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Ural Federal University Named After the First President of Russia B.N. Yeltsin
Ural Federal University named after the first President of Russia B.N. Yeltsin Year of foundation: 1920 Total students: 35 000 / Foreign students: 3 114 Faculties: 12 / Departments: 193 Teachers: 2 993 Professors Associate Professors Doctors of Science Candidates of Science Foreign teachers 262 1 040 480 1 571 35 Main educational programmes for foreigners: 413 Training of highest qualification Bachelor's programme Master's programme Specialist programme personnel 148 212 23 30 Additional educational programs for foreigners: 30 Pre-university training programmes Russian as a foreign language Short programmes 5 8 17 Ural Federal University named after the first President of Russia B. N. Yeltsin (UrFU) is one of the leading universities in Russia, located in Yekaterinburg. Yekaterinburg is a modern and dynamically developing Ural metropolis, the fourth largest city in the country in terms of population, and the capital of the 2023 FISU Summer World University Games. UrFU is a state university established by the Ministry of Education and Science of Russia after the merger of Ural State Technical – Ural Polytechnic and Ural State Universities. Over its 100-year history, it has become one of the recognized Russian leaders in research and education. The university employs about 4500 teachers, including world renowned experts in engineering and technology, natural, social and human sciences. More than 35,000 students from 101 countries of the world study at UrFU, and the university's alumni community exceeds 380 thousand people. 12 institutes provide more than 450 undergraduate, graduate, postgraduate programs in technical and natural sciences, as well as in social and human sciences taught in Russian and English. -
A Cultural Analysis of the Russo-Soviet Anekdot
A CULTURAL ANALYSIS OF THE RUSSO-SOVIET ANEKDOT by Seth Benedict Graham BA, University of Texas, 1990 MA, University of Texas, 1994 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2003 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Seth Benedict Graham It was defended on September 8, 2003 and approved by Helena Goscilo Mark Lipovetsky Colin MacCabe Vladimir Padunov Nancy Condee Dissertation Director ii Copyright by Seth Graham 2003 iii A CULTURAL ANALYSIS OF THE RUSSO-SOVIET ANEKDOT Seth Benedict Graham, PhD University of Pittsburgh, 2003 This is a study of the cultural significance and generic specificity of the Russo-Soviet joke (in Russian, anekdot [pl. anekdoty]). My work departs from previous analyses by locating the genre’s quintessence not in its formal properties, thematic taxonomy, or structural evolution, but in the essential links and productive contradictions between the anekdot and other texts and genres of Russo-Soviet culture. The anekdot’s defining intertextuality is prominent across a broad range of cycles, including those based on popular film and television narratives, political anekdoty, and other cycles that draw on more abstract discursive material. Central to my analysis is the genre’s capacity for reflexivity in various senses, including generic self-reference (anekdoty about anekdoty), ethnic self-reference (anekdoty about Russians and Russian-ness), and critical reference to the nature and practice of verbal signification in more or less implicit ways. The analytical and theoretical emphasis of the dissertation is on the years 1961—86, incorporating the Stagnation period plus additional years that are significant in the genre’s history. -
Mediaobrazovanie) Media Education (M Ediaobrazovanie
