Co-winner of the 2009 SUNY Press Dissertation/First Book Prize in Women's and Gender Studies, Imagining Russia uses U.S.–Russian relations between the fall of the Soviet Union in 1991 and the U.S.-led invasion of Iraq in 2003 as a case study to examine the deployment of gendered, racialized, and heteronormative visual and narrative depictions of Russia and Russians in contemporary narratives of American nationalism and U.S. foreign policy. Through analyses of several key post-Soviet American popular and political texts, including the hit television series The West Wing, Washington D.C.'s International Spy Museum, and the legislative hearings of the Freedom Support Act and the Trafficking Victims Protection Act, Williams calls attention to the production and operation of five types of "gendered Russian imaginaries" that were explicitly used to bolster support for and legitimize U.S. geopolitical unilateralism after the dissolution of the Soviet Union, demonstrating the ways that the masculinization of U.S. military, political, and financial power after 1991 paved the way for the invasion of Iraq in 2003.

In Imagining America, historian Alan M. Ball explores American influence in two newborn Russian states: the young Soviet Union and the modern Russian Republic. Ball deftly illustrates how in each era Russians have approached the United States with a conflicting mix of ideas—as a land to admire from afar, to shun at all costs, to emulate as quickly as possible, or to surpass on the way to a superior society. Drawing on a wide variety of sources including contemporary journals, newspapers, films, and popular songs, Ball traces the shifting Russian perceptions of American cultural, social, and political life. As he clearly demonstrates, throughout their history Russian imaginations featured a United States that political figures and intellectuals might embrace, exploit, or attack, but could not ignore.

This subtle, unusual book explores the many, often overlapping ways in which the Russian Jewish past has been remembered in history, in literature, and in popular culture. Drawing on a wide range of sources—including novels, plays, and archival material—Imagining Russian Jewry is a reflection on reading, collective memory, and the often uneasy, and also uncomfortably intimate, relationships that exist between seemingly incompatible ways of seeing the past. The book also explores what it means to produce scholarship on topics that are deeply personal: its anxieties, its evasions, and its pleasures. Zipperstein, a leading expert in modern Jewish history, explores the imprint left by the Russian Jewish past on American Jews starting from the turn of the twentieth century, considering literature ranging from immigrant novels to Fiddler on the Roof. In Russia, he finds nostalgia in turn-of-the-century East European Jewry itself, in novels contrasting Jewish life in acculturated Odessa with the more traditional shtetls. The book closes with a provocative call for a greater awareness regarding how the Holocaust has influenced scholarship produced since the Shoah.

What can Russian images and objects—a tsar’s crown, a provincial watercolor album, the Soviet Pioneer Palace—tell us about the Russian people and their culture? This wide-ranging book is the first to explore the visual culture of Russia over the entire span of Russian history, from ancient Kiev to contemporary, post-Soviet society. Illustrated with more than one hundred diverse and fascinating images, the book examines the ways that Russians have represented themselves visually, understood their visual environment, and used visual images in social and political contexts. Expert contributors discuss images and objects from all over the Russian/Soviet empire, including consumer goods, architectural monuments, religious icons, portraits, news and art photography, popular prints, films, folk art, and more. Each of the concise and accessible essays in the volume offers a fresh interpretation of Russian cultural history. Putting visuality itself in focus as never before, Picturing Russia adds an entirely new dimension to the study of Russian literature, history, art, and culture. The book enriches our understanding of visual documents and shows the variety of ways they serve as far more than mere illustration.

Throughout the centuries, as Russia strove to build itself into an imperial power equal to those in the West, China and Japan came to occupy a special place in Russians’ view of the orient. Never colonised by Russia or the West, China and Japan were linked not only to the greatest of Russian imperial fantasies, but also, conversely, to a deep sense of insecurity regarding Russia’s place in the world, a sense of insecurity which deepened as China and Japan began to modernise in the later nineteenth century. Drawing on a wide range of works by Russian writers and thinkers, Lim sets out how Russian perceptions of China and Japan were formed from Muscovy’s first contacts with China in the late seventeenth century, through to the aftermath of Russia’s defeat by Japan in the early twentieth century.

Billington describes the contentious discussion occurring all over Russia and across the political spectrum. He finds conflicts raging among individuals as much as between organized groups and finds a deep underlying tension between the Russians' attempts to legitimize their new, nominally democratic identity, and their efforts to craft a new version of their old authoritarian tradition. After showing how the problem of Russian identity was framed in the past, Billington asks whether Russians will now look more to the West for a place in the common European home, or to the East for a new, Eurasian identity.

Winner of the Heldt Prize for Best Book in Slavic, East European, and Eurasian Women's and Gender Studies 2021 There was a discontent among Russian men in the nineteenth century that sometimes did not stem from poverty, loss, or the threat of war, but instead arose from trying to negotiate the paradoxical prescriptions for masculinity which characterized the era. Picturing Russia's Men takes a vital new approach to this topic within masculinity and art historical studies by investigating the dissatisfaction that developed from the breakdown in prevailing conceptions of manhood outside of the usual Western European and American contexts. By exploring how Russian painters depicted gender norms as they were evolving over the course of the century, each chapter shows how artworks provide unique insight into not only those qualities that were supposed to predominate, but actually did in lived practice. Drawing on a wide variety of source material, including previously untranslated letters, journals, and contemporary criticism, the book explores the deep structures of masculinity to reveal the conflicting desires and aspirations of men in the period. In so doing, readers are introduced to Russian artists such as Karl Briullov, Pavel Fedotov, Alexander Ivanov, Ivan Kramskoi, and Ilia Repin, all of whom produced masterpieces of realist art in dialogue with paintings made in Western European artistic centers. The result is a more culturally discursive account of art-making in the nineteenth century, one that challenges some of the enduring myths of masculinity and provides a fresh interpretive history of what constitutes modernism in the history of art.