So far in the twenty-first century, triumphalism has dominated Russian culture. As manifest in popularized history and film, this wave has often been described by recourse to interpretive paradigms derived from a neo-Soviet or neo-socialist realist orientation, particularly when the subject is war. While understandable, this interpretive practice cannot account for salient productions that upstage Soviet conventions by reconfiguring the Russian historical experience along a narrative trajectory anchored by two scenarios diat constitute the alpha and omega of national achievement and pride: Aleksandr Nevskii and the Time of Troubles. Tapping into deep structures of myth, contemporary reproductions of these two tie their significance explicitly to the post-Soviet period. Supported by the state and church, their increasing traction in war narratives facilitates a new discourse of nationalism that supersedes Soviet precedent, reconfigures traditional domains of triumphalism, and sets a standard for future constructions of Russian history that eclipses key problems of the real or imagined past.
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Gregory Carleton (2011) studied this question.