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Art and Power in Putin's Russia
RUSSIA Art and Power in Putin’s Russia BY SASHA PEVAK The separation between art and power in Russia’s recent history has never been clear-cut. Soon after the fall of the USSR, contemporary art, namely actionism in the 90s, openly criticized society and entered the political sphere. This trend continued after Vladimir Putin’s election in 2000. Russian identity politics in the 2000s were based on four pillars: state nationalism with the Putin’s “power vertical”, the vision of Russia as a nation-state, Orthodox religion, and the myth of the Unique Russian Path, reinforced by the notion of “sovereign democracy” and the idea of the omnipresence of a fifth column inside the country 1. The will to consolidate society around these values provoked, according to political scientist Lena Jonson, tensions between the State and culture, especially as far as religious issues were concerned. These issues were the cause of the trials against the exhibitions “Attention! Religion” (2003) and “Forbidden Art – 2006” (2007), shown in Moscow at the Andrei Sakharov Museum and Public Centre. The latter staged temporary events and activities based on the defence of Human Rights. For part of the national opinion, the Centre symbolized democracy in Russia, whereas for others it represented an antipatriotic element, all the more so because it was financed by foreign foundations. In 2014, the Department of Justice catalogued it as a “foreign agent,” on the pretext that it carried out political actions with American subsidies 2. In 2003, the exhibition “Caution, Religion!”, organized by Aroutioun Zouloumian, was vandalized by religious activists several days after the opening 3. -
Chart Book Template
Real Chart Page 1 become a problem, since each track can sometimes be released as a separate download. CHART LOG - F However if it is known that a track is being released on 'hard copy' as a AA side, then the tracks will be grouped as one, or as soon as known. Symbol Explanations s j For the above reasons many remixed songs are listed as re-entries, however if the title is Top Ten Hit Number One hit. altered to reflect the remix it will be listed as would a new song by the act. This does not apply ± Indicates that the record probably sold more than 250K. Only used on unsorted charts. to records still in the chart and the sales of the mix would be added to the track in the chart. Unsorted chart hits will have no position, but if they are black in colour than the record made the Real Chart. Green coloured records might not This may push singles back up the chart or keep them around for longer, nevertheless the have made the Real Chart. The same applies to the red coulered hits, these are known to have made the USA charts, so could have been chart is a sales chart and NOT a popularity chart on people’s favourite songs or acts. Due to released in the UK, or imported here. encryption decoding errors some artists/titles may be spelt wrong, I apologise for any inconvenience this may cause. The chart statistics were compiled only from sales of SINGLES each week. Not only that but Date of Entry every single sale no matter where it occurred! Format rules, used by other charts, where unnecessary and therefore ignored, so you will see EP’s that charted and other strange The Charts were produced on a Sunday and the sales were from the previous seven days, with records selling more than other charts. -
Tver If You Are on the Group Flight, You Will Be Met at the Airport by Your RLUS Representatives
Your Arrival in Tver If you are on the group flight, you will be met at the airport by your RLUS representatives. There may be many students coming through all at once, so please be patient. You will then be taken to Tver in a minibus provided by the university, and will be taken to your accommodation. The journey to Tver is relatively short - approximately 2 hours and 30 minutes depending on traffic. If you are not travelling with the RLUS group flight, you will be expected to make your own way to Tver and to your accommodation. We will provide you with your address and transport information in this case. Public transport from the airport is reasonably-priced and easily navigable. All Moscow airports have a train service to the city, called Aeroexpress. The train costs 500 roubles and takes approximately 45 minutes to get to the city, depending on which airport you arrive at. When you arrive at the station, follow the signs to the metro, which is characterised by a big red M. You can buy tickets from the ticket office inside. Once you arrive into central Moscow, you can take an elektrichka train to Tver – these are small, local trains for which you do not need to buy a ticket in advance. You’d better take a local high-speed train called “Lastochka” Moscow – Tver. It takes 1 hour and 40 min. to get to Tver. It costs 535 roubles. You should buy a ticket at a railway station cash desk or from machines at the train station. -
Stephen Mallinder. “Sheffield Is Not Sexy.”