Media Education (Mediaobrazovanie) Has been issued since 2005. ISSN 1994–4160. E–ISSN 1994–4195 2020, 60(1). Issued 4 times a year EDITORIAL BOARD Alexander Fedorov (Editor in Chief ), Prof., Ed.D., Rostov State University of Economics (Russia) Imre Szíjártó (Deputy Editor– in– Chief), PhD., Prof., Eszterházy Károly Fõiskola, Department of Film and Media Studies. Eger (Hungary) Ben Bachmair, Ph.D., Prof. i.r. Kassel University (Germany), Honorary Prof. of University of London (UK) Oleg Baranov, Ph.D., Prof., former Prof. of Tver State University Elena Bondarenko, Ph.D., docent of Russian Institute of Cinematography (VGIK), Moscow (Russia) David Buckingham, Ph.D., Prof., Loughborough University (United Kingdom) Emma Camarero, Ph.D., Department of Communication Studies, Universidad Loyola Andalucía (Spain) Irina Chelysheva, Ph.D., Assoc. Prof., Anton Chekhov Taganrog Institute (Russia) Alexei Demidov, head of ICO “Information for All”, Moscow (Russia) Svetlana Gudilina, Ph.D., Russian Academy of Education, Moscow (Russia) Tessa Jolls, President and CEO, Center for Media Literacy (USA) Nikolai Khilko, Ph.D., Omsk State University (Russia) Natalia Kirillova, Ph.D., Prof., Ural State University, Yekaterinburg (Russia) Sergei Korkonosenko, Ph.D., Prof., faculty of journalism, St– Petersburg State University (Russia) Alexander Korochensky, Ph.D., Prof., faculty of journalism, Belgorod State University (Russia) W. James Potter, Ph.D., Prof., University of California at Santa Barbara (USA) Robyn Quin, Ph.D., Prof., Curtin University, Bentley, WA (Australia) Alexander Sharikov, Ph.D., Prof. The Higher School of Economics, Moscow (Russia) Vladimir Sobkin, Acad., Ph.D., Prof., Head of Sociology Research Center, Moscow (Russia) Kathleen Tyner, Assoc. Prof., Department of Radio– Television– Film, The University of Texas at Austin (USA) Svetlana Urazova, PhD., Assoc. -
And Post-Soviet Literature and Culture
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 Russia Eternal: Recalling The Imperial Era In Late- And Post-Soviet Literature And Culture Pavel Khazanov University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Eastern European Studies Commons, English Language and Literature Commons, European History Commons, and the European Languages and Societies Commons Recommended Citation Khazanov, Pavel, "Russia Eternal: Recalling The Imperial Era In Late- And Post-Soviet Literature And Culture" (2017). Publicly Accessible Penn Dissertations. 2894. https://repository.upenn.edu/edissertations/2894 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2894 For more information, please contact [email protected]. Russia Eternal: Recalling The Imperial Era In Late- And Post-Soviet Literature And Culture Abstract The return of Tsarist buildings, narratives and symbols has been a prominent facet of social life in post- Soviet Russia. My dissertation aims to explain this phenomenon and its meaning by tracking contemporary Russia’s cultural memory of the Imperial era. By close-reading both popular and influential cultural texts, as well as analyzing their conditions of production and reception, I show how three generations of Russian cultural elites from the 1950s until today have used Russia’s past to fight present- day political battles, and outline how the cultural memory of the Imperial epoch continues to inform post- Soviet Russian leaders and their mainstream detractors. Chapters One and Two situate the origin of Russian culture’s current engagement with the pre-Revolutionary era in the social dynamic following Stalin’s death in 1953. -
Russian Cinema: a Very Short Story
Zhurnal ministerstva narodnogo prosveshcheniya, 2018, 5(2) Copyright © 2018 by Academic Publishing House Researcher s.r.o. Published in the Slovak Republic Zhurnal ministerstva narodnogo prosveshcheniya Has been issued since 2014. E-ISSN: 2413-7294 2018, 5(2): 82-97 DOI: 10.13187/zhmnp.2018.2.82 www.ejournal18.com Russian Cinema: A Very Short Story Alexander Fedorov a , a Rostov State University of Economics, Russian Federation Abstract The article about main lines of russian feature film history: from 1898 to modern times. The history of Russian cinema goes back more than a century, it knew the stages of rise and fall, ideological repression and complete creative freedom. This controversial history was studied by both Russian and foreign scientists. Of course, Soviet and Western scientists studied Soviet cinema from different ideological positions. Soviet filmmakers were generally active in supporting socialist realism in cinema, while Western scholars, on the contrary, rejected this method and paid great attention to the Soviet film avant-garde of the 1920s. After the collapse of the Soviet Union, the situation changed: russian and foreign film historians began to study cinema in a similar methodological manner, focusing on both ideological and socio-cultural aspects of the cinematographic process. Keywords: history, film, movie, cinema, USSR, Russia, film historians, film studies. 1. Introduction Birth of the Russian "Great Mute" (1898–1917). It is known that the French brought the movies to Russia. It was at the beginning of 1896. However, many Russian photographers were able to quickly learn a new craft. Already in 1898, documentary plots were shot not only by foreign, but also by Russian operators. -
