Russian Japanology Review
The Russian Japanology Review is semiannual edition. This edition is published under the auspice of Association of Japanologists in cooperation with Institute of Oriental Studies of Russian Academy of Sciences (RAS). The purpose of this project is broader international promotion of the results of Japanese Studies in Russia and the introduction of the academic activities of Russian Japanologists. It rubricates articles in two large sections – contemporary Japan (politics, economics, society) and traditional Japan (history, literature, and culture).
This article discusses mainly the works of Japanese manga authors of the 1970s – Takemiya Keiko and Hagio Moto, who created the manga genre shōnen-ai (boys’ love). This manga genre, intended for female audiences and developed in Japan, had been considerably influenced by European art, especially by French literature and cinema. Such films as “This Special Friendship” (1964) or works of Jean Cocteau and other French writers formed a special aesthetics of manga about beautiful boys who love each other.
The article describes formation and realization of the Japanese state scientific policy as the national program of development of the Japanese society. This process is considered throughout 30 years - 1970 to 2000, with a periodization of stages - decades. The analysis of the given experience has concrete practical value for our country which at all levels of the power has proclaimed the direction on development of a scientific and information society. This process is of main value from the point of view of planning, strategy, and also practice and technologies of realization.
This book is a coherent and unique collection of chapters exploring the reception and diffusion of David Ricardo’s writings in different languages. It highlights the similarities and differences between them and seeks to delineate the diffusion of Ricardo’s theory in various parts of Europe and Japan. While there may have been case studies about the reception of Ricardo’s thoughts for several countries, there has not yet been a systematic study of the diffusion process under consideration as a whole. This book caters to all scholars dedicated to the history of economic thought and to students who are interested in learning about the peculiarities of the evolution of economic theories in different countries. This book is the first of its kind, with no known predecessor, and it aims to shed light on how and why some of Ricardo’s writings were picked up and why others were not.
For the first time since World War II, the U.S. seem to lose leadership at the multilateral trade talks shifting accents to bilateral and regional trade cooperation. The main reason for the shift is a deadlock at the WTO Doha-round negotiations where the U.S. face opposition of the steadily growing economies of India, China and Brazil.
Торговые переговоры, ГАТТ, ВТО, США, многосторонняя торговая система, ЕС, Япония, ИНДИЯ, КИТАЙ, Бразилия, Дж. Буш-мл., Б. Обама, М. Баррозу, Р. Зеллик, П. Лами, Р. Кирк, Л. да Силва, Карел де Гюхт, АТЭС, НАФТА, АСЕАН, трансатлантическое партнерство, "двадцатка", trade talks, GATT, WTO, U.S., Multilateral Trading System, Eu, Japan, India, China, Brazil, G.-W. Bush, B. Obama, M. Barrozo, R. Zoellick, P. Lamy, R. Kirk, L. da Silva, Karel de Gucht, APEC, NAFTA, ASEAN, Transatlantic Partnership, G 20
The works of the 5th vonference of youn japanologists (Moscow, 2013). The articles are dedicated to the variety of themes on Japan: history, economics, intellectual history, international relations.
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.