Вручение 2017 г.
Страна: Великобритания
Дата проведения: 2017 г.
Книжная премия Пушкинского дома
Лауреат
Rosalind P. Blakesley
0.0
The Russian Canvas charts the remarkable rise of Russian painting in the 18th and 19th centuries, and the nature of its relationship with other European schools. Starting with the foundation of the Imperial Academy of the Arts in 1757 and culminating with the assassination of Tsar Alexander II in 1881, it details the professionalization and wide-ranging activities of painters against a backdrop of dramatic social and political change. The Imperial Academy formalized artistic training but later became a foil for dissent, as successive generations of painters negotiated their own positions between pan-European engagement and local and national identities. Drawing on original archival research, this groundbreaking book recontextualizes the work of major artists, revives the reputations of others, and explores the complex developments that took Russian painters from provincial anonymity to international acclaim.
Дэниел Бир
0.0
It was known as 'the vast prison without a roof.' From the beginning of the nineteenth century until the Russian Revolution, the tsars exiled more than one million prisoners and their families beyond the Ural Mountains to Siberia. Daniel Beer illuminates both the brutal realities of this inhuman system and the tragic and inspiring fates of those who endured it. Here are the vividly told stories of petty criminals and mass murderers, bookish radicals and violent terrorists, fugitives and bounty hunters, and the innocent women and children who followed their husbands and fathers into exile.
Unearthing a treasure trove of new archival evidence, this masterly and original work tells the epic story of Russia's struggle to govern its prison continent and Siberia's own decisive influence on the political forces of the modern world. In The House of the Dead, Daniel Beer brings to light a dark and gripping reality of mythic proportions.
Anne Garrels
3.8
More than twenty years ago, when NPR correspondent Anne Garrels first visited Chelyabinsky--a gritty military-industrial center a thousand miles east of Moscow--her goal was to chart the aftershocks of the USSR's collapse. Returning again and again, Garrels found that the city's new freedoms and opportunities were both exciting and traumatic. As the economic collapse of the early 1990s abated, Chelyabinsky became richer and more cosmopolitan while official corruption and intolerance for minorities grew more entrenched. Sushi restaurants proliferated; so did shakedowns. In the neighboring countryside, villages crumbled into the ground. Far from the glitz of Moscow, the people of Chelyabinsk were working out their country’s destiny, person by person.
Putin Country crafts an intimate portrait of Middle Russia. We meet upwardly mobile professionals, impassioned activists who champion the rights of orphans and disabled children, and ostentatious mafiosi. We discover surprising subcultures, such as a vibrant underground gay community and a circle of determined Protestant evangelicals, and watch as doctors and teachers trying to cope with inescapable payoffs and institutionalized negligence. As Vladimir Putin tightens his grip on power and war in Ukraine leads to Western sanctions and a lower standard of living, the local population mingles belligerent nationalism with a deep ambivalence about their country’s direction. Drawing on close friendships sustained over many years, Garrels explains why Putin commands the loyalty of so many Russians, even those who decry the abuses of power they regularly encounter.
Garrels’s portrait of Russia’s silent majority is an essential corrective to the misconceptions of Putin's supporters and critics alike, especially at a time when cold war tensions are resurgent.
Саймон Моррисон
3.8
On a freezing night in January 2013, a hooded assailant hurled acid in the face of the artistic director of the Bolshoi Ballet. The crime, organized by a lead soloist, dragged one of Russia’s most illustrious institutions into scandal. The Bolshoi Theater had been a crown jewel during the reign of the tsars and an emblem of Soviet power throughout the twentieth century. Under Putin in the twenty-first century, it has been called on to preserve a priceless artistic legacy and mirror Russia’s neo-imperial ambitions. The attack and its torrid aftermath underscored the importance of the Bolshoi to the art of ballet, to Russia, and to the world.
The acid attack resonated far beyond the world of ballet, both into Russia’s political infrastructure and, as renowned musicologist Simon Morrison shows in his tour-de-force account, the very core of the Bolshoi’s unparalleled history. With exclusive access to state archives and private sources, Morrison sweeps us through the history of the storied ballet, describing the careers of those onstage as well as off, tracing the political ties that bind the institution to the varying Russian regimes, and detailing the birth of some of the best-loved ballets in the repertoire.
From its disreputable beginnings in 1776 at the hand of a Faustian charlatan, the Bolshoi became a point of pride for the tsarist empire after the defeat of Napoleon in 1812. After the revolution, Moscow was transformed from a merchant town to a global capital, its theater becoming a key site of power. Meetings of the Communist Party were hosted at the Bolshoi, and the Soviet Union was signed into existence on its stage. During the Soviet years, artists struggled with corrosive censorship, while ballet joined chess tournaments and space exploration as points of national pride and Cold War contest. Recently, a $680 million restoration has restored the Bolshoi to its former glory, even as prized talent has departed.
As Morrison reveals in lush and insightful prose, the theater has been bombed, rigged with explosives, and reinforced with cement. Its dancers have suffered unimaginable physical torment to climb the ranks, sometimes for so little money that they kept cows at home whose milk they could sell for food. But the Bolshoi has transcended its own fraught history, surviving 250 years of artistic and political upheaval to define not only Russian culture but also ballet itself. In this sweeping, definitive account, Morrison demonstrates once and for all that, as Russia goes, so goes the Bolshoi Ballet.
Simon Sebag Montefiore
4.2
The Romanovs were the most successful dynasty of modern times, ruling a sixth of the world’s surface for three centuries. How did one family turn a war-ruined principality into the world’s greatest empire? And how did they lose it all?
This is the intimate story of twenty tsars and tsarinas, some touched by genius, some by madness, but all inspired by holy autocracy and imperial ambition. Simon Sebag Montefiore’s gripping chronicle reveals their secret world of unlimited power and ruthless empire-building, overshadowed by palace conspiracy, family rivalries, sexual decadence and wild extravagance, with a global cast of adventurers, courtesans, revolutionaries and poets, from Ivan the Terrible to Tolstoy and Pushkin, to Bismarck, Lincoln, Queen Victoria and Lenin.
Лучшая переведенная русская книга
Лауреат
Тэффи
4.6
An enthralling, elegant, emotional account of a journey into exile
The writer and satirist Teffi was a literary sensation in Russia until war and revolution forced her to leave her country for ever. Memories is her blackly funny and heartbreaking account of her final, frantic journey into exile across Russia-travelling by cart, freight train and rickety steamer-and the 'ordinary and unheroic' people she encounters. From refugees setting up camp on a dockside to a singer desperately buying a few 'last scraps' of fabric to make a dress, all are caught up in the whirlwind; all are immortalized by Teffi's penetrating gaze.
Fusing exuberant wit and bitter horror, this is an extraordinary portrayal of what it means to say goodbye, with haunting relevance in today's new age of diaspora. Published in English for the first time, it confirms the rediscovery of Teffi as one of the most humane, perceptive observers of her time, and an essential writer for ours.
'I never imagined such a memoir could be possible, especially about the Russian Civil War. Teffi wears her wisdom lightly, observing farce and foible amid the looming tragedy, in this deceptive and enthralling book' - Antony Beevor
'A vividly idiosyncratic personal account of the disintegration - moral, political, strategic - of Tsarist Russia after the Revolution, as alive to the farcical and the ridiculous as it is to the tragic; a bit like what Chekhov might have written if he had lived to experience it' - Michael Frayn
