Maria Stepanova is one of the most powerful and distinctive voices of Russia's first post-Soviet literary generation. The Voice Over brings together two decades of Stepanova's work, showcasing her range, virtuosity, and creative evolution.
A deeply moving poem about winter and exile, war and the pandemic from “Russia’s greatest living poet” (Poetry) and the acclaimed author of In Memory of Memory The outbreak of Covid-19 cut short Maria Stepanova’s 2020 stay in Cambridge. Back in Russia, she spent the ensuing months in a state of torpor—the world had withdrawn from her, time had “gone numb.” When she awoke from this state, she began to read Ovid, and the shock of the pandemic dissolved into the voices and metaphors of a transformative, epochal experience. Her book-length poem Holy Winter, written in a frenzy of poetic inspiration, speaks of winter and war, of banishment and exile, of social isolation and existential abandonment. Stepanova finds sublime imagery for the process of falling silent, interweaving love letters and travelogues, Chinese verse and Danish fairy tales into a polyphonic evocation of frozen time and its slow thawing. As a poet and essayist, Stepanova was a highly influential figure for many years in Moscow’s cosmopolitan literary scene until it was strangled by Putin, along with civil liberties and dissent. Like Joseph Brodsky before her, she has mastered modern poetry’s rich repertoire of forms and moves effortlessly between the languages and traditions of Russian, European, and transatlantic literature, potently yet subtly creating a voice like no other. Her poetry, which here echoes verses by Pushkin and Lermontov, Mandelstam and Tsvetaeva, is not hermetic. She takes in and incorporates the confusing signals from social networks and the media, opening herself up to the voices of kindred poets like Sylvia Plath, Inger Christensen, and Anne Carson.
An exploration of life at the margins of history from one of Russia’s most exciting contemporary writers Shortlisted for the 2021 International Booker Prize Winner of the MLA Lois Roth Translation Award With the death of her aunt, the narrator is left to sift through an apartment full of faded photographs, old postcards, letters, diaries, and heaps of souvenirs: a withered repository of a century of life in Russia. Carefully reassembled with calm, steady hands, these shards tell the story of how a seemingly ordinary Jewish family somehow managed to survive the myriad persecutions and repressions of the last century. In dialogue with writers like Roland Barthes, W. G. Sebald, Susan Sontag, and Osip Mandelstam, In Memory of Memory is imbued with rare intellectual curiosity and a wonderfully soft-spoken, poetic voice. Dipping into various forms—essay, fiction, memoir, travelogue, and historical documents—Stepanova assembles a vast panorama of ideas and personalities and offers an entirely new and bold exploration of cultural and personal memory.
Liberties Journal of Culture and Politics is devoted to educating the general public about the history, current trends, and possibilities of culture and politics.
Lithography, the fundamental fabrication process of semiconductor devices, plays a critical role in micro- and nano-fabrications and the revolution in high density integrated circuits. This book is the result of inspirations and contributions from many researchers worldwide. Although the inclusion of the book chapters may not be a complete representation of all lithographic arts, it does represent a good collection of contributions in this field. We hope readers will enjoy reading the book as much as we have enjoyed bringing it together. We would like to thank all contributors and authors of this book.
This book consists of a selection of original papers of the leading scientists in the fields of Space and Planetary Physics, Solar and Space Plasma Physics with important contributions to the theory, modeling and experimental techniques of the solar wind exploration. Its purpose is to provide the means for interested readers to become familiar with the current knowledge of the solar wind formation and elemental composition, the interplanetary dynamical evolution and acceleration of the charged plasma particles, and the guiding magnetic field that connects to the magnetospheric field lines and adjusts the effects of the solar wind on Earth. I am convinced that most of the research scientists actively working in these fields will find in this book many new and interesting ideas.
In this book, Maria Chehonadskih unsettles established narratives about the formation of a revolutionary canon after the October Revolution. Displacing the centre of gravity from dialectical materialism to the rapid dissemination, canonisation and decline of a striking convergence of empiricism and Marxism, she explores how this tendency, overshadowed by official historiography, establishes a new attitude to modernity and progress, nature and environment, agency and subjectivity, party and class, knowledge and power. The book traces the adventure of the synthesis of empiricism and Marxism across philosophy, science, politics, art and literature from the 1890s to the 1930s, offering a radical rethinking of the true scope and scale that the main proponent of Empirio-Marxism, Alexander Bogdanov, had on the post-revolutionary socialist legacies. Chehonadskih draws on both key and forgotten figures and movements, such as Proletkult, Productivism and Constructivism, filling a gap in the literature that will be particularly significant for Marxism, continental philosophy, art theory and Slavic studies specialists.
