The article is devoted to the problem of constructing image of the past in screenplays of 1920–1930s by writer and literary critic Viktor Shklovsky. Author shows that Shklovsky did not have one concept of history and gradually shifted from avant guard experiments with classic to integration in limits of socialist realism. Immutable methods of work with historical material common to all screenplays by Shklovsky are also examined.
The review analyses the last book by Agostino Paravicini Bagliani, the Bestiario del papa, published in italian. It is an innovative research on one important aspect of symbolic history of the Papacy, the bestiary: the author shows how the Curia used the symbolic potential of real and fantastic animals from Antiquity up to early Modern Times. This new book by the eminent scholar is here being analysed in connection with his previous studies, especially with the Body of the Pope, first published in 1994.
The article proposes an intertextual reading of three novels based on a motif of passing through the wall: «La disparition d'Honore Subrac» (1910) by Guillaume Apollinaire, «A gymnast» (1929) by Youri Vladimirov and «Le passe-muraille» (1943) by Marcel Ayme. Each of these texts is analyzed through a prism of two other texts; together, they form a complex structure where the notion of influence seems to be inappropriate. Some texts of Daniil Kharms, typologically close to the novel of Vladimirov, permit to enlarge this intertextual perspective.
The early history of Russian universities is of great demand in contemporary historiography. In the last years it has been covered in numerous articles and monographs. A series of these publica- tions deal with the first decades of the most important of them, The Moscow State University. They shed light on previously hardly known aspects of its functioning, provide reference materials, trace biographies of its professors and administrators, and present collections of historical documents. Generalization and systematization of the vast body of materials in these publications allow not only to reconstruct the more detailed picture of the University’s history, but also to put new questions. In particular the question about “structures of contemporaneity” in which its professors lived. These structures are mapped in this paper in the course of reconstruction of a conflict between professor Philipp Heinrich Dilthey (1723–1781) and the University administration. The main questions are addressed to hierarchy of power relations in the University: What was the place of professors in this hierarchy? What rights and obligations they possessed? What were the reasons of their conflicts with University officials? How these conflicts developed and ended? How the powers between profes- sorial Conference, Director and Curator were allocated? And finally, in what way the interaction between the University and supreme state authorities was carried out?
Article is devoted to academic and political career of Ukrainian historian Mikhail Hrushevsky in 1910-1920 years. Since the First World War comes a break in his previous academic career, although he participated in establishment and activity of the Ukrainian National University in Kiev. This school was an alternative to 'old' mperial University, the majority of teachers who adhered to conservative ideological principles
In this article Saltykov problematizes the pragmatics and reputation of "snuff films", which depict violence toward a victim who will allegedly die a real, not cinematic death at the end of the film. Urban legends offer various rumors about films made "on special order" that record people being maltreated in real time. Saltykov discusses the genesis of these notions and the mythology of snuff film overall. He also suggests a short historical survey of the subgenre's development as it is understood by viewers (primarily those who have not seen the films, but who think of theme as representing a possible extreme). The basic hypothesis of the article lies in an explanation of the specifics of the snuff genre through the figure of the client, who in hyperbolized fashion brings about the logic of late-capitalist market relations: the product can be anything, including the human body and human life.