When the Cold War ended, the spying that marked the era did not. An incredible true story from the Pulitzer Prize-nominated New York Times bestselling author of Crazy. Between 1995 and 2000, "Comrade J" was the go-to man for SVR (the successor to the KGB) intelligence in New York City, overseeing all covert operations against the U.S. and its allies in the United Nations. He personally handled every intelligence officer in New York. He knew the names of foreign diplomats spying for Russia. He was the man who kept the secrets. But there was one more secret he was keeping. For three years, "Comrade J" was working for U.S. intelligence, stealing secrets from the Russian Mission he was supposed to be serving. Since he defected, his role as a spy for the U.S. was kept under wraps-until now. This is the gripping, untold story of Sergei Tretyakov, more commonly known as "Comrade J."

Analytical Modeling in Applied Electromagnets encompasses the most complete treatment on the subject published to date, focusing on the nature of models in radio engineering. This leading-edge resource brings you detailed coverage of the latest topics, including metamaterials, photonic bandgaps and artificial impedance surfaces, and applies these concepts to a wide range of applications. The book provides you with working examples that are mainly directed to antenna applications, but the modeling methods and results can be used for other practical devices as well.

Sergei Tretyakov is one of those artists and intellectuals from the first half of the twentieth century whose name is known, but whose achievements are barely recognized. He seems curiously elusive. Who exactly was he? What did he do? A victim of Stalin’s Great Terror, declared an ‘enemy of the people’, his works were ‘disappeared’ and his name forbidden to be mentioned. But he was at the very heart of avant-garde modernism. He collaborated with Sergei Eisenstein both in the theatre and on films, and was behind Eisenstein’s formative theory of ‘the montage of attractions’. He was one of Vladimir Mayakovsky’s most intimate associates. He was a crucial influence in the formulation of Vsevolod Meyerhold’s biomechanics and of Bertolt Brecht’s Verfremdungseffekt, and he was a potent force behind Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction. His influence grew from the astonishing range of his intellectual and artistic work. He was a distinguished poet and playwright, and a formidable cultural theorist. He played the piano with skill, precision and feeling, he could draw cartoons good enough to be reproduced in newspapers, he became one of Russia’s foremost radio broadcasters, and he was an outstanding photographer. At the same time, he was a warm and affectionate husband and father, a bold, argumentative and charismatic friend, and a shrewd observer of revolutionary Russia’s hopes and struggles. This book uncovers the multifarious facets of this fascinating artist and thinker, sets his ideas in the context of his time and for the first time reveals the significance of his diverse achievements.

Winner, 2022 AATSEEL Best Book in Literary Studies, American Association of Teachers of Slavic and European Languages Honorable Mention, 2022 Aldo and Jeanne Scaglione Prize for Comparative Literary Studies, Modern Language Association Following the failure of communist revolutions in Europe, in the 1920s the Soviet Union turned its attention to fostering anticolonial uprisings in Asia. China, divided politically between rival military factions and dominated economically by imperial powers, emerged as the Comintern’s prime target. At the same time, a host of prominent figures in Soviet literature, film, and theater traveled to China, met with Chinese students in Moscow, and placed contemporary China on the new Soviet stage. They sought to reimagine the relationship with China in the terms of socialist internationalism—and, in the process, determine how internationalism was supposed to look and feel in practice. Internationalist Aesthetics offers a groundbreaking account of the crucial role that China played in the early Soviet cultural imagination. Edward Tyerman tracks how China became the key site for Soviet debates over how the political project of socialist internationalism should be mediated, represented, and produced. The central figure in this story, the avant-garde writer Sergei Tret’iakov, journeyed to Beijing in the 1920s and experimented with innovative documentary forms in an attempt to foster a new sense of connection between Chinese and Soviet citizens. Reading across genres and media from reportage and biography to ballet and documentary film, Tyerman shows how Soviet culture sought an aesthetics that could foster a sense of internationalist community. He reveals both the aspirations and the limitations of this project, illuminating a crucial chapter in Sino-Russian relations. Grounded in extensive sources in Russian and Chinese, this cultural history bridges Slavic and East Asian studies and offers new insight into the transnational dynamics that shaped socialist aesthetics and politics in both countries.

Sergei Tretyakov is one of those artists and intellectuals from the first half of the twentieth century whose name is known, but whose achievements are barely recognized. He seems curiously elusive. Who exactly was he? What did he do? A victim of Stalin's Great Terror, declared an 'enemy of the people', his works were 'disappeared' and his name forbidden to be mentioned. But he was at the very heart of avant-garde modernism. He collaborated with Sergei Eisenstein both in the theatre and on films, and was behind Eisenstein's formative theory of 'the montage of attractions'. He was one of Vladimir Mayakovsky's most intimate associates. He was a crucial influence in the formulation of Vsevolod Meyerhold's biomechanics and of Bertolt Brecht's Verfremdungseffekt, and he was a potent force behind Walter Benjamin's The Work of Art in the Age of Mechanical Reproduction. His influence grew from the astonishing range of his intellectual and artistic work. He was a distinguished poet and playwright, and a formidable cultural theorist. He played the piano with skill, precision and feeling, he could draw cartoons good enough to be reproduced in newspapers, he became one of Russia's foremost radio broadcasters, and he was an outstanding photographer. At the same time, he was a warm and affectionate husband and father, a bold, argumentative and charismatic friend, and a shrewd observer of revolutionary Russia's hopes and struggles. This book uncovers the multifarious facets of this fascinating artist and thinker, sets his ideas in the context of his time and for the first time reveals the significance of his diverse achievements.

This self-contained book gives fundamental knowledge about scattering and diffraction of electromagnetic waves and fills the gap between general electromagnetic theory courses and collections of engineering formulas. The book is a tutorial for advanced students learning the mathematics and physics of electromagnetic scattering and curious to know how engineering concepts and techniques relate to the foundations of electromagnetics

In the early sixteenth century, the monk Filofei proclaimed Moscow the "Third Rome." By the 1930s, intellectuals and artists all over the world thought of Moscow as a mecca of secular enlightenment. In Moscow, the Fourth Rome, Katerina Clark shows how Soviet officials and intellectuals, in seeking to capture the imagination of leftist and anti-fascist intellectuals throughout the world, sought to establish their capital as the cosmopolitan center of a post-Christian confederation and to rebuild it to become a beacon for the rest of the world. Clark provides an interpretative cultural history of the city during the crucial 1930s, the decade of the Great Purge. She draws on the work of intellectuals such as Sergei Eisenstein, Sergei Tretiakov, Mikhail Koltsov, and Ilya Ehrenburg to shed light on the singular Zeitgeist of that most Stalinist of periods. In her account, the decade emerges as an important moment in the prehistory of key concepts in literary and cultural studies today-transnationalism, cosmopolitanism, and world literature. By bringing to light neglected antecedents, she provides a new polemical and political context for understanding canonical works of writers such as Brecht, Benjamin, Lukacs, and Bakhtin. Moscow, the Fourth Rome breaches the intellectual iron curtain that has circumscribed cultural histories of Stalinist Russia, by broadening the framework to include considerable interaction with Western intellectuals and trends. Its integration of the understudied international dimension into the interpretation of Soviet culture remedies misunderstandings of the world-historical significance of Moscow under Stalin.