The position of Russia has always been difficult. In spite of the Revolution in 1917, the legal, economic, social and political inequalities between men and women have remained severe. For more than seventy years the official propaganda of the Soviet system deliberately concealed from the public, in the West as well as the East, the actual position of women, presenting it in rose-colored hues and proclaiming that, under socialism, the issue of the position of women in society had been resolved once and for all. However, the opposite was true: women increasingly suffered from overt and covert discrimination. In fact, the discrepancy between the official and actual positioning of working women became so acute that it led to serious social problems. The democratic reforms of the mid-1980s brought some positive changes at last; for the first time, the "women's issue" was recognized as an urgent socio-political problem requiring serious investigation and practical measures. The authors of this collection of original essays, most of whom are social scientists at the Moscow Academy of Science, examine those aspects of life of women in Russia today which aremost pressing, not least those arising from the multi-ethnic composition of the Russian Federation that comprises more than one hundred different nationalities and in which women constitute fifty-three per cent of the population.

The 1980s witnessed the ascendency of Russian women in multiple spheres of artistic creation, including literature, film, and painting. This volume may thus be said to engage not only women's artistic production but, indeed, the best and most colourful of recent Russian culture. Treating contemporary Russian women's creativity, it approaches women's texts, films, and canvasses from a range of perspectives, from anti-gendered to feminist. Some of the essays introduce writers not previously well studied, others challenge conventional interpretations and assumptions, while still others yield original viewpoints through novel juxtapositions. In addition to offering insights into the various artists under analysis, the essays map the wide terrain of issues and methodologies proliferating in cultural criticism today, and mirror the diversity that is one of the most appealing features of women's creativity in contemporary Russia.

This book looks at Russian women’s mobilization and agency during the two periods of transformation, the turn of the 19th-20th century and the 20th – 21st century. Bringing together the parallels between the two great transformations, it focuses on both the continuities and breaks and, importantly, it shows them from the grassroots point of view, emphasizing the local factor. Chapters show the international and transnational aspects of Russian women’s agency of different spheres and different historical periods. The book goes on to raise new research questions such as the evaluation and comparison of Soviet society and contemporary Russia from the point of view of gender and women’s possibilities in society.

A survey of the key political, economic, social, and cultural developments in Russian women’s history from 900 to 2010, and their impact on the nation. Synthesizing several decades of scholarship by historians East and West, Barbara Evans Clements traces the major developments in the history of women in Russia and their impact on the history of the nation. Sketching lived experiences across the centuries, she demonstrates the key roles that women played in shaping Russia’s political, economic, social, and cultural development for over a millennium. The story Clements tells is one of hardship and endurance, but also one of achievement by women who, for example, promoted the conversion to Christianity, governed estates, created great art, rebelled against the government, established charities, built the tanks that rolled into Berlin in 1945, and flew the planes that strafed the retreating Wehrmacht. This daunting and complex history is presented in an engaging survey that integrates this scholarship into the field of Russian and post-Soviet history. “The product of a lifetime of engagement by one of the preeminent authorities on the history of Russian women, the book reflects the author’s deep expertise in primary sources as well as her familiarity with the secondary literature.” —Choi Chatterjee, California State University Los Angeles “A significant achievement in scholarship on Russian women and gender. . . . Among this text’s many strengths are its lucidity, readability, and engaging synthesis of a large number of both primary and secondary sources. . . . Its erudite contextualization of the history of Russian women within a larger European framework ensures its interest for and accessibility to a wide readership, especially those outside of the Slavic field.” —Slavic and East European Journal “Clements’s writing is engaging, clear, and jargon free, making this book easily accessible to a general audience. . . . Highly recommended.” —Choice “This daunting and complex history is presented in an engaging survey that integrates this scholarship into the field of Russian and post-Soviet history.” —Journal of Turkish Weekly

Valentina Polukhina is professor emeritus at Keele University. She specializes in modern Russian poetry and is the author of several major studies of Joseph Brodsky and editor of bilingual collections of the poetry of Olga Sedakova, Dmitry Prigov, and Evegeny Rein. Daniel Weissbort is cofounder, along with Ted Hughes, and former editor of Modern Poetry in Translation, professor emeritus at the University of Iowa, and honorary professor at the Centre for Translation and Comparative Cultural Studies at the University of Warwick. Co-editor of Twentieth-Century Russian Poetry (Iowa 1992), he is also the translator of more than a dozen books, editor of numerous anthologies, and author of many collections of his own poetry. His forthcoming books include a historical reader on translation theory, a book on Ted Hughes and translation, and an edited collection of selected translations of Hughes.

In this book, leading western specialists and Russian and Ukrainian feminists examine how gender has shaped Russian and Ukrainian history from the twelfth century to the present. In particular, they analyse the current backlash against women's emancipation. Using new archival materials and the insights of feminist theory, the contributors explore the relevance of gender equality and difference in Russian history. They find that women have not merely submitted to the patriarchal system, but instead have found creative ways of resisting it. Chapters focusing on contemporary Russia discuss abortion, pornography, sexual minorities, young women's lifestyles, the impact of economic reform on women and the development of the women's movement. This book will be of interest to students and specialists in Russian, Ukrainian and women's studies, as well as to historians, political scientists, sociologists and economists.

Women have participated in war throughout history, but their experience in Russia during the First World War was truly exceptional. Between the war's beginning and the October Revolution of 1917, approximately 6,000 women answered their country's call as the army was faced with insubordination and desertion in the ranks while the provisional government prepared for a new offensive. These courageous women became media stars throughout Europe and America, but were brushed aside by Soviet chroniclers and until now have been largely neglected by history. Laurie Stoff draws on deep archival research into previously unplumbed material, including many first-person accounts, to examine the roots, motivations, and legacy of these women. She reveals that Russia was the only nation in World War I that systematically employed women in the military, marking the first time that a government run by men had organized women for combat. And although they were originally envisioned as propaganda—promoting patriotism and citizenship to inspire the thousands of males who had been deserting or refusing to fight—Russian women also proved themselves more than capable in combat. Describing the formation, provisioning, and training of the units, Stoff sheds light on their social and educational backgrounds, while recounting a number of amazing individual stories. She tells how Maria Bochkareva, commander of the First Russian Women's Battalion of Death, and her unit met its baptism of fire in combat and how Bochkareva later traveled to the U.S. and met President Wilson. Within these pages, we also meet Maria Bocharnikova, who served with the First Petrograd Women's Battalion that defended the Winter Palace during the Bolshevik Revolution and whose detailed account of her experience dispels much of the misinformation concerning that storied event. Stoff also chronicles the exploits of the Second Moscow Women's Battalion of Death, Third Kuban Women's Shock Battalion, and the First Women's Naval Detachment, all within the context of Russian society, the Revolution, and the war itself. Enhancing and informing this presentation are more than two dozen historic photos. Stoff's remarkable account rescues from oblivion an important but still little-known aspect of Russia's experience in World War I. It also provides new insights into gender roles during a pivotal period of Russia's development and, more broadly speaking, resonates with the current debates over the role of women in warfare.