Oushakine (Сергей Ушакин), Princeton University, Anthropology; Slavic Languages Катрин Мерридейл. Сознание коллектива: травма и контузия в России ХХ века. . Анна Роткирх «Беспутная жизнь»: секс, семья и социальная. Followings by #секс#люблю#хочу#sex#муж# on instagram. Сергей Ищенко @svishenko74 · Vladimir Ovcharov Катрина Волкова @katrena_volkova. Watch all 40 videos with Katrin Tequila and 0 new videos with Katrin Tequila added today.
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To browse Academia. And сергеем more. Skip to main content. You're using an out-of-date version of Internet Explorer. Log In Sign Up. Serguei Alex. Unfollow Follow Unblock. Other Affiliations:. The essay draws attention to the second wave of post-communist nostalgia associated with a new generation of scholars and consumers who have no firsthand experience or memories of the socialist past.
The essay shows how the decreasing The essay shows how the decreasing prominence of firsthand knowledge of socialist lifestyle is compensated by the increasing visibility and importance of socialist things. Using interviews of museum curators and comments by visitors, the article explores the morphogenetic capacities of Soviet trukhliashechkas; that is, of those half-disappeared, decomposing, or abandoned fragments of the past which continue to exercise their agentive power by capturing, stirring, and charming the individual.
What kinds of affordances are being taken up, and what configurations of entanglement are established? What types of social order does this system of second-hand things induce? How does second-hand nostalgia organize available material archives in order to generate a sensible impact?
What versions of the past does it enable? Save to Library. View on armchair-scientist. View on diva-portal. I show that Formalists' contribution cannot сергеем reduced to the attempt to reinstall the perceiving individual at the center of the literary analysis.
Rather, the Rather, the Formalists revolutionized literary scholarship by offering us a strikingly post-humanist сергеем post-social picture of the world, in which things and humans are entangled in heterogeneous assemblages. Against the highly ideological environment, they insisted on paying a close attention to the material, basically offering us a non-Marxist version of historical materialism. Targeting mostly preschool and elementary school children, these books are creatively illustrated, Targeting mostly preschool and elementary school children, these books are creatively illustrated, offering their readers highly detailed accounts of economic and political development in the country.
The article follows this idea, using the books for tracing visual regimes that represented class and ethnicity in the s—s. Picture books for children successfully reflected the dual nature of socialist transformations in the USSR, where сергеем new sites of industrial production were closely linked with the building of new nations.
Very early on, this literature also documented the bifurcation of this dual process. The detailed portrayal of ethnic distinctions was paralleled by the visual disappearance of the working class, producing a stream of illustrations in which technology and ethnic groups emerged as self-sufficient visual fields, ostensibly disconnected from class, labor, and history. Doi: View on oxfordhandbooks. During the first decade after the Russian Revolution, the new Soviet state went through a major mediatization campaign.
Deploying various genres and platforms, the state created a diverse network of institutions and mechanisms that could Deploying various genres and platforms, the state created a diverse network of institutions and секс that could represent and disseminate important Communist ideas and concepts.
The essay explores only one dimension of this campaign: the radical turn towards the optical in the early Soviet катрин. More specifically, it traces the transformation of photomontage by looking closely at a distinctive genre of the illustrated book: the so-called Leniniana for children.
Lenin's death in generated a wave of publications for children in which their own stories, recollections, and poetry about the leader were accompanied with texts written by adults. Often, these textual collages were interspersed with photo-illustrations and photomontages that prominently featured Lenin surrounded by children.
Amalgamating ideology, text, painterly devices, and photographic images, photomontages in children's literature offered convincing visual models of plausible belonging and connectedness for the young reader: realist and spectacular at the same time.
As the essay suggests, the —25 memorial media campaign was instrumental in merging the abstract language of the Russian avant-garde with the concrete секс idioms of the documentary photography. In the memorial books, the Communist abstraction was concretized: the utopian future found its embodiment in multiple images of the first Soviet generation. View on ingentaconnect. View on nlobooks. Sincehe has been producing a stream of films that deliberately blur the clear-cut distinction between the real and the Sincehe has been producing a stream of films that deliberately blur the clear-cut distinction between the real and the imaginary, and between the documentary and the fictional.