Nebula 4.3 , September 2007 Sheffield is not Sexy. By Stephen Mallinder Abstract The city of Sheffield’s attempts, during the early 1980s, at promoting economic regeneration through popular cultural production were unconsciously suggestive of later creative industries strategies. Post-work economic policies, which became significant to the Blair government a decade later, were evident in urban centres such as Manchester, Liverpool and Sheffield in nascent form. The specificity of Sheffield’s socio-economic configuration gave context, not merely to its industrial narrative but also to the city’s auditory culture, which was to frame well intended though subsequently flawed strategies for regeneration. Unlike other cities, most notably Manchester, the city’s mono-cultural characteristics failed to provide an effective entrepreneurial infrastructure on which to build immediate economic response to economic rationalisation and regional decline. Top-down municipal policies, which embraced the city’s popular music, gave centrality to cultural production in response to a deflated regional economy unable, at the time, to sustain rejuvenation through cultural consumption. Such embryonic strategies would subsequently become formalised though creative industry policies developing relationships with local economies as opposed to urban engineering through regional government. Building upon the readings of industrial cities such as Liverpool, New Orleans and Chicago, the post-work leisure economy has increasingly addressed the significance of the auditory effect in cities such as Manchester and Sheffield. However the failure of the talismanic National Centre for Popular Music signifies the inherent problems of institutionalizing popular cultural forms and resistance of sound to be anchored and contained. The city’s sonic narrative became contained in its distinctive patterns of cultural production and consumption that ultimately resisted attempts at compartmentalization and representation through what became colloquially known as ‘the museum of popular music’. -
Rock in the Reservation: Songs from the Leningrad Rock Club 1981-86 (1St Edition)
R O C K i n t h e R E S E R V A T I O N Songs from the Leningrad Rock Club 1981-86 Yngvar Bordewich Steinholt Rock in the Reservation: Songs from the Leningrad Rock Club 1981-86 (1st edition). (text, 2004) Yngvar B. Steinholt. New York and Bergen, Mass Media Music Scholars’ Press, Inc. viii + 230 pages + 14 photo pages. Delivered in pdf format for printing in March 2005. ISBN 0-9701684-3-8 Yngvar Bordewich Steinholt (b. 1969) currently teaches Russian Cultural History at the Department of Russian Studies, Bergen University (http://www.hf.uib.no/i/russisk/steinholt). The text is a revised and corrected version of the identically entitled doctoral thesis, publicly defended on 12. November 2004 at the Humanistics Faculty, Bergen University, in partial fulfilment of the Doctor Artium degree. Opponents were Associate Professor Finn Sivert Nielsen, Institute of Anthropology, Copenhagen University, and Professor Stan Hawkins, Institute of Musicology, Oslo University. The pagination, numbering, format, size, and page layout of the original thesis do not correspond to the present edition. Photographs by Andrei ‘Villi’ Usov ( A. Usov) are used with kind permission. Cover illustrations by Nikolai Kopeikin were made exclusively for RiR. Published by Mass Media Music Scholars’ Press, Inc. 401 West End Avenue # 3B New York, NY 10024 USA Preface i Acknowledgements This study has been completed with the generous financial support of The Research Council of Norway (Norges Forskningsråd). It was conducted at the Department of Russian Studies in the friendly atmosphere of the Institute of Classical Philology, Religion and Russian Studies (IKRR), Bergen University. -
Russian Museums Visit More Than 80 Million Visitors, 1/3 of Who Are Visitors Under 18
