Routledge Library Editions: Soviet Society – serie

Routledge Library Editions: Soviet Society gathers together 27 previously out-of-print titles from our classic backlist to form an important reference collection on the many aspects of society in the Soviet Union. The power of the state infiltrated all aspects of life under Soviet authority, and these books collected here examine schools and education, family life and marriage, social inequality and mobility, race relations, healthcare, the legal system, the arts and literature, religion, gender and other topics besides.

Soviet Russia Fights Crime (1934) examines the workings of the Soviet penal system in the pre-war years of the Soviet Union. It is a valuable insight into prison life in Soviet Russia, in both prisons and prison colonies, with the author being allowed remarkably free access to certain institutions.

Soviet Russia Fights Crime (1934) examines the workings of the Soviet penal system in the pre-war years of the Soviet Union. It is a valuable insight into prison life in Soviet Russia, in both prisons and prison colonies, with the author being allowed remarkably free access to certain institutions.

Women in Soviet Russia (1933) was the first attempt to provide a comprehensive account of the position of women in the Soviet Union. It looks at the history of women’s achievements following the 1917 revolution, and of the efforts made by the Communists to establish sex equality between man and woman. This history embraces every activity of women, economical, political, cultural and biological. A survey is provided of women’s participation in the civil wars and in the work of the Five Year Plan; of woman’s role as mother, wife, worker and political leader; of her position in the home, in the state, and in industry; of the attempts of the Soviets to abolish prostitution; of the establishment of creches and maternity clinics; of the situation with regard to abortion and methods of birth control; of the marriage laws; and, above all, of the development of sex relations in Russia and the emotional life of both old and young Russian women.

Women in Soviet Russia (1933) was the first attempt to provide a comprehensive account of the position of women in the Soviet Union. It looks at the history of women’s achievements following the 1917 revolution, and of the efforts made by the Communists to establish sex equality between man and woman. This history embraces every activity of women, economical, political, cultural and biological. A survey is provided of women’s participation in the civil wars and in the work of the Five Year Plan; of woman’s role as mother, wife, worker and political leader; of her position in the home, in the state, and in industry; of the attempts of the Soviets to abolish prostitution; of the establishment of creches and maternity clinics; of the situation with regard to abortion and methods of birth control; of the marriage laws; and, above all, of the development of sex relations in Russia and the emotional life of both old and young Russian women.

Russian Theater (1963) is a comprehensive study of the main trends in Russian theatre in the nineteenth and twentieth centuries. Beginning with its origins in pagan folklore and ritual, it goes on to consider the romantic drama which flourished in the first half of the nineteenth century, the realistic drama of Gogol, Turgenev and their contemporaries, and the beginning of the modernist movement. The foundation of the famous Moscow Art Theatre in 1898 by Stanislavsky and Danchenko led to a remarkable period of innovation in acting, production and stage design which still influences the theatre of the West. Their association of Chekhov and their production of his plays is fully described. The reader is also introduced to the work of such playwrights as Andreyev and Gorky, and to the experiments and ideas of directors like Meeyerhold, Tairov and Vakhtangov. A large part of the book is devoted to a systemic analysis of plays and trends under the Soviets and the rise and fall of the avant-garde theatres and the reasons for their replacement by conservative realism.

Russian Theater (1963) is a comprehensive study of the main trends in Russian theatre in the nineteenth and twentieth centuries. Beginning with its origins in pagan folklore and ritual, it goes on to consider the romantic drama which flourished in the first half of the nineteenth century, the realistic drama of Gogol, Turgenev and their contemporaries, and the beginning of the modernist movement. The foundation of the famous Moscow Art Theatre in 1898 by Stanislavsky and Danchenko led to a remarkable period of innovation in acting, production and stage design which still influences the theatre of the West. Their association of Chekhov and their production of his plays is fully described. The reader is also introduced to the work of such playwrights as Andreyev and Gorky, and to the experiments and ideas of directors like Meeyerhold, Tairov and Vakhtangov. A large part of the book is devoted to a systemic analysis of plays and trends under the Soviets and the rise and fall of the avant-garde theatres and the reasons for their replacement by conservative realism.

A Guide to the Soviet Curriculum (1988) surveys the syllabuses for schoolchildren in the Soviet education system following the reforms of 1984. Every subject in the common timetable is covered, and teaching methods, hopes for the future and continuing controversies are discussed. All this is set in the broader context of curriculum philosophy and of the social and moral purposes of Soviet education; the implicit or ‘hidden’ curriculum is also considered.

