This new IISS Strategic Dossier examines the recent development of Moscow’s armed forces and military capabilities. It analyses the aspirations underpinning Russia’s military reform programme and its successes as well as its failures. The book also provides insights into Russia’s operational use of its armed forces, including in the intervention in Syria, the goals and results of recent state armament programmes, and the trajectory of future developments. This full-colour volume includes more than 50 graphics, maps and charts and over 70 images, and contains chapters on: Russia's armed forces since the end of the Cold War Strategic forces Ground forces Naval forces Aerospace forces Russia’s approach to military decision-making and joint operations Economics and industry At a time when Russia’s relations with many of its neighbours are increasingly strained, and amid renewed concern about the risk of an armed clash, this dossier is essential reading for understanding the state,capabilities and future of Russia’s armed forces.
It's December 1997 and a man-eating tiger is on the prowl outside a remote village in Russia's Far East. The tiger isn't just killing people, it's annihilating them, and a team of men and their dogs must hunt it on foot through the forest in the brutal cold. To their horrified astonishment it emerges that the attacks are not random: the tiger is engaged in a vendetta. Injured and starving, it must be found before it strikes again, and the story becomes a battle for survival between the two main characters: Yuri Trush, the lead tracker, and the tiger itself. As John Vaillant vividly recreates the extraordinary events of that winter, he also gives us an unforgettable portrait of a spectacularly beautiful region where plants and animals exist that are found nowhere else on earth, and where the once great Siberian Tiger - the largest of its species, which can weigh over 600 lbs at more than 10 feet long - ranges daily over vast territories of forest and mountain, its numbers diminished to a fraction of what they once were. We meet the native tribes who for centuries have worshipped and lived alongside tigers - even sharing their kills with them - in a natural balance. We witness the first arrival of settlers, soldiers and hunters in the tiger's territory in the 19th century and 20th century, many fleeing Stalinism. And we come to know the Russians of today - such as the poacher Vladimir Markov - who, crushed by poverty, have turned to poaching for the corrupt, high-paying Chinese markets. Throughout we encounter surprising theories of how humans and tigers may have evolved to coexist, how we may have developed as scavengers rather than hunters and how early Homo sapiens may have once fit seamlessly into the tiger's ecosystem. Above all, we come to understand the endangered Siberian tiger, a highly intelligent super-predator, and the grave threat it faces as logging and poaching reduce its habitat and numbers - and force it to turn at bay. Beautifully written and deeply informative, The Tiger is a gripping tale of man and nature in collision, that leads inexorably to a final showdown in a clearing deep in the Siberian forest.
Basing his study on firsthand experience with Yukaghir hunters, Rane Willerslev focuses on the practical implications of living in a 'hall of mirrors' world, one inhabited by humans, animals and spirits, all of whom are understood to be endless mimetic doubles of one another.
Photography possesses a powerful ability to bear witness, aid remembrance, shape, and even alter recollection. In Beyond Memory: Soviet Nonconformist Photography and Photo-Related Works of Art, the general editor, Diane Neumaier, and twenty-three contributors offer a rigorous examination of the medium's role in late Soviet unofficial art. Focusing on the period between the mid-1950s and the late 1980s, they explore artists' unusually inventive and resourceful uses of photography within a highly developed Soviet dissident culture. During this time, lack of high-quality photographic materials, complimented by tremendous creative impulses, prompted artists to explore experimental photo-processes such as camera and darkroom manipulations, photomontage, and hand-coloring. Photography also took on a provocative array of forms including photo installation, artist-made samizdat (self-published) books, photo-realist painting, and many other surprising applications of the flexible medium. Beyond Memory shows how innovative conceptual moves and approaches to form and content-echoes of Soviet society's coded communication and a Russian sense of absurdity-were common in the Soviet cultural underground. Collectively, the works in this anthology demonstrate how late-Soviet artists employed irony and invention to make positive use of difficult circumstances. In the process, the volume illuminates the multiple characters of photography itself and highlights the leading role that the medium has come to play in the international art world today. Beyond Memory stands on its own as a rigorous examination of photography's place in late Soviet unofficial art, while also serving as a supplement to the traveling exhibition of the same title.
A satire about the Soviet space program finds Omon, who has dreamed of space flight all of his life, enrolled as a cosmonaut only to learn that his task will be piloting a supposedly unmanned lunar vehicle to the Moon and remaining there to die.
