Rut3442 | the Culture of the Cold War
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Putin's New Russia
PUTIN’S NEW RUSSIA Edited by Jon Hellevig and Alexandre Latsa With an Introduction by Peter Lavelle Contributors: Patrick Armstrong, Mark Chapman, Aleksandr Grishin, Jon Hellevig, Anatoly Karlin, Eric Kraus, Alexandre Latsa, Nils van der Vegte, Craig James Willy Publisher: Kontinent USA September, 2012 First edition published 2012 First edition published 2012 Copyright to Jon Hellevig and Alexander Latsa Publisher: Kontinent USA 1800 Connecticut Avenue, NW Washington, DC 20009 [email protected] www.us-russia.org/kontinent Cover by Alexandra Mozilova on motive of painting by Ilya Komov Printed at Printing house "Citius" ISBN 978-0-9883137-0-5 This is a book authored by independent minded Western observers who have real experience of how Russia has developed after the failed perestroika since Putin first became president in 2000. Common sense warning: The book you are about to read is dangerous. If you are from the English language media sphere, virtually everything you may think you know about contemporary Rus- sia; its political system, leaders, economy, population, so-called opposition, foreign policy and much more is either seriously flawed or just plain wrong. This has not happened by accident. This book explains why. This book is also about gross double standards, hypocrisy, and venal stupidity with western media playing the role of willing accomplice. After reading this interesting tome, you might reconsider everything you “learn” from mainstream media about Russia and the world. Contents PETER LAVELLE ............................................................................................1 -
Nothing to Lose but Their Veils Failure and ‘Success’ of the Hujum in Uzbekistan, 1927-1953
Nothing to Lose but Their Veils Failure and ‘Success’ of the Hujum in Uzbekistan, 1927-1953 Word count: 25,896 Maarten Voets Student number: 01205641 Supervisors: Prof. Dr. Rozita Dimova, Prof. Dr. Bruno De Cordier A dissertation submitted to Ghent University in partial fulfilment of the requirements for the degree of Master in East European Languages and Cultures. Academic year: 2016 – 2017 August, 2017 2 Abstract The title of this work is a reference to Marx’ famous quote, ‘The proletarians have nothing to lose but their chains.’ When the proletariat eventually took over control of the former Russian Empire after the October Revolution and the subsequent Russian civil war (1917 – 1923), they had to spread the revolution to the periphery; Central Asia. To gain support in Uzbekistan from the local (female) population the Communist Party commenced the Hujum campaign on the 8th of March 1927. This campaign targeted traditions that they considered derogatory to women, in particular the wearing of the local veil, or ‘paranja’. The campaign was a complete failure due to vehement Uzbek resistance. Yet, nowadays the paranja is little more than a museum piece. The veil disappeared from the street view from the 1950’s onwards. In my research I want to give an explanation for this delayed success. Yet, in a way the Hujum still carries on: both Central Asian and Western countries have a mixed stance on the modern variants of the paranja, as shown in the existence of burqa bans. I have analysed relevant events (such as Stalin’s purges, deportations, the battle against the Basmachi) from before, during, and after the initial Hujum and placed them inside a Gramscian framework to explain their effects on the civil and political society in Uzbekistan. -
Friday, November 20, 2015 Registration Desk Hours: 7:00 A.M
