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Interpreting change

This book focuses on the Western difficulties in interpreting Russia. It begins with by reflecting on some of the problems that are set in the foundations of Russia's post-Cold War relationship with the West. The book points to problems that emerge from linguistic and historical 'interpretation'. It looks at the impact of Russia's decline as a political priority for the West since the end of the Cold War and the practical impact this has had. It then reflects on the rising influence, especially, but not only, in public policy and media circles, of 'transitionology' as the main lens through which developments in Russia were interpreted. The book then examines the evolution of the West's relationship with Russia since the end of the Cold War, focusing particularly on the NATO-Russia relationship. It focuses on the chronological development of relations and the emergence of strategic dissonance from 2003. The book also looks at Russian domestic politics, particularly the Western belief in and search for a particular kind of change in Russia, a transition to democracy. It continues the exploration of domestic politics, but turns to address the theme of 'Putinology', the focus on Putin as the central figure in Russian politics.

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‘We’ve moved on’

framework established, but dissonance has become increasingly obvious – and increasingly systematic. It sketches out some background, returning to the founding myths of the 1990s, especially the idea that Russia will return to the Western family of nations, before framing the chronological development of relations and the emergence of strategic dissonance from 2003. Strategic dissonance refers to the

in The new politics of Russia
Magic, witchcraft and Church in early eighteenth-century Capua

was the concordance of the ordo naturalis with the ordo artificialis: the facts are narrated according to their chronological development, their linear progression. For example: 38 Beyond the witch trials Day 28 September 1710 Sent by Magnificent Vicar of Capua Julius Parente being at the monastery of Capua to accept the written denunciation of Rosana Mattia, daughter of Gaetano, guest of this monastery said she wants to denounce to exonerate her own conscience and after we gave permission she started to denounce the following things.28 Then follows: Sappia V. S

in Beyond the witch trials
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mermaid, another a roman intaglio.70 The chronological development of the iconography of secular noblewomen’s seals through the twelfth and thirteenth centuries is one of continuity and change, since the standing female figure remained the conventional iconography of the seals of high-status women.71 This suggests that the origins of the conventions of noblewomen’s seals, which Sandy Heslop placed in the thirteenth and fourteenth centuries,72 lie in the twelfth century. Indeed, Chassel found that the twelfth century was similarly crucial for the development of French

in Noblewomen, aristocracy and power in the twelfth-century Anglo-Norman realm
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she is a Catholic in a Protestant stronghold, being taunted by Florence. Dowell does eventually discover Florence’s duplicity; she does not have ‘a heart’ at all, but merely uses their separate bedrooms as an excuse to take other men into hers. On the night she sees herself as discovered by her husband, the same night that she sees herself as replaced in Ashburnham’s affections by Nancy Rufford, Florence commits suicide. Nancy Rufford is the Ashburnhams’ ward, and, towards the end of the chronological development of the tale, Edward does indeed conceive a passion

in Fragmenting modernism