The Artist as Producer confronts the problem of making a politics with art. Gough's balanced rigor in mining obscure archives on the one hand, while performing brilliant readings of recalcitrant artworks on the other gives her account of Constructivism's utopian promise and less-than-utopian outcome great texture. She has produced something very rare: an art-historical study that not only adds to our knowledge but captures the intense poignancy of modern art's serious ambition to undertake a revolution of—and with—form."—David Joselit, Professor, History of Art, Yale University "To see a sculptor plunging into the politics and the cultural politics of the factory floor is a rare sight indeed in art history. It takes immense historical discipline to do it justice. Maria Gough takes the 'author as producer' question dear to Marxist aesthetics (think of Walter Benjamin, but think also of Trotsky, of Gramsci) and raises it into new relevance. The question always was and is a motor. This book shows us, beautifully, how and why."—Molly Nesbit, Professor of Art, Vassar College "The Artist as Producer is a remarkable and impressive piece of scholarship, which challenges existing assumptions about Soviet Constructivism and demands that we rethink the movement in its entirety."—Christina Lodder, author of Russian Constructivism
This pocket-sized paperback is one of the thirty titles published for 2019 Hong Kong International Poetry Nights. The theme of IPHHK2019 is "Speech and Silence". From 19–24 November 2019, 30 invited poets from various countries gathered in Hong Kong to read their works based on the theme "Speech and Silence." Included in the anthology and box set, these unique works are presented with Chinese and English translations in bilingual or trilingual formats. Poets include Ana Luísa Amaral (Portugal), Maxim Amelin (Russia), Renato Sandoval Bacigalupo (Peru) , Jen Bervin (USA), Ana Blandiana (Romania), Tamim Al-Barghouti (Palestine), Abbas Beydoun (Lebanon), Milosz Biedrzycki (Poland), Derek Chung (Hong Kong), Louise Dupre (Canada), Forrest Gander (USA), Hwang Yu Won (South Korea), Maozi (PRC), Mathura (Estonia), Sergio Raimondi (Argentina), Ana Ristović (Serbia), K. Satchidanandan (India), Martin Solotruk (Slovakia), Ales Steger (Slovenia), Maria Stepanova (Russia), Toth Krisztina (Hungary), Ijeoma Umebinyuo (Nigeria), Anastassis Vistonitis (Greece), Jan Wagner (Germany), Ernest Wichner (Germany), Yang Chia-Hsien (Taiwan), Yasuhiro Yotsumoto (Japan), Yu Youyou (PRC), Zheng Xiaoqiong (PRC), and Zhou Yunpeng (PRC).
Active Analysis combines two of Maria Knebel’s most important books, On Active Analysis of the Play and the Role and The Word in the Actor’s Creative Work, in a single edition conceived and edited by one of Knebel's most famous students, the renowned theatre and film director, Anatoli Vassiliev. This is the first English translation of an important and authoritative fragment of the great Stanislavski jigsaw. A landmark publication. This book is an indispensable resource for professional directors, student directors, actors and researchers interested in Stanislavski, directing, rehearsal methods and theatre studies more generally.
Maria Rogacheva’s Soviet Scientists Remember gives voice to one of the most prominent and educated groups in the late USSR: scientists. Lifting the veil of secrecy that covered scientists during the Cold War, this book brings together six first-person accounts of residents of the formerly closed scientific town of Chernogolovka. In their interviews, scientists talk about growing up in Stalin’s Russia and surviving the Great Patriotic War, their decision to join the scientific intelligentsia, and the outstanding opportunities that were available to them in the heyday of the Cold War. They reflect on their daily lives in a privileged scientific community and their relationship with the Soviet state and the Communist Party. Soviet Scientists Remember sheds light on how ordinary people experienced the transformation of Soviet society after Stalin’s death, as well as its tumultuous transition to the post-Soviet era in the 1990s.
