Within a period of just 15 years Soviet air defenses progressed from AA guns and piston engine fighters to SAMs and missile-armed Mach 2 interceptors. This is the story of how this remarkable progress was achieved and how these assets performed in actual combat against foreign aircraft violating Soviet air space.
Sevastopol, located in present-day Ukraine but still home to the Russian Black Sea Fleet and revered by Russians for its role in the Crimean War, was utterly destroyed by German forces during World War II. In From Ruins to Reconstruction, Karl D. Qualls tells the complex story of the city's rebuilding. Based on extensive research in archives in both Moscow and Sevastopol, architectural plans and drawings, interviews, and his own extensive experience in Sevastopol, Qualls tells a unique story in which the periphery "bests" the Stalinist center: the city's experience shows that local officials had considerable room to maneuver even during the peak years of Stalinist control.Qualls first paints a vivid portrait of the ruined city and the sufferings of its surviving inhabitants. He then turns to Moscow's plans to remake the ancient city on the heroic socialist model prized by Stalin and visited upon most other postwar Soviet cities and towns. In Sevastopol, however, the architects and city planners sent out from the center "went native," deviating from Moscow's blueprints to collaborate with local officials and residents, who seized control of the planning process and rebuilt the city in a manner that celebrated its distinctive historical identity. When completed, postwar Sevastopol resembled a nineteenth-century Russian city, with tree-lined boulevards; wide walkways; and buildings, street names, and memorials to its heroism in wars both long past and recent. Though visually Russian (and still containing a majority Russian-speaking population), Sevastopol was in 1954 joined to Ukraine, which in 1991 became an independent state. In his concluding chapter, Qualls explores how the "Russianness" of the city and the presence of the Russian fleet affect relations between Ukraine, Russia, and the West.
In his classic work, On War, Carl von Clausewitz wrote, “As we shall show, defense is a stronger form of fighting than attack.” A generation of nineteenth century officers, nurtured on the study of the experiences of Napoleon and conditioned by the wars of German unification, had little reason to accept that view. The offensive spirit swept through European armies and manifested itself in the regulations, plans, and mentality of those armiehe events of 1939, 1940, and 1941 in Poland, France, and Russia respectively again challenged Clausewitz’ claim of the superiority of the defense and prompted armies worldwide to frantically field large armored forces and develop doctrines for their use. While blitzkrieg concepts ruled supreme, it fell to that nation victimized most by those concepts to develop techniques to counter the German juggernaut. The Soviets had to temper a generation of offensive tradition in order to marshal forces and develop techniques to counter blitzkrieg. In essence, the Soviet struggle for survival against blitzkrieg proved also to be a partial test of Clausewitz’ dictum. In July 1943, after arduous months of developing defensive techniques, often at a high cost in terms of men and material, the Soviets met blitzkrieg head-on and proved that defense against it was feasible. The titanic, grinding Kursk operation validated, in part, Clausewitz’ views. But it also demonstrated that careful study of force organization and employment and application of the fruits of that study can produce either offensive or defensive victory. While on the surface the events of Kursk seemed to validate Clausewitz’ view, it is often forgotten that, at Kursk, the Soviets integrated the concept of counteroffensive into their grand defensive designs. Thus the defense itself was meaningless unless viewed against the backdrop of the renewed offensive efforts and vice versa. What Kursk did prove was that strategic, operational, and tactical defenses could counter blitzkrieg.
This book vividly portrays the bitter trials of life in Soviet Russia and Nazi Germany. It is a story of the authors recollections of abject poverty and total intimidation in which his terrified parents and villagers lived under the dictatorships of the Soviet Union from the forcible collectivization to the advent of World War II, and of the Nazi Germany during the temporary German occupation of the Caucasus. The author rebelled against the heartrending and unforgettable mistreatment of the people by both dictatorships during the war. This frequently endangered his life and forced him to flee, leaving behind everything dear to himfriends, relatives, parents, native village, and country. Thus he wandered through Russia, Poland, Czechoslovakia, Austria, and Italy, at times as a hunted fugitive. He survived the war and two forcible repatriations back to the Soviet Unionfirst from Austria, and then from Italy; then he moved to Jordan, lived there for eight years, and finally immigrated to the United States of America in 1956. Mr. Natho found shelter in the best and freest country in the world. The book is highly interesting, informative, and easy to read. It is filled, not only with the cruelties and horrors of the war and dictatorships, but also with human passion, kindness, heroism, and love. It will enrich your soul and experience.
