Literatura académica sobre el tema "Russian Part songs"

This article explores the role of songs in Russian protests. Data are drawn from ethnographic observations made at protests held between 2015 and 2022, mostly in Moscow and St. Petersburg, as part of the project, “Monitoring Contemporary Folklore,” based at the Russian Presidential Academy of National Economy and Public Administration. The authors consider materials from 240 protests. Viewing protests as an act of communication, the article analyzes the circumstances for song performances and suggests a hypothesis for songs’ communicative goals. The article additionally demonstrates how song choice changes from common 1980’s protest songs to new tracks that gained later popularity. The article demonstrates how song production depends on the types of protests and the levels of participant engagement.

Over the course of two years of full-scale war, numerous studies demonstrate that a portion of Ukraine’s population still maintains an interest in Russian-language musical products. This has a particularly negative impact on the consciousness of such citizens and supports the armed aggression of the Russian Federation. Through the monetization of music streaming on various platforms, funds flow into Russia’s budget, which it then uses to purchase weapons for its war against Ukraine. Music is enjoyed by different generations of people, regardless of age, status, or nationality. That is why it is one of the most effective means of spreading propaganda. It is unobtrusive, designed for easy perception and relaxation. This manipulation tactic of audience consciousness can be observed even during World War II. Most Russian songs predominantly celebrate everyday phenomena, various forms of leisure, or depict the grandeur of love and other emotions. However, in Russia, there are types of songs that propagate narratives such as the idealization and romanticization of Russian President V. Putin, calls for patriotism, reminders that everyone living in Russia and speaking Russian is part of the «great Russian people», emphasis on the greatness and power of Russia, and portraying the country as always victorious, urging participation in the military. Ukrainian media researchers need to regularly and carefully monitor the emergence of such compositions and the narratives they spread. They have a particularly negative impact on the consciousness of Ukrainian citizens, especially those residing in temporarily occupied territories of our country. The dissemination of propaganda through songs is a widespread and at the same time insidious method of influencing society. Russia actively uses it and unfortunately, quite successfully, as evidenced by numerous studies showing that Ukrainians still listen to Russian music on many online platforms.

The traditional wedding song of the Russian population living on the territory of mining villages in the Beloretsk district of the Republic of Bashkortostan still remains little studied area of knowledge from the ethnomusicological point of view, and for the first time becomes an object of special research. Analytical base of the article are the expeditionary records made by students and teachers of philological faculty of the Magnitogorsk State University in 1995–1999 under the guidance of the candidate of philological sciences T. I. Rozhkova. The author of the article carried out the editing of song samples. The complex approach used in the article in the analysis of ritual texts, taking into account the results of philological, ethnographic and musicological classifications, allows to systematize the repertoire of the Beloretsk wedding, to distinguish two musical and stylistic groups — song-and-lament and song-and-dance groups. Each musical and stylistic group combines a part of the wedding repertoire, which is characterized by a certain set of typical features reflecting the specifics of the form, genre, and content of songs in their direct relationship with the condition and place of performance in the rite. The analysis of musical and stylistic originality of Russian wedding songs and lamentations is conducted at the level of verbal, syllabic, and pitch parameters of chants organization. The found regularities allow to draw a conclusion about the musical and stylistic unity of local ritual and non-ritual folklore genres, providing not only the preservation of the corpus of wedding songs and wedding rites, but also the vitality of the local singing tradition as a whole.

The paper presents the collection and analysis of the folklore adaptations of Maria Zubova's sentimental romance “I am going away into the desert” in the 19th and 20th centuries. The transformation of the author's work in folk song and theatre culture demonstrates a complex interaction between folklore and book poetry. The biography of the author, a representative of the artistic milieu and one of the few female poets of the late 18th century, is reflected in some journal sources (“Materials for the History of Russian Female Authors” by M. N. Makarov) and fiction sources (“Russian Women of New Times” by D. L. Mordovtsev) which confirm possible authorship of the poetess. The study highlights stylistic features of love, spiritual and prison lyrics, as well as the work of folk theatre, which uses the text under study. Women's love songs, including choral songs, vary the motif of infidelity, transform the spiritual meaning of the image of the desert into a symbol of conjugal loneliness. In an Old Believer environment, the work was included in spiritual songs developing a motif of renunciation of the secular life in the wilderness. Researcher P. A. Bessonov discusses the devastating impact of “pseudo-folk” song on Russian spiritual culture. Echoes of the sentimental romance may also be found in the prison lyrics of the 20th century collected from the Siberian narrator I. K. Beketov. The final part of the study deals with the folk drama “King Maximilian”, where the cited text appears as a precedent for the Russian culture, which is proved later by its active use in numerous works of fiction.

