Mythmaking in the new Russia : politics and memory during the Yeltsin era
著者
書誌事項
Mythmaking in the new Russia : politics and memory during the Yeltsin era
Cornell University Press, 2002
大学図書館所蔵 全11件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references and index
内容説明・目次
内容説明
After the collapse of Communist rule in 1991, those loyal to the old regime tried to salvage their political dreams by rejecting some aspects of their history and embracing others. Yeltsin and the democrats, although initially hesitant to rely on the patriotic mythmaking they associated with Communist propaganda, also turned to the national past in times of crisis, realizing they needed not only to create new institutions, but also to encourage popular support for them.Kathleen E. Smith examines the use of collective memories in Russian politics during the Yeltsin years, surveying the various issues that became battlegrounds for contending notions of what it means to be Russian. Both the new establishment and its opponents have struggled to shape versions of past events into symbolic political capital. What parts of the Communist past, Smith asks, have proved useful for interpreting political options? Which versions of their history have Russians chosen to cling to, and which Soviet memories have they deliberately tried to forget? What symbols do they hold up as truly Russian? Which will help define the attitudes shaping Russian policy for decades to come?Smith illustrates the potency of memory debates across a broad range of fields-law, politics, art, and architecture. Her case studies include the changing interpretations of the attempted coups of 1991 and 1993, the recasting of the holiday calendar, the controversy over the national anthem, the status of "trophy art" brought to Russia at the end of World War II, and the partisan use of historical symbols in elections.
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