Festival Organizers

Total Page:16

File Type:pdf, Size:1020Kb

Festival Organizers ОРГАНИЗАТОРЫ ФЕСТИВАЛЯ FESTIVAL ORGANIZERS МИНИСТЕРСТВО КУЛЬТУРЫ РОССИЙСКОЙ ФЕДЕРАЦИИ MINISTRY OF CULTURE OF THE RUSSIAN FEDERATION ФОНД ПРЕЗИДЕНТСКИХ ГРАНТОВ FUND OF PRESIDENT’ GRANTS ГЕНЕРАЛЬНЫЙ ПАРТНЕР ФЕСТИВАЛЯ GENERAL PARTNER OF THE FESTIVAL ФОНД МИХАИЛА ПРОХОРОВА MIKHAIL PROKHOROV FOUNDATION ГИЛЬДИЯ КИНОРЕЖИССЕРОВ РОССИИ THE FILM DIRECTORS GUILD OF RUSSIA СОВМЕСТНАЯ ПРОГРАММА РОССИЙСКОЙ ФЕДЕРАЦИИ JOINT THE RF AND OHCHR PROGRAM И УПРАВЛЕНИЯ ВЕРХОВНОГО КОМИССАРА ПО ПРАВАМ ЧЕЛОВЕКА (УВКПЧ ООН) УПРАВЛЕНИЕ ВЕРХОВНОГО КОМИССАРА ООН UNITED NATIONS HIGH COMMISSIONER ПО ДЕЛАМ БЕЖЕНЦЕВ (УВКБ ООН) FOR REFUGEES (UNHCR) ПРОГРАММНЫЙ ОФИС СОВЕТА ЕВРОПЫ В РФ COUNCIL OF EUROPE PROGRAMME OFFICE IN THE RUSSIAN FEDERATION ПОСОЛЬСТВО КОРОЛЕВСТВА НИДЕРЛАНДОВ В РФ EMBASSY OF THE KINGDOM OF THE NETHERLANDS TO THE RF ПОСОЛЬСТВО КАНАДЫ В РФ EMBASSY OF CANADA IN THE RUSSIAN FEDERATION МОСКОВСКАЯ ГИЛЬДИЯ АКТЕРОВ ТЕАТРА И КИНО THE MOSCOW GUILD OF THEATRE AND CINEMA ACTORS Уважаемые друзья! Dear friends! Искренне рад приветствовать участников и гостей XXIII Международного фе- I am genially glad to greet the participants and guests of the XXIII International Film стиваля фильмов о правах человека «Сталкер»! Festival on Human Rights “Stalker”! С первого года своего существования фестиваль привлекает внимание публики Since its first year the Festival has been attracting public attention to the theme of к теме защиты прав и свобод человека, его гражданской ответственности, оказы- protecting human rights and freedoms, the theme of civil responsibility. It renders great вает влияние на формирование правового сознания общества художественными influence to the formation of legal awareness in the society by artistic means of cinema средствами кинематографа. За это время «Сталкер» стал крупнейшим социаль- art. Throughout this period “Stalker” has become the largest and socially important но-значимым форумом отечественного культурного календаря. forum of the national cultural calendar. Очень важно, что фильмы кинофестиваля поднимают социальные проблемы и It is very important that the festival films raise social problems and issues of human вопросы защиты прав человека, утверждают идеалы гуманизма и справедливо - rights protection, consolidate the ideals of humanism and justice. Taking these acute сти. Обращаясь к таким острым, жизненно важным темам, кинематографисты themes of vital importance film-makers contribute to moral education of the audience, вносят свой вклад в нравственное воспитание зрителей, повышение их правовой strengthen their legal culture and consolidation of the Russian civil society. культуры и укрепление в России гражданского общества. Желаю участникам фестиваля успешной работы, а гостям и зрителям – интерес- I wish the participants of the Festival successful work and the guests and the audience – ных встреч с творчеством талантливых кинематографистов! interesting meetings with creative works of talented filmmakers! Министр культуры Российской Федерации Minister of Culture В. Р. МЕДИНСКИЙ of the Russian Federation V. R. MEDINSKY Сердечно приветствую участников, организаторов и гостей ХХIII Международ - I sincerely greet the participants, organizers and guests of the XXIII International Human ного фестиваля фильмов о правах человека «Сталкер»! Rights Film Festival “Stalker”! Вот уже многие годы каждый такой кинофестиваль становится значительным общественно-культурным событием. Он собирает многочисленную аудиторию It has been a long time since each year the festival becomes a significant social and cultural людей, для которых понятия «справедливость», «милосердие», «личная ответ- event. It gathers a numerous audience of people for whom such notions as “justice”, “mer- ственность перед обществом» сделались смыслом жизни. cy”, “private responsibility before the society” have developed into the meaning of life. Кинофестиваль «Сталкер» - своеобразный камертон, отражающий состояние The film festival “Stalker” is a kind of a tuning fork that reflects the state of affairs with дел с защитой прав человека, помогающий объединить усилия общества для ре- human rights protection, that helps unite society’s efforts for solving current problems. шения имеющихся проблем. Убежден, что очередной кинофестиваль «Сталкер» подарит нам новые имена та- I am sure the next film festival “Stalker” will make us a present of new names of talented лантливых кинематографистов, создающих фильмы о правах человека. film-makers who shoot films about human rights. Желаю всем участникам этого прекрасного кинофорума творческих успехов и плодотворной работы! I wish all participants of this wonderful film forum creative successes and fruitful work! С уважением, Советник Sincerely, Президента Российской