of several decades. As a result, The Icon and the Square gives a more complete picture of Russian modernism: one that attends to the dialogue between generations of artists, curators, collectors, critics, and theorists. The Icon and the Square retrieves a neglected but vital history that was deliberately suppressed by the atheist Soviet regime and subsequently ignored in favor of the secular formalism of mainstream modernist criticism. Taroutina’s timely study, which coincides with the centennial reassessments of Russian and Soviet modernism, is sure to invigorate conversation among scholars of art history, modernism, and Russian culture.

The Oxford Handbook of Russian Religious Thought is an authoritative new reference and interpretive volume detailing the origins, development, and influence of one of the richest aspects of Russian cultural and intellectual life - its religious ideas. After setting the historical background and context, the Handbook follows the leading figures and movements in modern Russian religious thought through a period of immense historical upheavals, including seventy years of officially atheist communist rule and the growth of an exiled diaspora with, e.g., its journal The Way. Therefore the shape of Russian religious thought cannot be separated from long-running debates with nihilism and atheism. Important thinkers such as Losev and Bakhtin had to guard their words in an environment of religious persecution, whilst some views were shaped by prison experiences. Before the Soviet period, Russian national identity was closely linked with religion - linkages which again are being forged in the new Russia. Relevant in this connection are complex relationships with Judaism. In addition to religious thinkers such as Philaret, Chaadaev, Khomiakov, Kireevsky, Soloviev, Florensky, Bulgakov, Berdyaev, Shestov, Frank, Karsavin, and Alexander Men, the Handbook also looks at the role of religion in aesthetics, music, poetry, art, film, and the novelists Dostoevsky and Tolstoy. Ideas, institutions, and movements discussed include the Church academies, Slavophilism and Westernism, theosis, the name-glorifying (imiaslavie) controversy, the God-seekers and God-builders, Russian religious idealism and liberalism, and the Neopatristic school. Occultism is considered, as is the role of tradition and the influence of Russian religious thought in the West.