In this original and timely assessment of cultural expressions of paranoia in contemporary Russia, Eliot Borenstein samples popular fiction, movies, television shows, public political pronouncements, internet discussions, blogs, and religious tracts to build a sense of the deep historical and cultural roots of konspirologiia that run through Russian life. Plots against Russia reveals through dramatic and exciting storytelling that conspiracy and melodrama are entirely equal-opportunity in modern Russia, manifesting themselves among both pro-Putin elites and his political opposition. As Borenstein shows, this paranoid fantasy until recently characterized only the marginal and the irrelevant. Now, through its embodiment in pop culture, the expressions of a conspiratorial worldview are seen everywhere. Plots against Russia is an important contribution to the fields of Russian literary and cultural studies from one of its preeminent voices.

This collective volume shows how Ukraine can best be understood through its regions and how the regions must be considered against the background of the nation. The overarching objective of the book is to challenge the dominance of the nation-state paradigm in the analyses of Ukraine by illustrating the interrelationship between national and regional dynamics of change. The authors—historians, sociologists, anthropologists, economists, literary critics and linguists from Ukraine, Poland, Switzerland, Germany and the USA—explicitly go beyond the perspective of an entity defined by traditional political borders and cultural, economic, historical or religious stereotypes. The research project that led to the composition of the book combined quantitative (statistical surveys conducted across Ukraine) and qualitative (in-depth interviews and focus-group discussion) methods. The authors came to the conclusion that regionalism as a defining phenomenon of Ukraine is more prominent than the regions themselves. This approach regards Ukraine as a construct in flux where different discourses intersect, concur and eventually merge through the lenses of various disciplines and methodologies.

The Life and Thought of Filaret Drozdov, 1782–1867: The Thorny Path to Sainthood is an intellectual biography of the foremost historical figure in the religious world of nineteenth-century Russia. The product of decades of archival research, most of which was in the Russian language, this is the first book-length study of St. Filaret in English. The volume is designed for specialists engaged in imperial Russian history, students in upper-level undergraduate or graduate courses, and for readers interested in Eastern Orthodox spirituality, and observers of the contemporary Russian scene who wish to understand traditional church/state relations. Deeply researched and including a formidable bibliographic component, the volume also serves as a reference guide to scholars desiring to study, at greater length, one of the many topics raised. Racheotes argues that Filaret was far more than a neo-patristic theologian steeped in the tradition of the Eastern fathers. He was simultaneously a valued monarchal apologist and a guardian of the privileges of the Russian Orthodox Church to the point of subtly resisting the state. By means of translation, select passages from sermons, letters, and official reports are available in English for the first time. Often preaching before three reigning tsars, writing or editing such monumental documents as Alexander I’s will and Alexander II’s decree emancipating the Russian serfs, leading the drive for a Russian translation of the Bible, and preparing Orthodox catechisms are but a few examples of St. Filaret’s historical importance. His centrality to policy formation with respect to the so called Old Believers, his incessant campaigns for clerical education reform, and for translation into Russian of the seminal works of Eastern theologians account for the enduring influence attributable to this Archbishop. Today, his pronouncements are enjoying a revival among a new generation of religious historians in Russia and are often adduced by a host of contemporaries arguing for Russian exceptionalism.

Warsaw- and London-based filmmakers Franciszka and Stefan Themerson are often recognized internationally as pioneers of the 1930s Polish avant-garde. Yet, from the turn of the century to the end of the 1920s, Poland's literary and art scenes were also producing a rich array of criticism and early experiments with the moving image that set the stage for later developments in the avant-garde. In this comprehensive and accessible study, Kamila Kuc draws on myriad undiscovered archival sources to tell the history of early Polish avant-garde movements—Symbolism, Expressionism, Futurism, and Constructivism—and to reveal their impact on later practices in art cinema.

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.

Bringing together important new work by an international and interdisciplinary group of leading scholars, Interpreting Emotions in Russia and Eastern Europe approaches emotions as a phenomenon complexly intertwined with society, culture, politics, and history. The stories in this book involve sensitive aristocrats, committed revolutionaries, aggressive nationalists, political leaders, female victims of sexual violence, perpetrators and victims of Stalinist terror, citizens in the former Yugoslavia in the wake of war, workers in post-socialist Romania, Balkan Romani "Gypsy" musicians, and veterans of the Afghan and Chechen wars. These essays explore emotional perception and expression not only as private, inward feeling but also as a way of interpreting and judging a troubled world, acting in it, and perhaps changing it. Essential reading for those interested in new perspectives on the study of Russia and Eastern Europe, past and present, this volume will appeal to scholars across the social sciences and humanities who are seeking new and deeper approaches to understanding human experience, thought, and feeling.