Федерации, Adviser Председатель Совета To the President of the Russian Federation М. ФЕДОТОВ Chairman of the Council M. FEDOTOV Уважаемые организаторы, участники и гости кинофестиваля! Dear organizers, participants and guests of the Festival! I am glad to greet the film forum “Stalker” that has become well-known not only in Russia Рада приветствовать кинофорум «Сталкер», который приобрел известность не but also abroad. It is a meaningful place to demonstrate the most human programs and только в России, но и за рубежом и стал значимой площадкой для демонстрации films that play a great role in forming our civil society. самых человечных программ и фильмов, играющих огромную роль в формиро- вании нашего гражданского общества. The festival opens on the 10th of December, the day when the UN General Assembly Фестиваль открывается 10 декабря, в день принятия Генеральной ассамблеей adopted the Universal Declaration of Human Rights. It is a holiday that is observed as ООН Всеобщей декларации прав человека, праздника, который во всём мире Human Rights Day all over the world. This date determined humanistic focus of the отмечается как День прав человека. Эта дата определила гуманистическую на- “Stalker”. The main merit of the festival is its stimulation for creativity but also for life, for правленность «Сталкера». Главная заслуга фестиваля в том, что он стимулирует keeping one’s chin up and for overcoming difficulties. не только заниматься творчеством, но и жить, заниматься полезным делом и пре- возмогать трудности. There should be more films like those that are represented at your festival as they Таких фильмов, как представленные на вашем фестивале, должно быть больше, contribute to teaching kindness, responsiveness, responsibility for the world around us, они способствуют воспитанию доброты, отзывчивости, ответственности за мир, for its present and future. Such films provide a chance to heighten the quality of human который нас окружает, его настоящее и будущее. Они дают возможность повы- rights dialogue between society and state, to take it to a new cultural level, to include it into сить качество правозащитного диалога между обществом и государством, выве- heritage of the civil society. сти его на новый культурный уровень, сделать достоянием всего гражданского общества. I sincerely wish to your wonderful film festival to open new names and present the audience with interesting viewing and unforgettable impressions for many years to come! От всей души желаю вашему замечательному кинофестивалю еще долгие годы открывать новые имена и дарить зрителям интересные просмотры и незабыва- емые впечатления! Уполномоченный по правам человека в Российской Федерации Ombudsperson for Human Rights Т. Н. МОСКАЛЬКОВА in the Russian Federation Доктор юридических наук, профессор, T. N. MOSKALKOVA доктор философских наук, Doctor of Law, professor Заслуженный юрист РФ Doctor of Philosophy Honored lawyer of the RF Дорогие друзья! Dear friends! I’m happy to welcome you at XXIII “Stalker” International Human Rights Film Festival От имени Фонда Михаила Прохорова приветствую вас на XXIII Международ- on behalf of the Mikhail Prokhorov Foundation! ном фестивале фильмов о правах человека «Сталкер»! За двадцать с лишним лет своего существования кинофорум приобрел репута- Throughout more than two decades of its existence and development, this film forum has цию уникального события, соединяющего в одном дискуссионном простран- been gaining and proving the reputation of a truly unique and remarkable event, where the стве вопросы творчества и тему прав человека. «Сталкер», собирающий в свою issues of creativity share the common discussion space with those related to human rights. афишу достижения российского и международного кинематографа, оказывает Featuring the best examples of Russian and international cinematic arts, “Stalker” both влияние не только на творческое сообщество, но и на состояние умов, предлагая influences greatly the creative community and tips the very balance of thinking itself by своим зрителям важный разговор на территории искусства. triggering the important discourse in the realm of Art among its audience. Сейчас, когда в стране нагнетается атмосфера страха, когда права личности под- At the time when the climate of fear is being instilled and the individual rights чинены политическим целям властных элит, когда культура оказывается под subordinated to the aims of power groups, whereas the culture is being pressurized by прессингом государства, дело «Сталкера» приобретает особую важность. Еще the state, the “Stalker”’s mission becomes all the more important. Already back in the в 90-х годах инициаторы фестиваля почувствовали необходимость обращения 90-ies the organizers of the festival foresaw the urge for drawing the attention of creative творческих сил к теме прав человека, к теме отношений
