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Sergei Antonov presents a history of counterfeiting in Imperial Russia
On February 5, 2016, the NYU Jordan Center for the Advanced Study of Russia welcomed Sergei Antonov for a colloquium on “Criminal Capitalism in Imperial Russia: Counterfeiters, Merchants, and Gendarmes.”...
Between Soviet Homeland and Yiddish Cosmos: Yevgeniy Fiks at the Stanton Street Shul
Yevgeniy Fiks’ solo exhibition “Himl un erd: Yiddish Cosmos” at Stanton Street Shul in New York (on view Sundays from 1–6pm, Mondays & Wednesdays from 4–7 pm, November 18–December 16)...
Experts discuss Russian law and its trajectories
On October 16, 2014, the Jordan Center welcomed several scholars to participate in a panel, entitled Russia’s Legal Trajectories: Law in Action and Question, 1830 to 2014. In her introductory...
Truth Unclaimed: Why Russians Trust Propaganda and Distrust Independent Media
In countries like Russia, independent journalists are marginalized not only by governments who prosecute them but also by citizens. Most Russians do not care about the truths reported by Novaya...
Cold Snap (Part I): Russian Film after Leviathan
This essay provides context for roughly thirty-five current and upcoming Russian films, loosely clustered around four topics: directors; debuts; economic health; and dominant industry trends.
Exhibit Review: "Russian Revolution: A Contested Legacy (1917-2017)"
This fall, the International Print Center New York commemorates the centennial of the Russian Revolution with the exhibit "Russian Revolution: A Contested Legacy" (1917-2017). Curator Masha Chlenova combines historical, early-Soviet,...
Messy Things Betwixt and Between
"Because I have practiced law, I have seen what can potentially hobble a lawyer: namely, her insistence that things be tidy and fall within set parameters of unyielding doctrines. In...
Cold Snap (Part II): Russian Film after Leviathan
An auteurist orientation, therefore, is neither good nor bad, but it is certainly mismatched to an industry—especially during periods of robust growth—in which so-called “spectators’ cinema” [zritel'skoe kino] is in...
A Coat of Not Many Colors: Vatnik (Russia' Alien Nations)
Vatnik takes visual inspiration from SpongeBob (he is roughly the same shape) and satirical inspiration from the work of Seth McFarlane.
Fighting HIV/AIDS in Russia: Challenges, Successes, and Working in a Pandemic
On January 13th, the Jordan Center and the Harriman Institute co-hosted a panel on the HIV/AIDS epidemic in Russia as part of the NYC-Russia Public Policy Series. Panelists included Ulla...
Open Letter on the Termination of Russian Studies Faculty at Ohio University
Like you, we are wholeheartedly invested in the survival and recovery of higher education in the United States amid the COVID-19 pandemic. That recovery depends on the will of universities...
Gender Trouble in The Double: Masculinity in Dostoevsky’s Novella and Ayoade’s Film
Right from the outset, Ayoade’s film establishes the presence of a masculine hierarchy.
The Devil Is No Match for Procedural Liberalism (Pelagia and the White Bulldog (Conclusion))
The rule of law is boring, but necessary
The Bashkir Vanishes?
How Bashkirs endure the intense Russian nationalism characteristic of the last decade remains to be seen.
Excerpt from "Monuments for Posterity: Self-Commemoration and the Stalinist Culture of Time," Part I
Only through self-commemoration could the Stalinist memory regime complete the intergenerational chain of memory, assuring individuals that their community possessed not only an ancient past, but also a limitless future.
Excerpt from "Monuments for Posterity: Self-Commemoration and the Stalinist Culture of Time," Part II
Neither monument building as a practice nor the desire for perpetuating memory were limited to official culture and its “true believers.” Rather, the value of being remembered was shared, and...
Excerpt from "Monuments for Posterity: Self-Commemoration and the Stalinist Culture of Time," Part III
Synthesis—the practice of uniting architects, artists, and sculptors in concept, development, and design—was a general feature of Stalinist artistic practice, but it offered unique advantages for crafting monuments that would...
Papa Don’t Preach: The Church, Chekhov, and Checks and Balances
Тhis is the sort of story that gives someone like me an illicit thrill, the sense of satisfaction that comes when an institution you distrust once again behaves like a...
Film Review: Sarik Andreasian's "Guardians" (2016)
With "Guardians," cinemas saw a Russian superhero team at last. Most of them wished they could unsee it.
A New Companion for Readers of Dostoevskii
Today, "All the Russias" features an interview with the editors of "A Dostoevskii Companion: Texts and Contexts," a new volume out this month from Academic Studies Press.