The Patriotism Of Despair

The sudden dissolution of the Soviet Union altered the routines, norms, celebrations, and shared understandings that had shaped the lives of Russians for generations. It also meant an end to the state-sponsored, nonmonetary support that most residents had lived with all their lives. How did Russians make sense of these historic transformations? Serguei Alex. Oushakine offers a compelling look at postsocialist life in Russia. In Barnaul, a major industrial city in southwestern Siberia that has lost 25 percent of its population since 1991, many Russians are finding that what binds them together is loss and despair. The Patriotism of Despair examines the aftermath of the collapse of the Soviet Union, graphically described in spray paint by a graffiti artist in Barnaul: "We have no Motherland." Once socialism disappeared as a way of understanding the world, what replaced it in people's minds? Once socialism stopped orienting politics and economics, how did capitalism insinuate itself into routine practices? Oushakine offers a compelling look at postsocialist life in noncosmopolitan Russia. He introduces readers to the "neocoms": people who mourn the loss of the Soviet economy and the remonetization of transactions that had not involved the exchange of cash during the Soviet era. Moving from economics into military conflict and personal loss, Oushakine also describes the ways in which veterans of the Chechen war and mothers of soldiers who died there have connected their immediate experiences with the country's historical disruptions. The country, the nation, and traumatized individuals, Oushakine finds, are united by their vocabulary of shared pain.

Seeking to rebuild the Russian film industry after its post-Soviet collapse, directors and producers sparked a revival of nationalist and patriotic sentiment by applying Hollywood techniques to themes drawn from Russian history. Unsettled by the government's move toward market capitalism, Russians embraced these historical blockbusters, packing the American-style multiplexes that sprouted across the country. Stephen M. Norris examines the connections among cinema, politics, economics, history, and patriotism in the creation of "blockbuster history"—the adaptation of an American cinematic style to Russian historical epics.

This edited volume explores patriotism and the growing role of militarism in today’s Russia. During the last 20-year period, there has been a consistent effort in Russia to consolidate the nation and to foster a sense of unity and common purpose. To this end, Russian authorities have activated various channels, from educational programmes and youth organizations to media and popular culture. With the conflict in Ukraine, the manipulation of public sentiments – feeling of pride and perception of threat – has become more systemic. The traditional view of Russia being Other for Europe has been replaced with a narrative of enmity. The West is portrayed as a threat to Russia’s historical-cultural originality while Russia represents itself as a country encircled by enemies. On the other hand, these state-led projects mixing patriotism and militarism are perceived sceptically by the Russian society, especially the younger generations. This volume provides new insights into the evolution of enemy images in Russia and the ways in which societal actors perceive official projections of patriotism and militarism in the Russian society. The contributors of the volume include several experts on Russian studies, contemporary history, political science, sociology, and media studies.

As we approach the elections of 2004, U.S. progressives are faced with the challenge of how to confront our unresponsive and apparently untouchable power structures. With millions of antiwar demonstrators glibly dismissed as a "focus group," and with the collapse of political and intellectual dialogue into slogans and soundbites used to stifle protest-"Support the Troops," "We Are the Greatest Nation on Earth," etc.-many people feel cynical and hopeless. Citizens of the Empire probes into the sense of disempowerment that has resulted from the Left's inability to halt the violent and repressive course of post-9/11 U.S. policy. In this passionate and personal exploration of what it means to be a citizen of the world's most powerful, affluent and militarized nation in an era of imperial expansion, Jensen offers a potent antidote to despair over the future of democracy. In a plainspoken analysis of the dominant political rhetoric-which is intentionally crafted to depress political discourse and activism-Jensen reveals the contradictions and falsehoods of prevailing myths, using common-sense analogies that provide the reader with a clear-thinking rebuttal and a way to move forward with progressive political work and discussions. With an ethical framework that integrates political, intellectual and emotional responses to the disheartening events of the past two years, Jensen examines the ways in which society has been led to this point and offers renewed hope for constructive engagement. Robert Jensen is a professor of media law, ethics and politics at the University of Texas, Austin. He is the author of Writing Dissent: Taking Radical Ideas from the Margins to the Mainstream, among other books. He also writes for popular media, and his opinion and analytical pieces on foreign policy, politics and race have appeared in papers and magazines throughout the United States.

Develops a holistic and gender-aware understanding of Clara Schumann as pianist, composer and teacher in nineteenth-century Germany.

In Narrating the Slave Trade, Theorizing Community, Raphaël Lambert applies contemporary theories of community to works of fiction about the slave trade in order to both shed new light on slave trade studies and rethink the very notion of community.

What is patriotism in our volatile age? This incendiary work by Danny Sjursen is a personal cry from the heart by a once model U.S. Army officer and West Point graduate who became a military dissenter while still on active duty. Set against the backdrop of the terror wars of the last two decades, Sjursen asks whether there is a proper space for patriotism that renounces entitled exceptionalism and narcissistic jingoism. Once a burgeoning believer and budding conservative, who performed an intellectual and spiritual about face, Sjursen calls for a critical exploration of our allegiances, and suggests a path to a new, more complex notion of patriotism. Equal parts somber and idealistic, this is a story about what it means to be an American in the midst of perpetual war, and what the future of patriotism might look like.

During the 872 days of the Siege of Leningrad (September 1941 to January 1944), the city's inhabitants were surrounded by the military forces of Nazi Germany. They suffered famine, cold, and darkness, and a million people lost their lives, making the siege one of the most destructive in history. Confinement in the besieged city was a traumatic experience. Unlike the victims of the Auschwitz concentration camp, for example, who were brought from afar and robbed of their cultural roots, the victims of the Siege of Leningrad were trapped in the city as it underwent a slow, horrific transformation. They lost everything except their physical location, which was layered with historical, cultural, and personal memory. In Besieged Leningrad, Polina Barskova examines how the city's inhabitants adjusted to their new urban reality, focusing on the emergence of new spatial perceptions that fostered the production of diverse textual and visual representations. The myriad texts that emerged during the siege were varied and exciting, engendered by sometimes sharply conflicting ideological urges and aesthetic sensibilities. In this first study of the cultural and literary representations of spatiality in besieged Leningrad, Barskova examines a wide range of authors with competing views of their difficult relationship with the city, filling a gap in Western knowledge of the culture of the siege. It will appeal to Russian studies specialists as well as those interested in war testimonies and the representation of trauma.