Russia Main Events Calendar 2017
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Cultural Heritage, Cinema, and Identity by Kiun H
Title Page Framing, Walking, and Reimagining Landscapes in a Post-Soviet St. Petersburg: Cultural Heritage, Cinema, and Identity by Kiun Hwang Undergraduate degree, Yonsei University, 2005 Master degree, Yonsei University, 2008 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 2019 Committee Page UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Kiun Hwang It was defended on November 8, 2019 and approved by David Birnbaum, Professor, University of Pittsburgh, Department of Slavic Languages and Literatures Mrinalini Rajagopalan, Associate Professor, University of Pittsburgh, Department of History of Art & Architecture Vladimir Padunov, Associate Professor, University of Pittsburgh, Department of Slavic Languages and Literatures Dissertation Advisor: Nancy Condee, Professor, University of Pittsburgh, Department of Slavic Languages and Literatures ii Copyright © by Kiun Hwang 2019 Abstract iii Framing, Walking, and Reimagining Landscapes in a Post-Soviet St. Petersburg: Cultural Heritage, Cinema, and Identity Kiun Hwang, PhD University of Pittsburgh, 2019 St. Petersburg’s image and identity have long been determined by its geographical location and socio-cultural foreignness. But St. Petersburg’s three centuries have matured its material authenticity, recognizable tableaux and unique urban narratives, chiefly the Petersburg Text. The three of these, intertwined in their formation and development, created a distinctive place-identity. The aura arising from this distinctiveness functioned as a marketable code not only for St. Petersburg’s heritage industry, but also for a future-oriented engagement with post-Soviet hypercapitalism. Reflecting on both up-to-date scholarship and the actual cityscapes themselves, my dissertation will focus on the imaginative landscapes in the historic center of St. -
The Musical Map of My Country
The musical map of my country Project Bagramyan Diana Russia at a glance Nashestvie Nashestvie (Russian: Нашествие) is one of the largest open-air festival of Russian rock, organized by Nashe Radiostation. It is held annually during the first weekend of August since 1999. Nashestvie changed its venue several times. Recently it moved northwest to Tver Oblast. Nashestvie is participated by majority of Russia's most popular rock artists (such as Aria, Alisa, Agatha Christie, Splean,Korol i Shut), as well as bands from Ukraine and Belarus, such as Okean Elzy or Lyapis Trubetskoy. Dobrofest Dobrofest is an annual festival that take place in Yaroslavl in June. Pop, rock and folk musicians and bands take part in it. Maxidrom Maxidrom is an annual international musical festival organized by Radio Maximum station. It take place in Tushino, Moscow in July. The first Maxidrom was held in 1995 as the festival of rock music. Slavyanskiy Bazar Slavyanskiy Bazar is an international art festival in Vitebsk. It has been held since 1992. Jazz May Since 2011 Jazz May festival has been held in Penza. In 2012 some famous jazz bands from all over the world came to this festival. The Festival of the World's Symphony Orchestras The Festival of the World's Symphony Orchestras take place in Moscow in June at the Column Hall of the House of Unions. Rap Festival Our town is also rich in musical events. Thus, in September, 2012 Rap Festival took place in the club Planeta. There are also rock and folk festivals in Shakhty. I have described just some festivals that are held in Russia. -
Moscow by Night: Musical Subcultures, Identity Formation, and Cultural Evolution in Russia, 1977–2008
MOSCOW BY NIGHT: MUSICAL SUBCULTURES, IDENTITY FORMATION, AND CULTURAL EVOLUTION IN RUSSIA, 1977–2008 BY GREGORY R. KVEBERG DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Diane Koenker, Chair Professor Kathryn Oberdeck Professor Craig Koslofsky Professor John McKay Professor Mark Steinberg Abstract This dissertation examines the history of musical subcultures in Moscow from 1977 to 2008. It argues that subcultures were not forces for revolutionary change, or natural loci of opposition to the state. Only during the brief period from 1982 to 1984 did the state actively seek to impose a unitary vision of culture on the Soviet Union. Throughout the rest of these three decades, the state allowed a significant range of subcultural expression. This policy won either loyalty or toleration for Brezhnev’s government from a majority of Muscovite subculturalists. It proved similarly successful when re- introduced by Vladimir Putin. This dissertation asserts that this policy of tolerance allowed official culture and subcultures to evolve together in a dialectical process. This work also charts key trends in the development of subcultural identities in Moscow. Subculturalists responded to shifting political and economic situations. They generally greeted the arrival of the market with ambivalence, as many felt that musical legitimacy required artists to eschew commercial success. Subculturalists eagerly embraced the Internet, and used it to form connections to other groups of subculturalists and to archive collective memories. Contact with the west produced a variety of different responses among subculturalists, and these responses speak to larger divisions within Russian society. -
