The Americanist community played a vital role in the Cold War, as well as in large part directing the cultural consumption of Soviet society and shaping perceptions of the US. To shed light onto this important, yet under-studied, academic community, Sergei Zhuk here explores the personal histories of prominent Soviet Americanists, considering the myriad cultural influences - from John Wayne's bravado in the film Stagecoach to Miles Davis - that shaped their identities, careers and academic interests. Zhuk's compelling account draws on a wide range of understudied archival documents, periodicals, letters and diaries as well as more than 100 exclusive interviews with prominent Americanists to take the reader from the post-war origins of American studies, via the extremes of the Cold War, thaw and perestroika, to Putin's Russia. Soviet Americana is a comprehensive insight into shifting attitudes towards the US throughout the twentieth century and an essential resource for all Soviet and Cold War historians.

"Russian Federation, Ministry of Foreign Affairs, History and Records Department" -- p [vi].

The Americanist community played a vital role in the Cold War, as well as in large part directing the cultural consumption of Soviet society and shaping perceptions of the US. To shed light onto this important, yet under-studied, academic community, Sergei Zhuk here explores the personal histories of prominent Soviet Americanists, considering the myriad cultural influences - from John Wayne's bravado in the film Stagecoach to Miles Davis - that shaped their identities, careers and academic interests. Zhuk's compelling account draws on a wide range of understudied archival documents, periodicals, letters and diaries as well as more than 100 exclusive interviews with prominent Americanists to take the reader from the post-war origins of American studies, via the extremes of the Cold War, thaw and perestroika, to Putin's Russia. Soviet Americana is a comprehensive insight into shifting attitudes towards the US throughout the twentieth century and an essential resource for all Soviet and Cold War historians.

If you were an independent, adventurous, liberated American woman in the 1920s or 1930s where might you have sought escape from the constraints and compromises of bourgeois living? Paris and the Left Bank quickly come to mind. But would you have ever thought of Russia and the wilds of Siberia? This choice was not as unusual as it seems now. As Julia L. Mickenberg uncovers in American Girls in Red Russia, there is a forgotten counterpoint to the story of the Lost Generation: beginning in the late nineteenth century, Russian revolutionary ideology attracted many women, including suffragists, reformers, educators, journalists, and artists, as well as curious travelers. Some were famous, like Isadora Duncan or Lillian Hellman; some were committed radicals, though more were just intrigued by the “Soviet experiment.” But all came to Russia in search of social arrangements that would be more equitable, just, and satisfying. And most in the end were disillusioned, some by the mundane realities, others by horrifying truths. Mickenberg reveals the complex motives that drew American women to Russia as they sought models for a revolutionary new era in which women would be not merely independent of men, but also equal builders of a new society. Soviet women, after all, earned the right to vote in 1917, and they also had abortion rights, property rights, the right to divorce, maternity benefits, and state-supported childcare. Even women from Soviet national minorities—many recently unveiled—became public figures, as African American and Jewish women noted. Yet as Mickenberg’s collective biography shows, Russia turned out to be as much a grim commune as a utopia of freedom, replete with economic, social, and sexual inequities. American Girls in Red Russia recounts the experiences of women who saved starving children from the Russian famine, worked on rural communes in Siberia, wrote for Moscow or New York newspapers, or performed on Soviet stages. Mickenberg finally tells these forgotten stories, full of hope and grave disappointments.

"During the Cold War, the governments of the United States and the Soviet Union developed cultural exchange programs, in which they sent performing artists abroad in order to generate goodwill for their countries. Ballet companies were frequently called on to serve in these programs, particularly in the direct Soviet-American exchange. This book analyzes four of the early ballet exchange tours, demonstrating how this series of encounters changed both geopolitical relations and the history of dance. The ballet tours were enormously popular. Performances functioned as an important symbolic meeting point for Soviet and American officials, creating goodwill and normalizing relations between the two countries in an era when nuclear conflict was a real threat. At the same time, Soviet and American audiences did not understand ballet in the same way. As American companies toured in the Soviet Union and vice-versa, audiences saw the performances through the lens of their own local aesthetics. Ballet in the Cold War introduces the concept of transliteration to understand this process, showing how much power viewers wielded in the exchange and explaining how the dynamics of the Cold War continue to shape ballet today"--

For half a century, the United States and the Soviet Union were in conflict. But how and where did the Cold War begin? Jamil Hasanli answers these intriguing questions in At the Dawn of the Cold War. He argues that the intergenerational crisis over Iranian Azerbaijan (1945–1946) was the first event that brought the Soviet Union to a confrontation with the United States and Britain after the period of cooperation between them during World War II. Based on top-secret archive materials from Soviet and Azerbaijani archives as well as documents from American, British, and Iranian sources, the book details Iranian Azerbaijan's independence movement, which was backed by the USSR, the Soviet struggle for oil in Iran, and the American and British reactions to these events. These events were the starting point of the longer historical period of unarmed conflict between the Soviets and the West that is now known as the Cold War. This book is a major contribution to our understanding of the Cold War and international politics following WWII.

In 1935, well into the era of Soviet communism, Russian satirical writers Ilya Ilf and Evgeny Petrov came to the U.S as special correspondents for the Russian newspaper Pravda. They drove cross-country and back on a ten-week trip, recording images of American life through humerous texts and the lens of a Leica camera. When they returned home, they published their work in Ogonek, the Soviet equivalent of Time magazine, and later in the book Odnoetazhnaia Amerika (Single-Storied America). This wonderful lost workfilled with wry observations, biting opinions, and telling photographsis now collected in Ilf and Petrov's American Road Trip, the first English translation. From Ilf and Petrov's American Road Trip: "The word 'America' has well-developed grandiose associations for a Soviet person, for whom it refers to a country of skyscrapers, where day and night one hears the unceasing thunder of surface and underground trains, the hellish roar of automobile horns, and the continuous despairing screams of stockbrokers rushing through the skyscrapers waving their ever-falling shares. We want to change that image." A Cabinet Book published by Princeton Architectural Press