Dear Friends! on Behalf of Ministry of Culture of the Russian Federation I
ƒÓÓ„Ë ‰ÛÁ¸ˇ! Dear friends! ŒÚ ËÏÂÌË ÃËÌËÒÚÂÒÚ‚‡ ÍÛθÚÛ˚ –ÓÒÒËÈÒÍÓÈ On behalf of Ministry of Culture of the Russian ‘‰‡ˆËË ÔÓÁ‰‡‚Ρ˛ ‚‡Ò Ò Ì‡˜‡ÎÓÏ ‡·ÓÚ˚ Federation I would like to congratulate you all on 19-„Ó ŒÚÍ˚ÚÓ„Ó ÓÒÒËÈÒÍÓ„Ó ÍËÌÓÙÂÒÚË‚‡Îˇ the opening of the 19-th Open Russian Film "üËÌÓÚ‡‚". Festival "Kinotavr". ‘ÂÒÚË‚‡Î¸ ‚ —Ó˜Ë ‚Ò„‰‡ ·˚Î Ò‡Ï˚Ï ˇÍËÏ, The Festival in Sochi has always been the most Ò‡Ï˚Ï ÓÊˉ‡ÂÏ˚Ï, Ò‡Ï˚Ï Î˛·ËÏ˚Ï vivid, most anticipated, most admired and most Ô‡Á‰ÌËÍÓÏ Ë ÒÓ·˚ÚËÂÏ Ì‡ˆËÓ̇θÌÓ„Ó ÍËÌÓ. celebrated event for national cinema. But it is Œ‰Ì‡ÍÓ ËÏÂÌÌÓ ÚÂÔ¸, ̇ ‚ÓÎÌ ‡Òˆ‚ÂÚ‡ only now when domestic film industry is ÓÚ˜ÂÒÚ‚ÂÌÌÓ„Ó ÍËÌÓËÒÍÛÒÒÚ‚‡, "üËÌÓÚ‡‚" blooming, "Kinotavr" has become the main ÒÚ‡ÌÓ‚ËÚÒˇ „·‚ÌÓÈ ÔÓÙÂÒÒËÓ̇θÌÓÈ professional platform for the first-night showings, Ô·ÚÙÓÏÓÈ ‰Îˇ ÔÂϸÂÌ˚ı ÔÓÒÏÓÚÓ‚, meetings and discussions for all creative ‚ÒÚ˜ Ë ‰ËÒÍÛÒÒËÈ ‚ÒÂı Ú‚Ó˜ÂÒÍËı ÔÓÍÓÎÂÌËÈ generations of Russian cinematographers. ÓÒÒËÈÒÍËı ÍËÌÂχÚÓ„‡ÙËÒÚÓ‚. Participation in festival's programme is already an ”˜‡ÒÚË ‚ ÍÓÌÍÛÒÌÓÈ ÔÓ„‡ÏÏ "üËÌÓÚ‡‚‡" achievement, already success for every creative Ò‡ÏÓ ÔÓ Ò· ˇ‚ΡÂÚÒˇ ÛÒÔÂıÓÏ ‰Îˇ ÒÓÁ‰‡ÚÂÎÂÈ person in our film industry. To win at "Kinotavr" ͇ʉÓÈ ËÁ ‚˚·‡ÌÌ˚ı ÎÂÌÚ. œÓ·Â‰‡ ̇ beyond doubt means to receive the best ever proof "üËÌÓÚ‡‚Â" ÒÚ‡ÌÓ‚ËÚÒˇ ·ÂÒÒÔÓÌ˚Ï of innovation and craftsmanship and excellence. -
RUSS 330 Russian Cinema
1 RUSS 330 Russian Cinema Olga Dmitrieva Course Information Office: SC 166 Fall 2018 Phone: 4-9330 Tue-Thu 12:30-1:20pm REC 308 Email: [email protected] Screening Wed 6:30-9:20pm SC 239 Office Hours: Tue, Thu 1:30-2:30 pm Course Description This course is an introduction to the cinema of Russia from the Revolution of 1917 to the beginning of the 21st century. We will focus on the cinematic artistry of the films we discuss, while also working to place them in the context of profound political, historical, and cultural changes. Class is primarily discussion-based. No knowledge of Russian or background in Russian studies is required. Required Texts There is no single required textbook. Readings will be accessible online through Purdue library or made available via Blackboard. Text available online through Purdue library: The Russian Cinema Reader David Gillespie Russian Cinema Russian classical literature today: the challenges/trials Messianism and mass culture Course Requirements Participation Since the course format is largely discussion, you should come to class having done the reading and the viewing, and ready to share your thoughts and engage with the ideas of your classmates. You need to be present, be prepared, and be an active participant. Readings Readings will be assigned for each week’s module, to be completed by Tuesday. Weekly quizzes Every Tuesday class will begin with a short quiz testing your knowledge of the reading assigned for that week. Discussion prompts 2 Each film will be accompanied by a list of questions to be reviewed before screening. -
Cinema of the Thaw (1953 – 1967)
