Winner of The 2018 Saidi-Sirjani Book Award In The Western Christian Presence in the Russias and Qājār Persia, c.1760–c.1870, Thomas O'Flynn vividly paints the life and times of missionary enterprises in early nineteenth-century Russia and Persia at a moment of immense change when Tsarist Russia embarked on an expansionist campaign reaching to the Caucasus. Simultaneously he charts the relationship between the new Persian dynasty of the Qājārs and missionary activity on the part of European and American missionaries. This book reconstructs that world from a predominantly religious perspective. It recounts the sustaining ideals as well as the everyday struggles of the western missionaries, Protestant (Scottish, Basel and American Congregationalist) and Catholic (Jesuit and Vincentian). It looks at the reactions of diverse tribal peoples, the Tatars of the North Caucasus, the Kabardians and Circassians. Persia was the ultimate goal of these missionaries, which they eventually reached in the 1820s. Altogether this study throws light on the troubled course of history in West Asia and provides the background to politico-religious conflicts in Chechnya and Persia that persist to the present day.

The title of this book refers to the classic time and place for magic, witchcraft, and divination in Russia. The Bathhouse at Midnight, by one of the world's foremost experts on the subject, surveys all forms of magic, both learned and popular, in Russia from the fifth to the eighteenth century. While no book on the subject could be exhaustive, The Bathhouse at Midnight does describe and assess all the literary sources of magic, witchcraft, astrology, alchemy, and divination from Kiev Rus and Imperial Russia, and to some extent Ukraine and Belorussia. Where possible, Ryan identifies the sources of the texts (usually Greek, Arabic, or West European) and makes parallels to other cultures, ranging from classical antiquity to Finnic. He finds that Russia shares most of its magic and divination with the rest of Europe. Subjects covered include the Evil Eye, the Number of the Beast, omens, dreams, talismans and amulets, plants, gemstones, and other materials thought to possess magic properties. The first chapter gives a historical overview, and the final chapter summarizes the political, religious, and legal aspects of the history of magic in Russia. The author also provides translations of some key texts. The Bathhouse at Midnight will be invaluable for anyone&—student, teacher, or general reader&—with an interest in Russia, magic, or the occult. It is unique in its field and is set to become the definitive study of Russian magic.

Concentrates on the fascinating life and work of Giles Fletcher, the elder (1546–1611) and his analysis of government and commonwealth, through the image of Russia. His account of Russia remains the most comprehensive early modern western European account of the 'barbaric' land on Christendom’s borders.

A German princess who married a decadent and lazy Russian prince, Catherine mobilized support amongst the Russian nobles, playing off of her husband's increasing corruption and abuse of power. She then staged a coup that ended with him being strangled with his own scarf in the halls of the palace, and herself crowned the Empress of Russia. Intelligent and determined, Catherine modeled herself off of her grandfather in-law, Peter the Great, and sought to further modernize and westernize Russia. She believed that the best way to do this was through a ravenous acquisition of art, which Catherine often used as a form of diplomacy with other powers throughout Europe. She was a self-proclaimed "glutton for art" and she would be responsible for the creation of the Hermitage, one of the largest museums in the world, second only to the Louvre. Catherine also spearheaded the further expansion of St. Petersburg, and the magnificent architectural wonder the city became is largely her doing. There are few women in history more fascinating than Catherine the Great, and for the first time, Susan Jaques brings her to life through the prism of art.