More than 50 years ago, pioneering scientists and engineers in the Soviet Union and the US searched for a technical means of defense against ballistic missiles. Mike Gruntman tells the story, little-known even to experts, of the earliest breakthroughs which paved the way for the emergence of a powerful missile defense complex in the Soviet Union.
A Companion to Russian Cinema provides an exhaustive and carefully organised guide to the cinema of pre-Revolutionary Russia, of the Soviet era, as well as post-Soviet Russian cinema, edited by one of the most established and knowledgeable scholars in Russian cinema studies. The most up-to-date and thorough coverage of Russian, Soviet and post-Soviet cinema, which also effectively fills gaps in the existing scholarship in the field This is the first volume on Russian cinema to explore specifically the history of movie theatres, studios, and educational institutions The editor is one of the most established and knowledgeable scholars in Russian cinema studies, and contributions come from leading experts in the field of Russian Studies, Film Studies and Visual Culture Chapters consider the arts of scriptwriting, sound, production design, costumes and cinematography Provides five portraits of key figures in Soviet and Russia film history, whose works have been somewhat neglected
This book offers a unique perspective for understanding how and why the Second World War in Europe ended as it did—and why Germany, in attacking the Soviet Union, came far closer to winning the war than is often perceived. Why Germany Nearly Won: A New History of the Second World War in Europe challenges this conventional wisdom in highlighting how the re-establishment of the traditional German art of war—updated to accommodate new weapons systems—paved the way for Germany to forge a considerable military edge over its much larger potential rivals by playing to its qualitative strengths as a continental power. Ironically, these methodologies also created and exacerbated internal contradictions that undermined the same war machine and left it vulnerable to enemies with the capacity to adapt and build on potent military traditions of their own. The book begins by examining topics such as the methods by which the German economy and military prepared for war, the German military establishment's formidable strengths, and its weaknesses. The book then takes an entirely new perspective on explaining the Second World War in Europe. It demonstrates how Germany, through its invasion of the Soviet Union, came within a whisker of cementing a European-based empire that would have allowed the Third Reich to challenge the Anglo-American alliance for global hegemony—an outcome that by commonly cited measures of military potential Germany never should have had even a remote chance of accomplishing. The book's last section explores the final year of the war and addresses how Germany was able to hang on against the world's most powerful nations working in concert to engineer its defeat.
The Lavi fighter program, the largest weapons-development effort ever undertaken by the State of Israel, envisioned a new generation of high-performance aircraft. In a controversial strategy, Israel Aircraft Industries intended to develop and manufacture the fighters in Israel with American financial support. The sophisticated planes, developed in the mid-1980s, were unique in design and intended to make up the majority of the Israeli air force. Though considerable prestige and money were at stake, developmental costs increased and doubts arose as to whether the Lavi could indeed be the warplane it was meant to be. Eventually the program became a microcosm for the ambitions, fears, and internal divisions that shaped both the U.S.-Israeli relationship and Israeli society itself. But the fighter never made it to operational service, and until now, the full breadth and significance of the Lavi story have never been examined and presented. Lavi: The United States, Israel, and a Controversial Fighter Jet traces the evolution of the Lavi fighter from its genesis in the 1970s to its scrapping in August 1987. John W. Golan examines the roles of Israeli military icons and political leaders such as Ezer Weizman, Ariel Sharon, Menachem Begin, and Yitzhak Rabin in the program and in relation to their counterparts in the United States. On the American side, Golan traces the evolution of government policy toward the program, detailing the complex picture of the U.S. foreign policy apparatus and of U.S.-Israeli relations in general—from President Reagan’s public endorsement of the program on the White House lawn to Defense Secretary Caspar Weinberger’s unremitting attempts to cancel it in succeeding years.
How and why does the stage, and those who perform upon it, play such a significant role in the social makeup of modern Russia, Ukraine and Belarus? In New Drama in Russian, Julie Curtis brings together an international team of leading scholars and practitioners to tackle this complex question. New Drama, which draws heavily on techniques of documentary and verbatim writing, is a key means of protest in the Russian-speaking world; since the fall of the Soviet Union in 1991, theatres, dramatists, and critics have collaborated in using the genre as a lens through which to explore a wide range of topics from human rights and state oppression to sexuality and racism. Yet surprisingly little has been written on this important theatrical movement. New Drama in Russian rectifies this. Through providing analytical surveys of this outspoken transnational genre alongside case-studies of plays and interviews with playwrights, this volume sheds much-needed light on the key issues of performance, politics, and protest in Russia, Ukraine and Belarus. Meticulously researched and elegantly argued, this book will be of immense value to scholars of Russian cultural history and post-Soviet literary studies.