Countering the Russian invasion is the subject of many songs dating back as far as several centuries. Oi u luzi chervona kalyna (“Oh, the Red Viburnum in the Meadow”) is one of such songs. Intonation structure of this folk song, remarkably resembling an anthem, represents the mighty power of generations and unites the communities in their struggle against the enemy. Investigating the genre transformations of this piece and it communicative models that consolidate communities serving as an attribute of Ukrainian national identity as opposed to the enemy proves the importance of the subject of this paper. The objectives of this research were the following: to study the historical and genre reminiscences of the Oi u luzi chervona kalyna song, to analyze its impact on developing the new trends within the popular Ukrainian music and culture, to outline the communicative mechanisms used in the anthem-like pieces rooted in folk songs to influence and consolidate communities. The means of replication of this song may be identified, on the one hand, as a specifically targeted strategy, namely, seemingly random viral sharing in the Internet. On the other hand, the transformation of a genre of this song is evident. Heavy rotation of the Oi u luzi chervona kalyna song enables concluding that it became a part of the mainstream of the present time. The very idea of the song encourages the audience to collaboration and co-creation, be it singing along, making electronic covers, singing backing vocals, etc. The fact that its symbolic and semiotic fields influenced the intensification of cross-cultural interaction between similar worldviews and became a unifying factor in the struggle against the Ruscist evil in is an important feature of this song’s replication during the war

Among the retro-series about Soviet pop artists, the author identifies three types of soundtrack: 1) quotation (songs of the Soviet era in the sound closest to the original or direct inclusion of an authentic soundtrack); 2) modernized (a conscious and radical change in the sound of original songs through arrangement); 3) stylized (songs specially written for a specific series, presented as songs of the Soviet era). The main attention in the article is given to the soundtrack of citation and modernized types. Although the quote-type soundtrack strives to be indistinguishable from the original, it works powerfully and reinterprets the popular music of the Soviet era. On the one hand, the “radius” of Soviet popular music is greatly expanding from a chronological and geographical point of view and including foreign pop hits, thieves' songs, old romances. On the other hand, the creators of serials are pursuing a strict repertoire policy towards Soviet popular music. In particular, they almost completely exclude civil-patriotic songs both from the sound landscape of the soviet era and from the biographies of the artists. The character of a modernized type of soundtrack is highly dependent on the location and function it serves in the structure of the series. It turns out that in the intros to the series and in the dubbing of the love line of the main characters, the original songs undergo an insignificant change. A much more radical introduction into the original text occurs when songs become part of a genre off-screen soundtrack or are transformed for dramatic needs, growing into an independent musical number within the narrative.

The paper provides an insight into the elements of style of the outstanding Russian composer Kirill Volkov. They are defined within the sonata genre for a chromatic free-bass bayan and studied in terms of the synthesis of arts and in view of the implementation of Russian folklore in the work of the composer, which allows to appreciate this part of his artistic legacy as a single text communicating the idea of Russia spiritual resurgence. Studied as a single text, declarative of the unique interpretation of the genre for a chromatic free-bass bayan, Volkov pieces revealed bayan new technical and expressive capabilities, which incorporated a wide range of genre spheres. Znamenny chant and spiritual poem, folk song and dance, bylina epos and keening, chastushka and recitation, spell-prayers and patter songs are demonstrated as integral components of the author style, giving the works the unique shape filled with associations and allegories.

The paper displays the results of research of musical and stylistic features of the repertoire of the Russian wedding recorded in expeditions of the 90-ies of the 20th century in mining villages of the Beloretsk district of Bashkortostan by students and teachers of the Magnitogorsk state University. The author uses comprehensive approach in the analysis of ritual texts, taking into account the results of philological, ethnographic and musicological classification, which allows systematizing the repertoire of the Belarusian wedding, and distinguishing two musical-style groups — lament-singing and song-and-dance. The musical-style group combines a part of the wedding repertoire, which is characterized by a certain set of typical features that reflect the specifics of the form, genre, and content of songs in their direct relationship with the condition and place of performance in the rite. The analysis of musical and stylistic originality of Russian wedding songs and lamentations is carried out at the level of verbal, syllabic, and pitch parameters of chanting organization. Regularities specified for the first time led to a conclusion about the musical and stylistic unity of local ritual and non-ritual folklore genres, which ensures not only the preservation of the corpus of wedding songs and wedding rites, but also the vitality of the local singing tradition as a whole. The paper also suggests that search for the origins of the local folklore tradition should be carried out in the Northern Russian European region, which is characterized by a lamenting (dramatic) type of the wedding ritual.