Of course, this approach is hardly new: real fictions and fictitious realities have become a major organizing framework for various performative projects. From his very first film on early Soviet space programs Pervye na lune, to his секс film on the Soviet avant-garde Angely revolyutsii,Fedorchenko has mocked and undermined all the historical premises and ethnographic assumptions that made his films plausible in the first place.
Edited by Rimgaila Salys. Boston: Academic Press. Performative Objects more. Page Numbers: Buckler, Julie A. Cassiday, and Boris Wolfson. Madison: The University of Wisconsin Press. This article explores photographic works produced by key members of the Minsk School of Photography before and after the collapse of the USSR in the s and s.
Mostly reworking found images from the Soviet past, these artists Mostly reworking found images from the Soviet past, these artists employed the visual language of that period to disassociate themselves from Soviet practices of photographic recording.
Appropriating conventions of the portrait genre, the Minsk photographers used them to create a stream of obfuscated representations in which individuals are presented сергеем of their originary contexts, biographies, and, frequently, faces. Through their de-facing tactics, these photographers visualized forms of indirect postcolonial presence. Erasing subjectivity and abstracting imprints of lived experience, their vicarious photography articulates a model of dealing with history that allows presence without identity or identification.
The collapse of the Soviet Union in unleashed a new wave of decolonization, and throughout the s, the newly independent states spent a lot of time and effort articulating their visions of sovereignty. Unlike neighboring Unlike neighboring Lithuania, which could turn its brief experience of interwar independence into a paradigmatic model of the postcolonial and postsocialist state, Belarus had to produce its narratives of political катрин from scratch.
This essay looks closely at the so-called National Rebirth, a vibrant intellectual attempt to elaborate an anticolonial view of the Belarusian past and its postcolonial present, which took place in the s. Framed in negative terms and expressed through gestures of rejection, the Rebirth emerged as a form of apophatic nationalism катрин envisioned nationhood through an extensive cartography of nonbelonging and self-erasure.
Following the key figures of the Rebirth, this essay shows how instances of absence were persistently elaborated, classified, катрин transformed into genealogies and historiographies; how nothingness was mined as a source of катрин and how nonalignment became a strategic choice.
View on muse. Sotzromantizm and Its Theaters of Life. The introduction offers the notion of Sotzromantizm socialist romanticism as a way of framing critical engagements with the actually existing socialism of the s—s. Large-scale historicizing projects relied on the romantic Large-scale historicizing projects relied on the romantic re-appropriation of space to generate versions of identity, social communities, spiritual values, and relations катрин the past that significantly differed from the rationalistic canons of the perfectly planned socialist society.
As the introduction argues, Sotzromantizm offers us a ground from which to challenge the emerging dogma катрин depicts late socialist society as a space where pragmatic cynics coexisted with useful idiots of the regime. Instead, the concept allows us to shift attention to ideas, institutions, spaces, objects, and identities that enabled rather than prevented individual and collective involvement with socialism. Doi: DOI: View on dx. Using children's picture books published in early Soviet Russia as its main visual and textual source, this essay explores the process of translation through which artists and writers adopted and adapted key Marxist ideas for illiterate Using children's picture books published in early Soviet Russia as its main visual and textual source, this essay explores the process of translation through which artists and writers adopted and adapted key Marxist ideas for illiterate or semiliterate audiences.
Location: doi Post Ideological novel more. The ideological realism of these novels is not real; it is historicist. It works as a device aimed at creating certain discursive effects. Similar to the efforts of the Pre-Raphaelites in the second секс of the nineteenth century, this What radically distinguishes the current redaction of the ideological novel from its Soviet predecessor is the сергеем negativity of the current genre. Disinhibiting ideological values might be useful for organizing narratives, but these narratives work against the very values that structured them in секс first place Hexogenсергеем is power that crushes barriers and motivates people.
National belonging emerges in it as катрин way of being and a form of knowledge production, and the nation provides a teleology and an ontology: past, present, and future are all determined by birth.
Published within a few years of each other, these novels describe major driving forces that have been changing Russia since the mids. None of the novels is a masterpiece. Th eir visions are schematic, their messages are simplistic, секс their styles are familiar.
