Мир Высоцкого: исследования и материалы
The book is the collection of documentary and memoir materials, dedicated to the 40th anniversary of the "Hamlet", the performance of the Taganka Theater .
Among people who had discussed the model of D.L. Borovsky to the play "Hamlet" (director Yu.P. Lyubimov) were theatrical scientists G. Boyadzhiev and V. Silyunas, theatrical critic N. Krymova, playwright A. Arbuzov and others.
A detailed transcript of the discussion of the performance of Yu.P. Lyubimov in the official state institution shows one of the stages of passing the theatrical performance through the Soviet censorship. The discussion is attended by: B. Pokarzhevsky, M. Miringof, and others (from the Mossovet); director of the theatre Yu. P. Lyubimov, historian of literature A. Anikst, philosopher V. Nazarov (from the theater).
The article consifders the transportation priorities of Viktor Shklovsky demonstrated in his memoir book "Sentimental Journey" and justifies a hypothesis that the protagonist's usage of different means of transport correlates with the structure of the text, i. e. works as a trigger of narration.
This article explores the idea of the middle class on the memories of Francois Guizot. The idea is presented as a result of research and political activities of French thinker. Much attention is paid to the historical and intellectual context, as well as to the genetic connection of this idea with the preceding and subsequent traditions of its development.
The collective memory as the system of notions of a society about its history is of great interest to researchers. M. Halbwachs, P. Nora, J&A. Assmann and others emphasize that group consciousness not only plays an important role in self-identification of group members, but also strongly influences an individuals’ understanding of the past, even makes direct witnesses of the events reevaluate and adjust their memories as time passes.
The Korean War (1950-1953), which fixed the separation of the peninsula into two parts, is one of the most important pages of contemporary Korean history. Now when the reunification of the country is often discussed, it would be interesting to analyze literary texts (including fiction and memoirs as well) by South Korean and North Korean authors aiming 1) to disclose and compare the structure, the essence and sore points of the collective memory of South and North Koreans about the War, 2) to figure out the correlation between collective and individual memory about what happened.
Adversaries in a war surely offer conflicting explanations for the developments, but in case of a civil war or a war between parts of the same country, the forming of an unfavorable image of the adversary inevitably goes along with rewriting of the common history and changing of the society consciousness.
It is worth noting that in North Korean texts the war is presented as something well-organized, as a chain of planned and thought-out military operations against the enemy clearly identified, whereas South Koreans are not very enthusiastic about blaming the adversary or praising their army, they present the war as a chaos, pay more attention to the evil nature of war as well as to physical and moral traumas caused by it. It gives us a reason to consider that in case of hypothetical reunification South Korean discourse could stay quite viable in spite of some lack of the logic, which, in terms of psychology, can be explained by suppression of the most unwanted information.
Memoirs from meetings with Bernhard Töpfer and Peter Moraw.
The significance of memoir complex associated with the large Russian historians of the XX century, as an important historical source.
On the occasion of Doha being a cultural capital of the Middle East in 2010 and Istanbul being a cultural capital of Europe, Doha Orientalist museum is holding a symbolic exhibition “A Journey into the World of the Ottomans”, accompanied by a catalogue. Major part of the illustrated exhibition artworks are to come from the Orientalist museum own collection, the Rijksmuseum, as well as other major collections. The exhibition will bring together artists from the sixteenth century onwards, including Bernardino Campi, Jacopo Ligozzi, Nicolas Rycks, Jean-Baptiste Vanmour, Jean-Étienne Liotard, Antoine Ignace Melling, Francesco Hayez, John Frederick Lewis, Walter Gould, Alberto Pasini, Germain Fabius Brest, Oskar Kokoschka, Nikolai Kalmikoff, Vanessa Hodgkinson and Bas Princen. The artworks selected are to illustrate the history of the orientalism development from the sixteenth to twenty first century, which throughout the years shaped the image of the Ottoman world in Europe, covering different genres of orientalist art. - See more at: http://www.skira.net/a-journey-into-the-world-of-the-ottomans.html?___store=en&___from_store=default#sthash.V8N9Mye4.dpuf
In the cultural sphere, the period between the October Revolution and the initiation of the first five‑year plan was marked by a series of heated public debates about the function of visual art and media in the new socialist society. Prominent theorists, including the Commissar of Enlightenment, Anatolii Lunacharskii, and writers associated with the journal Lef, such as Boris Arvatov and Sergei Tret´iakov, participated in these debates, as did modernist artists and realist painters. Photography was a central theme, and by 1925 the question of how the advances in photographic and other forms of mechanical reproduction were changing the nature of the visual had emerged as the debates’ most pressing problem. While all of the debates’ contending factions recognized the significance of photography, they also agreed that the material components of painting—particularly color and surface texture—remained essential to the development of comradely socialist relations. This article brings to light for the first time the aspects of early Soviet thought on aesthetics and communication that led to the firm establishment of painting as a visual medium essential to socialism. It demonstrates in particular that the materiality of painting and its traces were linked to the activation and transmission of the sensations of the body, which were considered necessary for the formation of socialist connections.
The paper examines a rare explored phenomenon of Soviet cover design –a number of official releases produced by the only recording concern Melodija on the one hand, and so-called “tape-albums” became widespread among underground people in the late Soviet Union, on another.