Crelling the Confederate Battle Flag
Crelling The Confederate Battle Flag: Why is it perceived so differently in the US and Europe/Germany? Karin Crelling A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Interdisciplinary Studies University of Washington 2019 Committee: Michael Allen Libi Sundermann Program Authorized to Offer Degree: School of Interdisciplinary Arts & Sciences Crelling ©2018 Karin Crelling Crelling University of Washington Abstract The Confederate Battle Flag: Why is it perceived so differently in the US and Europe/Germany? Karin Crelling Chair of the Supervisory Committee Michael Allen School of Interdisciplinary Arts & Sciences I was born and raised in Germany and came to the United States in 1996. In 2010 I became an American citizen, via the “Naturalization” process. I went back to school in 2013 and, being always interested in history, took a liking to early US history. The Civil War fascinated me the most, and the ongoing debate over what the war was fought over created my desire to investigate why the Confederate Battle Flag is so differently perceived in my old and new home country. The Confederate Flag disrupts the public sphere in the US, but not as much in Europe. 3 Crelling Recent debates over the Confederate Battle Flag in the US sparked my interest in how its perception has changed over the decades since 1865. In Europe it is still mainly a symbol for rebellion, not a reminder of violation of human rights and slavery. Specifically, in Germany the flag was flown during the Velvet Revolutions in the late 1980s. These rebellions eventually led to political changes and the fall of the Berlin Wall. -
Slang Is Even Harder As It Can Be Extremely Difficult for the Uninitiated to Gauge When, Where, and with Whom Slang Is Appropriate
To Myroslava. Someday this book is gonna embarrass the hell out of you. Acknowledgments The authors would like to thank coffee. Without you, none of our efforts would ever reach fruition. We are eternally grateful. And eternally wired. USING THIS BOOK Russian is just about the coolest language in the world. But you already know that because you’ve been studying the language for a while now, right? At least I hope you have, because I didn’t write this book with the novice in mind. I designed the book to bring your Russian to the next level, a level usually reserved for natives and longtime expats. With that in mind, I’ve tried to give you all the dirty words and insider terms that your college Russian professor would never teach you. So you’re not gonna find any basic vocabulary or grammar lessons, or ways to ask somebody where the library is. It’s assumed that you know all that crap already. But if you’re looking to tell somebody to fuck off or that they’ve got a nice ass, then you’re in the right place, my friend. All of this is to say that I hope you already more or less know your way around the language before jumping into this book. It is a complex language to master even at a fairly basic level. Learning the slang is even harder as it can be extremely difficult for the uninitiated to gauge when, where, and with whom slang is appropriate. As the old saying goes: when in doubt, leave it out. -
The End of a Belle Epoque, a Short Companion to the History of a Russian Pop-Music in 1998 – 2007
The End of a Belle Epoque, a short companion to the history of a russian pop-music in 1998 – 2007. Written by Andrei Kultyshev The end of a belle epoque. Introduction: Chronology, and the big waves. Part I. The base. The begining. 1. Prophets. Ivanushki International. 2. Kings. Ruki Vverh. 3. Girls` power 1: Juggernaut. Tatu. 4. Girls` power 2: Young boys` favorite. Propaganda. 5. Girls` power 3. For advanced listeners. Minnet. 6. Always second. Otpetye moshenniki. 7. Kings of summer. S.T.D.K. 8. Everybody can write a one song. Dj Dozhdik. 9. Tertiary. Sveta. Intermediary I. Echo of previous eras, the rave without an end. Kirpichi. Part II. The soar. The afternoon. And the new millennium. 1. The voice of a new generation. Zveri. 2. The beauty. Zemfira. 3. It might be going another way, if the second capital was the real one. Multfilmy. 4. The alternative, or a wrong path of the rock. Korol i shut. 5. The real underground, or the rise of the rap. 63 region. 6. The tales of a dark forest. Tem Grinhill. 7. The pure genius. Anna Plotnikova. Intermediary II. The strange case of Pasha K. Pavel Kashin. Part III. The finals. Who is who, and how it ends. 1. The tertiary becomes first. Factor2. 2. Girls power continue. Ranetki. 3. Second season. Industrious approach. Maks Fadeev. 4. Music 2.0. Katya Chehova. Intermediary III. The long shot. Grazhdanskaya Oborona. Chronology, and the big waves. Some tells there is a big waves in technology, or economy. It calls Kondratiev cycles. It has own growth and decline. -
Survival Map for a Russian Musician in Europe