Ubiquitin-proteasome-dependent proteolysis is central to an incredible multitude of processes in all eukaryotes, including the cell cycle, cell growth and differentiation, embryogenesis, apoptosis, signal transduction, DNA repair, regulation of transcription and DNA replication, transmembrane transport, endocytosis, stress responses, antigen presentation and other aspects of the immune response, the functions of the nervous system including circadian rhythms, axon guidance and acquisition of memory.This book tells the story of the ubiquitin system as we currently know it: from the regulation of basic cellular processes to quality control and the pathogenetic mechanisms of disease, from X-ray crystallography of the 26S proteasome to the interaction between substrates and their ligases, to the development of mechanism-based drugs, and to target-specific aberrant processes.
An exploration of life at the margins of history from one of Russia’s most exciting contemporary writers Shortlisted for the 2021 International Booker Prize Winner of the MLA Lois Roth Translation Award With the death of her aunt, the narrator is left to sift through an apartment full of faded photographs, old postcards, letters, diaries, and heaps of souvenirs: a withered repository of a century of life in Russia. Carefully reassembled with calm, steady hands, these shards tell the story of how a seemingly ordinary Jewish family somehow managed to survive the myriad persecutions and repressions of the last century. In dialogue with writers like Roland Barthes, W. G. Sebald, Susan Sontag, and Osip Mandelstam, In Memory of Memory is imbued with rare intellectual curiosity and a wonderfully soft-spoken, poetic voice. Dipping into various forms—essay, fiction, memoir, travelogue, and historical documents—Stepanova assembles a vast panorama of ideas and personalities and offers an entirely new and bold exploration of cultural and personal memory.
Maria Stepanova is one of the most powerful and distinctive voices of Russia’s first post-Soviet literary generation. An award-winning poet and prose writer, she has also founded a major platform for independent journalism. Her verse blends formal mastery with a keen ear for the evolution of spoken language. As Russia’s political climate has turned increasingly repressive, Stepanova has responded with engaged writing that grapples with the persistence of violence in her country’s past and present. Some of her most remarkable recent work as a poet and essayist considers the conflict in Ukraine and the debasement of language that has always accompanied war. The Voice Over brings together two decades of Stepanova’s work, showcasing her range, virtuosity, and creative evolution. Stepanova’s poetic voice constantly sets out in search of new bodies to inhabit, taking established forms and styles and rendering them into something unexpected and strange. Recognizable patterns of ballads, elegies, and war songs are transposed into a new key, infused with foreign strains, and juxtaposed with unlikely neighbors. As an essayist, Stepanova engages deeply with writers who bore witness to devastation and dramatic social change, as seen in searching pieces on W. G. Sebald, Marina Tsvetaeva, and Susan Sontag. Including contributions from ten translators, The Voice Over shows English-speaking readers why Stepanova is one of Russia’s most acclaimed contemporary writers.
In The Icon and the Square, Maria Taroutina examines how the traditional interests of institutions such as the crown, the church, and the Imperial Academy of Arts temporarily aligned with the radical, leftist, and revolutionary avant-garde at the turn of the twentieth century through a shared interest in the Byzantine past, offering a counternarrative to prevailing notions of Russian modernism. Focusing on the works of four different artists—Mikhail Vrubel, Vasily Kandinsky, Kazimir Malevich, and Vladimir Tatlin—Taroutina shows how engagement with medieval pictorial traditions drove each artist to transform his own practice, pushing beyond the established boundaries of his respective artistic and intellectual milieu. She also contextualizes and complements her study of the work of these artists with an examination of the activities of a number of important cultural associations and institutions over the course of several decades. As a result, The Icon and the Square gives a more complete picture of Russian modernism: one that attends to the dialogue between generations of artists, curators, collectors, critics, and theorists. The Icon and the Square retrieves a neglected but vital history that was deliberately suppressed by the atheist Soviet regime and subsequently ignored in favor of the secular formalism of mainstream modernist criticism. Taroutina’s timely study, which coincides with the centennial reassessments of Russian and Soviet modernism, is sure to invigorate conversation among scholars of art history, modernism, and Russian culture.
A broad historical study of the provocative innovations of European and American photography between the World Wars. Presents more than 160 images from the Ford Motor Company Collection of photographs.
