The Mirror of Laughter presents a theory of humor and laughter by examining their relationship to human behaviors. Kozintsev is especially interested in the relationship between biological and cultural factors that influence behaviors. He divides his work into four chapters, the first of which establishes a theme of the book, focusing on the study of meaning from the perspective of philosophy and psychology, while examining linguistic theories of humor. The second chapter examines biological data regarding laughter and the evolutionary origins of laughter and humor. It demonstrates the author's interest in studying humor objectively by detailing physiological reactions and underlying psychological issues. The third section on play, including linguistic play, distinguishes between orderly and disorderly play. While orderly play has no biological roots and is synonymous with culture, disorderly play is rooted in the pre-human past. The final chapter discusses the conflict between culture and nature and how culture has transformed the original semantics of laughter. Kozintsev seeks to understand the relationship between the biological, cultural, and social origins of humor and, from here, he seeks to create new understanding that only the alliance of several disciplines could provide. All of this is done while the author challenges many popular ideas of humor, such as that humor is inherently related to hostility. Originally written in Russian, this work makes great strides towards its goal, and it does so in an interesting and enlightening way.
“[A] superb study of Russian cultural memory makes all too clear, ghosts of the unburied dead affect literature, art, public life and mental health too.” —The Economist After Stalin’s death in 1953, the Soviet Union dismantled the enormous system of terror and torture that he had created. But there has never been any Russian ban on former party functionaries, nor any external authority to dispense justice. Memorials to the Soviet victims are inadequate, and their families have received no significant compensation. This book’s premise is that late Soviet and post-Soviet culture, haunted by its past, has produced a unique set of memorial practices. More than twenty years after the collapse of the Soviet Union, Russia remains “the land of the unburied”: the events of the mid-twentieth century are still very much alive, and still contentious. Alexander Etkind shows how post-Soviet Russia has turned the painful process of mastering the past into an important part of its political present. “Every page contains fresh, striking insights, not only in the intrinsic value of art itself, but more significantly in the process of mourning. . . . This brilliant book will be indispensable for scholars of mourning theories.” —Choice “There is undoubtedly much that is new and exciting in this study of the impact of state violence on the form and content of art and scholarship in post-Stalin Russia.” —Russian Review “A fascinating and haunting study of how successive Kremlin leaders and the intelligentsia have explained the Gulag and Stalin’s crimes” —Strategic Europe
Contemplating Shostakovich marks an important new stage in the understanding of Shostakovich and his working environment. Each chapter covers aspects of the composer's output in the context of his life and cultural milieu. The contributions uncover 'outside' stimuli behind Shostakovich's works, allowing the reader to perceive the motivations behind his artistic choices; at the same time, the nature of those choices offers insights into the workings of the larger world – cultural, social, political – that he inhabited. Thus his often ostensibly quirky choices are revealed as responses – by turns sentimental, moving, sardonic and angry – to the particular conditions, with all their absurdities and contradictions, that he had to negotiate. Here we see the composer emerging from the role of tortured loner of older narratives into that of the gregarious and engaged member of his society that, for better and worse, characterized the everyday reality of his life. This invaluable collection offers remarkable new insight, in both depth and range, into the nature of Shostakovich's working circumstances and of his response to them. The collection contains the seeds for a wide range of new directions in the study of Shostakovich's works and the larger contexts of their creation and reception.