Recommended publications
  • The Palgrave Handbook of Digital Russia Studies
    The Palgrave Handbook of Digital Russia Studies Edited by Daria Gritsenko Mariëlle Wijermars · Mikhail Kopotev The Palgrave Handbook of Digital Russia Studies Daria Gritsenko Mariëlle Wijermars • Mikhail Kopotev Editors The Palgrave Handbook of Digital Russia Studies Editors Daria Gritsenko Mariëlle Wijermars University of Helsinki Maastricht University Helsinki, Finland Maastricht, The Netherlands Mikhail Kopotev Higher School of Economics (HSE University) Saint Petersburg, Russia ISBN 978-3-030-42854-9 ISBN 978-3-030-42855-6 (eBook) https://doi.org/10.1007/978-3-030-42855-6 © The Editor(s) (if applicable) and The Author(s) 2021. This book is an open access publication. Open Access This book is licensed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons licence and indicate if changes were made. The images or other third party material in this book are included in the book’s Creative Commons licence, unless indicated otherwise in a credit line to the material. If material is not included in the book’s Creative Commons licence and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifc statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.
    [Show full text]
  • Russia's Identity Relations with Europe, the EU, and the United States: 1991-2007 Ted Hopf, Ohio State University August 2007 [email protected]
    Russia's Identity Relations with Europe, the EU, and the United States: 1991-2007 Ted Hopf, Ohio State University August 2007 [email protected] One can identify several waves of Russian identity relations with the world since 1991. These periods are 1992, 1993-2001 2001-5, and 2005-present. In the first period, there was, simply speaking, a Liberal identification with the West, in particular the United States. This was rapidly supplanted by a Centrist identification with the West, in particular with Europe, but also with an idealized Soviet past and an emerging Russian uniqueness. 911 cemented this Centrist identity, while simultaneously reinforcing a proto-Soviet identification with the US as the other superpower in the Global War On Terror (GWOT). Finally, since about 2005, a Russian dis-identification has occurred with both Europe and the US, and a growing stress on Russia as Russia has emerged. Russia’s Identities from 1991-911 There were three main discourses on Russian identity in the 1990s in Moscow: liberal, conservative, and centrist. The categorizations in Table One compare each discourse and its elements of identification. Each understood Russia with respect to internal, external, and historical Others.1 Liberals identified Russia’s future, at first with the American, and then with the European, present. They identified against the Soviet past and against the internal representation of that Other: the conservative discourse of communists and far right national patriots. They recognized the weakness of the Moscow federal centre vis-à-vis its 89 federal subjects, but felt economic prosperity within a democratic market economy would secure Russia from threats.
    [Show full text]
  • 2015 BRICS Ufa Summit Compliance Report 10 July 2015 to 19 September 2016
    2015 BRICS Ufa Summit Compliance Report 10 July 2015 to 19 September 2016 Prepared by: Mark Rakhmangulov, Andrey Shelepov, Andrei Sakharov and the Center for International Institutions Research of the Russian Presidential Academy of National Economy and Public Administration, Moscow and Caroline Bracht, Alissa Wang and the University of Toronto BRICS Research Group Toronto 12 October 2016 2015 BRICS Ufa Compliance Report Contents Research Team .................................................................................................................................. 3 Introduction and Summary ............................................................................................................... 4 Methodology and Scoring System ................................................................................................. 4 The Breakdown of Commitments ................................................................................................. 5 Table 1: Distribution of BRICS Commitments across Issue Areas, 2009-2015 ......................... 6 Selection of Commitments ............................................................................................................ 6 Table 2: 2015 BRICS Ufa Summit Priority Commitments ...................................................... 7 Compliance Scores ........................................................................................................................ 7 Table 3: 2015 BRICS Ufa Summit Compliance Scores ...........................................................