A Guide to the Soviet Curriculum (1988) surveys the syllabuses for schoolchildren in the Soviet education system following the reforms of 1984. Every subject in the common timetable is covered, and teaching methods, hopes for the future and continuing controversies are discussed. All this is set in the broader context of curriculum philosophy and of the social and moral purposes of Soviet education; the implicit or ‘hidden’ curriculum is also considered.

Dialectical Materialism (1958) surveys the history of dialectical materialism from its Hegelian beginnings to the death of Stalin, and its sequel in the celebrated XXth Party Congress of the C.P.S.U. It also presents a systematic account of the theory as it was formulated and discussed by the philosophers of the Soviet Union.

Dialectical Materialism (1958) surveys the history of dialectical materialism from its Hegelian beginnings to the death of Stalin, and its sequel in the celebrated XXth Party Congress of the C.P.S.U. It also presents a systematic account of the theory as it was formulated and discussed by the philosophers of the Soviet Union.

The Development of Sociology in the Soviet Union (1974) examines the institutionalisation of sociology in the Soviet Union. Of primary concern are the obstacles to and mechanisms for the acceptance of sociological inquiry. The study shows how sociology was advanced as a legitimate discipline in the Soviet Union in the post-Stalin years. The social characteristics of Soviet sociologists, the institutional framework within which they work, and the theoretical assumptions underlying their research are analysed. In a survey of areas of research of concern to Soviet sociologists, including time budget research, labour sociology and social stratification, emphasis is placed on the purported relation between these areas and wider aspects of Soviet society. Public opinion research, an area of particular significance in Soviet sociology, is examined in depth.

The Development of Sociology in the Soviet Union (1974) examines the institutionalisation of sociology in the Soviet Union. Of primary concern are the obstacles to and mechanisms for the acceptance of sociological inquiry. The study shows how sociology was advanced as a legitimate discipline in the Soviet Union in the post-Stalin years. The social characteristics of Soviet sociologists, the institutional framework within which they work, and the theoretical assumptions underlying their research are analysed. In a survey of areas of research of concern to Soviet sociologists, including time budget research, labour sociology and social stratification, emphasis is placed on the purported relation between these areas and wider aspects of Soviet society. Public opinion research, an area of particular significance in Soviet sociology, is examined in depth.

The Soviet Intelligentsia (1973) is a valuable study of the composition and structure of the Soviet intelligentsia during the 1960s. It focuses in particular on the position of social scientists and the relationship between the intelligentsia and the Communist party. The book contains much original material drawn from Soviet newspapers, books and periodicals, and from the personal experiences of the author in the Soviet Union. It discusses the problem of defining the intelligentsia, their social spread, recruitment and training, as well as Soviet intellectual culture and lifestyles, the social and political roles of the intelligentsia and the likely future of this distinctive group in the Soviet system.

The Soviet Intelligentsia (1973) is a valuable study of the composition and structure of the Soviet intelligentsia during the 1960s. It focuses in particular on the position of social scientists and the relationship between the intelligentsia and the Communist party. The book contains much original material drawn from Soviet newspapers, books and periodicals, and from the personal experiences of the author in the Soviet Union. It discusses the problem of defining the intelligentsia, their social spread, recruitment and training, as well as Soviet intellectual culture and lifestyles, the social and political roles of the intelligentsia and the likely future of this distinctive group in the Soviet system.

The Soviet Way of Life (1948) is an objective description of the Soviet Russian political and economic systems. The author, who spent two years in Russia, explains how the citizen lives and moves within the structure of the Soviet State. The Soviet way of life, he points out, is basically a Russian way, to which a form of collectivism was applied suddenly and drastically in the Twentieth Century.

The Soviet Way of Life (1948) is an objective description of the Soviet Russian political and economic systems. The author, who spent two years in Russia, explains how the citizen lives and moves within the structure of the Soviet State. The Soviet way of life, he points out, is basically a Russian way, to which a form of collectivism was applied suddenly and drastically in the Twentieth Century.

Soviet Russia Fights Neurosis (1934) examines the states of mental well-being in the Soviet Union at the start of the 1930s. The author, a physician, visited Soviet Russia and saw the difference in the philosophy of life between the Communist State and the democracies of the West and took this as the starting point for his studies into Soviet psychiatry and the mental states of its citizens.

Soviet Russia Fights Neurosis (1934) examines the states of mental well-being in the Soviet Union at the start of the 1930s. The author, a physician, visited Soviet Russia and saw the difference in the philosophy of life between the Communist State and the democracies of the West and took this as the starting point for his studies into Soviet psychiatry and the mental states of its citizens.