The present Yearbook (which is the sixth in the series) is subtitled Economy, Demography, Culture, and Cosmic Civilizations. To some extent it reveals the extraordinary potential of scientific research. The common feature of all our Yearbooks, including the present volume, is the usage of formal methods and social studies methods in their synthesis to analyze different phenomena. In other words, if to borrow Alexander Pushkin's words, ‘to verify the algebra with harmony’. One should note that publishing in a single collection the articles that apply mathematical methods to the study of various epochs and scales – from deep historical reconstruction to the pressing problems of the modern world – reflects our approach to the selection of contributions for the Yearbook. History and Mathematics, Social Studies and formal methods, as previously noted, can bring nontrivial results in the studies of different spheres and epochs. This issue consists of three main sections: (I) Historical and Technological Dimensions includes two papers (the first is about the connection between genes, myths and waves of the peopling of Americas; the second one is devoted to quantitative analysis of innovative activity and competition in technological sphere in the Middle Ages and Modern Period); (II) Economic and Cultural Dimensions (the contributions are mostly focused on modern period); (III) Modeling and Theories includes two papers with interesting models (the first one concerns modeling punctuated equilibria apparent in the macropattern of urbanization over time; in the second one the author attempts to estimate the number of Communicative Civilizations). We hope that this issue will be interesting and useful both for historians and mathematicians, as well as for all those dealing with various social and natural sciences.
Most histories of Soviet cinema portray the 1970s as a period of stagnation with the gradual decline of the film industry. This book, however, examines Soviet film and television of the era as mature industries articulating diverse cultural values via new genre models. During the 1970s, Soviet cinema and television developed a parallel system of genres where television texts celebrated conservative consensus while films manifested symptoms of ideological and social crises. The book examines the genres of state-sponsored epic films, police procedural, comedy and melodrama, and outlines how television gradually emerged as the major form of Russo-Soviet popular culture. Through close analysis of well-known film classics of the period as well as less familiar films and television series, this groundbreaking work helps to deconstruct the myth of this era as a time of cultural and economic stagnation and also helps us to understand the persistence of this myth in the collective memory of Putin-era Russia. This monograph is the first book-length English-language study of film and television genres of the late Soviet era.
This is an enormously important and long-awaited project in film studies: it is collection of selected writings by the filmmaker Alexander Medvedkin, rendered into English. There is no equivalent volume in Russian or in any other language, so this is an original work. Alexander Medvedkin (1900-89) belongs in the canon of major Soviet filmmakers. He invented a form of total documentary cinema for workers in the early Soviet era that was aimed at bridging the distance between film and life, whereby the target audience of a film would be involved in its making, and then their viewing and discussion of it would become the basis for action to change their work situation and relations. He was also a major satirist at a time when the Soviet authorities feared the ambiguities of satire and tried to confine laughter to narrowly prescribed channels. Medvedkin s work remains a crucial link in the history of documentary cinema, especially in its more engaged or agitational forms. He was a true-believing, card-carrying Communist, but he was also a victim of the Soviet regime. Soviet institutions prevented him from fully achieving what he hoped to accomplish as an artist because he behaved as an individualist who sought to produce artistic projects in defiance of obstacles from the authorities.
A fun and mischievous adventure story centered on the life of an 11 year old named Bruce Carlyle. Bruce lives and attends school in a South African town named Pietermaritzburg, about one hours drive from the beach at Durban. Within easy reach of numerous game reserves, Bruce lives a charmed life, rich in outdoor adventure. His love of sailboat racing gets him into situations that prove interesting, and his ability to distinguish between mischief and evil is what gives him an advantage in dealing with adversity. The book is intended to share some of the wonder of nature, ocean waves, sailboat racing, and wild animals, and to inspire young readers to seek adventure and good natured fun. It is hoped that by sharing these stories, a love and respect for nature will be encouraged, and provide a stark contrast to books on hunting. By making these adventures accessible to all, it is hoped that young minds will think more in terms of nature preservation, than destruction.
Alexander “Sasha” Sergeeff è nato a Mosca, Russia, nel 1968. Ha cominciato a dipingere all'età di 5 anni. Ha frequentato Liceo Artistico di Mosca. Ha studiato e lavorato in Accademia di Belle Arti di Mosca. Dal 1993 vive e lavora a Roma. Le sue opere sono state esposte nelle numerose mostre tra Mosca, Roma, Milano, Parigi, New York ed altri città del mondo. Suo modo di lavorare rimasto rigorosamente ottocentesco: su commissione privata.
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