scholarly journals Stability of Elliptical Galaxies. Numerical Experiments

1987 ◽  
Vol 127 ◽  
pp. 315-329 ◽  
Author(s):  
David Merritt
Keyword(s):  
Soviet Union ◽  
English Language ◽  
Elliptical Galaxies ◽  
Equilibrium Structure ◽  
Subsequent Work ◽  
Spherical System ◽  
Language Version ◽  
Anisotropic Models ◽  
The Soviet Union ◽  
Gravitating Systems

The idea that dynamical instabilities might play an important role in determining the equilibrium structure of elliptical galaxies is a startling one, especially to those of us who are accustomed to associating instabilities with rapidly-rotating systems like disk galaxies. The shock is even greater when we learn that these instabilities have been taken seriously by workers in the Soviet Union for a long time. As Dr. Polyachenko points out in his talk, instabilities affecting spherical, non-rotating galaxies were being discussed by Soviet astronomers as long ago as 1972. Much of this work has recently become more accessible through the publication of an English-language version of Fridman and Polyachenko's monograph, Physics of Gravitating Systems (Fridman and Polyachenko 1984). In the West, it appears that only two people were prescient enough to systematically test the stability of spherical models before learning of the Soviet work (Hénon 1973; Barnes 1985). In particular, Barnes discovered independently that a spherical system composed of predominantly radial orbits evolves rapidly into a bar. Subsequent work has demonstrated that even some mildly anisotropic models can be unstable in this way.

Translation and Transformation: English-Language Children's Literature in (Soviet) Russian Guise

2015 ◽  
Vol 8 (1) ◽  
pp. 1-16 ◽  
Author(s):  
Judith Inggs
Keyword(s):  
Children's Literature ◽  
Soviet Union ◽  
English Language ◽  
Children’S Literature ◽  
Socialist Realism ◽  
The Political ◽  
Philosophy Of Action ◽  
The Soviet Union ◽  
Free Translation ◽  
Soviet Russia

This article investigates the perceived image of English-language children's literature in Soviet Russia. Framed by Even-Zohar's polysystem theory and Bourdieu's philosophy of action, the discussion takes into account the ideological constraints of the practice of translation and the manipulation of texts. Several factors involved in creating the perceived character of a body of literature are identified, such as the requirements of socialist realism, publishing practices in the Soviet Union, the tradition of free translation and accessibility in the translation of children's literature. This study explores these factors and, with reference to selected examples, illustrates how the political and sociological climate of translation in the Soviet Union influenced the translation practices and the field of translated children's literature, creating a particular image of English-language children's literature in (Soviet) Russia.

scholarly journals Boris Uspenskij in English: Bibliography

2017 ◽  
Vol 45 (3/4) ◽  
pp. 395-403
Author(s):  
Taras Boyko
Keyword(s):  
Soviet Union ◽  
English Language ◽  
The Soviet Union ◽  
English Language Publication

The bibliography provides a list of Boris Uspenskij’s publications in English, including works written in co-authorship and various reprints/reissues. For the most part, Uspenskij’s publications in English are translations of his books and articles originally written in Russian and previously published in the Soviet Union/Russia. The first English-language publication of his work, the monograph Principles of Structural Typology appeared in 1968; the current bibliography consists of 65 entries from a period spanning from 1968 till today.

Dziga Vertov

2015 ◽  
Author(s):  
Alla Gadassik
Keyword(s):  
Soviet Union ◽  
Early Adulthood ◽  
Human Beings ◽  
Media Technology ◽  
Subsequent Work ◽  
Avant Garde ◽  
Political Cinema ◽  
The Soviet Union ◽  
Dziga Vertov ◽  
Movie Camera

Dziga Vertov (b. 1896, Bialystok, Russian Empire–d. 1954, Moscow, USSR) was a pioneering Soviet filmmaker, whose films and manifestos played a central role in 20th century documentary, experimental film, and political cinema traditions. Working in the USSR in the 1920s–1950s, Vertov led the radical Kino-Eye (Cine-Eye) collective, which championed a new film language that would draw on the unique mechanical and audiovisual properties of cinematography, rather than on theatre or literature traditions. His polemical resistance to narrative fiction films contributed to the development of avant-garde documentary techniques in the Soviet Union and abroad. Long after Vertov fell out of favor in his native country, his work continued to influence international documentary cinema and political media groups. Born as David Abelevich Kaufman, Dziga Vertov adopted his pseudonym in early adulthood, and his subsequent work often blurs the lines between the filmmaker’s personal experiences and ideas ascribed to his alter ego. This split between Vertov’s personal life and his constructed persona reflected his belief that cinema, too, could simultaneously document observed reality and construct an entirely new reality from captured slices of life. Vertov maintained that filmmakers should seek out and expose the hidden social and political forces that govern life, using moving images and sound to shape spectator consciousness. His films were in dialogue with several avant-garde art movements, and he often experimented with different film techniques in hopes of both depicting and transforming reality. Moreover, Vertov argued that media technology, especially the movie camera and the wireless radio, would radically change how human beings navigated the world and how they understood their place in society. His theoretical writings are foundational to the discipline of film studies and to writings on film cinematography and montage. His seminal 1929 film Man with a Movie Camera (Chelovek s Kinoapparatom) is a cornerstone of film courses worldwide.