W&M ScholarWorks Arts & Sciences Book Chapters Arts and Sciences 11-15-2013 Cinema of the Thaw (1953 – 1967) Alexander V. Prokhorov College of William & Mary, [email protected] Follow this and additional works at: https://scholarworks.wm.edu/asbookchapters Part of the Film and Media Studies Commons, Modern Languages Commons, and the Slavic Languages and Societies Commons Recommended Citation Prokhorov, A. V. (2013). Cinema of the Thaw (1953 – 1967). Rimgaila Salys (Ed.), The Russian Cinema Reader: Volume II, The Thaw to the Present (pp. 14-33). Academic Studies Press. https://scholarworks.wm.edu/asbookchapters/86 This Book Chapter is brought to you for free and open access by the Arts and Sciences at W&M ScholarWorks. It has been accepted for inclusion in Arts & Sciences Book Chapters by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. C I N E M A O f THE THAW 1953–1967 Alexander Prokhorov Ironically, the era named the Cold War by the West, Russians titled the Thaw. The Russian name of the period comes from the title of Il’ia Ehrenburg’s 1954 novel, the publication of which signaled a change in Soviet cultural politics after Stalin’s death. In 1956, Nikita Khrushchev denounced the cult of Stalin in his Secret Speech at the Twentieth Party Congress. Because literature served Soviet culture as its most authoritative form of artistic production—and the most informed of new directions the Party was adopting—changes in literature translated into new cultural policies in other art forms. Cinema was by no means the first to experience the cultural Thaw, both because film production required a greater investment of time and resources and because, despite Vladimir Lenin’s famous dictum that cinema was “the most important of all arts,” film art stood below literature in the hierarchy of Soviet arts. -
Making Sense of Pakistan.Indb
SSOVIETOVIET FFATESATES AANDND LLOSTOST AALTERNATIVESLTERNATIVES CC5079.indb5079.indb i 44/20/09/20/09 22:08:03:08:03 PPMM CC5079.indb5079.indb iiii 44/20/09/20/09 22:08:03:08:03 PPMM SOVIET FATES AND LOST ALTERNATIVES FFROMROM SSTALINISMTALINISM TTOO TTHEHE NNEWEW CCOLDOLD WWARAR stephen f. cohen columbia university press New York CC5079.indb5079.indb iiiiii 44/20/09/20/09 22:08:03:08:03 PPMM columbia university press publishers since 1893 new york chichester, west sussex Copyright © 2009 Columbia University Press All rights reserved Library of Congress Cataloging-in-Publication Data Cohen, Stephen F. Soviet fates and lost alternatives : from Stalinism to the new Cold War / Stephen F. Cohen. p. cm. Includes bibliographical references and index. isbn 978-0-231-14896-2 (cloth : alk. paper)—isbn 978-0-231-52042-3 (e-book) 1. Soviet Union—History—1925–1953. 2. Soviet Union—History—1953–1985. 3. Soviet Union—History—1985–1991. 4. Soviet Union—Politics and government. 5. Concentration camp inmates—Soviet Union. 6. Cold War. 7. Gorbachev, Mikhail Sergeevich, 1931– —Political and social views. 8. Post communism—Russia (Federation) 9. Russia (Federation)—Foreign relations—United States. 10. United States—Foreign relations—Russia (Federation) I. Title. dk266.c587 2009 947.084 —dc22 2009000659 Columbia University Press books are printed on permanent and durable acid-free paper. This book is printed on paper with recycled content. Printed in the United States of America c 10 9 8 7 6 5 4 3 2 1 References to Internet Web sites (URLs) were accurate at the time of writing. -
The Enigma of Gülchatai's Face Or the Face of the Other
Corpus Mundi. 2020. No 1 From Literary to Cinematic Discourse THE ENIGMA OF GÜLCHATAI’S FACE OR THE FACE OF THE OTHER Serguey N. Yakushenkov (a) (a) Astrakhan State University. Astrakhan, Russia. Email: shuilong[at]mail.ru Abstract Thee article analyzes the problem of interpretation of the image of the Other through their Body. In modern society, the problem of denoting the Other is extremely important. Very ofteen mass media resorts to the metonymy of the body for naming the Other, for example, "the face of Caucasian nationality". Theis usage of the word ‘face’ as a certain metaphor to describe the nationality depersonalize people. Thee usage of the metonymic method of pars pro toto indicates archaic nature of the notions related to the corporality of the Other. As an argument, the author quotes numerous examples of images of mythological heroes whose otherness is expressed through hypertrophied bodily parts, for instance a large face or a tremendous head. Thee article analyses the popular Soviet movie "Thee White Sun of the Desert", because this movie demonstrates in the best way the Soviet and post-Soviet patteern of Cultural Encounter. Thee astonishing popularity of the movie in the USSR shows that the representation of a face-to-face meeting with the Other that the movie off ered was very close to the Soviet viewer. Thee author argues that Russian society still faces the challenge of rediscovering the dialogue of cultures instead of a monologue. Keywords the Other; face; body; movie "White Sun of the Desert”; image; Gülchatai; Cultural Encounter Theis work is licensed under a Creative Commons «Atteribution» ?.0 International License. -
