This training manual is addressed to law students, learning English for professional purposes.
The book consists of two parts:
Part 1 – Legal Listening
The main aim of the materials of the 1st part is teaching students listening to texts on legal topics in English. The materials are supplied with the recording of texts to practice in-class listening (on CD), they also contain communicative tasks and key answers as well as scripts. The texts cover the following themes: The Practice of Law, Company Law, Contract Law and Employment Law.
Part 2 - Legal Reading is directed to teaching students different kinds of reading based on authentic legal texts.
The texts of all the sections cover the following topics: Company Law, Contract Law, Family Law.
Both parts of the manual envisage exercises for both inclass and out-of- class work, including the use of the Internet.
The book includes Progress tests with answers.
The visual art of the last decades privileges, explicitly or implicitly, social rather than art historical or aesthetic issues. In sites ranging from university classrooms and journals to museums and biennials, the emphasis is usually put on how effectively art handles the social issues of the day while questions of aesthetic value are often treated as suspicious and ideological. Given this anti-art character in these contexts of mediation, the insistence to perceive the objects as artistic objects constitutes a paradox that has been rarely discussed in sociological terms. This article draws on ethnographic research in order to explore “biennial art” that is to say the art that displayed in contemporary art and international platforms of showcasing. These platforms struggle to maintain a concept of art as social practice while at the same time nurture an exclusive and highbrow environment in which “artfulness” is key. I call this quality artfulness so as to both underline its artificiality as well as the inventiveness and skills required for its production. Artfulness in these sites is enabled through various formal or informal rituals of valorization, including guided tours, curatorial statements, media promoting activities and artist talks. These rituals, positioning certain objects within the sphere of art and producing them as objects meriting aesthetic interpretation, resemble the politics of publicity found in aesthetic capitalism at large.
These excerpts from critical reviews covering French dance tours in Vienna, Salzburg, and Innsbruck reflect the scale and variety of French cultural engagement and its growing public visibility in Austria. Out of the four Allied powers, it was France, and not the Soviet Union with its “ballet capital,” that made most use of dance and ballet for nation-brandingpurposes, both in sabots and on pointe. France's dance diplomacy exported all genres of dance to Austria in order to portray the politically and militarily weakened nation as a rayonnant cultural leader of Europe, whose diversity, supremacy, and grandeur were not undone by 1871 and 1940.
This article examines the industrial wastes and environmental effects of Soviet technological development through the history of the Karelian Isthmus, a border territory that had previously been Finnish. Focusing primarily on the history of two large enterprises – the Svetogorskii (former Enso) and Sovetskii (former Johannes) pulp and paper making plants, the authors illustrate the polluting nature of the Soviet economy in the 1940s-1980s. We contend that from the very beginning, important as they were for the USSR, the enterprises of the Isthmus were built into a system of shortages of techniques and materials that contributed to the hectic fulfillment of the plan. Producing pulp and pulp-based products remained a priority during the whole Soviet period. On the level of industrial enterprises, the Soviet system revealed itself as incapable of solving the problem of pollution and wasting. After waste treatment facilities developed by Soviet engineers in the 1960s turned out to be inadequate for dealing with increasing pollution, the Soviet authorities called on Finnish companies to carry out substantial modernization of a few enterprises on the Isthmus. This helped the modernized plants remain functioning in the age of economic crisis at the end of the Soviet epoch. Old problems, however, such as shortages and lack of expertise, remained pivotal, while new sources of pollution, such as carbon emissions, appeared. As a result, the level of contamination was still high and led to negative environmental impacts.
This article combines Media Studies' and Fan Studies' approaches to such phenomenon as global manga spread, highlighing the role of participatory cultures and fan communities in the distribution, translation and interpretation of manga in Russia. The first part of the article is dedicated to participatory cultures as a concept and cultural reality in Russia, to differences between such notions as "otaku" (manga and anime fans), fan practices, fan cultures and participatory cultures. The article stresses the productive transformative potential of participatory cultures as cultural agents, their ability to cross national and cultural borders on their own terms and to influence the development of global phenomena within local contexts, even when national cultural industries, including the mass market, are not capable for some reasons to fulfil this task properly. The second part of the article is dedicated to the international reception of a controversial manga and anime title "Made in Abyss". This case demonstrates the ability of participatory cultures to become a space for open discussions of problematic questions, for production of knowledge and thinking about Japan as well as about local cultures.
This study examined perfectionism as a multidimensional personality factor which influences foreign language learning and classroom anxiety. Hierarchical regression analyses confirmed that the two dimensions of perfectionism, adaptive and maladaptive, relate to Foreign Language Classroom Anxiety (FLCA) differently. After controlling for the effects of general anxiety, perceptions of academic performance, and self-reported English fluency, perfectionistic discrepancy (maladaptive aspect) was a significant predictor of FLCA; perfectionistic standards (adaptive aspect) was not. Results indicated that this multidimensional nature of perfectionism affects Russian students in the context of foreign language classroom anxiety. Implications regarding the prevention and intervention of maladaptive perfectionism among students are discussed, as well as directions for future studies. These findings are important for teachers, students, and experts who may interact with FLCA and perfectionism as well as those who may personally experience it. The possible strategies to reduce anxiety could include discussing unrealistic beliefs and expectations with reference to foreign language learning, accepting mistakes as an integral part of foreign language learning as well as coaching.
The two most important processes influencing new cultural trends in today’s Russia are the state’s annexation of transgression and the transformation of social norms. In Russia’s public space, speakers representing different official or semi- official institutions make aggressive statements and defy accepted norms of public communication. They behave as if they perform the roles of “official holy fools”. Thus, the state “annexes” the right of mediatized public transgression characteristic of contemporary art. State actors are described in the article as “active conform- ists” embodying the expectations and desires of TV-watching “passive conformists”. Accordingly, strategies of heroic resistance in art and literature cease to be relevant for shaping the new wave of Russia’s aesthetic nonconformism. The article discusses alternative scenarios and discourses emerging in contemporary art and literature as formative for the new type of nonconformity.
This article presents a review of a conference Debt: 5000 Years and Counting that took place at the University of Birmingham (Birmingham Research Institute for History and Cultures) on June 8–9, 2018. The conference was based on the recent influential book Debt: The First Five Thousand Years by David Graeber. The conference gathered representatives from all social sciences to discuss the understudied topic of history and ideology of debt. The review contains references to several papers discussed at the conference to give an idea of the approaches used in one way or another in many of the papers. The papers discussed in the review were devoted to the boost of micro-credit in Latvia after the 2008 global financial crisis, the ideology of trapped equity that led to this crisis, the attempt to resolve confusion between the view that debts are to be repaid and the view that profiting from lending is evil, credit in the Islamic Caliphate in the 7th to 10th centuries, the long durée of public debt since the Middle Ages to Early Modern times, and the royal debts in England in the middle of the 16th century. The conference was interesting not only because of the importance of the subject but also because of the originality of the format which helped make the event less hierarchical and less dominated by the academic elite. In addition, one of the aims of the conference was to combine academic and activist approaches. Among the participants there were a few activists. This experience is also described in the review.
The paper explores how traditional storytelling adapts to the digital environment andadopts/assimilates it. This study is based on a corpus of fourteen semi-structured in-depth interviews of researchers and performers with an expertise in seven differentstorytelling traditions. Therefore, we present a new typology of traditional storytellers and depict their Internet/New Media usage specifics.