Gulag Letters

2017 ◽  
Author(s):  
Arsenii Formakov
Keyword(s):  
World War Ii ◽  
Soviet Union ◽  
English Language ◽  
Language Translation ◽  
Forced Labor ◽  
Soviet Society ◽  
The Soviet Union ◽  
Labor Camps ◽  
Labor System ◽  
Camp Life

Memoirs and works of fiction that describe the Stalinist Gulag often depict labor camps as entirely cut off from the rest of Soviet society. In fact, however, many prisoners corresponded at least sporadically with relatives either through the official, censored Gulag mail system or by smuggling letters out of camp with free laborers. Examples of such correspondence that survive to the present day represent a powerful, largely unstudied historical source with the potential to fundamentally change the way we understand both the Soviet forced labor system and Stalinist society in general. Gulag Letters offers readers an English-language translation of the letters of a single Gulag inmate, the journalist, poet, and novelist Arsenii Formakov (1900-1983), who was a prominent member of Latvia’s large and vibrant Russian Old Believer community during the interwar period. Formakov was arrested by the Soviet secret police in June 1940 as part of a broad round-up of anti-Soviet elements that began just weeks after the Soviet Union forcibly annexed Latvia, and survived two terms in Soviet labor camps (1940-1947 and 1949-1955). The letters that he mailed home to his wife and children while serving these sentences reveal the surprising porousness of the Gulag and the variability of labor camp life and describe the difficult conditions that prisoners faced during and after World War II. They also represent an important eye-witness account of the experience of Latvian citizens deported to internment sites in the Soviet interior during the 1940s.

scholarly journals Captioning the occupation: The role of textual elements in the process of building national narratives in historical museums

2021 ◽  
Vol 2021 (3) ◽  
Author(s):  
Katarzyna Jarosz
Keyword(s):  
National Identity ◽  
Soviet Union ◽  
Visual Image ◽  
Large Degree ◽  
Master Narrative ◽  
National Narratives ◽  
Language Version ◽  
Historical Museums ◽  
Socially Constructed ◽  
The Soviet Union

Background: After the dissolution of the Soviet Union, in the ideology vacuum it left behind, the question of national identity became one of great importance. Adopting the Benedict Anderson constructivist idea that nations are imagined – or socially constructed communities that have to be continuously reproduced in order to exist, we aim to analyse whether and in what ways historical and archaeological museums can serve as tools in the process of building or reshaping national identity in the post-Soviet landscape in order to achieve the state ambitions of the nation. Museums are a powerful tool for policymakers; they not only present neutral objects but also usually enter into dialogue with visitors and create a certain vision of history. The stories told in museums can incorporate selected episodes into a national narrative. Aim, Method, and Discussion: The author aims to verify whether there is a disconnection between two or three parallel texts, between the texts and the visual image, and finally between the texts in question and the master narrative, as imposed by the policymakers. The materials for the analysis are captions, labels, audio guides, and texts from the websites, from the Museum of Soviet Occupation, Tbilisi, Georgia; the Museum of Occupation and Fights for Freedom in Vilnius, Lithuania; and the National Museum of the Holodomor-Genocide in Kiev, Ukraine. The research demonstrated that the analysed texts in the museums in question are a key element of building the museums’ narratives. In addition, the choice of language version is a significant factor that strengthens the museum’s discourse. Captions and labels are an integral part of the narrative styles. Conclusion: The caption is a key element in relation to what a spectator thinks they are seeing: if the contextualising text is changed, the meaning of the artefacts and of the exhibits changes to a large degree.