This version of the program was last updated on June 8, 2015 For the most up-to-date program, see http://convention2.allacademic.com/one/aseees/aseees15/ Friday, November 20, 2015 Registration Desk Hours: 7:00 a.m. - 5:00 p.m. Registration Desk 1 and Grand Ballroom Prefunction Area - 5th Floor Cyber Café Hours: 7:00 a.m. - 6:45 p.m. – Franklin Hall Prefunction Area Exhibit Hall Hours: 9:00 a.m. - 6:00 p.m. Franklin Hall B Session 4 – Friday – 8:00-9:45 am Committee on the Status of Women in the Profession - Conference Suite 3 Bulgarian Studies Association - Meeting Room 309 Committee on Libraries and Information Resources Subcommittee on Collection Development - Conference Suite 2 International Association for the Humanities - Meeting Room 303 Soyuz-The Research Network for Post-Socialist Studies - Meeting Room 310 4-01 Vlast', Power, and Revolution: the Fundamental Political Conflicts of 1917 - Franklin Hall A Room 1 Chair: Rex A. Wade, George Mason U Papers: Semion Lyandres, U of Notre Dame "Opposition Politics on the Eve the February Uprising: Prerevolutionary Conspiracies and the Question of the First Provisional Government's Leadership" Lars Thomas Lih, Independent Scholar "Soglashatelstvo ('Agreementism'): The Fundamental Political Conflict of 1917" Ian Thatcher, U of Ulster (UK) "The First Provisional Government, March-May 1917" Disc.: Michael C. Hickey, Bloomsburg U 4-02 New Developments in Central and East European Politics - (Roundtable) - Franklin Hall A Room 2 Chair: Jane Leftwich Curry, Santa Clara U Federigo Argentieri, John Cabot U, Temple U - Rome (Italy) Taras Kuzio, U of Alberta (Canada) Paula M. -
La Guerra Fría a Través Del Cine
Máster Oficial en Internacionalización Abajo el Telón: La Guerra Fría a través del cine Universitat de Barcelona Ismael Castro i Sancho Tutor: Dr. Juan Tugores Ques Barcelona. Mayo de 2019 Tabla de contenido Introducción .............................................................. 3 Visita de Khrushchev a los estudios de Holywood .... 4 La Caza de Brujas .................................................. 10 La Guerra de las Ideas ........................................... 26 Una de Espías ........................................................ 48 Conclusiones .......................................................... 78 Bibliografía .............................................................. 90 2 Introducción “El mago hizo un gesto y desapareció el hambre, hizo otro gesto y desapareció la injusticia, hizo otro gesto y se acabó la guerra. El político hizo un gesto y despareció el mago”. Woody Allen Uno de los acontecimientos quizás más relevantes que ayuda a comprender el estrecho vínculo entre cultura y política es como ambas se influencian y se retroalimentan entre sí. El cine ha bebido mucho de la historia, y de los acontecimientos que un grupo de elegidos han dirigido desde su tablero. Estas personas y sus gobiernos han procurado a su modo, usar la dimensión de las artes para transmitir su mensaje. Del mismo modo encontramos a diversas personalidades consideradas intelectuales que se han posicionado en un bando u otro así como opinando sobre los movimientos de los diferentes actores. La combinación de cultura y política tiene -
Boys in Zinc on Trial Follow Penguin PENGUIN MODERN CLASSICS
Svetlana Alexievich BOY S I N Z I N C Translated by Andrew Bromfield Contents Prologue From the Notebooks Day One ‘For many shall come in my name …’ Day Two ‘And another dieth in the bitterness of his soul …’ Day Three ‘Regard not them that have familiar spirits, neither seek after wizards …’ Post Mortem Boys in Zinc on Trial Follow Penguin PENGUIN MODERN CLASSICS BOYS IN ZINC Svetlana Alexievich was born in Ivano-Frankivsk in 1948 and has spent most of her life in the Soviet Union and present- day Belarus, with prolonged periods of exile in Western Europe. Starting out as a journalist, she developed her