    [Show full text]
  • Download Thesis
    This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Representations of the Holocaust in Soviet cinema Timoshkina, Alisa Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 25. Sep. 2021 REPRESENTATIONS OF THE HOLOCAUST IN SOVIET CINEMA Alissa Timoshkina PhD in Film Studies 1 ABSTRACT The aim of my doctoral project is to study how the Holocaust has been represented in Soviet cinema from the 1930s to the collapse of the Soviet Union in 1991.
    [Show full text]
  • SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN the LINES by Olga Klimova Specialist Degree, Belarusian State University
    SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES by Olga Klimova Specialist degree, Belarusian State University, 2001 Master of Arts, Brock University, 2005 Master of Arts, University of Pittsburgh, 2007 Submitted to the Graduate Faculty of The Kenneth P. 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 KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Olga Klimova It was defended on May 06, 2013 and approved by David J. Birnbaum, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Lucy Fischer, Distinguished Professor, Department of English, University of Pittsburgh Vladimir Padunov, Associate Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Aleksandr Prokhorov, Associate Professor, Department of Modern Languages and Literatures, College of William and Mary, Virginia Dissertation Advisor: Nancy Condee, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh ii Copyright © by Olga Klimova 2013 iii SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES Olga Klimova, PhD University of Pittsburgh, 2013 The central argument of my dissertation emerges from the idea that genre cinema, exemplified by youth films, became a safe outlet for Soviet filmmakers’ creative energy during the period of so-called “developed socialism.” A growing interest in youth culture and cinema at the time was ignited by a need to express dissatisfaction with the political and social order in the country under the condition of intensified censorship. I analyze different visual and narrative strategies developed by the directors of youth cinema during the Brezhnev period as mechanisms for circumventing ideological control over cultural production.
    [Show full text]
  • Visualizing the Past: Perestroika Documentary Memory Of
    VISUALIZING THE PAST: PERESTROIKA DOCUMENTARY MEMORY OF STALIN-ERA TRAUMA by Erin Rebecca Alpert B.A. in Global Studies, College of William and Mary, 2007 M.A. in Slavic Languages and Literatures, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH Kenneth P. Dietrich School of Arts and Sciences This dissertation was presented by Erin Alpert It was defended on May 12, 2014 and approved by Nancy Condee, Professor, University of Pittsburgh, Department of Slavic Languages and Literatures David Birnbaum, Professor, University of Pittsburgh, Department of Slavic Languages and Literatures Jeremy Hicks, Reader, Queen Mary University of London, Department of Russian Dissertation Advisor: Vladimir Padunov, Associate Professor, University of Pittsburgh, Department of Slavic Languages and Literatures ii Copyright © by Erin Alpert 2014 iii VISUALIZING THE PAST: PERESTROIKA DOCUMENTARY MEMORY OF STALIN-ERA TRAUMA Erin Alpert, PhD University of Pittsburgh, 2014 The main goal of this dissertation is to look at how, during perestroika, documentary breaks away from the traditional notions of the genre in order to reexamine and redefine traumatic events from the Stalinist period. The first chapter examines the nuances of three critical terms: “documentary,” “collective memory,” and “cultural trauma.” I then turn to a historical approach, exploring how political culture and technology affected the content, production, and screening of documentaries, first discussing the time leading up to perestroika and then the massive changes during the glasnost era. In the final chapters, I argue that there are three primary approaches the films examined in this project take to understanding the past.
    [Show full text]
  • Marina Davydova: Some Thoughts on Russian Theatre at the Turn of the Century
    rtlb.ru russian theatre life in brief Marina DavyDova: Some ThoughTS on RuSSian Theatre aT The TuRn of The CenTuRy January 2008 White Dresses. “ouR pRoduCTionS aRe abSoluTely Safe.” The Russian theatre of the past decade has Throughout the nineties the Russian theatre been largely drawn into the orbit of the theatre existed in a distinctive kind of ghetto, making of Europe. Or it is rather the other way around – no attempts to digest aesthetically the rapidly European drama has turned out of the blue to changing reality: we are here all by ourselves, occupy the Russian theatre space to the effect all dressed in white, while the reality stinks of considerably changing the local theatrical and has nothing to do with us. Paradoxical as landscape. In terms of major theatrical forums it may sound, in the post-perestroika period Moscow has lately left far behind all the capi- we could claim to have Europe’s most asocial tals and mega cities of the world: the Chekhov public and theatre. In the Soviet times theatre Festival, the Territory, the NET, the Stanislavsky managed to substitute, no matter how clum- Season to mention just a few. In the context sily, for the civil society. But it clearly failed to of the current guest tour hullabaloo even the become an integral component of this spring- Golden Mask that is by definition (“national the- ing up new society that was offering a wider atre award and festival”) prescribed to cultivate range of freedoms. predominantly the national stage has scaled up The social and political affectation somehow to acquire the European dimension by bringing ran dry as the long-standing rules of play- along the productions of overseas dignitaries.
