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This ground-breaking work documents Russian efforts to appropriate Western solutions to the problem of economic backwardness since the time of Catherine the Great. Entangled then as now with issues of cultural borrowing, educated Russians searched for Western nations, ideas, and social groups that embodied universal economic truths applicable to their own country. Esther Kingston-Mann describes Russian Westernization--which emphasized German as well as Anglo-U.S. economics--while she raises important questions about core values of Western culture and how cultural values and priorities are determined. This is the first historical account of the significant role played by Russian social scientists in nineteenth-century Western economic and social thought. In an era of rapid Western colonial expansion, the Russian quest for the "right" Western economic model became more urgent: Was Russia condemned to the fate of India if it did not become an England? In the 1900s, Russian liberal economists emphasized cultural difference and historical context, while Marxists and prerevolutionary government reformers declared that inexorable economic laws doomed peasants and their "medieval" communities. On the eve of 1917, both the tsarist regime and its leading critics agreed that Russia must choose between Western-style progress or "feudal" stagnation. And when peasants and communes survived until Stalin's time, he mercilessly destroyed them in the name of progress. Today Russia's painful modernizing traditions shape the policies of contemporary reformers, who seem as certain as their predecessors that economic progress requires wholesale obliteration of the past.

The figure of Gary Cooper as the proud frontier sheriff striding down the street in the 1952 American Western High Noon is as much a symbol of dignity and courage in contemporary Poland as it is in the United States. In 1989, for Poland's first free election since the Communist takeover, the political party Solidarity dramatically and successfully used that image of Cooper on a campaign poster urging voters to respond to their country's own "high noon" -- their critical moment of decision. The Western motion picture, from its silent days on, exported an epic vision of America. William S. Hart, John Wayne, James Stewart, Henry Fonda, Gregory Peck, Clint Eastwood, and Kirk Douglas became legendary heroes throughout the world, and especially in Poland. In postwar Poland, film poster artists employed the universally recognized symbols of the Western -- horse, six-shooter, boots, tin-star badge, Stetson, saddle -- to convey violence as a negative force. Unlike many other art forms, the film poster did not fall within the censor's domain because it was not expected to pose a threat to the social order. But messages were conveyed through subtle means of symbol and color. The Polish poster has been likened to the Trojan horse, with the artist smuggling messages onto the streets in the guise of ephemera. The posters displayed so strikingly in this book, and discussed in three essays, are from the golden age of Polish poster-making, the mid-1940s to the 1970s. They are part of the collection assembled by the Autry Museum of Western Heritage, the Western poster holdings of which include more than a hundred created in Poland -- the largest such collection outside of Poland itself.

Unified Western Grocers - Unified Western Grocers is a retailer-owned wholesale grocery cooperative that supplies independent supermarkets in the Western United States. It has about $3 Billion in annual sales.

Western International Market - The Western International Market market in Hounslow, in West London, England is one of the principal wholesale markets in the London region. It is owned by the London Borough of Hounslow and covers 86 acres.

Boot Hill (role-playing game) - Boot Hill is a western role-playing game designed by Brian Blume and Gary Gygax. It was TSR's second role-playing game, not long after Dungeons and Dragons.

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wholesalewesternboot

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