The Red Pencil (1989) examines the many ways in which Soviet censorship interfered in the creative process – in the words of those who experienced it first hand. It helps to identify the ways in which Soviet artistic and intellectual production was shaped by the practices of Soviet censorship. The book goes beyond the simple recounting of banned books and taboo subjects to examine the more subtle issue of how Soviet writers attempted to strike a balance between accommodating the demands of government censorship while retaining for themselves a modicum of unfettered expression and intellectual integrity. Most of the contributing authors were active as writers, critics, editors, film and theatre specialists, or scientists prior to their departure from the Soviet Union in the 1970s.

The Red Pencil (1989) examines the many ways in which Soviet censorship interfered in the creative process – in the words of those who experienced it first hand. It helps to identify the ways in which Soviet artistic and intellectual production was shaped by the practices of Soviet censorship. The book goes beyond the simple recounting of banned books and taboo subjects to examine the more subtle issue of how Soviet writers attempted to strike a balance between accommodating the demands of government censorship while retaining for themselves a modicum of unfettered expression and intellectual integrity. Most of the contributing authors were active as writers, critics, editors, film and theatre specialists, or scientists prior to their departure from the Soviet Union in the 1970s.

Music Under the Soviets (1955) examines the concept of Soviet music, its special characteristics and its differences from the musical tradition of the West. As the musical practice under the Soviet totalitarian dictatorship, it should be viewed as the musical policy of that regime, a policy which aims at the ‘reconstruction’ of not only the historically developed musical forms but the essence of music itself as artistic creation. It was during the years of Stalin that Soviet music acquired its peculiar features, developed its most characteristic distinguishing marks, and determined the paths of its evolution.

Music Under the Soviets (1955) examines the concept of Soviet music, its special characteristics and its differences from the musical tradition of the West. As the musical practice under the Soviet totalitarian dictatorship, it should be viewed as the musical policy of that regime, a policy which aims at the ‘reconstruction’ of not only the historically developed musical forms but the essence of music itself as artistic creation. It was during the years of Stalin that Soviet music acquired its peculiar features, developed its most characteristic distinguishing marks, and determined the paths of its evolution.

Contemporary History in the Soviet Mirror (1964) is devoted to a critical examination of Soviet writings on contemporary history. The demands of the Communist Party, striving following the death of Stalin to replace the old myths with new ones, encountered the opposition of individual historians. The needs of the ‘ideological front’ clashed with their professional conscience about historical facts. Yet the Party’s claim to be the infallible interpreter of historical truth would be undermined if its authority about the past could be challenged; now, as before, ‘he who controls the past controls the present.’ In Krushchev’s Russia, however, it was not only the image of the past, but the degree of control over it which was modified.

Contemporary History in the Soviet Mirror (1964) is devoted to a critical examination of Soviet writings on contemporary history. The demands of the Communist Party, striving following the death of Stalin to replace the old myths with new ones, encountered the opposition of individual historians. The needs of the ‘ideological front’ clashed with their professional conscience about historical facts. Yet the Party’s claim to be the infallible interpreter of historical truth would be undermined if its authority about the past could be challenged; now, as before, ‘he who controls the past controls the present.’ In Krushchev’s Russia, however, it was not only the image of the past, but the degree of control over it which was modified.

Based on theatrical research of unusual depth and enterprise, Theatre as a Weapon (1986) shows how the workers’ theatre of the 1920s and 1930s transformed the social function of theatre. Drawing largely on unpublished sources, it provides lively case studies of workers’ theatre in the USSR, Germany and the United Kingdom. They range from the Russian mass spectacles in front of the Winter Palace, through the thousands of factory and courtyard performances in Germany, to the May Day activities of the Workers’ Theatre Movement all over Britain. The authors worked for many years in political theatre in Britain, Austria and Germany, and they draw on their wide experience to focus on both major theoretical controversies and their practical ramifications. They show how workers’ theatre became an instrument, a weapon, for political change, helping to raise the consciousness of thousands of workers and encouraging them to take action. They describe how worker-actors, musicians, writers and directors formed small, flexible troupes which contributed locally to the day-to-day struggles of their class, while at the same time participating in national and international political campaigns. Developments in dramatic structure are analysed, from the simple review form to the more complex scene-and-song montage. Placing the work of Meyerhold, Eisenstein, Piscator, Brecht and Eisler in this context, the authors demonstrate how the montage principle became the significant factor in the political theatre of this period. The book is illustrated with rare photographs which reflect the atmosphere of those mass movements. Unique in its coverage, Theatre as a Weapon is above all an analysis of how the mirror of realistic theatre was transformed into a dynamic weapon for social change. It fills an important gap in the history of working-class culture.

