Thirty years after the fall of the Soviet Union, the 1917 Revolution still looms large: not only because Russians remain divided over whether the revolution arrived forcibly or inevitably and whether it was a colossally tragic or colossally generative event, but also because its social, cultural, scientific, and even moral residues remain everywhere in Putin's Russia. Revolutionary Aftereffects looks at the ways in which 1917 has been and continues to be commemorated in Russia. Although post-Soviet Russia has emphasized its complete break with the past, this study of the memorialization and legacy of 1917 explores a fundamental continuity underlying an apparent discourse of discontinuity in post-socialist Russia. Contributors provide insight into the continuing reverberations of the revolution from a variety of disciplinary perspectives, including history and literary studies as well as heritage studies, anthropology, geography, and sociology. Collectively, these essays demonstrate the changing nature of the revolution's memorialization in the Soviet Union and post-Soviet Russia and the ambivalence and contradictions within those narratives.

Based on sources from rare book libraries in Russia and around the world, Picturing the Page offers a vivid exploration of illustrated children's literature and reading under Lenin and Stalin - a period when mass publishing for children and universal public education became available for the first time in Russia. By analysing the illustrations in fairy tales, classic "adult" literature reformatted for children, and war-time picture books, Megan Swift elucidates the vital and multifaceted function of illustrated children's literature in repurposing the past. Picturing the Page demonstrates that while the texts of the past remained fixed, illustrations could slip between the pages to mediate and annotate that past, as well as connect with anti-religious, patriotic, and other campaigns that were central to Soviet children's culture after the 1917 Revolution.

This collection of essays offers new research insights on a wide range of scholarly topics, from movie audiences in Stalin's time to women's writing in turn-of-the-century Vienna. This book is a collection of essays by specialists in Russian, Ukrainian, German, Austrian and Croatian culture, literature, language and film. The book offers new research insights on a wide range of scholarly topics, including the cultural mythology of St. Petersburg, movie audiences in Stalin's time, women's writing in turn-of-the-century Vienna, musical and literary intertexts in Schubert and Goethe, linguistic features of contemporary Russian word-formation, Jewish themes in Russian poetry and prose, vampire imagery in German and Swiss literature and film, the Croatian emigration in Canada, new perspectives on foreign language acquisition and theatrical elements in Tolstoy's short fiction. Jazz is an eclectic medium and We're from Jazz, likewise, offers samples from a broad selection of fascinating cultural material. The collection comes in honor of Nicholas V. Galichenko, a much-respected and beloved teacher of Russian language, literature and film at the University of Victoria. These essays are offered by colleagues and former students of the Department of Germanic and Slavic Studies at the University of Victoria in recognition of Nick's many contributions to teaching, scholarship and community. "A lively and informative collection that reflects Galichenko's wide-ranging interests. Everyone who loves central and east European culture should find something of value here." Denise J. Youngblood, Professor of History, University of Vermont "The title of this nicely assembled collection, through its allusion to the well-known Soviet musical comedy, wonderfully captures Professor Galichenko's true passions: jazz and cinema. " Bohdan Y. Nebesio, Film Studies, Brock University