This book constitutes the thoroughly refereed post-proceedings of the 8th International Symposium on Privacy Enhancing Technologies, PET 2008, held in Leuven, Belgium, in July 2008 in conjunction with WOTE 2008, the IAVoSS Workshop on Trustworthy Elections. The 13 revised full papers presented were carefully selected from 48 submissions during two rounds of reviewing and improvement. The papers - both from academia and industry - cover design and realization of privacy services for the internet and other communication networks and present novel research on all theoretical and practical aspects of privacy technologies, as well as experimental studies of fielded systems.
This book constitutes the thoroughly refereed post-proceedings of the 8th International Symposium on Privacy Enhancing Technologies, PET 2008, held in Leuven, Belgium, in July 2008 in conjunction with WOTE 2008, the IAVoSS Workshop on Trustworthy Elections. The 13 revised full papers presented were carefully selected from 48 submissions during two rounds of reviewing and improvement. The papers - both from academia and industry - cover design and realization of privacy services for the internet and other communication networks and present novel research on all theoretical and practical aspects of privacy technologies, as well as experimental studies of fielded systems.
Based largely on formerly top-secret Soviet archival documents (including 66 reproduced documents and 70 illustrations), this book portrays the inner workings of the communist party and secret police during Germany's horrific 1941–44 siege of Leningrad, during which close to one million citizens perished. It shows how the city's inhabitants responded to the extraordinary demands placed upon them, encompassing both the activities of the political, security, and military elite as well as the actions and attitudes of ordinary Leningraders.
The Soviets have long struggled with the knotty problem of assimilating Dostoevsky into a revolutionary culture. Yet to filmmakers, he has been a continuing inspiration, a novelist of ideas with an unparalleled gift for visualization. The sensitive medium of film, with its popularity and high official status in the Soviet Union, provides a unique opportunity to study the interplay between art and ideology. Offering a vivid picture of Soviet culture, and comparing and contrasting the aesthetics of Socialist Realism and modernism, this book shrewdly demonstrates that film and Dostoevsky have served each other well. Dostoevsky and Soviet Film blends three major motifs with ease and elegance: an analysis of all films produced in the Soviet Union which used Dostoevsky's fiction, as well as those planned but never realized; a history of the Soviet film industry spanning prerevolutionary days to the present; and an exploration of the dual challenge of art and politics which Soviet film has consistently had to face. N. M. Lary demonstrates the ways in which a number of film artists—Eisenstein, Grigori Kozintsev, Viktor Shklovsky, and Fridrikh Ermler among them—altered and extended the language of film under Dostoevsky's influence. He has included substantial excerpts from Eisenstein's notes from his "Chapter on Dostoevsky," which appear here for the first time in any language, and he also draws upon other theoretical and critical writings, film scripts, project notes, interviews, contemporary reviews, and many autobiographical reminiscences. Besides discussing such Dostoevsky adaptations as Ivan Pyriev's The Brothers Karamazav, Alov and Naumov's suppressed Nasty Story, Kulidzhanov's Crime and Punishment, and Ermler's Great Citizen, Lary offers suggestive critical analyses of Eisenstein's Ivan the Terrible and Kozintsev's King Lear. He provides as well his own provocative readings of Dostoevsky, uncovering new layers of meaning in the texts through his close study of their filmic treatment. Lary's book tells the fascinating story of Dostoevsky and Soviet film as it unfolds both onscreen and off. It not only reveals some hidden sides of Soviet resistance to Dostoevsky's work, but through its insights contributes toward a new understanding of the uses of literature in film.
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