Немая и свободная. Эмансипация в раннем кино
Pre-Revolutionary Russian cinema has traditionally been divided into two periods: pre-1914 and after. The first period has been perceived as one of inception and learning, while the second as an era of maturity and genuine establishment of early Russian cinema. World War I, which abruptly restricted the import of foreign films into Russia, has usually been treated as a positive factor in the history of Russian cinema and the most important reason for its blossoming in 1914–18. Yet it may also be argued that the war created turmoil in the Russian film industry. The new, forced production rates negatively impacted on the quality of films and did not help the natural development of a national cinema tradition. Masterpieces made during the war were evidently created not because of, but despite the war. The influence of World War I on Russian cinema thus must be considered sharply negative.
This article is dedicated to the first Russian film journal, Sine-Fono, which was published from 1907 to 1918. Sine-Fono was a leading periodical for more than ten years and it played a crucial role in the pre-Revolutionary cinematic process. The journal Sine-Fono is interesting not only as a key fact of the history of early Russian cinema, but also as an extremely important source for its study: since the overwhelming majority of pre-Revolutionary Russian films have not been preserved, historians must judge this period in Russian film history primarily by means of the film press. The article also describes the fate, both before and after the Revolution, of the founder and constant editor of the journal, Samuil Lur’e.
This paper deals with the concept of «subject» at stake in Jacques Rancière’s political philosophy and with a very ambiguous interaction between the philosophical tradition and the contemporary context that its employment establishes. Not only it investigates the reasons for which the French philosopher still uses this term despite its most severe critique, but it also brings into a question the charge of philosophical elitism that the notion of the «subject» might be bearing of.
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.