own non-fiction genre which brings together a chorus of voices to describe a specific historical moment. Her works include The Unwomanly Face of War (1985), Last Witnesses (1985), Boys in Zinc (1991), Chernobyl Prayer (1997) and Second-Hand Time (2013). She has won many international awards, including the 2015 Nobel Prize in Literature for ‘her polyphonic writings, a monument to suffering and courage in our time’. Andrew Bromfield earned his degree in Russian Studies at Sussex University and lived in Russia for several years. He has been a full-time translator of Russian literature for more than thirty years and is best known for translating modern authors, but his work also includes books on Russian art, Russian classics and non–fiction, with a range from Tolstoy to the Moscow Conceptualism Movement. On 20 January 1801 the Cossacks of the Don Hetman Vasily Orlov were ordered to march to India. A month was set for the stage as far as Orenburg, and three months to march from there ‘via Bukharia and Khiva to the Indus River’. -
Rex Stout Does Not Belong in Russia: Exporting the Detective Novel
Wesleyan University The Honors College Rex Stout Does Not Belong in Russia: Exporting the Detective Novel by Molly Jane Levine Zuckerman Class of 2016 A thesis submitted to the faculty of Wesleyan University in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Departmental Honors in the Russian, East European, and Eurasian Studies Program Middletown, Connecticut April, 2016 Foreword While browsing through a stack of Russian and American novels in translation on a table on Arbat Street in Moscow in 2013, I came across a Russian copy of one of my favorite books, And Be a Villain, by one of my favorite authors, Rex Stout. I only knew about this author because my father had lent me a copy of And Be a Villain when I was in middle school, and I was so entranced by the novel that I went out to Barnes & Noble to buy as many as they had in stock. I quickly ran out of Stout books to read, because at the time, his books were out of print in America. I managed to get hold of most copies by high school, courtesy of a family friend’s mother who had died and passed on her collection of Stout novels to our family. Due to the relative difficulty I had had in acquiring these books in America, I was surprised to find one lying on a book stand in Moscow, so I bought it for less than 30 cents (which was probably around the original price of its first printing in America). -
Soviet Science Fiction Movies in the Mirror of Film Criticism and Viewers’ Opinions
Alexander Fedorov Soviet science fiction movies in the mirror of film criticism and viewers’ opinions Moscow, 2021 Fedorov A.V. Soviet science fiction movies in the mirror of film criticism and viewers’ opinions. Moscow: Information for all, 2021. 162 p. The monograph provides a wide panorama of the opinions of film critics and viewers about Soviet movies of the fantastic genre of different years. For university students, graduate students, teachers, teachers, a wide audience interested in science fiction. Reviewer: Professor M.P. Tselysh. © Alexander Fedorov, 2021. 1 Table of Contents Introduction …………………………………………………………………………………………………………………………3 1. Soviet science fiction in the mirror of the opinions of film critics and viewers ………………………… 4 2. "The Mystery of Two Oceans": a novel and its adaptation ………………………………………………….. 117 3. "Amphibian Man": a novel and its adaptation ………………………………………………………………….. 122 3. "Hyperboloid of Engineer Garin": a novel and its adaptation …………………………………………….. 126 4. Soviet science fiction at the turn of the 1950s — 1960s and its American screen transformations……………………………………………………………………………………………………………… 130 Conclusion …………………………………………………………………………………………………………………….… 136 Filmography (Soviet fiction Sc-Fi films: 1919—1991) ……………………………………………………………. 138 About the author …………………………………………………………………………………………………………….. 150 References……………………………………………………………….……………………………………………………….. 155 2 Introduction This monograph attempts to provide a broad panorama of Soviet science fiction films (including television ones) in the mirror of -
