Growing out of the history of social, psychological, and moral-philosophical delineations of class in former USSR, the tension between two aesthetic/ethical stances was brought to a particularly stark relief, and given a new interpretation, in a recent contestation of public space in a mid-size industrial Russian city. The article explores how the intellectualist and especially the dystopic mode of engagement with the world is juxtaposed with the “sensory utopia” sensibility that asserts not only the givenness but the goodness and the necessity of sensory and emotional embeddedness in one’s physical and social reality, as well as the obligation to strive for and to defend the right to uncomplicated pleasures. Instead of condemning the latter as reactionist recourse to “simpler pasts” growing out of traumas of postsocialism, I suggest exploring it as a phenomenon in its own right, a cultural resource, and an optimistic ground for the development of new urban, civic, and secular identities and collectivities.
Article is devoted to the problems of representation of World War II in one of the most popular media in USSR called “Soviet photo”. This article describes the stages ofevolution of historical policy in relation to World War II, as well a number of popular images published in the magazine will be explored and described. The second part of the article is an attempt to identify new (still unexplored) forms and methods of representation of the Second World War in the Soviet media of the 2nd half of XX century.