    [Show full text]
  • This Is the Published Version of a Chapter Published in Russische Und Sowjetische Geschichte Im Film
    http://www.diva-portal.org This is the published version of a chapter published in Russische und Sowjetische Geschichte im Film: Von Väterchen Zar, tragischen Helden, russischen Revolutionären und "kalten Krieger"n. Citation for the original published chapter: Kotljarchuk, A. (2016) Invisible Victims: The Cold War and Representation of the Roma Genocide in Soviet Feature Films, Teleplays and Theater Performances. In: Alexander Friedman ; Frank Jacob (ed.), Russische und Sowjetische Geschichte im Film: Von Väterchen Zar, tragischen Helden, russischen Revolutionären und "kalten Krieger"n (pp. 129-150). New York: ALTIJA N.B. When citing this work, cite the original published chapter. Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32100 Powered by TCPDF (www.tcpdf.org) RUSSISCHE UND SOWJETISCHE GESCHICHTE IM FILM Von bolschewistischen Revolutionären, antifaschistischen Widerstandskämpfern, jüdischen Emigranten und „Kalten Kriegern“ Alexander FRIEDMAN und Frank JACOB (Hrsg.) New York Geschichte und Film, Bd. 1 Hrsg. Frank JACOB und Alexander FRIEDMAN Alexander Friedman und Frank Jacob: Russische und Sowjetische Geschichte im Film: Von bolschewistischen Revolu- tionären, antifaschistischen Widerstandskämpfern, jüdischen Emigranten und „Kalten Kriegern“ © ALTIJA, Frank Jacob, New York 2016. Coverdesign: Judith Weber / Smakelig ISBN: 978-1541360853 Inhaltsverzeichnis 1. Kino als „wichtigste aller Künste“: Einleitung Alexander FRIEDMAN und Frank JACOB 5 2. „Das weite Land und die Reichtümer der Rus lockten die Eroberer an“ – Das bedrohte Russland im Film Alexander QUERENGÄSSER 15 3. The Images of Dying and New Jewish Worlds in the Soviet Ci- nema: “The Jews on the Land” versus “Jewish Luck (Menachem Mendel)” Andrei ZAMOISKI 33 4. „Kube, Hitlers Gauleiter in Minsk, war der leibhaftige Teufel“.
    [Show full text]
  • Toward a Cultural Framework of Internet Governance: Russia’S Great Power Identity and the Quest for a Multipolar Digital Order
    University of Pennsylvania ScholarlyCommons Center for Advanced Research in Global CARGC Papers Communication (CARGC) 4-2020 Toward a Cultural Framework of Internet Governance: Russia’s Great Power Identity and the Quest for a Multipolar Digital Order Stanislav Budnitsky University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/cargc_papers Part of the Communication Commons, International Relations Commons, and the Public Affairs, Public Policy and Public Administration Commons Recommended Citation Budnitsky, Stanislav, "Toward a Cultural Framework of Internet Governance: Russia’s Great Power Identity and the Quest for a Multipolar Digital Order" (2020). CARGC Papers. 13. https://repository.upenn.edu/cargc_papers/13 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/cargc_papers/13 For more information, please contact [email protected]. Toward a Cultural Framework of Internet Governance: Russia’s Great Power Identity and the Quest for a Multipolar Digital Order Description CARGC Paper 13, “Toward a Cultural Framework of Internet Governance: Russia’s Great Power Identity and the Quest for a Multipolar Digital Order,” by CARGC Postdoctoral Fellow Stanislav Budnitsky was initially delivered as a CARGC Colloquium in 2018. As part of Budnitsky’s larger research project on the relationship between nationalism and global internet governance, CARGC Paper 13 considers the cultural logics underlying Russia’s global internet governance agenda. It argues that to understand Russia’s digital vision in the early twenty-first century and, by extension, the dynamics of global internet politics writ large, scholars must incorporate Russia’s historic self-identification as a great power into their analyses.