SURVIVAL MAP FOR A RUSSIAN MUSICIAN IN EUROPE Anna Lavrukhina Bachelor’s thesis December 2017 Degree Programme in Media and Arts Music Production ABSTRACT LAVRUKHINA ANNA: Survival Map for a Russian Musician in Europe Bachelor's thesis 73 pages, appendices 35 pages December 2017 The purpose of this thesis was to collect information on music business in general and the differences between the way music industry is currently developing in Russia, compared to the European countries. Also, the objective of this research was to collect information about Russian musicians nowadays and to analyze their opportunities on the European market. This study was mostly carried out as a field project, thus more attention has been paid to the opinions of experienced delegates and music industry professionals from Western Europe, Eastern Europe and Russia the writer of the thesis was lucky enough to meet personally during Moscow Music Week 2017. Different approaches and realities were compared to convey the state music world is currently in. Despite of vast majority of empirical content, there’s also a theoretical section, which was written based on the lead- ing music business books, articles and studies. A comprehensive research of specialists’ books, videos, articles and music industry re- lated web sources gave a great and occasionally unexpected but rather educational insight into the topic of Russian music industry and the chances for Russian musicians nowadays to make it abroad. The majority of the interviewees as well as the literature used for writ- ing this thesis stated, that it’s not only possible for a Russian musician or a band to become successful in Europe, it’s just a matter of time. -
ROCK in the EAST - Expectations Towards a Finnish Rock Festival in the Russian Context
NORTH KARELIA UNIVERSITY OF APPLIED SCIENCES Degree Programme in International Business Tanja Heiskanen (0601022, [email protected]) Jonna Puhkala (0800761, [email protected]) ROCK IN THE EAST - Expectations Towards a Finnish Rock Festival in the Russian Context Thesis May, 2012 THESIS May 2012 Degree Programme in International Business Sirkkalantie 12 A FIN 80110 JOENSUU FINLAND Tel. 358-13-260 600 Authors Tanja Heiskanen, Jonna Puhkala Title Rock in the East – Expectations Towards a Finnish Rock Festival in the Russian Context Commissioned by Joensuu Pop Musicians’ Association Abstract Competition amongst rock festivals in Finland is a notable pushing factor towards seeking growth from international festival-goers. In a country the size of Finland, festival organizers are bound to compete for the same audience, and thus increasing the amount of international visitors may fill this gap. Currently, the share of festival-goers from abroad totals only 5%. Joensuu Pop Musicians’ Association, which organizes Ilosaarirock, are increasingly interested in the benefits that internationalizing the customer base generates. The close proximity of Russia and St. Petersburg create a potential market area for Ilosaarirock. This study explores the perceived expectations of potential festival-goers in the Russian context. The primary purpose of this study was to adduce the image Russians have concerning Finnish rock festivals and furthermore compare the differences in behavior between Finnish and Russian festival-goers. The secondary motive was to determine how the research results could be incorporated into the marketing activities of Ilosaarirock. The empirical part of this study was conducted by both qualitative and quantitative research methods. -
Studie Über Die Wichtigsten Auslandsmärkte Für Musikunternehmen Aus Berlin Im Rahmen Der Landesinitiative Projekt Zukunft
Studie über die wichtigsten Auslandsmärkte für Musikunternehmen aus Berlin im Rahmen der Landesinitiative Projekt Zukunft Projekt Zukunft wird durch den Europäischen Fonds für regionale Entwicklung (EFRE) kofinanziert. Inhalt 1. Executive Summary 2 2. Befragungsprozedere 4 3. Struktur der Berliner Musikwirtschaft 4 3.1 Geschäftsfelder der Musikunternehmen 4 3.2 Repertoiresegmente 5 3.3 Anzahl der Mitarbeiter 5 3.4 Unternehmensalter und Dauer der Auslandsaktivitäten 5 4. Identifikation relevanter Auslandsmärkte im Musikbereich 6 4.1 Tonträgermärkte weltweit 6 4.2 Ergebnisse der Befragung 7 4.3 Schlussfolgerungen 13 5. Infrastrukturmaßnahmen zur Erschließung von Auslandsmärkten 14 5.1 Information und Beratung 14 5.2 Auslandsaktivitäten 15 5.3 Standortmarketing 19 6. Bewertung der Förderungswürdigkeit von Musikunternehmen 20 6.1 Prüfung der Förderungswürdigkeit 20 6.2 Checkliste „Fit für den Export“ 21 7. Länderdossiers 22 8. Quellenhinweise 80 9. Fragebogen 81 1 1. Executive Summary Für Musikunternehmen und Künstler in Deutsch- I USA, Frankreich, Großbritannien und Spanien land ist Musikexport kein Luxus, sondern lebensnot- zählen zu den wichtigsten Auslandsmärkten. In wendig. Ein dramatisch verändertes Konsumverhal- diesen Ländern sehen die Unternehmen neben ten, die zunehmende Konzentration im Einzelhandel Japan und China das größte Wachstumspotential. und der Medienlandschaft sowie zahlreiche auslän- Die Teilnahme an Musikmessen und -festivals zur dische Mitbewerber, die – oft staatlich subventio- Markterschließung oder Netzwerkpflege ist für niert – auf den deutschen Markt drängen, haben die Unternehmen von großem Interesse. dazu geführt, dass im Inlandsmarkt immer geringere Umsätze erzielt werden können. Zuwächse werden I Für die 20 wichtigsten Auslandsmärkte wurden oft nur durch Erschließen von Auslandsmärkten er- neben den Kriterien Umsatz, Marktanteil am Welt- wirtschaftet.