Science, with its inherent tension between the known and the unknown, is an inexhaustible mine of great stories. Collected here are twenty-six among the most enchanting tales, one for each letter of the alphabet: the main characters are scientists of the highest caliber most of whom, however, are unknown to the general public. This book goes from A to Z. The letter A stands for Abel, the great Norwegian mathematician, here involved in an elliptic thriller about a fundamental theorem of mathematics, while the letter Z refers to Absolute Zero, the ultimate and lowest temperature limit, - 273,15 degrees Celsius, a value that is tremendously cooler than the most remote corner of the Universe: the race to reach this final outpost of coldness is not yet complete, but, similarly to the history books of polar explorations at the beginning of the 20th century, its pages record successes, failures, fierce rivalries and tragic desperations. In between the A and the Z, the other letters of the alphabet are similar to the various stages of a very fascinating journey along the paths of science, a journey in the company of a very unique set of characters as eccentric and peculiar as those in Ulysses by James Joyce: the French astronomer who lost everything, even his mind, to chase the transits of Venus; the caustic Austrian scientist who, perfectly at ease with both the laws of psychoanalysis and quantum mechanics, revealed the hidden secrets of dreams and the periodic table of chemical elements; the young Indian astrophysicist who was the first to understand how a star dies, suffering the ferocious opposition of his mentor for this discovery. Or the Hungarian physicist who struggled with his melancholy in the shadows of the desert of Los Alamos; or the French scholar who was forced to hide her femininity behind a false identity so as to publish fundamental theorems on prime numbers. And so on and so forth. Twenty-six stories, which reveal the most authentic atmosphere of science and the lives of some of its main players: each story can be read in quite a short period of time -- basically the time it takes to get on and off the train between two metro stations. Largely independent from one another, these twenty-six stories make the book a harmonious polyphony of several voices: the reader can invent his/her own very personal order for the chapters simply by ordering the sequence of letters differently. For an elementary law of Mathematics, this can give rise to an astronomically large number of possible books -- all the same, but - then again - all different. This book is therefore the ideal companion for an infinite number of real or metaphoric journeys.
Elena Gorokhova’s A Mountain of Crumbs is the moving story of a Soviet girl who discovers the truths adults are hiding from her and the lies her homeland lives by. Elena’s country is no longer the majestic Russia of literature or the tsars, but a nation struggling to retain its power and its pride. Born with a desire to explore the world beyond her borders, Elena finds her passion in the complexity of the English language—but in the Soviet Union of the 1960s such a passion verges on the subversive. Elena is controlled by the state the same way she is controlled by her mother, a mirror image of her motherland: overbearing, protective, difficult to leave. In the battle between a strong-willed daughter and her authoritarian mother, the daughter, in the end, must break free and leave in order to survive. Through Elena’s captivating voice, we learn not only the stories of Russian family life in the second half of the twentieth century, but also the story of one rebellious citizen whose curiosity and determination finally transport her to a new world. It is an elegy to the lost country of childhood, where those who leave can never return.
Vladimir Putin has emerged as one of the key leaders of the twenty-first century. However, he is also recognized as one of the most divisive. Abroad, his assertion of Russia's interests and critique of the western-dominated international system has brought him into conflict with Atlantic powers. Within Russia, he has balanced various factions within the elite intelligentsia alongside the wider support of Russian society. So what is the 'Putin paradox?' Richard Sakwa grapples with Putin's personal and political development on both the international political scene and within the domestic political landscape of Russia. This study historicizes the Putin paradox, through theoretical, historical and political analysis and in light of wider developments in Russian society. Richard Sakwa presents the Putin paradox as a unique regime type - balancing numerous contradictions - in order to adapt to its material environment while maintaining sufficient authority with which to shape it.
Music from a Speeding Train explores the uniquely Jewish space created by Jewish authors working within the limitations of the Soviet cultural system. It situates Russian- and Yiddish- language authors in the same literary universe—one in which modernism, revolution, socialist realism, violence, and catastrophe join traditional Jewish texts to provide the framework for literary creativity. These writers represented, attacked, reformed, and mourned Jewish life in the pre-revolutionary shtetl as they created new forms of Jewish culture. The book emphasizes the Soviet Jewish response to World War II and the Nazi destruction of the Jews, disputing the claim that Jews in Soviet Russia did not and could not react to the killings of Jews. It reveals a largely unknown body of Jewish literature beginning as early as 1942 that responds to the mass killings. By exploring works through the early twenty-first century, the book reveals a complex, emotionally rich, and intensely vibrant Soviet Jewish culture that persisted beyond Stalinist oppression.
