Порношик: между культом и забвением
In his article Alexander Pavlov investigates a phenomenon of the porno-industry called ‘porno chic’, emphasizing American cinema of the 1970s. His hypothesis is that porno chic is an attempt to present pornography as high art, and analyzes crucial fi lms of this movement, pointing out changes that occurred to the notion in time, and, by pointing out its weaknesses he shows why this genre didn’t take a signifi cant place among other phenomena of high and mass culture.
This book, on the one hand, is not philosophical, on the other - exclusively philosophical. It can be viewed as a research work, but within a certain conceptual framework. The author tried to understand Tarantino's universe as the director understands it, and turned to the genre originality of Tarantino films to prove its uniqueness. The author divided Tarantino's work into three periods, each of which is devoted to a separate part of the book: the first period - conditionally criminal cinema, Pulp Fiction; the second period - the incursion of the director into the territory of the grindhouse; the third is the approval of the director on the territory of the grindhouse. The penultimate period of Tarantino's work was marked by a "historical turn" due to the director's desire to remove the nazisploitation and undermine the conventions of the spaghetti-western. With "Once Upon a Time... in Hollywood" a new stage in the director's career begins. This film is given special attention in the text. In addition the book details how each Tarantino film was received in the media.
The theoretical framework of the article is “documentary modernism” which as a literary phenomenon appeared in the English prose of the 1930s and as a notion is being conceptualized in contemporary criticism. This concept serves as a pivotal point of investigation of a novel by Henry Green, a late modernist who remains virtually unknown for the Russian scholars of literature. Written in the context of increasing interest in journalism, “Caught” is analyzed in the process of its narrative transgression of memoir and autobiography forms as well as the loss of determinacy between its narrative subjects. This may be an evidence of the postmodernist trend gradually emerging in the English novel. «Caught»’s transgression of documentalism is investigated from the outside (Green’s own autobiography, influence of Proust’s memoirs) as well as from the inside of fictitious reality (relations between the author, the narrator, the character and the reader).
Introduction to new Russian book on the theory of reproduction
The article discusses the revolution in political science, produced by economists - the creators of the theory of public choice. Before the advent of this theory the concept of benevolent state, pursuing a public interest, totally dominated. Economists (J. Buchanan and G. Tullock, and others) began to treat the activities of politicians and bureaucrats as an ordinary economic agents maximizing their own utility. As a result, it made possible an alternative view of the state: it turned into a resultant vector of divergent private and collective interests. In the recent years, public choice theory was divided into two areas: the "political economics" of mainstream neoclassical economics and Virginia school. This article discusses the similarities and differences of the latter with the Austrian school of economics. It is argued that the preservation of non-orthodox content of Virginia school is possible only in the case of its alliance with the Austrian school of economics as a leading intellectual force confrontation economic mainstream.
The article dwells on the problem of an indefinite legal status of television parody in the Russian Federation. This has been viewed in terms of stipulations in paragraph 3, article 1274 in Civil Code of the Russian Federation, allowing free use of products made in the genre of parody. The author attempts to formulate the criteria for attribution of various materials to the genre of parody. These criteria have not been thoroughly studied in scientific literature yet, despite the growth of number and popularity of television programs referring to this genre on modern TV.
The paper is dedicated to the characteristic features of Oguz Atay's narrative strategies. Combining modern and postmodern approaches, the writerskillfully balances between mystification and parody. The basic concepts in history and culture of the ancient Turks make the subject of deconstruction.