The Image Of Ivan The Terrible In Russian Folklore

A study of Ivan the Terrible's depiction in Russian folklore, and the controversies surrounding it.

Ivan IV, the sixteenth-century Russian tsar notorious for his reign of terror, became an unlikely national hero in the Soviet Union during the 1940s. This book traces the development of Ivan's positive image, placing it in the context of Stalin's campaign for patriotism. In addition to historians' images of Ivan, the author examines literary and artistic representations, including Sergei Eisenstein's famous film, banned for its depiction of the tsar which was interpreted as an allegorical criticism of Stalin.

Tsar Ivan the Terrible (Ivan IV, 1533-1584) is one of the most controversial rulers in Russian history, infamous for his cruelty. He was the first Russian ruler to use mass terror as a political instrument, and the only Russian ruler to do so before Stalin. Comparisons of Ivan to Stalin only exacerbated the politicization of his image. Russians have never agreed on his role in Russian history, but his reign is too important to ignore. Since the abolition of censorship in 1991 professional historians and amateurs have grappled with this problem. Some authors have manipulated that image to serve political and cultural agendas. This book explores Russia’s contradictory historical memory of Ivan in scholarly, pedagogical and political publications.

This is the first major re-assessment of Ivan the Terrible to be published in the West in the post-Soviet period. It breaks away from older stereotypes of the tsar – whether as ‘crazed tyrant’ and ‘evil genius’, on the one hand, or as a ‘great and wise statesman’, on the other – to provide a more balanced picture. It examines the ways in which Ivan’s policies contributed to the creation of Russia’s distinctive system of unlimited monarchical rule. Ivan is best remembered for his reign of terror, the book pays due attention to the horrors of his executions, tortures and repressions, especially in the period of the oprichnina (1565-72), when he mysteriously divided his realm into two parts, one of which was under the direct control of the tsar and his oprichniki (bodyguard). This work argues that the often gruesome forms assumed by the terror reflected not only Ivan’s personal cruelty and sadism, but also his religious views about the divinely ordained right of the tsar to punish his treasonous subjects, just as sinners were punished in Hell. Primarily chronological in its organisation, the book focuses on three main aspects of Ivan’s power: the territorial expansion of the state, the mythology, rituals and symbols of monarchy; and the development of the autocratic system of rule.

Ivan the Terrible is infamous as a sadistic despot responsible for the deaths of thousands of innocent people, particularly during the years of the oprichnina, his state-within-a-state. Ivan was the first ruler in Russian history to use mass terror as a political instrument. However, Ivan’s actions cannot be dismissed by attributing the behavior to insanity. Ivan interacted with Muscovite society as both he and Muscovy changed. This interaction needs to be understood in order properly to analyze his motives, achievements, and failures. Ivan the Terrible: Free to Reward and Free to Punish provides an up-to-date comprehensive analysis of all aspects of Ivan’s reign. It presents a new interpretation not only of Ivan’s behavior and ideology, but also of Muscovite social and economic history. Charles Halperin shatters the myths surrounding Ivan and reveals a complex ruler who had much in common with his European contemporaries, including Henry the Eighth.

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One fall evening in 1880, Russian painter Ilya Repin welcomed an unexpected visitor to his home: Lev Tolstoy. The renowned realists talked for hours, and Tolstoy turned his critical eye to the sketches in Repin's studio. Tolstoy's criticisms would later prompt Repin to reflect on the question of creative expression and conclude that the path to artistic truth is relative, dependent on the mode and medium of representation. In this original study, Molly Brunson traces many such paths that converged to form the tradition of nineteenth-century Russian realism, a tradition that spanned almost half a century—from the youthful projects of the Natural School and the critical realism of the age of reform to the mature masterpieces of Tolstoy, Fyodor Dostoevsky, and the paintings of the Wanderers, Repin chief among them. By examining the classics of the tradition, Brunson explores the emergence of multiple realisms from the gaps, disruptions, and doubts that accompany the self-conscious project of representing reality. These manifestations of realism are united not by how they look or what they describe, but by their shared awareness of the fraught yet critical task of representation. By tracing the engagement of literature and painting with aesthetic debates on the sister arts, Brunson argues for a conceptualization of realism that transcends artistic media. Russian Realisms integrates the lesser-known tradition of Russian painting with the familiar masterpieces of Russia's great novelists, highlighting both the common ground in their struggles for artistic realism and their cultural autonomy and legitimacy. This erudite study will appeal to scholars interested in Russian literature and art, comparative literature, art history, and nineteenth-century realist movements.

Ivan IV, the sixteenth-century Russian tsar notorious for his reign of terror, became an unlikely national hero in the Soviet Union during the 1940s. This book traces the development of Ivan's positive image, placing it in the context of Stalin's campaign for patriotism. In addition to historians' images of Ivan, the author examines literary and artistic representations, including Sergei Eisenstein's famous film, banned for its depiction of the tsar which was interpreted as an allegorical criticism of Stalin.