The research targets the issue of Russian imperial representative space of the Moscow Kremlin (Grand Kremlin Palace, Faceted Chamber, Armory, etc.) functionality during Brezhnev’s period. The primary sources are archival documentary films depicting diplomats and various and foreign representatives’ visits to the Moscow Kremlin in 1950s – 1970s. The author makes a comparative evaluation of the data and demonstrates how throughout the second part of the 20th century there occurred a shift from practical usage of the palace halls towards the restoration of their original function — symbolic representation of supreme power.
This article is dedicated to an analysis of the transmission of memories of the pre-revolutionary past among the Soviet musical and artistic elite in the second half of the 1930s. Some of the memoirs and autobiographical writings from that period were initially created only for handwritten circulation or to be read aloud to friends and guests at home. In this case, the microsocial environment in which these memoirs were to function had a large influence on the thematic repertoire, hierarchy of values, and type of subjects written about and depicted, as did family memoir traditions and family archives. The author uses the concept of the episteme of memory, introduced by psychologist Jens Brockmeier, as the analytical framework for discussing this set of issues. The memoirs of the opera singer Maria Dulova, written from 1934—1935, serve as the case study.
Using frameworks derived from discourse analysis Natalia Zvereva analyses texts from Russian newspapers. She describes two discourses about immigrants: xenophobic discourse and neoliberal discourse. She examines two different models of discursive construction of «migrant» and immigration in the Russian press 2010-2012.
The article addresses the social dimension of Leo Tolstoy’s thanatological prose based on the “Master and Man” short story material. The research is focused on the relationship between narrative form of the text, its social thrust, and experience conveyed by the poetic act, which are intrinsic to the “journey-discovery” concept.
The article examines the genesis of Konst. Vaginov’s last novel, "Harpagoniana” (1933— 1934). Fragments of the text making up his preparatory materials acquire the status of a meta-statement of the author about his own work. The demand to add everyday social details is understood by Vaginov not so much as simply going with the times, but as an actual artistic task. He creates not narrative but speech situations for his heroes — minimal conditions for the translation of someone else’s “live” speech — channeling quotes from his notebook "Seeds" through their mouths.
An article about children's Soviet poetry of the 1920s - 1930s
Based on Genrikh Sapgir’s poetry, including some previously unpublished texts, the article studies different forms of destruction of the word structure, from the “half-worded poetry” and “blank” texts to the replacement of absent or destructed text with “word equivalents”. We can sum up that Sapgir’s poetry falls somewhere in between the new- and the post-avant-garde of the second half of the 20-th century. Since he has always worked on the potential of the “poetry of emptiness”, he takes equal distance from the avant-garde purpose to reach the “zero art” through its systematic destruction, and from the conceptualism’s aesthetics with its “empty canon”.