Moscow 4 There are more than 3000 museums (and about 72 000 museum workers) in Russian Moscow region 92 Federation, not including school and company museums. Every year Russian museums visit more than 80 million visitors, 1/3 of who are visitors under 18 There are about 650 individual and institutional members in ICOM Russia. During two last St. Petersburg 117 years ICOM Russia membership was rapidly increasing more than 20% (or about 100 new members) a year Northwestern region 160 You will find the information aboutICOM Russia members in this book. All members (individual and institutional) are divided in two big groups – Museums which are institutional members of ICOM or are represented by individual members and Organizations. All the museums in this book are distributed by regional principle. Organizations are structured in profile groups Central region 192 Volga river region 224 Many thanks to all the museums who offered their help and assistance in the making of this collection South of Russia 258 Special thanks to Urals 270 Museum creation and consulting Culture heritage security in Russia with 3M(tm)Novec(tm)1230 Siberia and Far East 284 © ICOM Russia, 2012 Organizations 322 © K. Novokhatko, A. Gnedovsky, N. Kazantseva, O. Guzewska – compiling, translation, editing, 2012 [email protected] www.icom.org.ru © Leo Tolstoy museum-estate “Yasnaya Polyana”, design, 2012 Moscow MOSCOW A. N. SCRiAbiN MEMORiAl Capital of Russia. Major political, economic, cultural, scientific, religious, financial, educational, and transportation center of Russia and the continent MUSEUM Highlights: First reference to Moscow dates from 1147 when Moscow was already a pretty big town. -
A Guide to the Archival and Manuscript Collection of the Ukrainian Academy of Arts and Sciences in the U.S., New York City
Research Report No. 30 A GUIDE TO THE ARCHIVAL AND MANUSCRIPT COLLECTION OF THE UKRAINIAN ACADEMY OF ARTS AND SCIENCES IN THE U.S., NEW YORK CITY A Detailed Inventory Yury Boshyk Canadian Institute of Ukrainian Studies University of Alberta Edmonton 1988 Canadian Institute of Ukrainian Studies University of Alberta Occasional Research Reports Publication of this work is made possible in part by a grant from the Stephania Bukachevska-Pastushenko Archival Endowment Fund. The Institute publishes research reports periodically. Copies may be ordered from the Canadian Institute of Ukrainian Studies, 352 Athabasca Hall, University of Alberta, Edmonton, Alberta, T6G 2E8. The name of the publication series and the substantive material in each issue (unless otherwise noted) are copyrighted by the Canadian Institute of Ukrainian Studies. PRINTED IN CANADA Occasional Research Reports A GUDE TO THE ARCHIVAL AND MANUSCRIPT COLLECTION OF THE UKRAINIAN ACADEMY OF ARTS AND SCIENCES IN THE U.S., NEW YORK CITY A Detailed Inventory Yury Boshyk Project Supervisor Research Report No. 30 — 1988 Canadian Institute of Ukrainian Studies University of Alberta Edmonton, Alberta Dr . Yury Boshyk Project Supervisor for The Canadian Institute of Ukrainian Studies Research Assistants Marta Dyczok Roman Waschuk Andrij Wynnyckyj Technical Assistants Anna Luczka Oksana Smerechuk Lubomyr Szuch In Cooperation with the Staff of The Ukrainian Academy of Arts and Sciences in the U.S. Dr. William Omelchenko Secretary General and Director of the Museum-Archives Halyna Efremov Dima Komilewska Uliana Liubovych Oksana Radysh Introduction The Ukrainian Academy of Arts and Sciences in the United States, New York City, houses the most comprehensive and important archival and manuscript collection on Ukrainians outside Ukraine. -
Everyday Stalinism Ordinary Life in Extraordinary Times Soviet Russia in the 1930S Sheila Fitzpatrick
Everyday Stalinism Ordinary Life in Extraordinary Times Soviet Russia in the 1930s Sheila Fitzpatrick Sheila Fitzpatrick is an Australian-American historian. She is Honorary Professor at the University of Sydney with her primary speciality being the history of modern Russia. Her recent work has focused on Soviet social and cultural history in the Stalin period, particularly everyday practices and social identity. From the archives of the website The Master and Margarita http://www.masterandmargarita.eu Webmaster Jan Vanhellemont Klein Begijnhof 6 B-3000 Leuven +3216583866 +32475260793 Everyday Stalinism Ordinary Life in Extraordinary Times Soviet Russia in the 1930s Sheila Fitzpatrick Copyright © 1999 by Oxford