Centro de Culturas Eslavas UGR

Касаткин Леонид Леонидович, Клобуков Евгений Васильевич Клобуков, Лекант Павел Александрович

Альбом "Кремль" приглашает читателей совершить путешествие сквозь века отечественной истории и еще раз соприкоснуться с одним из самых удивительных исторических и художественных памятников Российского государства. Красочное издание необычайно полно проиллюстрировано изобразительными материалами, представленными в живописи и графике сюжетами на темы российской истории, портретами русских царей, императоров и выдающихся личностей государства. Особое место в альбоме отведено старым и современным фотографиям Московского Кремля. Автором последних является помощник Президента РФ С.В.Ястржембский, работы которого не только отразили своеобразие памятников Московского Кремля, но и представили их в малодоступных неожиданных ракурсах. Главное отличие - впервые представлена наиболее полная коллекция фотографий С.Ястржембского.

Богомолов А. Н.

Dostoevsky’s views on punishment are usually examined through the prism of his Christian commitments. For some, this means an orientation toward mercy; for others, an affirmation of suffering as a path to redemption. Anna Schur incorporates sources from philosophy, criminology, psychology, and history to argue that Dostoevsky’s thinking about punishment was shaped not only by his Christian ethics but also by the debates on penal theory and practice unfolding during his lifetime. As Dostoevsky attempts to balance the various ethical and cultural imperatives, he displays ambivalence both about punishment and about mercy. This ambivalence, Schur argues, is further complicated by what Dostoevsky sees as the unfathomable quality of the self, which hinders every attempt to match crimes with punishments. The one certainty he holds is that a proper response to wrongdoing must include a concern for the wrongdoer’s moral improvement.

Kaminer Jenny

Longlist finalist, 2015 Historia Nova Prize for Best Book on Russian Intellectual and Cultural History. In postrevolutionary Russia, as the Soviet government pursued rapid industrialization, avant-garde artists declared their intent to serve the nascent state and to transform life in accordance with their aesthetic designs. Despite their utilitarian intentions, however, most avant-gardists rarely created works regarded as practical instruments of societal transformation. Exploring this paradox, Vaingurt claims that the artists’ fusion of technology and aesthetics prevented their creations from being fully conscripted into the arsenal of political hegemony. The purposes of avant-garde technologies, she contends, are contemplative rather than constructive. Looking at Meyerhold’s theater, Tatlin’s and Khlebnikov’s architectural designs, Mayakovsky’s writings, and other works from the period, Vaingurt offers an innovative reading of an exceptionally complex moment in the formation of Soviet culture.

Короленко Владимир Галактионович

Захаров Владимир Николаевич

Landsman N.

In this first scholarly book in English on Miron Białoszewski (1922-1983), Joanna Niżyńska illuminates the elusive prose of one of the most compelling and challenging postwar Polish writers. Niżyńska's study, exemplary in its use of theoretical concepts, introduces English-language readers to a preeminent voice of Polish literature. Niżyńska explores how a fusion of seemingly irreconcilable qualities, such as the traumatic and the everyday, imbues Białoszewski's writing with its idiosyncratic appeal. Białoszewski's ""A Memoir of the Warsaw Uprising"" (1977 revised 1991) describes the Poles' heroic struggle to liberate Warsaw from Nazi occupation in 1944 as harrowing yet ordinary. His later prose represents everyday life permeated by traces of the traumatic. Niżyńska closely examines the topic of autobiography and homosexuality showing how Białoszewski discloses his homosexuality but, paradoxically, renders it inconspicuous by hiding it in plain sight."

Vaingurt Julia

Лажечников Иван Иванович

В настоящем издании представлены книги активных участников Белого движения на Дону - И.Н.Оприца и А.В.Голубинцева. В книге генерал-майора Ильи Николаевича Оприца собраны ценнейшие исторические сведения по истории Лейб-Гвардии Казачьего Ее Величества полка, в ней также рассказывается о развитии Белого движения на юге России в целом и борьбе казаков против большевизма под руководством генералов Каледина и Краснова. Воспоминания одного из лидеров антибольшевистской борьбы на Дону генерал-майора Александра Васильевича Голубинцева охватывают период с 1918 по 1920 г. Все это время генерал Голубинцев сражался в частях донской кавалерии плечом к плечу с лучшими казачьими генералами того времени. В своих мемуарах он дает честное описание состояния донских войск в разные периоды Гражданской войны.

White Christine A.

White reassesses Anglo-American trade with Soviet Russia immediately following the Bolshevik Revolution to show that, unlike diplomatic relations, commercial ties were not severed by ideological differences. She argues that British and American trade with Russia resumed soon after the Bolsheviks' rise to power and that this period of trade had a significant effect on future commerce.

Burry Alexander

Since their publication, the works of Dostoevsky have provided rich fodder for adaptations to opera, film, and drama. While Dostoevsky gave his blessing to the idea of adapting his work to other forms, he believed that "each art form corresponds to a series of poetic thoughts, so that one idea cannot be expressed in another non-corresponding form." In Multi-Mediated Dostoevsky, Alexander Burry argues that twentieth-century adaptations (which he calls "transpositions") of four of Dostoevsky’s works—Sergei Prokofiev’s opera The Gambler, Leos Janacek’s opera From the Dead House, Akira Kurosawa’s film The Idiot, and Adrzej Wajda’s drama The Devils—follow Dostoevsky’s precept by bringing to light underdeveloped or unappreciated aspects of Dostoevsky’s texts rather than by slavishly attempting to recreate their sources. Burry’s interdisciplinary approach gives his study broad appeal to scholars as well as to students of Russian, comparative literature, music, film, drama, and cultural studies.