Rewritten Autobiography: W. E. B. Du Bois’ Soliloquy on Viewing My Life in the German Democratic Republic

2019 ◽  
Vol 64 (1) ◽  
pp. 47-77
Author(s):  
Hamilton Beck
Keyword(s):  
Soviet Union ◽  
German Democratic Republic ◽  
English Language ◽  
Democratic Republic ◽  
Eastern Bloc ◽  
Du Bois ◽  
The Soviet Union ◽  
The Us ◽  
East German ◽  
The One

Abstract In the late 1950s, the last major works of W.E.B. Du Bois appeared in the Soviet Union, the German Democratic Republic and other Eastern Bloc countries before they were published in the US. While Eastern Bloc countries provided welcome support for Du Bois at a time when he was effectively blacklisted in America, they found that his texts presented them with certain challenges. On the one hand, the GDR printed his English-language anthology An ABC of Color complete and without editorial interference. When it came to translating his Autobiography in the GDR and USSR, however, some chapters were dropped for reasons of space, while others were reformulated or excised to eliminate politically awkward views, religious vocabulary, and matters touching on sexuality. This essay provides a close examination of selected passages in the German and Russian translations, compares them with the English original, and argues that in making Du Bois conform to accepted views, the East German and Russian versions straight-jacketed his text.

The British-Georgian excavation at Pichvnari 1998: the ‘Greek’ and ‘Colchian’ Cemeteries

2001 ◽  
Vol 51 ◽  
pp. 65-90 ◽  
Author(s):  
M. Vickers ◽  
A. Kakhidze
Keyword(s):  
Soviet Union ◽  
The Black Sea ◽  
Collective Farm ◽  
Subsequent Work ◽  
The North ◽  
The Soviet Union ◽  
Black Sea Coast ◽  
State Of Affairs ◽  
The Town ◽  
Autonomous Republic

Pichvnari lies on the Black Sea coast of Georgia, at the confluence of the Choloki and Ochkhamuri rivers, some 10km to the north of the town of Kobuleti in the Ajarian Autonomous Republic (fig 1). The site has been known since the 1950s, and excavations were carried out in both the settlement and its various cemeteries in succeeding years, under the auspices of the Batumi Archaeological Museum and the Batumi Research Institute. The site was surveyed and a notional grid-plan imposed, within which subsequent work was recorded. By the time of the breakup of the Soviet Union in 1989–90, the Pichvnari Expedition was a fixture in the Georgian archaeological calendar, but with the abrupt decline in the Georgian economy this happy state of affairs came to an end.In 1998, however, work started again in collaboration with the Ashmolean Museum, Oxford. In the spring of that year, the dig-house (part of an old kolkhoz, collective farm) was restored with the aid of the Seven Pillars of Wisdom Trust. The roof was mended, and water and electricity laid on. The first season took place in July and August, when work (briefly reported in Vickers 1998) was conducted in the areas of both the North, or ‘Colchian’, and West, or ‘Greek’, Cemeteries.

Russian Cinema

2013 ◽  
Author(s):  
Birgit Beumers
Keyword(s):  
Soviet Union ◽  
English Language ◽  
Art Making ◽  
Popular Cinema ◽  
Avant Garde ◽  
The Soviet Union ◽  
Soviet Cinema ◽  
Russian Film ◽  
Russian Cinema ◽  
Auteur Cinema

While Soviet and Russian cinema was rather understudied until the collapse of the USSR, since the early 1990s there has been a rise in publications and scholarship on the topic, reflecting an increase in the popularity of film and cultural studies in general. However, different periods of Soviet cinema have been covered quite unevenly in scholarship. Largely, this has to do with the accessibility of films: whereas films of the Soviet avant-garde have been widely available—many of the early Soviet films were shown in film clubs and film societies around the world at the time of their making—from the 1930s onward the Soviet Union cut its ties with the West, and films of the Stalinist era remained isolated in their own culture. With the Cold War and the subsequent Thaw, that situation changed, and once again a number of Soviet films became available through festivals and limited distribution. However, it was not until glasnost and perestroika that an interest in Soviet cinema sparked and led to television screenings and releases of new or unshelved films. Strangely, English-language scholarship has continued to focus on the “big” names, those directors whose films were released and distributed abroad, while the works of filmmakers both of auteur cinema (e.g., Kira Muratova) and popular cinema (e.g., Leonid Gaidai and Eldar Riazanov) often remain understudied. Nevertheless, scholars in the Slavic field have engaged more and more with film and visual art, making a huge contribution to the field of Russian film studies. It is often a tightrope walk to classify texts written by leading film scholars with limited access to original sources because of the language barrier, and texts by Slavic scholars with expertise in the culture but a philological background. Yet this “dilemma” also means that the spectrum of scholarship is wide-ranging and engages with a number of different approaches and perspectives on Russian cinema—from historical to political and ideological, from visual and aesthetic to narrative, from theoretical to thematic. This bibliography includes English-language publications only and follows Library of Congress transliteration (without diacritics) outside the citations.

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