University Press, Inc. First published by Oxford University Press, Inc., 1999 To My Students Table of Contents Contents Acknowledgments Introduction Milestones Stories A Note on Class 1. “The Party Is Always Right” Revolutionary Warriors Stalin’s Signals Bureaucrats and Bosses A Girl with Character 2. Hard Times Shortages Miseries of Urban Life Shopping as a Survival Skill Contacts and Connections 3. Palaces on Monday Building a New World Heroes The Remaking of Man Mastering Culture 4. The Magic Tablecloth Images of Abundance Privilege Marks of Status Patrons and Clients 5. Insulted and Injured Outcasts Deportation and Exile Renouncing the Past Wearing the Mask 6. Family Problems Absconding Husbands The Abortion Law The Wives’ Movement 7. Conversations and Listeners Listening In Writing to the Government Public Talk Talking Back 8. A Time of Troubles The Year 1937 Scapegoats and “The Usual Suspects” Spreading the Plague Living Through the Great Purges Conclusion Notes Bibliography Contents This book has been a long time in the making - almost twenty years, if one goes back to its first incarnation; ten years in its present form. -
Tiff 2015 Lineup
TIFF PRE-PRODUCTION SPACE MOWGLI directed by Alexey Fedorchenko MALYSH dramatic space fantasy production 2015–2016, Russia, 29th February Film Company producer synopsis Aleksey Fedorchenko, The basis of the film is the Strugatskiy brothers’ famous fantastical novel Space Mowgli, Dmitri Vorobyov which recounts the tragic crash of the spaceship Pilgrim, whose mission was to establish con- screenplay tact with extraterrestrial civilizations. While entering the orbit of a distant, uninhabitable Mikhail Maslennikov, planet, Pilgrim is unexpectedly attacked by a satellite. Both pilots on board – Alexander and based on the novel Maria-Luisa Semyonov – perish, but their newborn child (“the Kid”) miraculously survives. Space Mowgli No one on Earth knows about the tragedy, as Pilgrim’s captain, the Kid’s father, de- by Arkadi and Boris Strugatskiy stroyed the ship’s logbook and had cut all communication with humans in fear of a pos- (authors Stalker by Andrey Tarkovsky, sible invasion of a hostile civilization. Hard to Be a God by Alexey German) Seventeen years later, a large-scale expedition from Earth is conducted to prepare the uninhabitable planet for colonization. As the exploration party is about to complete its mission, they find out that they are not alone on the planet. The presence who tries to make contact with the exploration team is that very same Kid – the sole survivor of the Pilgrim catastrophe. It turns out that the Kid was saved and raised by a local species very much unlike human beings. These aliens raised the Kid into someone not quite human. They saved him not out of humane considerations, but to use him as a negotiator to dissuade outside civilizations from ever attempting to reach this planet. -
Queuetopia: Second-World Modernity and the Soviet
QUEUETOPIA: SECOND-WORLD MODERNITY AND THE SOVIET CULTURE OF ALLOCATION by Andrew H. Chapman Bachelor of Arts, University of Rochester, 2004 Master of Arts, University of Pittsburgh, 2007 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH THE DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Andrew H. Chapman It was defended on March 22, 2013 and approved by David J. Birnbaum, Professor and Department Chair, University of Pittsburgh, Department of Slavic Languages and Literatures Nancy Condee, Professor, University of Pittsburgh, Department of Slavic Languages and Literatures Randall Halle, Klaus W. Jonas Professor, University of Pittsburgh, Department of German Nancy Ries, Associate Professor, Colgate University, Department of Anthropology and Peace & Conflict Studies Dissertation Advisor: Vladimir Padunov, Associate Professor, University of Pittsburgh, Department of Slavic Languages and Literatures ii Copyright © by Andrew H. Chapman 2013 iii QUEUETOPIA: SECOND-WORLD MODERNITY AND THE SOVIET CULTURE OF ALLOCATION Andrew H. Chapman, PhD University of Pittsburgh, 2013 The social structure of the queue, from its most basic forms as a spontaneous group of people on the street, to the ordered lists of status-based priorities within society, leads to rich discussions on consumption, the behavior of crowds, and everyday life within Soviet society. By viewing how practices such as queuing were encoded in Soviet culture, the dissertation theorizes how everyday life was based on discourses of scarcity and abundance. I contend in my second chapter that second-world modernity was not predicated on the speed and calculation usually associated with modern life. -