International Conference on the Structure and Interactions of the Photon : Including the 14th International Workshop on Photon-Photon Collisions, Ascona, Switzerland, 2-7 September 2001
International Conference on the Structure and Interactions of the Photon : Including the 14th International Workshop on Photon-Photon Collisions, Ascona, Switzerland, 2-7 September 2001
This volume reports on all aspects of high energy photon interactions using both photon and proton targets. Significant new results from the LEP and HERA experiments as well as from CLEO II and BELLE are presented. These data are confronted with diverse theoretical models. In particular, predictions of QCD in both the perturbative and the non-perturbative sector are extensively discussed. The prospects for gamma-gamma physics at future high energy colliders are also reviewed. In total 72 papers are collected.The proceedings have been selected for coverage in: ? Index to Scientific & Technical Proceedings (ISTP CDROM version / ISI Proceedings)
This multidisciplinary volume offers a spectacular view and the first overall presentation of the history of Lake Ladoga, of the greatest lake in Europe. The focus of the study is on the northern parts of the shores of the lake, which belonged to Finland ́s rule between 1812 and 1944. Adopting the lens of coastal history, the edited volume presents the development of the vast Great Lake's catchment area over a long-time span, from archaeological traces to Viking routes and from fishery huts to the luxury villas of the power elite. It reflects on people ́s sensory-historical relationships with aquatic nature, and considers the benefits and harms of power plants and factories to human communities and the environment. The authors from different universities explore a wide range of questions, including: What has the Great Lake meant to local residents in cultural and emotional terms? How should we conceptualize the extensive and diverse networks of activities that surrounded the lake? What kind of Ladoga beaches did the Finns have to cede to the Soviet Union at the end of the war in 1944? How have Finns reminisced about their lost homelands? How have the Russians transformed the profile of the region, and what is the state of Ladoga's waters today? The history of Lake Ladoga helps readers to understand better the economic, political, and socio-cultural characteristics of the cross-border areas, and the dynamics of the vulnerable border regions.
Proceedings of the Eighth International Symposium on Metal Ions in Biology and Medicine, Held in the Hungarian Academy of Sciences, Budapest, Hungary, Europe, on May 18-22, 2004
Proceedings of the Eighth International Symposium on Metal Ions in Biology and Medicine, Held in the Hungarian Academy of Sciences, Budapest, Hungary, Europe, on May 18-22, 2004
8th International Congress on Metal Ions in Biology and Medicine, Budapest, Hungary 18 to 22 May 2004. Every two years, the world's leading specialists meet exchange information on the most recent advances in understanding metals and the part they play in treating some diseases. This book aims to help advance our knowledge of the role of metal ions in a number of fields in biology and medicine.
A deeply moving poem about winter and exile, war and the pandemic from “Russia’s greatest living poet” (Poetry) and the acclaimed author of In Memory of Memory The outbreak of Covid-19 cut short Maria Stepanova’s 2020 stay in Cambridge. Back in Russia, she spent the ensuing months in a state of torpor—the world had withdrawn from her, time had “gone numb.” When she awoke from this state, she began to read Ovid, and the shock of the pandemic dissolved into the voices and metaphors of a transformative, epochal experience. Her book-length poem Holy Winter, written in a frenzy of poetic inspiration, speaks of winter and war, of banishment and exile, of social isolation and existential abandonment. Stepanova finds sublime imagery for the process of falling silent, interweaving love letters and travelogues, Chinese verse and Danish fairy tales into a polyphonic evocation of frozen time and its slow thawing. As a poet and essayist, Stepanova was a highly influential figure for many years in Moscow’s cosmopolitan literary scene until it was strangled by Putin, along with civil liberties and dissent. Like Joseph Brodsky before her, she has mastered modern poetry’s rich repertoire of forms and moves effortlessly between the languages and traditions of Russian, European, and transatlantic literature, potently yet subtly creating a voice like no other. Her poetry, which here echoes verses by Pushkin and Lermontov, Mandelstam and Tsvetaeva, is not hermetic. She takes in and incorporates the confusing signals from social networks and the media, opening herself up to the voices of kindred poets like Sylvia Plath, Inger Christensen, and Anne Carson.
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