Perestroika and the Redistribution of Property in the Soviet Union: Political Perspectives and Historical Evidence Please Do Not Cite Without Prior Permission
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Title of Thesis: ABSTRACT CLASSIFYING BIAS
ABSTRACT Title of Thesis: CLASSIFYING BIAS IN LARGE MULTILINGUAL CORPORA VIA CROWDSOURCING AND TOPIC MODELING Team BIASES: Brianna Caljean, Katherine Calvert, Ashley Chang, Elliot Frank, Rosana Garay Jáuregui, Geoffrey Palo, Ryan Rinker, Gareth Weakly, Nicolette Wolfrey, William Zhang Thesis Directed By: Dr. David Zajic, Ph.D. Our project extends previous algorithmic approaches to finding bias in large text corpora. We used multilingual topic modeling to examine language-specific bias in the English, Spanish, and Russian versions of Wikipedia. In particular, we placed Spanish articles discussing the Cold War on a Russian-English viewpoint spectrum based on similarity in topic distribution. We then crowdsourced human annotations of Spanish Wikipedia articles for comparison to the topic model. Our hypothesis was that human annotators and topic modeling algorithms would provide correlated results for bias. However, that was not the case. Our annotators indicated that humans were more perceptive of sentiment in article text than topic distribution, which suggests that our classifier provides a different perspective on a text’s bias. CLASSIFYING BIAS IN LARGE MULTILINGUAL CORPORA VIA CROWDSOURCING AND TOPIC MODELING by Team BIASES: Brianna Caljean, Katherine Calvert, Ashley Chang, Elliot Frank, Rosana Garay Jáuregui, Geoffrey Palo, Ryan Rinker, Gareth Weakly, Nicolette Wolfrey, William Zhang Thesis submitted in partial fulfillment of the requirements of the Gemstone Honors Program, University of Maryland, 2018 Advisory Committee: Dr. David Zajic, Chair Dr. Brian Butler Dr. Marine Carpuat Dr. Melanie Kill Dr. Philip Resnik Mr. Ed Summers © Copyright by Team BIASES: Brianna Caljean, Katherine Calvert, Ashley Chang, Elliot Frank, Rosana Garay Jáuregui, Geoffrey Palo, Ryan Rinker, Gareth Weakly, Nicolette Wolfrey, William Zhang 2018 Acknowledgements We would like to express our sincerest gratitude to our mentor, Dr. -
Ebook Download the Cinema of Russia and the Former Soviet
THE CINEMA OF RUSSIA AND THE FORMER SOVIET UNION PDF, EPUB, EBOOK Birgit Beumers | 288 pages | 30 Apr 2007 | WALLFLOWER PRESS | 9781904764984 | English | London, United Kingdom The Cinema of Russia and the Former Soviet Union PDF Book However, different periods of Soviet cinema have been covered quite unevenly in scholarship. Greenland is not a country. The result is an extraordinary, courageous work of documentary-making, austere yet emotive, which records soup distribution and riots alike with the same steady, unblinking gaze. Username Please enter your Username. Take Elem Klimov. Bill Martin Jr.. Even though it was wrecked by political unrest, the Russian economy continued to grow over the years. It offers an insight into the development of Soviet film, from 'the most important of all arts' as a propaganda tool to a means of entertainment in the Stalin era, from the rise of its 'dissident' art-house cinema in the s through the glasnost era with its broken taboos to recent Russian blockbusters. Votes: 83, Yet they still fail to make a splash outside of their native country. The volume also covers a range of national film industries of the former Soviet Union in chapters on the greatest films and directors of Ukrainian, Kazakh, Georgian and Armenian cinematography. Seven natural wonders. Article Contents. History of film Article Media Additional Info. Olympic hockey team to victory over the seemingly invincible Soviet squad. While Soviet and Russian cinema was rather understudied until the collapse of the USSR, since the early s there has been a rise in publications and scholarship on the topic, reflecting an increase in the popularity of film and cultural studies in general. -
Lukyanov Doctrine: Conceptual Origins of Russia's Hybrid Foreign Policy—The Case of Ukraine
Saint Louis University Law Journal Volume 64 Number 1 Internationalism and Sovereignty Article 3 (Fall 2019) 4-23-2020 Lukyanov Doctrine: Conceptual Origins of Russia’s Hybrid Foreign Policy—The Case of Ukraine. Igor Gretskiy [email protected] Follow this and additional works at: https://scholarship.law.slu.edu/lj Part of the Law Commons Recommended Citation Igor Gretskiy, Lukyanov Doctrine: Conceptual Origins of Russia’s Hybrid Foreign Policy—The Case of Ukraine., 64 St. Louis U. L.J. (2020). Available at: https://scholarship.law.slu.edu/lj/vol64/iss1/3 This Article is brought to you for free and open access by Scholarship Commons. It has been accepted for inclusion in Saint Louis University Law Journal by an authorized editor of Scholarship Commons. For more information, please contact Susie Lee. SAINT LOUIS UNIVERSITY SCHOOL OF LAW LUKYANOV DOCTRINE: CONCEPTUAL ORIGINS OF RUSSIA’S HYBRID FOREIGN POLICY—THE CASE OF UKRAINE. IGOR GRETSKIY* Since the collapse of the Soviet Union, Kremlin’s assertiveness and unpredictability on the international arena has always provoked enormous attention to its foreign policy tools and tactics. Although there was no shortage of publications on topics related to different aspects of Moscow’s foreign policy varying from non-proliferation of nuclear weapons to soft power diplomacy, Russian studies as a discipline found itself deadlocked within the limited number of old dichotomies, (e.g., West/non-West, authoritarianism/democracy, Europe/non-Europe), initially proposed to understand the logic of Russia’s domestic and foreign policy transformations.1 Furthermore, as the decision- making process in Moscow was getting further from being transparent due to the increasingly centralized character of its political system, the emergence of new theoretical frameworks with greater explanatory power was an even more difficult task. -
DIRECTOR Larisa Shepitko WRITING Yuri Klepikov and Larisa Shepitko Wrote the Screenplay Adapted from a Novel by Vasiliy Bykov
October 29, 2019 (XXXIX:10) Larisa Shepitko: THE ASCENT (1977, 111m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Larisa Shepitko WRITING Yuri Klepikov and Larisa Shepitko wrote the screenplay adapted from a novel by Vasiliy Bykov. Production Company Mosfilm MUSIC Alfred Schnittke CINEMATOGRAPHY Vladimir Chukhnov and Pavel Lebeshev EDITING Valeriya Belova CAST Boris Plotnikov...Sotnikov Vladimir Gostyukhin...Rybak Sergey Yakovlev...Village elder Lyudmila Polyakova...Demchikha Viktoriya Goldentul...Basya Anatoliy Solonitsyn...Portnov, the Nazi interrogator Mariya Vinogradova...Village elder's wife Nikolai Sektimenko...Stas' She also adopted his motto, "Make every film as if it's your last." Shepitko graduated from VGIK in 1963 with LARISA SHEPITKO (b. January 6, 1938 in her prize winning diploma film Heat*, or Znoy made Artyomovsk, Ukrainian SSR, USSR [now Artemivsk, when she was 22 years old. The film was influenced by a Donetsk Oblast, Ukraine]—d. July 2, 1979 (age 41) in short story, ''The Camel's Eye'', by Chingiz Aitmatov. near Redkino, Kalinin Oblast, Russian SFSR, USSR), Her 1967 short film, “Homeland of electricity,”* part of whose filmmaking career was tragically cut short by a car the omnibus Beginning of an Unknown Era, suffered accident, was on the verge of becoming a name censorship for its perceived negative portrayal of the synonymous with internationally renowned directors to Bolsheviks, despite its intention to commemorate the emerge from the Soviet Union. -
July 13, 1990 National Intelligence Daily for Friday, 13 July 1990
Digital Archive digitalarchive.wilsoncenter.org International History Declassified July 13, 1990 National Intelligence Daily for Friday, 13 July 1990 Citation: “National Intelligence Daily for Friday, 13 July 1990,” July 13, 1990, History and Public Policy Program Digital Archive, Approved for Release by the Central Intelligence Agency, September 1, 2009, Document #0005301353. Contributed by Mark Kramer. https://digitalarchive.wilsoncenter.org/document/209652 Summary: The CIA’s National Intelligence Daily for Friday, 13 July 1990 describes the latest developments in USSR, Nicaragua, Cambodia, East Germany and Yugoslavia. Original Language: English Contents: Scan of Original Document (\ . ,, . !I ' . ' I I Ill II · . I -, I I . , . -D APPROVED FOR RELEASED DATE: (b )( 1) 09-01-2009 (b)(3) NATIONAL INTELLIGENCE DAILY Friday, l3 Juq 1990 lup §ce1et CPAS NID 90-16lJX I 13 .!u/y 1990 ' . ;, n.,.. - . .. , 0 :· I I I II 1-:J " . - I -, . I Cf · . ·, · . · , . .. ' . ~, )j '' ' ""' ' .. ._ . I LI II 1,:J · · I I I . : - - • 0 ~ • • Contents USSR: Party Congress Developments l Nicaragua: Strike Outcome Favors Sandinistas 3 Cambodia: Paris UN Meeting Faces Difficulty 4 East Germany: Show of Foreign Policy Independence 6 Notes USSR-Germanys: CW Controversy on Eve of Kohl's Visit 9 Yugoslavia: Belgrade Takes Hard Line on Separatists 10 USSR: Ukraine's Politics More Volatile After I vashko 10 In Brief 12 (°P Stm~t ] 13 July 1990 ', • • • .' • ' ' I o • •' . ·, '-' g ,.:.., . ~ . · .1. IC 1_1 . .. - . To~ret USSR Yel'tsin Bolts Party Boris Yel'tsin's decision to leave the Communist Party fits a pattern of dramatic actions going back at least as far as his outburst at the Central Committee plenum in October 1987 that cost him his Politburo seat. -
October 30, 2012 (XXV:9) Elim Klimov, COME and SEE/Иди И Смотри (1985, 136 Min)
October 30, 2012 (XXV:9) Elim Klimov, COME AND SEE/Иди и смотри (1985, 136 min) Directed by Elem Klimov Written by Ales Adamovich and Elem Klimov Original Music by Oleg Yanchenko Cinematography by Aleksei Rodionov Film Editing by Valeriya Belova Production Design by Viktor Petrov Art Direction by Viktor Petrov Set Decoration by Viktor Petrov P. Gutenko…military advisor Aleksey Kravchenko…Florya Gaishun Olga Mironova…Glasha Liubomiras Lautsyavichius …Kosach Vladas Bagdonas Jüri Lumiste Viktor Lorents Kazimir Rabetsky Yevgeni Tilicheyev Aleksandr Berda vracha, 1964 Welcome, or No Trespassing, 1962 Smotrite, nebo!, G. Velts 1960 Zhenikh, and 1959 Ostorozhno: poshlost. V. Vasilyev Igor Gnevashev ALEKSEI RODIONOV (April 26, 1947, Moscow, Soviet Union) has 23 Vasili Domrachyov cinematographer credits: 2011 Generation P, 2008 Admiral, 2004/I G. Yelkin Yes, 2002 Letniy dozhd, 2002 Where Eskimos Live, 2000 24 Hours, Ye. Kryzhanovsky 2000 Eisenstein, 2000/I “Cinderella”, 1998 Talk of Angels, 1997 N. Lisichenok Passion in the Desert, 1995-1996 “Red Shoe Diaries”, 1995 Viktor Manaev Musulmanin, 1993 Ya khotela uvidet angelov, 1992 Orlando, 1989 Takhir Matyullin Zhena kerosinshchika, 1987 Shura i Prosvirnyak, 1986 My vesely, Pyotr Merkurev schastlivy, talantlivy!, 1985 Come and See (as A. Rodionov), 1985 Valentin Mishatkin “Vstrecha pered razlukoy”, 1985 “Protivostoyanie”, 1983 Sredi G. Matytsky serykh kamney, 1983 Proshchanie,, and 1970 Moya sudba. Yevgeniya Polyakova Anatoli Slivnikov Georgi Strokov ALEKSEY KRAVCHENKO… Florya Gaishun (Aleksei Yevgenyevich -
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. -
Come and See: Elem Klimov's Intimate Epic
Come and See: Elem Klimov’s Intimate Epic During my recently concluded sabbatical leave, I decided to prepare for my return to teaching and research after more than four years as a full-time administrator by watching 20 movies a month for a calendar year. Of the 240 films I viewed with varying degrees of attentiveness, none proved more compelling than Elem Klimov’s Come and See (1985), a harrowing depiction of the German invasion of Byelorussia in what the Soviets called The Great Patriotic War, known to Americans as World War Two. I cannot recall what prompted me to order this film from Netflix, but I do know that I had not read anything about it and was quite unprepared for its stunning effect, even when viewed on a small screen. In light of its impact, I was surprised to discover at the outset of my research how little had been written about the film, although I have subsequently discovered that Come and See is held in the highest regard by historians and scholars of Russian cinema. This paper represents a first attempt to assess the aesthetic dimensions of Klimov’s masterpiece. Most articles to date have concentrated on the film’s anti-war ideology and its significance as an historical marker of a particular moment in Soviet history: near the end of the period of Brezhnev’s “stagnation” (zastoi) and on the cusp of glasnost. My own critical approach to Come and See is more formalist. I am drawn to Klimov’s deployment of an array of cinematic techniques—most prominently close-ups, moving camera, and sound track—to memorialize both the sufferings of the individual survivor, a village boy of about 14 who joins the partisans, and the anonymous tens of thousands of victims of Nazi atrocities as the army burned its way through rural Byelorussia. -
History of Ukrainian Statehood: ХХ- the Beginning of the ХХІ Century
NATIONAL UNIVERSITY OF LIFE AND ENVIRONMENTAL SCIENCE OF UKRAINE FACULTY OF THE HUMANITIES AND PEDAGOGY Department of History and Political Sciences N. KRAVCHENKO History of Ukrainian Statehood: ХХ- the beginning of the ХХІ century Textbook for students of English-speaking groups Kyiv 2017 UDК 93/94 (477) BBК: 63.3 (4 Укр) К 77 Recommended for publication by the Academic Council of the National University of Life and Environmental Science of Ukraine (Protocol № 3, on October 25, 2017). Reviewers: Kostylyeva Svitlana Oleksandrivna, Doctor of Historical Sciences, Professor, Head of the Department of History of the National Technical University of Ukraine «Kyiv Polytechnic Institute»; Vyhovskyi Mykola Yuriiovych, Doctor of Historical Sciences, Professor of the Faculty of Historical Education of the National Pedagogical Drahomanov University Вilan Serhii Oleksiiovych, Doctor of Historical Sciences, Professor, Head of the Department of History and Political Sciences of the National University of Life and Environmental Science of Ukraine. Аristova Natalia Oleksandrivna, Doctor of Pedagogic Sciences, Associate Professor, Head of the Department of English Philology of the National University of Life and Environmental Science of Ukraine. Author: PhD, Associate Professor Nataliia Borysivna Kravchenko К 77 Kravchenko N. B. History of Ukrainian Statehood: ХХ - the beginning of the ХХІ century. Textbook for students of English-speaking groups. / Kravchenko N. B. – Куiv: Еditing and Publishing Division NUBiP of Ukraine, 2017. – 412 р. ISBN 978-617-7396-79-5 The textbook-reference covers the historical development of Ukraine Statehood in the ХХ- at the beginning of the ХХІ century. The composition contains materials for lectures, seminars and self-study. It has general provisions, scientific and reference materials - personalities, chronology, terminology, documents and manual - set of tests, projects and recommended literature. -
Print ED368613.TIF
DOCUMENT RESUME ED 368 613 SO 023 661 TITLE Resource Guide to Teaching Aids in Russian and East European Studies. Revised. INSTITUTION Indiana Univ., Bloomington. Russian and East European Inst. SPONS AGENCY Department of Education, Washington, DC. PUB DATE Aug 93 NOTE 66p. AVAILABLE FROMRussian and East European Institute, Indiana Univ., Ballantine Hall 565, Bloomington, IN 47405. PUB TYPE Reference Materials Bibliographies (131) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS Area Studies; Educational Media; Elementary Secondary Education; *European History; Foreign Countries; Global Approach; Higher Education; History Instruction; International Education; Multicultural Education; *World History IDENTIFIERS *Eastern European Studies; Europe (East); Global Education; Poland; Russia; *Russian Studies; USSR (Russia) ABSTRACT This document contains an annotated listing of instructional aids for Russian and East European studies that are available for loan or rent from Indiana University (Bloomington). The materials are divided into nine sections:(1) slide programs; (2) filmstrips available from the Indiana University (IU) Russian and East European Institute;(3) audio cassettes;(4) books, teaching aids, and video kits;(5) films and videotapes available through the IU Russian and East European Institute;(6) a Russian and East European Institute (REEI) order form for obtaining materials from the REEI; (7)film-, and videotapes from the IU Audio-Visual Center;(8) an IU order form for obtaining films from the IU Audio-Visual Center; and (9) films, videotapes, and slides that are available from the IU Polish Studies Center. The first section on slide programs includes 5 on Eastern Europe and 9 on Russia and the Soviet successor states. The second grouping, filmstrips from IU REEI, lists 9 sound filmstrips and an additional section of Russian captioned filmstrips produced in the Soviet Union. -
The Russian Cinematic Culture
Russian Culture Center for Democratic Culture 2012 The Russian Cinematic Culture Oksana Bulgakova Follow this and additional works at: https://digitalscholarship.unlv.edu/russian_culture Part of the Film and Media Studies Commons, Other Languages, Societies, and Cultures Commons, and the Slavic Languages and Societies Commons Repository Citation Bulgakova, O. (2012). The Russian Cinematic Culture. In Dmitri N. Shalin, 1-37. Available at: https://digitalscholarship.unlv.edu/russian_culture/22 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Article in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Article has been accepted for inclusion in Russian Culture by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. The Russian Cinematic Culture Oksana Bulgakova The cinema has always been subject to keen scrutiny by Russia's rulers. As early as the beginning of this century Russia's last czar, Nikolai Romanov, attempted to nationalize this new and, in his view, threatening medium: "I have always insisted that these cinema-booths are dangerous institutions. Any number of bandits could commit God knows what crimes there, yet they say the people go in droves to watch all kinds of rubbish; I don't know what to do about these places." [1] The plan for a government monopoly over cinema, which would ensure control of production and consumption and thereby protect the Russian people from moral ruin, was passed along to the Duma not long before the February revolution of 1917. -
You Are Not Alone, Stalingrad: Reflections on the 75Th Anniversary VICTORIA DE GRAZIA
You Are Not Alone, Stalingrad: Reflections on the 75th Anniversary VICTORIA DE GRAZIA for Arno J. Mayer Stalingrad: The City That Defeated the Third Reich, by Jochen Hellbeck, translated by Christopher Tauchen and Dominic Bonfiglio, Public Affairs. T he first time I heard a tribute to Stalingrad in my American homeland was at the family Thanksgiving in 1991. Our guest, a young Soviet statistician, had just been seated when my father unexpected ly raised his glass to “thank all the brave Soviet soldiers.” “If not for them,” he said, “maybe I, or one of my brothers, would have been killed or wounded.” The sight of Sergei in suburban New Jersey, arriving at the front door in his beaver ushanka and gray wool greatcoat looking battle frayed like many Soviet citizens in those times, had apparently jogged some memory. It was back to Thanksgiving 1942 when my father, along with thousands of other young Americans about to deploy abroad, was anx iously following the great battle going on in Stalin’s namesake city at the river bend on the lower Volga. At the time, the United States and Great Britain were still dickering about when to launch the famous second front to relieve the Red Army as it faced the Wehrmacht’s seemingly unstoppable eastward surge. Meanwhile, the Soviet people bore the full brunt of Hitler’s war. What a relief, then, when on 23 November the headlines trumpeted that the Red Army, after break ing the siege, had encircled Germany’s Sixth Army in an invincible vise. The fighting would last ten more weeks before the last of the German forces surrendered on 2 February 1943.