Based on theatrical research of unusual depth and enterprise, Theatre as a Weapon (1986) shows how the workers’ theatre of the 1920s and 1930s transformed the social function of theatre. Drawing largely on unpublished sources, it provides lively case studies of workers’ theatre in the USSR, Germany and the United Kingdom. They range from the Russian mass spectacles in front of the Winter Palace, through the thousands of factory and courtyard performances in Germany, to the May Day activities of the Workers’ Theatre Movement all over Britain. The authors worked for many years in political theatre in Britain, Austria and Germany, and they draw on their wide experience to focus on both major theoretical controversies and their practical ramifications. They show how workers’ theatre became an instrument, a weapon, for political change, helping to raise the consciousness of thousands of workers and encouraging them to take action. They describe how worker-actors, musicians, writers and directors formed small, flexible troupes which contributed locally to the day-to-day struggles of their class, while at the same time participating in national and international political campaigns. Developments in dramatic structure are analysed, from the simple review form to the more complex scene-and-song montage. Placing the work of Meyerhold, Eisenstein, Piscator, Brecht and Eisler in this context, the authors demonstrate how the montage principle became the significant factor in the political theatre of this period. The book is illustrated with rare photographs which reflect the atmosphere of those mass movements. Unique in its coverage, Theatre as a Weapon is above all an analysis of how the mirror of realistic theatre was transformed into a dynamic weapon for social change. It fills an important gap in the history of working-class culture.

Based on theatrical research of unusual depth and enterprise, Theatre as a Weapon (1986) shows how the workers’ theatre of the 1920s and 1930s transformed the social function of theatre. Drawing largely on unpublished sources, it provides lively case studies of workers’ theatre in the USSR, Germany and the United Kingdom. They range from the Russian mass spectacles in front of the Winter Palace, through the thousands of factory and courtyard performances in Germany, to the May Day activities of the Workers’ Theatre Movement all over Britain. The authors worked for many years in political theatre in Britain, Austria and Germany, and they draw on their wide experience to focus on both major theoretical controversies and their practical ramifications. They show how workers’ theatre became an instrument, a weapon, for political change, helping to raise the consciousness of thousands of workers and encouraging them to take action. They describe how worker-actors, musicians, writers and directors formed small, flexible troupes which contributed locally to the day-to-day struggles of their class, while at the same time participating in national and international political campaigns. Developments in dramatic structure are analysed, from the simple review form to the more complex scene-and-song montage. Placing the work of Meyerhold, Eisenstein, Piscator, Brecht and Eisler in this context, the authors demonstrate how the montage principle became the significant factor in the political theatre of this period. The book is illustrated with rare photographs which reflect the atmosphere of those mass movements. Unique in its coverage, Theatre as a Weapon is above all an analysis of how the mirror of realistic theatre was transformed into a dynamic weapon for social change. It fills an important gap in the history of working-class culture.

Based on theatrical research of unusual depth and enterprise, Theatre as a Weapon (1986) shows how the workers’ theatre of the 1920s and 1930s transformed the social function of theatre. Drawing largely on unpublished sources, it provides lively case studies of workers’ theatre in the USSR, Germany and the United Kingdom. They range from the Russian mass spectacles in front of the Winter Palace, through the thousands of factory and courtyard performances in Germany, to the May Day activities of the Workers’ Theatre Movement all over Britain. The authors worked for many years in political theatre in Britain, Austria and Germany, and they draw on their wide experience to focus on both major theoretical controversies and their practical ramifications. They show how workers’ theatre became an instrument, a weapon, for political change, helping to raise the consciousness of thousands of workers and encouraging them to take action. They describe how worker-actors, musicians, writers and directors formed small, flexible troupes which contributed locally to the day-to-day struggles of their class, while at the same time participating in national and international political campaigns. Developments in dramatic structure are analysed, from the simple review form to the more complex scene-and-song montage. Placing the work of Meyerhold, Eisenstein, Piscator, Brecht and Eisler in this context, the authors demonstrate how the montage principle became the significant factor in the political theatre of this period. The book is illustrated with rare photographs which reflect the atmosphere of those mass movements. Unique in its coverage, Theatre as a Weapon is above all an analysis of how the mirror of realistic theatre was transformed into a dynamic weapon for social change. It fills an important gap in the history of working-class culture.