Stalinism in a Russian Province reexamines the agrarian policy pillars of Stalin's 'revolution from above' initiated in 1929-30, and is the first major study of its kind since the opening of Soviet archives. Through a pioneering application of the theoretical approaches of moral and political economy to Stalin's peasant policy, Hughes reevaluates the causes and processes involved in the great political, economic and social changes in the Soviet countryside. Rather than a bipolarized conflict between state and peasant, he profiles the socially variegated response of different peasant groups to collectivization and dekulakization and argues that it was as much a process involving social conflict between peasants.

From 1929 until 1953, Iosif Stalin’s image became a central symbol in Soviet propaganda. Touched up images of an omniscient Stalin appeared everywhere: emblazoned across buildings and lining the streets; carried in parades and woven into carpets; and saturating the media of socialist realist painting, statuary, monumental architecture, friezes, banners, and posters. From the beginning of the Soviet regime, posters were seen as a vitally important medium for communicating with the population of the vast territories of the USSR. Stalin’s image became a symbol of Bolshevik values and the personification of a revolutionary new type of society. The persona created for Stalin in propaganda posters reflects how the state saw itself or, at the very least, how it wished to appear in the eyes of the people. The ‘Stalin’ who was celebrated in posters bore but scant resemblance to the man Iosif Vissarionovich Dzhugashvili, whose humble origins, criminal past, penchant for violent solutions and unprepossessing appearance made him an unlikely recipient of uncritical charismatic adulation. The Bolsheviks needed a wise, nurturing and authoritative figure to embody their revolutionary vision and to legitimate their hold on power. This leader would come to embody the sacred and archetypal qualities of the wise Teacher, the Father of the nation, the great Warrior and military strategist, and the Saviour of first the Russian land, and then the whole world. This book is the first dedicated study on the marketing of Stalin in Soviet propaganda posters. Drawing on the archives of libraries and museums throughout Russia, hundreds of previously unpublished posters are examined, with more than 130 reproduced in full colour. The personality cult of Stalin in Soviet posters, 1929–1953 is a unique and valuable contribution to the discourse in Stalinist studies across a number of disciplines.

NEW YORK TIMES BESTSELLER • A revelatory history of one of Stalin's greatest crimes, the consequences of which still resonate today, as Russia has placed Ukrainian independence in its sights once more—from the author of the Pulitzer Prize-winning Gulag and the National Book Award finalist Iron Curtain. "With searing clarity, Red Famine demonstrates the horrific consequences of a campaign to eradicate 'backwardness' when undertaken by a regime in a state of war with its own people." —The Economist In 1929 Stalin launched his policy of agricultural collectivization—in effect a second Russian revolution—which forced millions of peasants off their land and onto collective farms. The result was a catastrophic famine, the most lethal in European history. At least five million people died between 1931 and 1933 in the USSR. But instead of sending relief the Soviet state made use of the catastrophe to rid itself of a political problem. In Red Famine, Anne Applebaum argues that more than three million of those dead were Ukrainians who perished not because they were accidental victims of a bad policy but because the state deliberately set out to kill them. Devastating and definitive, Red Famine captures the horror of ordinary people struggling to survive extraordinary evil. Applebaum’s compulsively readable narrative recalls one of the worst crimes of the twentieth century, and shows how it may foreshadow a new threat to the political order in the twenty-first.

Placing Stalinism in its international context, The Stalinist Era explains the origins and consequences of Soviet state intervention and violence.

First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

This wide-ranging cultural history explores the expression of Bolshevik Party ideology through the lens of landscape, or, more broadly, space. Portrayed in visual images and words, the landscape played a vital role in expressing and promoting ideology in the former Soviet Union during the Stalin years, especially in the 1930s. At the time, the iconoclasm of the immediate postrevolutionary years had given way to nation building and a conscious attempt to create a new Soviet �culture.� In painting, architecture, literature, cinema, and song, images of landscape were enlisted to help mold the masses into joyful, hardworking citizens of a state with a radiant, utopian future -- all under the fatherly guidance of Joseph Stalin. From backgrounds in history, art history, literary studies, and philosophy, the contributors show how Soviet space was sanctified, coded, and �sold� as an ideological product. They explore the ways in which producers of various art forms used space to express what Katerina Clark calls �a cartography of power� -- an organization of the entire country into �a hierarchy of spheres of relative sacredness,� with Moscow at the center. The theme of center versus periphery figures prominently in many of the essays, and the periphery is shown often to be paradoxically central. Examining representations of space in objects as diverse as postage stamps, a hikers� magazine, advertisements, and the Soviet musical, the authors show how cultural producers attempted to naturalize ideological space, to make it an unquestioned part of the worldview. Whether focusing on the new or the centuries-old, whether exploring a built cityscape, a film documentary, or the painting Stalin and Voroshilov in the Kremlin, the authors offer a consistently fascinating journey through the landscape of the Soviet ideological imagination. Not all features of Soviet space were entirely novel, and several of the essayists assert continuities with the prerevolutionary past. One example is the importance of the mother image in mass songs of the Stalin period; another is the "boundless longing" inspired in the Russian character by the burden of living amid vast empty spaces. But whether focusing on the new or the centuries-old, whether exploring a built cityscape, a film documentary, or the painting Stalin and Voroshilov in the Kremlin, the authors offer a consistently fascinating journey through the landscape of the Soviet ideological imagination.

The chilling story of Stalin’s crimes against humanity Between the early 1930s and his death in 1953, Joseph Stalin had more than a million of his own citizens executed. Millions more fell victim to forced labor, deportation, famine, bloody massacres, and detention and interrogation by Stalin's henchmen. Stalin's Genocides is the chilling story of these crimes. The book puts forward the important argument that brutal mass killings under Stalin in the 1930s were indeed acts of genocide and that the Soviet dictator himself was behind them. Norman Naimark, one of our most respected authorities on the Soviet era, challenges the widely held notion that Stalin's crimes do not constitute genocide, which the United Nations defines as the premeditated killing of a group of people because of their race, religion, or inherent national qualities. In this gripping book, Naimark explains how Stalin became a pitiless mass killer. He looks at the most consequential and harrowing episodes of Stalin's systematic destruction of his own populace—the liquidation and repression of the so-called kulaks, the Ukrainian famine, the purge of nationalities, and the Great Terror—and examines them in light of other genocides in history. In addition, Naimark compares Stalin's crimes with those of the most notorious genocidal killer of them all, Adolf Hitler.