The Death of Russian Cinema, Or Sochi: Russia's Last Resort
THE DEATH OF RUSSIAN CINEMA, OR SOCHI: RUSSIA’S LAST RESORT Nancy Condee 1. “Malokartine” is a made-up word, the Russian equivalent of “cine-anemia,” a devastating blood disorder in the body of the Russian cinema industry. The figures speak for themselves: in 1991, when the Soviet Union collapsed, the Russian Republic produced 213 full-length feature films. Since then, the industry has suffered an annual decrease of 25-30%. In 1992, Russia produced 172 films; in 1993, 152 films; by 1994, 68 films; in 1995, 46 films; in 1996, only 20 films, putting Russia behind Sweden and Poland in the “second tier” of European film production. At this rate, the “blood count” by the end of 1997 should be around thirteen feature films. This dramatic decline is, in part, the inevitable end to the cultural boom of 1986- 1990, when perestroika’s filmmakers produced up to 300 feature films a year: moralizing exposés, erotic melodramas, and incomprehensible auteur films. Once the boom ended, however, the industry could not recover to the stable norm of 150-180 films of the 1970s and early 1980s. Instead, Mosfilm, Moscow’s leading film studio, which regularly had had 45-50 film projects in production at any given time, now has at best five to seven films in process. At Lenfilm, St. Petersburg's lead studio, the situation is bleaker: only a handful of films are in production and its studio space, like many movie theaters around town, doubles as a car wash. Of course, cynics might see a tender irony in this transformation: in the early post-revolutionary years, Soviet commissars had converted Russia’s Orthodox churches into makeshift movie theaters, screening (in Lenin’s words) “the most important of all the 2 arts.” Now the “new Russians” are transforming Soviet cinema space into their own “places of worship”: furniture stores, auto showcases, and merchandise warehouses. -
Or Soviet Orientalism in Films About Central Asia 1955- 1970
IBN HALDUN UNIVERSITY ALLIANCE OF CIVILIZATION INSTITUTE DEPARTMENT CIVILIZATION STUDIES MA THESIS ‘THE EAST IS A DELICATE MATTER’ OR SOVIET ORIENTALISM IN FILMS ABOUT CENTRAL ASIA 1955- 1970 ELVIRA KULIEVA JUNE 2018 ONAY SAYFASI Bu tez tarafımızca okunmuş olup kapsam ve nitelik açısından, Medeniyet Araştırmaları alanında Yüksek Lisans Derecesini alabilmek için yeterli olduğuna karar verilmiştir. Tez Jürisi Üyeleri: KANAATİ İMZA (Unvanı Adı ve Soyadı) Dr. Öğr. Üyesi Nagihan HALİLOĞLU (Tez Danışmanı) Dr. Öğr. Üyesi İbrahim Vehbi BAYSAN Dr. Öğr. Üyesi Zeynep Kevser ŞEREFOĞLU DANIŞ Bu tezin İbn Haldun Üniversitesi Medeniyetler İttifaki Enstitüsü tarafından konulan tüm standartlara uygun şekilde yazıldığı teyit edilmiştir. Tarih Mühür/İmza AKADEMİK DÜRÜSTLÜK BEYANI Bu tezin yazılmasında bilimsel ahlâk kurallarına uyulduğu, başkalarının eserlerinden yararlanılması durumunda bilimsel normlara uygun olarak atıfta bulunulduğu, kullanılan verilerde herhangi bir tahrifat yapılmadığı, tezin herhangi bir kısmının bu üniversiteye veya başka bir üniversitedeki başka bir tez çalışması olarak sunulmadığını beyan ederim. Adı Soyadı: ELVIRA KULIEVA İmza: ABSTRACT ‘THE EAST IS A DELICATE MATTER’ OR SOVIET ORIENTALISM IN FILMS ABOUT CENTRAL ASIA 1955-1970 KULIEVA, ELVIRA M.A. in Civilization Studies Thesis Advisor: Dr. Nagihan HALİLOĞLU June 2018, 89 pages From the day modernity was instilled with the invention of motion picture, cinema has become a crucial instrument in the construction of identity and the development of the common sense of belonging. The issue of the Soviet representation of its own Orient, namely central Asia and its inhabitants via the ‘most important art’ as was emphasized by Vladimir Lenin, till this day has been significantly neglected within academia as a valuable source of research.