    [Show full text]
  • 2017 BRICS Xiamen Summit Compliance Report
    2017 BRICS Xiamen Summit Final Compliance Report 6 September 2017 to 5 July 2018 Prepared by Alissa Xinhe Wang, Angela Minyi Hou, Brittaney Warren and the University oF Toronto BRICS Research Group and Irina Popova, Andey Shelepov, Andrei Sakharov and Alexander Ignatov and the Center For International Institutions Research oF the Russian Presidential Academy oF National Economy and Public Administration, Moscow 23 July 2018 2017 BRICS Xiamen Summit Final Compliance Report Contents Research Team .................................................................................................................................................... 3 University of Toronto Research Team ....................................................................................................... 3 Country Specialists .................................................................................................................................... 3 Compliance Analysts ................................................................................................................................ 3 RANEPA Research Team ............................................................................................................................ 3 Compliance Analysts ................................................................................................................................ 3 Preface ..................................................................................................................................................................
    [Show full text]
  • Uzbek: War, Friendship of the Peoples, and the Creation of Soviet Uzbekistan, 1941-1945
    Making Ivan-Uzbek: War, Friendship of the Peoples, and the Creation of Soviet Uzbekistan, 1941-1945 By Charles David Shaw A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Yuri Slezkine, Chair Professor Victoria Frede-Montemayor Professor Victoria E. Bonnell Summer 2015 Abstract Making Ivan-Uzbek: War, Friendship of the Peoples, and the Creation of Soviet Uzbekistan, 1941-1945 by Charles David Shaw Doctor of Philosophy in History University of California, Berkeley Professor Yuri Slezkine, Chair This dissertation addresses the impact of World War II on Uzbek society and contends that the war era should be seen as seen as equally transformative to the tumultuous 1920s and 1930s for Soviet Central Asia. It argues that via the processes of military service, labor mobilization, and the evacuation of Soviet elites and common citizens that Uzbeks joined the broader “Soviet people” or sovetskii narod and overcame the prejudices of being “formerly backward” in Marxist ideology. The dissertation argues that the army was a flexible institution that both catered to national cultural (including Islamic ritual) and linguistic difference but also offered avenues for assimilation to become Ivan-Uzbeks, part of a Russian-speaking, pan-Soviet community of victors. Yet as the war wound down the reemergence of tradition and violence against women made clear the limits of this integration. The dissertation contends that the war shaped the contours of Central Asian society that endured through 1991 and created the basis for thinking of the “Soviet people” as a nation in the 1950s and 1960s.
    [Show full text]
  • Culture and Customs of the Central Asian Republics
    Culture and Customs of the Central Asian Republics Rafis Abazov Greenwood Press CULTURE AND CUSTOMS OF THE CENTRAL ASIAN REPUBLICS The Central Asian Republics. Cartography by Bookcomp, Inc. Culture and Customs of the Central Asian Republics 4 RAFIS ABAZOV Culture and Customs of Asia Hanchao Lu, Series Editor GREENWOOD PRESS Westport, Connecticut • London Library of Congress Cataloging-in-Publication Data Abazov, Rafi s. Culture and customs of the Central Asian republics / Rafi s Abazov. p. cm. — (Culture and customs of Asia, ISSN 1097–0738) Includes bibliographical references and index. ISBN 0–313–33656–3 (alk. paper) 1. Asia, Central—History. 2. Asia, Central—Social life and customs. I. Title. DK859.5.A18 2007 958—dc22 2006029553 British Library Cataloguing in Publication Data is available. Copyright © 2007 by Rafi s Abazov All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2006029553 ISBN: 0–313–33656–3 ISSN: 1097–0738 First published in 2007 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10 9 8 7 6 5 4 3 2 1 Contents Series Foreword vii Preface xi Acknowledgments xv Notes on Transliteration xvii Chronology xxi 1 Introduction: Land, People, and History 1 2 Thought and Religion 59 3 Folklore and Literature 79 4 Media and Cinema 105 5 Performing Arts 133 6 Visual Arts 163 7 Architecture 191 8 Gender, Courtship, and Marriage 213 9 Festivals, Fun, and Leisure 233 Glossary 257 Selected Bibliography 263 Index 279 Series Foreword Geographically, Asia encompasses the vast area from Suez, the Bosporus, and the Ural Mountains eastward to the Bering Sea and from this line southward to the Indonesian archipelago, an expanse that covers about 30 percent of our earth.
    [Show full text]