Alexandar Mihailovic – författare

During the late Soviet period, the art collective known as the Mitki emerged in Leningrad. Producing satirical poetry and prose, pop music, cinema, and conceptual performance art, this group fashioned a playful, emphatically countercultural identity with affinities to European avant-garde and American hippie movements.More broadly, Alexandar Mihailovic shows, the Mitki pioneered a form of political protest art that has since become a centerpiece of activism in post-Soviet Russia, most visibly today in groups such as Pussy Riot. He draws on extensive interviews with members of the collective and illuminates their critique of the authoritarian state, militarism, and social strictures from the Brezhnev years to the present.

During the late Soviet period, the art collective known as the Mitki emerged in Leningrad. Producing satirical poetry and prose, pop music, cinema, and conceptual performance art, this group fashioned a playful, emphatically countercultural identity with affinities to European avant-garde and American hippie movements.More broadly, Alexandar Mihailovic shows, the Mitki pioneered a form of political protest art that has since become a centerpiece of activism in post-Soviet Russia, most visibly today in groups such as Pussy Riot. He draws on extensive interviews with members of the collective and illuminates their critique of the authoritarian state, militarism, and social strictures from the Brezhnev years to the present.

Recent years have witnessed a growing affinity between increasingly radicalized right-wing movements in the United States and Russia, countries that only recently viewed each other as intractable foes. In Illiberal Vanguard: Populist Elitism in the United States and Russia, Alexandar Mihailovic untangles this confluence, considering ethnonationalist movements in both countries and their parallel approaches to gender, race, and performative identity. Rather than probe specific points of possible contact or political collusion, Mihailovic unveils the mirrored styles of thought that characterize far-right elitism in two erstwhile enemy nations.Mihailovic investigates notable right-wing actors like Steve Bannon and Alexander Dugin and targets of right-wing ire such as globalization, LGBTQ+ activism, and mobilizations to remove controversial statues (that honor Confederate generals and Soviet leaders, for instance), but the argument extends beyond the specifics. How and why are radical right-wing movements developing along such similar trajectories in two nominally oppositional countries? How do religious sectarianism, the construction of whiteness, and institutionalized homophobia support each other in this transnational, informal, but powerful allegiance? Despite their appeals to populism and flamboyant theatrics, Mihailovic argues, much of the answer can be found in the mutual desire to justify and organize an illiberal vanguard of elite intellectuals, one that supports and advocates for a new authoritarianism.

Commemorating the centenary of Tchaikovsky's death, these essays reassess the life and work of the composer from a variety of perspectives, ranging from the musicological and biographical to broader ones addressing his place in the development of the arts in Europe and America. As they make clear, there is much about Tchaikovsky's achievement that has been taken for granted, and the essays included in this collection represent as much acts of reevaluation as of celebration.After a broad synthesis of Tchaikovsky's relation to the literature, music, and theater of the 18th and 19th centuries, there are sections devoted to Tchaikovsky and his musical contemporaries; Tchaikovsky's lost opera, The Oprichnik; Tchaikovsky's mature operatic work; his place in Russian Orthodoxy and nationalism; and contemporary perspectives on his life and works. The volume concludes with discussions on Tchaikovsky scholarship, the place of the composer in American and Russian musical education, and the interpretation and performance of his ballets. It is an important collection for scholars and other researchers involved in Russian music and ballet.

Navid Kermani – author, journalist and academic – is one of the most prominent public intellectuals in Germany today. Kermani has been at the forefront of recent debates about Islam and its role in Germany’s political, social and cultural life. Instead of emphasizing the differences between ethnic affiliations and religious beliefs, Kermani questions the Western notion of a clear dividing line between Islam, Christianity and Judaism, highlighting instead their affinities. In addition to his political essays, Kermani’s travel journalism introduces western audiences to diverse Muslim societies in the world and his fiction provides accessible meditations on first love, contemporary music, death and friendship. This is the first volume of criticism in English dedicated to Kermani’s varied work. The book features an extensive interview with the author, a reproduction in German and English of Kermani’s famous 2014 Bundestag speech and a collection of critical essays on Kermani’s writing. The essays, by major scholars in the field, cover issues such as gender, religion, cosmopolitanism, mystical experiences, and the power of the liberal arts in a time of neoliberal distraction.

Western neoliberalism is a predatory outgrowth of late capitalism that overvalues competition, transferring the laws of the market to human relationships. This book advances the argument that anti-neoliberal cinemas of Europe, the United States, and the Russian Federation imagine and visualize alternatives to the non-sovereign realities of a neoliberal workplace that unequivocally endorses dangerous risk-taking, self-optimizing neoliberal subjects, and corporate ‘entrepreneurs of self.’ Always at stake in the examination of neoliberalism’s consequences is a human being who is indexed by race, gender, nation, ability, and economic performance. Drawing on film theory, transnational social histories, critical race theory, and Marxist and Foucauldian interpretive models, this book rediscovers a cinema that imagines a social contract focused on the common good and ethical standards for the social state. Anti-neoliberal cinema empowers the viewer as agentive through narratives that detail resistance to Western neoliberal modes of living and working. These filmmakers dramatize the labor of making solidarity across different groups.