Like Pre-Raphaelite art, these examples of the ideological novel belong to the aesthetic of trash and kitsch. Excessively wordy and oversaturated with narrative structures, they are interesting not because of their plot twists or stylistic discoveries. It is their symptomatic function that makes them сергеем apart.
Location: pp. Edited by Evgeny Dobrenko and Mark Lipovetsky. View on magazines. View on gefter. View on anthropologie. First, the impotence of the existing legal system — the inefficiency of секс regulatory functions of the state are секс counterbalanced by the increasing prominence of networks of reciprocity and forms of loyalty based on family ties. Second, the privatization of punishment, the appropriation of extrajudicial authority is frequently achieved through the aestheticization of violence.
Jamal, Amaney, and Wayne Baker. Citizenship and Crisis: Arab Detroit after Russell Sage Foundation, Saha, A, et al.
Surface and Coatings Technology Grigorov, G, et al. Grigorov et al Haag, Saskia. Adalbert Stifter und das Wissen seiner Zeit. Edited by Michael Gamper and Karl Wagner. Kelly, Robert C, et al.
Nat Chem Biol : , 5 , 12, Abstract Vibrio cholerae, the bacterium that causes the disease cholera, controls virulence factor production and biofilm development in response to two extracellular quorum-sensing molecules, called autoinducers. The strongest autoinducer, called CAI-1 for cholera autoinducer-1 , was previously identified as S hydroxytridecanone.
Here, we determine the CqsA reaction mechanism, identify the CqsA substrates as S aminobutyrate and decanoyl coenzyme A, and demonstrate that the product of the reaction is 3-aminotridecanone, dubbed amino-CAI Nonetheless, V. Curanovic, Dusica, and Lynn W Enquist. J Virol Abstract Transneuronal spread of pseudorabies virus PRV is a multistep process that requires several virally encoded proteins.
Previous studies have shown that PRV glycoprotein B gB , a component of the viral fusion machinery, is required for the transmission of infection to postsynaptic, second-order neurons.
We sought to identify the gB-mediated step in viral transmission. We determined that gB is not required for the sorting of virions into axons of infected neurons, anterograde transport, or the release of virions from the axon.
Additionally, neuron-to-cell spread of PRV most likely does not proceed through syncytial connections. Numerical Analysis and Applied Mathematics, Vols 1 and 2. Melville: Amer Inst Physics, Abstract The persistently fast evolutionary behavior of certain differential systems may have intrinsically slow features.
Yazdani, A. Journal of Physics: Condensed Matter Publisher's Version. Cristea, Ileana. The ideological realism of these novels is not real; it is historicist. It works as a device aimed at creating certain discursive effects.
Similar to the efforts of the Pre-Raphaelites in the second half of the nineteenth century, this What radically distinguishes the current redaction of the ideological novel from its Soviet predecessor is the fundamental negativity of the current genre.
Disinhibiting ideological values might be useful for organizing narratives, but these narratives work against the very values that structured them in the first place Hexogen , it is power that crushes barriers and motivates people. National belonging emerges in it as a way of being and a form of knowledge production, and the nation provides a teleology and an ontology: past, present, and future are all determined by birth.
Published within a few years of each other, these novels describe major driving forces that have been changing Russia since the mids. None of the novels is a masterpiece. Th eir visions are schematic, their messages are simplistic, and their styles are familiar. Like Pre-Raphaelite art, these examples of the ideological novel belong to the aesthetic of trash and kitsch.
Excessively wordy and oversaturated with narrative structures, they are interesting not because of their plot twists or stylistic discoveries. It is their symptomatic function that makes them stand apart.
Location: pp. Edited by Evgeny Dobrenko and Mark Lipovetsky. View on magazines. View on gefter. View on anthropologie. First, the impotence of the existing legal system — the inefficiency of the regulatory functions of the state are often counterbalanced by the increasing prominence of networks of reciprocity and forms of loyalty based on family ties.
Second, the privatization of punishment, the appropriation of extrajudicial authority is frequently achieved through the aestheticization of violence. Evanston: Northwestern University Press, pp. Volume: Page Numbers: Publication Date: Jul 1, Publication Name: gefter.
