Kul Tura Kosmosa

This thesis argues that there is a popular culture of space exploration characteristic of a wider Russia; its roots lie in pagan times and it grew through Orthodox Christianity and Soviet Communism to the twenty-first century, where it is actively promoted by Russia and neighbouring nations. The key influences stem from Nikolai Fedorov, Kontsantin Tsiolkovsky, Friedrich Tsander and Yuri Gagarin. The narrative of the twentieth-century Soviet space programme is considered from this perspective and the cultural importance of Tsiolkovsky to this programme is acknowledged. This is an alternative perspective to the commonly-held Western view of the "Space Race". The manipulation of imagery and ritual of space exploration by Russia and other neighbouring nations is examined, and the effect on the "collective remembering" in modern Russia of key events in Russian space exploration is tested.

For more than seven decades the circuses enjoyed tremendous popularity in the Soviet Union. How did the circus—an institution that dethroned figures of authority and refused any orderly narrative structure—become such a cultural mainstay in a state known for blunt and didactic messages? Miriam Neirick argues that the variety, flexibility, and indeterminacy of the modern circus accounted for its appeal not only to diverse viewers but also to the Soviet state. In a society where government-legitimating myths underwent periodic revision, the circus proved a supple medium of communication. Between 1919 and 1991, it variously displayed the triumph of the Bolshevik revolution, the beauty of the new Soviet man and woman, the vulnerability of the enemy during World War II, the prosperity of the postwar Soviet household, and the Soviet mission of international peace—all while entertaining the public with the acrobats, elephants, and clowns. With its unique ability to meet and reconcile the demands of both state and society, the Soviet circus became the unlikely darling of Soviet culture and an entertainment whose usefulness and popularity stemmed from its ambiguity.

More than 700 'utopian' novels are published in Russia every year. These utopias – meaning here fantasy fiction, science fiction, space operas or alternative history – do not set out merely to titillate; instead they express very real Russian anxieties: be they territorial right-sizing, loss of imperial status or turning into a 'colony' of the West. Contributors to this innovative collection use these narratives to re-examine post-Soviet Russian political culture and identity. Interrogating the intersections of politics, ideologies and fantasies, chapters draw together the highbrow literary mainstream (authors such as Vladimir Sorokin), mass literature for entertainment and individuals who bridge the gap between fiction writers and intellectuals or ideologists (Aleksandr Prokhanov, for example, the editor-in-chief of Russia's far-right newspaper Zavtra). In the process The Post-Soviet Politics of Utopia sheds crucial light onto a variety of debates – including the rise of nationalism, right-wing populism, imperial revanchism, the complicated presence of religion in the public sphere, the function of language – and is important reading for anyone interested in the heightened importance of ideas, myths, alternative histories and conspiracy theories in Russia today.

Religion and science were fundamental aspects of Eastern European communist political culture from the very beginning, and remained in uneasy tension across the region over the decades. While both topics have long attracted a great deal of scholarly attention, they almost invariably have been studied discretely as separate stories. Religion, Science and Communism in Cold War Europe is the first scholarly effort to explore the delicate interface of religion, science and communism in Cold War Europe. It brings together an international team of researchers who address this relationship from a number of national viewpoints and thematic perspectives, ranging from mysticism to social science, space exploration to the socialist lifecycle, and architectural heritage to pop culture.

By the time the Berlin Wall collapsed, the cinema of the German Democratic Republic—to the extent it was considered at all—was widely regarded as a footnote to European film history, with little of enduring value. Since then, interest in East German cinema has exploded, inspiring innumerable festivals, books, and exhibits on the GDR’s rich and varied filmic output. In Re-Imagining DEFA, leading international experts take stock of this vibrant landscape and plot an ambitious course for future research, one that considers other cinematic traditions, brings genre and popular works into the fold, and encompasses DEFA’s complex post-unification “afterlife.”

Water in Social Imagination studies meanings of water in cultural and environmental contexts, from medieval Stockholm to post-Soviet Russia. Authors consider both state policy and modern technologies along with creative resistance to the exploitative imagination.