Podcasts about pushkin house prize

Moscow's escalating confrontation with the West means that Russia is now more reliant on China, geopolitically and economically, than at any time in the two countries' history. What are the implications arising from Russia's invasion of Ukraine — the most serious conflict in Europe since the end of the Second World War? What impact will the war in Ukraine's have on the evolution of the Sino-Russian partnership, which has assumed pivotal importance — not just for the outcome of the war, but for the future of global order? On 1 June 2022, the Lowy Institute hosted an event at the National Press Club of Australia with Dr Bobo Lo, Nonresident Fellow to discuss his new Lowy Institute Analysis Paper Turning point? Putin, Xi and the Russian invasion of Ukraine. The event was hosted by Hervé Lemahieu, Director of Research at the Lowy Institute. Dr Bobo Lo is a Nonresident Fellow with the Lowy Institute and is an independent analyst on global affairs. He is an Associate Research Fellow with the Russia/NIS Center at the French Institute of International Relations (IFRI) and has written extensively on Russian foreign and security policy, with a particular focus on Sino-Russian relations. Dr Lo is a former diplomat and served as Deputy Head of Mission at Australia's Embassy in Moscow. He is the author of Russia and the New World Disorder, which was shortlisted for the 2016 Pushkin House Prize and was described by The Economist as the ‘best attempt yet to explain Russia's unhappy relationship with the rest of the world'. His most recent book is A Wary Embrace: What the China-Russia relationship means for the world. He holds an MA from Oxford and a PhD from Melbourne University. Read Bobo Lo's full paper here: https://www.lowyinstitute.org/publications/turning-point-putin-xi-and-russian-invasion-ukraine

Moscow's escalating confrontation with the West means that Russia is now more reliant on China, geopolitically and economically, than at any time in the two countries' history. What are the implications arising from Russia's invasion of Ukraine — the most serious conflict in Europe since the end of the Second World War? What impact will the war in Ukraine's have on the evolution of the Sino-Russian partnership, which has assumed pivotal importance — not just for the outcome of the war, but for the future of global order? On 26 May 2022, the Lowy Institute hosted this event with Dr Bobo Lo, Nonresident Fellow to mark the launch of his Lowy Institute Analysis Paper Turning point? Putin, Xi and the Russian invasion of Ukraine. Dr Lo's address was followed by a conversation with Hervé Lemahieu, Director of Research of the Lowy Institute and audience questions. Dr Bobo Lo is a Nonresident Fellow with the Lowy Institute and is an independent analyst on global affairs. He is an Associate Research Fellow with the Russia/NIS Center at the French Institute of International Relations (IFRI) and has written extensively on Russian foreign and security policy, with a particular focus on Sino-Russian relations. Dr Lo is a former diplomat and served as Deputy Head of Mission at Australia's Embassy in Moscow. He is the author of Russia and the New World Disorder, which was shortlisted for the 2016 Pushkin House Prize and was described by The Economist as the ‘best attempt yet to explain Russia's unhappy relationship with the rest of the world'. His most recent book is A Wary Embrace: What the China-Russia relationship means for the world. He holds an MA from Oxford and a PhD from Melbourne University. Read the full paper: https://www.lowyinstitute.org/publications/turning-point-putin-xi-and-russian-invasion-ukraine Event video: https://www.youtube.com/watch?v=VPMRHp-XUq0 Recorded on 26 May 2022

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonor Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonor Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonory Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonory Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonor Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonor Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonor Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonor Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonor Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonor Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonor Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonor Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonor Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonor Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices