This paper delves into the production of fashion design during the Late Socialism period in USSR. The paper addresses conditions defining the job of designers in Clothing Design House of the Ural city Perm between 1961 and the end of the 1980s. These conditions include relations of power between designers, vestment factories and retailers, accumulation and usage of the specific fashion capital, and designers’ professional identity. The paper contributes to the existing body of research on Soviet fashion in two ways. First, it introduces the theme of regional clothing design house in the system of Soviet fashion disregarded by the previous researchers. This theme deserves attention because regional clothing design houses played an important role in the mass production of clothes in Soviet regions and in the development of Soviet fashion in general. Second, the paper explores regional Soviet fashion production using two established sociological approach to fashion production: theory of the field of production by P. Bourdieu and the phenomenology of fashion by P. Aspers. As far as we know the current paper is the first case of the implication of these theories for the exploration of Soviet fashion production. As a result, I conclude there is a lot in common between Western and Soviet structures of the field of fashion production, accumulation and usage of a specific professional capital. Soviet designers’ professional identity was shaped by discrepancies between professional norms and the hegemony of Soviet ideology. The rationales for the conclusion are discussed in the paper.
The paper is focused on the study of reaction of italian literature critics on the publication of the Boris Pasternak's novel "Doctor Jivago". The analysys of the book ""Doctor Jivago", Pasternak, 1958, Italy" (published in Russian language in "Reka vremen", 2012, in Moscow) is given. The papers of italian writers, critics and historians of literature, who reacted immediately upon the publication of the novel (A. Moravia, I. Calvino, F.Fortini, C. Cassola, C. Salinari ecc.) are studied and analised.
In the article the patterns of the realization of emotional utterances in dialogic and monologic speech are described. The author pays special attention to the characteristic features of the speech of a speaker feeling psychic tension and to the compositional-pragmatic peculiarities of dialogic and monologic text.