As the brutal Russian mafia becomes the most powerful and deadly criminal enterprise in the U.S., it´s up to covert operative Rob Tacoma to fight back, in a new series by New York Times bestseller Ben Coes. Ruthless, clever, and unbelievably violent, the Russian mafia has rapidly taken over the criminal underworld in the U.S. and law enforcement has been unable to stem the tide. When a powerful Russian mob family declares war by publicly executing two high-profile American politicians, the message is unmistakable - opposition will be met with overwhelming deadly force. With no other viable options, the President creates a clandestine assassinations team to find and eliminate the unreachable men running this deadly criminal operation. The CIA recruits two Tier 1 operators - former Navy SEALs Billy Cosgrove and Rob Tacoma. But before they can even get started, the Russians act - murdering Cosgrove in his own home. Now Tacoma is on his own against an organization with endless resources and no boundaries. Step one requires the near impossible - find and kill the hidden mob boss behind Cosgrove´s death. To do this, he´ll have to take on an army in a battle where there are no rules and no limits.
Paul Robinson´s Russian Conservatism examines the history of Russian conservative thought from the beginning of the nineteenth century to the present. As he shows, conservatism has made an underappreciated contribution to Russian national identity, to the ideology of Russian statehood, and to Russia´s social-economic development. Robinson charts the contributions made by philosophers, politicians, and others during the Imperial, Soviet, and post-Soviet periods. Looking at cultural, political, and social-economic conservatism in Russia, he discusses ideas and issues of more than historical interest. Indeed, what Russian Conservatism demonstrates is that such ideas are helpful in interpreting Russia´s present as well as its past and will be influential in shaping Russia´s future, for better or for worse, in the years to come. For the past two centuries Russian conservatives have sought to adapt to the pressures of modernization and westernization and, more recently, globalization, while preserving national identity and political and social stability. Through Robinson´s research we can now understand how Russian conservatives have continually proposed forms of cultural, political, and economic development seen as building on existing traditions, identity, forms of government, and economic and social life, rather than being imposed on the basis of abstract theory and foreign models.
New Russian Drama took shape at the turn of the new millennium-a time of turbulent social change in Russia and the former Soviet republics. Emerging from small playwriting festivals, provincial theaters, and converted basements, it evolved into a major artistic movement that startled audiences with hypernaturalistic portrayals of sex and violence, daring use of non-normative language, and thrilling experiments with genre and form. The movement´s commitment to investigating contemporary reality helped revitalize Russian theater. It also provoked confrontations with traditionalists in society and places of power, making theater once again Russia´s most politicized art form. This anthology offers an introduction to New Russian Drama through plays that illustrate the versatility and global relevance of this exciting movement. Many of them address pressing social issues, such as ethnic tensions and political disillusionment; others engage with Russia´s rich cultural legacy by reimagining traditional genres and canons. Among them are a family drama about Anton Chekhov, a modern production play in which factory workers compose haiku, and a satirical verse play about the treatment of migrant workers, as well a documentary play about a terrorist school siege and a postdramatic ´´text´´ that is only two sentences long. Both politically and aesthetically uncompromising, they chart new paths for performance in the twenty-first century. Acquainting English-language readers with these vital works, New Russian Drama challenges us to reflect on the status and mission of the theater.
A Companion to Russian Cinema:
Rather than a centralized state, Iran in the nineteenth century was a delicate balance between tribal groups, urban merchant communities, religious elites, and an autocratic monarchy. While Russia gained an increasingly dominant political role in Iran over the course of this century, Russian influence was often challenged by banditry on the roads, riots in the cities, and the seeming arbitrariness of the Shah. Iran and Russian Imperialism develops a comprehensive picture of Russia´s historical entanglements with one of its most important neighbours in Asia. It recounts how the Russian Empire strived to gain political influence at the Persian court, promote Russian trade, and secure the enormous southern borders of the empire. Using hitherto often neglected documents from archives in Russia and Georgia and reading them against the grain, this book reveals the complex reactions of different groups in Iranian society to Russian imperialism. As it turns out, the Iranians were, in the words of the Russian orientalist Konstantin Smirnov, ´´ideal anarchists,´´ whose resistance to imperial domination, as well as to centralized state institutions more generally, impacted developments in the region in the century to come. Iran´s troubled relationship with the wider world continues to be a topic of considerable interest to historians, yet little focus has been given to Russia´s historical connections to Iran. This book thus represents a valuable contribution to Iranian and Russian History, as well as International Relations.
´´Depending on the circumstances, time, place and situation, the leader can be an aristocrat and a democrat, a conservative and a liberal, a reactionary and a revolutionary.´´ Pushkin spoke about it this way: ´´They agreed. Water and stone, Poems and prose, ice and fire Not so different among themselves. ´´
Framing Russian Art:From Early Icons to Malevich Oleg Tarasov
The Russian Soul:Selections from A Writer´s Diary by Fyodor Dostoevsky Fyodor Dostoevsky