With the collapse of the Soviet empire in the late 1980s, the Russian social landscape has undergone its most dramatic changes since the Bolshevik Revolution in 1917, turning the once bland and monolithic state-run marketplace into a virtual maze of specialty shops--from sushi bars to discotheques and tattoo parlors. In "Consuming Russia" editor Adele Marie Barker presents the first book-length volume to explore the sweeping cultural transformation taking place in the new Russia. The contributors examine how the people of Russia reconcile prerevolutionary elite culture--as well as the communist legacy--with the influx of popular influences from the West to build a society that no longer relies on a single dominant discourse and embraces the multiplicities of both public and private Russian life. Barker brings together Russian and American scholars from anthropology, history, literature, political science, sociology, and cultural studies. These experts fuse theoretical analysis with ethnographic research to analyze the rise of popular culture, covering topics as varied as post-Soviet rave culture, rock music, children and advertising, pyramid schemes, tattooing, pets, and spectator sports. They consider detective novels, anecdotes, issues of feminism and queer sexuality, nostalgia, the Russian cinema, and graffiti. Discussions of pornography, religious cults, and the deployment of Soviet ideological symbols as post-Soviet kitsch also help to demonstrate how the rebuilding of Russia's political and economic infrastructure has been influenced by its citizens' cultural production and consumption. This volume will appeal to those engaged with post-Soviet studies, to anyone interested in the state of Russian society, and to readers more generally involved with the study of popular culture. " Contributors. "Adele Marie Barker, Eliot Borenstein, Svetlana Boym, John Bushnell, Nancy Condee, Robert Edelman, Laurie Essig, Julia P. Friedman, Paul W. Goldschmidt, Judith Deutsch Kornblatt, Anna Krylova, Susan Larsen, Catharine Theimer Nepomnyaschy, Theresa Sabonis-Chafee, Tim Scholl, Adam Weiner, Alexei Yurchak, Elizabeth Kristofovich Zelensky
Seit langem berfllig sind Neulektren des Werkes von Carl Sternheim, die sowohl seine klassischen Texte unter vernderten Rezeptionsbedingungen neu erschlieen als auch jenseits der ausgetretenen Pfade Werke in den Blick nehmen, die bislang kaum beachtet wurden. Insbesondere seine strflich vernachlssigte Prosa und die wenigen Urteile, die seitens der Forschung ber sie gefllt wurden, bedrfen einer grundlegenden Revision. Diesem Ziel war die im Jahre 2009 im Rahmen einer germanistischen Institutspartnerschaft zwischen der FU Berlin und der UWM Olsztyn in Olsztyn durchgefhrte internationale Carl-Sternheim-Konferenz gewidmet. Dieser Band versammelt die Beitrge zu dieser Tagung und versucht jenseits der tradierten Deutungsfolien zu einer sthetischen Neubewertung des Sternheimschen Gesamtwerks zu gelangen, die sich weniger auf weltanschauliche Kritik, sondern strker auf Analysen der konkreten literarischen Darstellungsformen sttzt. Sternheims Dramen- wie Prosawerk wird vor dem Hintergrund der sthetischen Debatten seiner Zeit beleuchtet und in seinem avantgardistischen Anspruch ernst genommen. Hinzu kommen Studien zur Rezeptionsgeschichte und dem zeithistorischen Kontext.
While there are a great many books on Louis XVI, Marie Antoinette and the rest of the French Royal Family, the crucial role of the Duc d'Orleansthe man who bankrolled the French Revolutionhas been inexplicably overlooked, and this is the first biography to appear in English for many years. This is despite the fact that he was the only member of a royal house ever to join a revolution against its monarchy and to vote for the judicial murder of the king. As well as bringing vividly to life the famous heroes and villains of the French Revolution, Tom Ambrose introduces the reader to a host of colorful and truly unforgettable characters, including Philippe's friend the Chevalier de Saint-George ("the Black Mozart") with whom he cofounded the first French anti-slavery society, the Duc's mistress Madame de Genlis, femme fatale and leading intellectual of the age, andmost significantlyPhilippe himself, a towering figure in one of the most significant periods of European history.
With Armour , the great Australian poet John Kinsella has written his most spiritual work to date and his most politically engaged. The world in which these poems unfold is strangely poised between the material and the immaterial, and everything which enters it kestrel and fox, moth and almond does so illuminated by its own vivid presence: the impression is less a poet honouring his subjects than uncannily inhabiting them. Elsewhere we find a poetry of lyric protest, as Kinsella scrutinizes the equivocal place of the human within this natural landscape, both as tenant and self-appointed steward. Armour is a beautifully various work, one of sharp ecological and social critique but also one of meticulous invocation and quiet astonishment, whose atmosphere will haunt the reader long after they close the book. Praise for John Kinsella: 'Kinsella's poems are a very rare feat: they are narratives of feeling. Vivid sight of landscapes, of animals, of human forms in distant light becomes insight. There is, often, the shock of the new. But somehow awaited, even familiar. Which is the homecoming of a true poet' George Steiner