View on abimperio. Baraban, Stephan Jaeger, and Adam Muller. Toronto: University of Toronto Press, , pp. Baraban, Stephan Jaeger, and Adam Muller eds. Toronto: University of Toronto Press. More Info: Social Research Vol. View on socres. Steinberg and Valeria Sobol. Forum Ab Imperio: Serguei Alex. While the text often provided a streamlined narrative backbone to the comical performance, it was nonverbalized imagery that effectively undermined the ideological predictability of narrative canons,producing a situation of laughable While the text often provided a streamlined narrative backbone to the comical performance, it was nonverbalized imagery that effectively undermined the ideological predictability of narrative canons,producing a situation of laughable incongruence.
To put it differently: by focusing on the visual aspects of Soviet laughter, the cluster shows that the source of the Soviet comic was not so much intra-textual, as in traditional comedy, but inter-medial. It was the counterpoint of different performative media—textual versus visual, vocal versus gestural—that unleashed an important affective discharge, which might or might not have been intended in the original text. More Info: Introduction to a special section on Soviet Jocularity.
View on slavicreview. Each project achieves a certain degree of temporal and spatial granularity of the period by breaking late Soviet history into material units of meaningful analytic and everyday experience. Autonomous and usually disconnected, these kino-things of sorts bring with them no coherent story. In fact, through their concreteness, they decontextualize identities and destabilize dominant narratives of socialism while simultaneously producing a grounding effect of mnemonic and historical palpability.
More Info: in The Russian Review. New York: Lexington Books, , Oushakine eds. New York: Lexington Books. More Info: in Novoe literaturnoe obozrenie,Vol. Vol 61 4 , November Totalitarian Laughter: Images — Sounds — Performers more.
Throughout the Throughout the socialist period, officially sanctioned mass culture actively employed satire, humour, and comedy to foster emotional bonds with its audience. Comic genres helped to release social and political tension, while late Soviet irony 'the aesthetics of grotesque' that evolved 'from below' were instrumental in articulating a cultural distance from the socialist state. Despite the heterogeneity of their impact and scope, these cultures of the comic invariably re-engaged the irrationality and ludicrousness of socialist life.
Whether officially approved or censored, totalitarian laughter relativized existing practices and norms and suggested alternative models for understanding and embodying discourses and values of "really existing" socialism. View on sciencedirect. At a time such as this one, the constant need to reflect on historical and present forms of organizing space, along with the intimate and complex connections of these forms with social transformation, becomes more acute.
The contents of The contents of the first issue of volume 29 of Rethinking Marxism are reflections on the relation between space and society. They all explore how the imaginations of particular historical eras take shape in space. Oushakine, on architecture, art, and landscape design in former socialist countries, and exploring the relation between these historical forms and transformations in society. Oushakine contextualizes the contributions to the symposium.
The new imagination represented both a desire for a radical break with and erasure of the past and also a refusal to inherit. Each points to how this original refusal to claim history gave way to historicizing and historicist perspectives. These disparate ways of alluding to the past are aggregated under the name of Sotzromantizm, in which the spatial vision of early Soviet modernity synthesized with influences of the past, a seminal reference being made by Anna Elistratova in when the author questioned Socialist realism, pointing at the romantic traditions as possible sources of inspiration.
Journal Name: Rethinking Marxism, Vol. View on tandfonline. ISBN more. Russian Literature. Oushakine and Dennis Ioffe. Volume 74, Issues 1—2, Useless Actions and Ioffe, Serguei A. Guest Editor - Serguei Alex. Introduction: Serguei A. Oushakine, Traveling People: Nomadism Today. Paths To Transformation. II Spiritual Body-Movements. Domesticating Landscapes. Inadvertent Cosmopolitanism. Nomadism For Sale.
Stephen M. Politics and Poetics of Nomadism. Jokes of Repression. View on eep. Twister in the Land of the View on jstor. Ithaca: Cornell University Press, More Info: Introduction: "We have no Motherland! Paths and Patches of Postsocialist Capitalism b. Money, Cycles, and Moral Dilemmas c. Uncoined Values vs. Conditional Units g. Why Russia Is Not America i. The Region in Danger j. A Sufficiently General Theory of Governance. View on cornellpress.
New York: Lexington Books, Introduction 1 Costica Bradatan and Serguei Alex. Oushakine I. View on rowman.