Ишим. Карта культурного наследия
The paper aims to discuss the multifaceted links between the marine environment of the Gulf of Finland and the representations of the large complex of cultural heritage related to the city of St. Petersburg. The paper is based on a spatial imaginary of Greater St. Petersburg as the cultural and technological unity of the city and adjacent waterscapes in the times of the Russian Empire. This concept is instrumental to see the historical links between the parts of the heritage complex that has by now disintegrated and has been separated by state borders.
The volume incklude the results of studying different sources of written, artistic and material heritage of 6-20th cc.
The article contains analysis of the problems of historical and cultural heritage protection. The execution of powers for the protection of historical and cultural heritage of the Executive authorities of the Russian Federation and of the Subjects of Russia are considered.
The IV International Scientific Conference, “Communication Trends in the Post-literacy Era: Multilingualism, Multimodality, Multiculturalism” was held at the Ural Institute of Humanities of UrFU on November 8–9, 2019. The conference was organized by the research group “Multilingualism in the Post-literacy Era,” the Confucius Institute in UrFU, the Cambridge Center in UrFU, and the Ural State Pedagogical University. The conference brought together scientists from different countries, such as Czech Republic, Poland, Slovakia, Kazakhstan, China, and Russia, to discuss the problems relating to communication in different languages, texts, and media of different generations in a super-diverse culture.
The paper discusses two ‘again’-markers (refactives) of Abaza, a polysynthetic North-West Caucasian language. The main property of the first ‘again’-marker (suffix -χ) is that it acquires various meanings depending on the semantics of the verb it combines with. Specifically, the most frequent meanings of suffix -χ are reditive (‘return to the starting point’), completive (‘finishʼ), responsive (‘response to a similar action’), and restitutive (repetition of an earlier state). The most widespread subtype of the ‘again’-meaning — the repetitive (‘do one more time’) — can apply to almost all verbs regardless of their semantics. In addition, there are some frequent uses of the suffix -χ in combination with other elements whose semantic links to the refactive proper are not immediately clear. The only meaning of the second ‘again’-marker (combination ata-+-χ) is repetitive but at the same time it can also preserve one of the subtypes of the ‘again’-marker -χ within the scope of the repetitive meaning. In this paper, I argue that the difference in behavior of ‘again’-markers in Abaza is explained by the different semantic scope of the affixes. While the marker -χ “sees” the internal structure of an event and can have scope over any part of it, the marker ata-+-χ is “blind” to the internal structure of the situation and can only “copy” the whole event with its arguments. Typologically, suffixes -χ and ata-+-χ in Abaza appear to represent examples of ‘heavy’ again-markers and ‘light’ again-markers respectively: light again-markers frequently occur in texts and form specific lexical collocations with certain verbs, while the meaning of heavy again-markers usually does not depend on particular verbs.
During the Cold War, official Soviet institutions organized tens of exhibitions of an American figurative artist Rockwell Kent. These exhibitions, undertaken bypassing the official United States, demonstrate that promotion of Kent in the USSR was an exclusively Soviet enterprise. Examining the role of Soviet institutions in Kent’s success, the article sheds new light on the Soviet approach to the representation of American visual art during the Cold War.
Basing on unique findings from American and Russian archives, the article provides a comprehensive analysis of political and aesthetical factors, which predetermined Kent’s incredible popularity in the Soviet Union. Contextualizing the Soviet representation of Kent within relevant Cold War contexts, the article argues that Kent occupied a specific symbolic position in Soviet culture, as Soviet propaganda re-conceptualized the artist’s biography and established the Myth of Rockwell Kent. This myth served for legitimization of Soviet ideology and for anti-American propaganda.
In this article, secrecy – the practice, infrastructure, and ideology of responsibly concealing
information – is described using the empirical example of nuclear laboratories subordinated to the
Soviet atomic agency. The author pays special attention to organizational infrastructures of secrecy
and material deformations of secret research. On the basis of published documents, nuclear
memoirs, in-depth interviews from the collection of the Obninsk project and a unique declassified
archive, the author demonstrates how between the mid-1940s and the beginning of the 1970s the
concern for hiding nuclear knowledge and technology was both embedded in research practices and
deformed them. The laboratory is considered as the main unit of research activity in the Soviet
atomic project; the early stage of the implementation of large-scale nuclear programs associated
with the concentration of scientific forces, resources, secrecy, and development of a specific style of
Big Soviet science is identified as a “lab age”. Secrecy in its becoming emergence and its archive are
described via the case of Moscow–Obninsk radiochemists. Secret laboratory life is curated depictedin
the text as an assemblage of secret matter, spaces of regime economy, espionage bodies and
additional inscription devices in action. The laboratory routines, the author suggests, changed the
methods of producing scientific facts, transmuted physicists into secret physicists, and helped shape
the patterns of the Soviet culture of secrecy.