In the Soviet Cinema of the Cold War
Diacronie Studi di Storia Contemporanea N° 30, 2 | 2017 Ponti fra nazioni e continenti Spy and Counterspy as a “Cultural Hero” in the Soviet Cinema of the Cold War Viktoria A. Sukovataya Electronic version URL: http://journals.openedition.org/diacronie/5689 DOI: 10.4000/diacronie.5689 ISSN: 2038-0925 Publisher Association culturelle Diacronie Electronic reference Viktoria A. Sukovataya, « Spy and Counterspy as a “Cultural Hero” in the Soviet Cinema of the Cold War », Diacronie [Online], N° 30, 2 | 2017, document 3, Online since 29 July 2017, connection on 19 April 2019. URL : http://journals.openedition.org/diacronie/5689 ; DOI : 10.4000/diacronie.5689 Creative Commons License Diacronie Studi di Storia Contemporanea 30, 2/2017 Ponti fra nazioni e continenti: diplomazia, immaginari e conoscenze tecniche Spy and Counterspy as a “Cultural Hero” in the Soviet Cinema of the Cold War Viktoria A. SUKOVATAYA Per citare questo articolo: SUKOVATAYA, Viktoria A., «Spy and Counterspy as a “Cultural Hero” in the Soviet Cinema of the Cold War», Diacronie. Studi di Storia Contemporanea : Ponti fra nazioni e continenti: diplomazia, immaginari e conoscenze tecniche, 30, 2/2017, 29/7/2017, URL: < http://www.studistorici.com/2017/07/29/sukovataya_numero_30/ > Diacronie Studi di Storia Contemporanea → http://www.diacronie.it Rivista storica online. Uscita trimestrale. [email protected] Comitato di direzione: Naor Ben-Yehoyada – João Fábio Bertonha – Christopher Denis-Delacour – Maximiliano Fuentes Codera – Anders Granås Kjøstvedt – John Paul Newman – Deborah Paci – Niccolò Pianciola – Spyridon Ploumidis – Wilko Graf Von Hardenberg Comitato di redazione: Jacopo Bassi – Luca Bufarale – Gianluca Canè – Fausto Pietrancosta – Alessandro Salvador – Matteo Tomasoni Diritti: gli articoli di Diacronie. -
Andrei Tarkovsky: SOLARIS (1972, 167M) Spelling and Style—Use of Italics, Quotation Marks Or Nothing at All for Titles, E.G.—Follows the Form of the Sources
Virtual October 27, 2020 (41:9) Andrei Tarkovsky: SOLARIS (1972, 167m) Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. Cast and crew name hyperlinks connect to the individuals’ Wikipedia entries + Vimeo link for ALL of Bruce Jackson’s and Diane Christian’s film introductions and post-film discussions in the Fall 2020 BFS Zoom link for all Fall 2020 BFS Tuesday 7:00 PM post-screening discussions: https://buffalo.zoom.us/j/92994947964?pwd=dDBWcDY vSlhPbkd4TkswcUhiQWkydz09 Meeting ID: 929 9494 7964 Passcode: 703450 Directed by Andrei Tarkovsky Screenplay by Fridrikh Gorenshtein and Andrei Tarkovsky Based on the novel by Stanislaw Lem (novel "Solaris") 1972 Won: FIPRESCI Prize and Grand Prize of the Jury; Produced by Viacheslav Tarasov nominated for Golden Palm Original Music by Eduard Artemyev Cinematography by Vadim Yusov Andrei Tarkovsky (4 April 1932, Zavrazhe, Ivanono, Production Design by Mikhail Romadin USSR [now Russia]—29 December 1986, Paris, France, lung cancer) wrote 16 and directed 11 films. The films he Natalya Bondarchuk...Hari directed are: Offret/The Sacrifice (1986), Donatas Banionis...Kris Kelvin Nostalghia/Nostalghia (1983), Tempo di viaggio/Voyage Jüri Järvet...Dr. Snaut in Time (1983), Stalker/ Сталкер (1979), Zerkalo/The Vladislav Dvorzhetsky...Henri Berton Mirror (1975), Solyaris/Solaris (1972), Andrey Nikolai Grinko...Kelvin's Father Rublyov/Andrei Rublev (1966), Ivanovo detstvo/Ivan’s Anatoli Solonitsyn...Dr. Sartorius Childhood (1962), Katok i skripka/The Steamroller and Sos Sargsyan...Dr. Gibarian the Violin (1961), Segodnya uvolneniya ne budet/There Olga Barnet...Kelvin's Mother Will Be No Leave Today (1959), Ubiytsy/The Killers Tamara Ogorodnikova...Aunt Anna (1958). -