The 2014 Sochi Olympics a Patchwork of Challenges
JANUARY 2014 The 2014 Sochi Olympics A Patchwork of Challenges AUTHOR Sergey Markedonov A Report of the CSIS Russia and Eurasia Program The 2014 Sochi Olympics A Patchwork of Challenges AUTHOR Sergey Markedonov FOREWORD Andrew C. Kuchins A Report of the CSIS Russia and Eurasia Program January 2014 ROWMAN & LITTLEFIELD Lanham • Boulder • New York • Toronto • Plymouth, UK About CSIS For over 50 years, the Center for Strategic and International Studies (CSIS) has developed solutions to the world’s greatest policy challenges. As we celebrate this milestone, CSIS scholars are developing strategic insights and bipartisan policy solutions to help decisionmakers chart a course toward a better world. CSIS is a nonprofi t or ga ni za tion headquartered in Washington, D.C. The Center’s 220 full-time staff and large network of affi liated scholars conduct research and analysis and develop policy initiatives that look into the future and anticipate change. Founded at the height of the Cold War by David M. Abshire and Admiral Arleigh Burke, CSIS was dedicated to fi nding ways to sustain American prominence and prosperity as a force for good in the world. Since 1962, CSIS has become one of the world’s preeminent international institutions focused on defense and security; regional stability; and transnational challenges ranging from energy and climate to global health and economic integration. Former U.S. senator Sam Nunn has chaired the CSIS Board of Trustees since 1999. Former deputy secretary of defense John J. Hamre became the Center’s president and chief executive offi cer in April 2000. CSIS does not take specifi c policy positions; accordingly, all views expressed herein should be understood to be solely those of the author(s). -
Students on the Cold War
STUDENTS ON THE COLD WAR New findings and interpretations Edited by Csaba Békés and Melinda Kalmár STUDENTS ON THE COLD WAR New findings and interpretations Edited by Csaba Békés and Melinda Kalmár Cold War History Research Center – Corvinus University of Budapest Budapest, 2019 Szerkesztette: Dévényi Kinga Szerzők: Csicsmann László (Bevezető) Dévényi Kinga (Iszlám) Farkas Mária Ildikó (Japán) Lehoczki Bernadett (Latin-Amerika) Matura Tamás (Kína) Renner Zsuzsanna (India) Sz. Bíró Zoltán (Oroszország) Szombathy Zoltán (Afrika) Zsinka László (Nyugat-Európa, Észak-Amerika) Zsom Dóra (Judaizmus) Térképek: Varga Ágnes Tördelés:Editors Jeney László Csaba BÉKÉS and Melinda KALMÁR A kötetben szereplő domborzati térképek a Maps Assistant editors for Free (https://maps-for-free.com/) szabad Laura Chiara CECCHI, Jennifer LOY, Lucia PERESZLÉNYI,felhasználású Valeria PUGA, térképek, a többi térkép az ArcGIS for Tsotne TCHANTURIA, Márton TŐKE Desktop 10.0 szoftverben elérhető Shaded Relief alaptérkép felhasználásával készültek. Editorial assistance Dionysios DRAGONAS, Joelle ERICKSON, Laura GOUSHA, Illaria LA TORRE, James MARINO,Lektor: Evangeline MOORE, StefanRostoványi TELLE Zsolt (nyomtatott könyv) ChaptersISBN 4, 5, 978-963-503-690-5 6 were supported by the National Research, DevelopmentISBN 978-963-503-691-2 and Innovation Office – NKFIH (on-line) (#120183) Borítókép: Google Earth, 2018. ISBN 978-963-503-764-3 ISBN (e-book) 978-963-503-765-0 A képfelvételeket készítette: Bagi Judit, Csicsmann László, Dévényi Kinga, Farkas Mária Ildikó, Iványi L. Máté, Muhammad Hafiz, Pór Andrea, Renner Zsuzsanna, Sárközy Miklós, Szombathy Zoltán, Tóth Erika. A szabad felhasználású képek forrását lásd az egyes illusztrációknál. Külön köszönet az MTA Könyvtár Keleti Gyűjteményének This book was published according to thea cooperationkéziratos ol dalakagreement felhasználásának between engedélyezéséért.