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. -
Forging the Enemy in Soviet Fiction and Press
Forging the Enemy in Soviet Fiction and Press 1945-1982 Raphaelle Auclert Supervisors: Prof. Evgeny Dobrenko and Prof. Craig Brandist University of Sheffield 1 Table of Contents Introduction 4 First Part: The Stalin Era. The Enemy with a Cloak and a Dagger Chapter 1. The Cold War Begins: Historical and Cultural Background 27 1.1. A Fragile Grand Alliance 28 1.2. The Bipolar Brinkmanship: First Round 29 1.3. The Soviet ‘Peace Offensive’ 37 1.4. Postwar ‘Politerature’ and the ‘Manufacture of the Enemy’ 42 Chapter 2. Case Studies: The Enemy Outside: I. Ehrenburg and N. Shpanov 51 Chapter 3. Case Studies: The Enemy Inside the Communist Movement: 89 D. Eriomin and O. Maltsev Second Part: Khrushchev Era. The Ideological Enemy Chapter 4. The Making of the Thaw Enemy on the Cold War Stage 119 4.1. “Peaceful Coexistence” or the Vanishing of the Outside Enemy 119 4.2. Case Study: The Enemy Within: V. Kochetov 126 Chapter 5. Khrushchev’s Apocrypha 130 Chapter 6. The literary ‘Morality Police’ 148 Third Part: Brezhnev Era: Confronting an Invisible Enemy Chapter 7. The Brezhnev Doctrine 157 Chapter 8. Case Study: Enemy at Heart. Y. Bondarev’s The Shore 169 Chapter 9. Case Study: Becoming Your Enemy: Y. Bondarev’s The Choice 181 Conclusion 193 Bibliography 199 2 Forging the Enemy in Soviet Fiction and Press, 1945-1982 Abstract My dissertation offers a new approach to the study of Soviet official prose in the context of Soviet politics and of the Cold War. The Cold War was an ideological contest between two blocs: capitalist and communist. -
Heterotopic Space in Andrei Tarkovsky's Solaris
Sculpted in time: Heterotopic space in Andrei Tarkovsky's Solaris. A Thesis Submitted to the Faculty of Graduate Studies University of Manitoba In Partial Fulfillment of the Requirement for the Degree of Master of Arts By Richard Duffy (c) April 2003 Nfâtional'ubrary Bibliothèque nationale l*l du Canada Acqu¡sitions and Ac{uisitions et Bibliographic Serv¡ces services bibliographiques 395 Wel¡¡nglon Skeet 395, .ue Well¡ngton Ottårva ON Kf A 0l.|4 Otlawa ON K1 A 0N4 canada Cariadä Yôstñþ Vouê tétéÊr'æ ôut ñb NôbÒ tàlÁræ The author has granted a non- L'auteu¡ a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distibute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. Ia forme de microfiche/fiI¡n, de reproduction sw papier ou sur format électonique. The author retains oramership of the L'auteu¡ oonserve la propriété du copr'¡ieht in this thesis. Neither the d¡oit d'auteur qui protège cette thèse. thesis nor substantial exhacts from it Ni la thèse ni des extaits substantiels may be printed or otherwise de celle-ci ne doivent êEe imprimés reproduced without the arfhor's ou autrement reproduits sâns son permission, autorisation. 0-612-79949-2 Canad'ä THE UNIVERSITY OF MANITOBA FACULTY OF GRADUATE STUDIES ***** COPYRIGHT PERMISSION PAGE SCULI'IED IN TIME: HETEROTOPIC SPACE IN ANDREI TARKOVSKY'S SO¿ARIS BY RICHARD DUFFY A ThesíslPracticum submitted to the Faculty of Graduâte Studies of The University of Manitoba in partial fr.¡lfìllment of the requirements of the degree of Master of Arts RICHARD DUFFY @ 2()O3 Permission has been granted to the Library of rhe university of Manitoba to lend or sell copies of this thesis/prâcticum, to the Nationâl Library of canada to microfìlm this thesis ând to lend orsell copies ofthe fìlm, and to university Microfilm Inc.