This article presents an attempt to reconstruct the intermediate repertoire of the cameo theater Krivoe Zerkalo [Distorted Mirror]. During the Soviet period of the theater’s activity, the “singer of intimate songs” Ksenia Kourakina (1903–1988) enjoyed considerable success among the sideshow actresses, who, according to the press announcements, performed “in her own repertoire” (a Russian expression, meaning “behaving in her own typical manner”). The possibility of a partial reconstruction has been provided by materials of the State Museum of Musical and Theatrical Art (St. Petersburg). The funds of Kourakina’s archive comprise a repertoire list of 35 items, a number of musical materials (partly published, partly handwritten), as well as an autobiography written by the singer in 1950. Another source of information was the press of Petrograd (which was called Leningrad from 1924 to 1991), primarily, the journal Rabochiy i teatr [The Worker and the Theater]. The scarce amount of responses by reviewers to Kourakina’s performances, along with an analysis of the available part of the sources, allowed us to arrive at the following conclusions. Ksenia Kourakina’s overall repertoire was diverse both in terms of genre and of subject matter and, most importantly, reflected the tastes and preferences of the Soviet public in the late 1920s. The time-tested pre-revolutionary “hits” coexisted in it with new infatuations. Kourakina performed new songs about miners and street children, “street songs” and a particular song about a brick factory — the famous song Kirpichiki [The Little Bricks]. Some of them have subsequently become iconic in the history of Soviet culture. However, Kourakina herself maintained a preference of pre-revolutionary songs of the “era of tabby gowns,” — such as, Dolores, Latinsky kvartal [The Latin Quarter], etc. The most significant of them is Shumit nochnoy Marsel [Marseille is Bustling with Noise at Night] by Yuri Milyutin and Nikolai Erdman. Having been composed already in the Soviet era, it made use of the musical and literary cliches of the Silver Age, “referring” to the works of Alexander Blok, Vsevolod Meyerhold, Alexander Tairov, to Georges Bizet’s Carmen, an opera that was very popular in pre-revolutionary Russia. On the stage of Krivoe zerkalo Ksenia Kourakina did not limit herself to merely performing her songs as interludes. She “played out” the plotlines, making use of the so-called “declamatory singing” that combined “musical melodiousness, declamation and acting”. Thereby, Kourakina’s interludes presented “song theater,” the foundations of which had been previously laid by Alexander Vertinsky, Izabella Kremer and Ilia Ilsarov on the stages of Russian cabarets and cameo theaters even before 1917.

The article aims at revealing the vitality of the oral cultural pattern as illustrated by the songs spread by perhaps the most literate community – students. The analysis of Lithuanian student songs focuses on two compositions that have been favored by students for quite a long time, travelling between European universities orally (at least in part) and sometimes even radically changing their shape.One of these songs is entitled Krambambuli (that is also the name of a strong liquor). It appeared in Lithuania in relation to the establishment of the student corporations following the German example. Yet among the Lithuanian students during the interwar period not the translated German song grew popular, but its local Lithuanian version. The Lithuanian Krambambuli inherited certain traits not only from its German predecessor, but also from the folkloric variants of the Russian translation, including some peculiarities of both the lyrics and melody, and certain additional features. By way of oral learning, dissemination, and variation this song was popular until the beginning of the 1960s. After Lithuania regained its independence and corporations renewed their activities at the universities, the song Krambambuli started sounding again, but today it cannot be regarded as a popular song. Members of the corporations learn it purposefully, as traditional heritage, which should be preserved and respected. Today Krambambuli seems to have turned into a presentable, “show” composition; it is difficult to say if it is ever going to find its way back into folklore proper again, enriching the treasury of the spontaneously developing folk creativity.Another song, the history of which we also use here as an illustration, is given a provisory title “Let Us Raise and Clang Our Glasses!” according to the prevailing lines of its refrain. Its melody, adapted from an Italian student song of the beginning of the 20th century, travelled to Lithuania via Russia, followed by the lyrics, which in Lithuania, however, was transformed into a patchy medley of unrelated humorous couplets. In Lithuania, this song exists and is learned almost exclusively orally, while its fragments “behave” in the virtual space not unlike the paremias: they are used to season the speech, to illustrate, to accentuate the peculiarity of the situation, or even as punchlines in certain funny situations.The first thing that draws attention when we attempt generalizing the history of the both long-lived student songs in question is the fact that they are male songs; incidentally, this tendency can be observed in the corpus of the student songs even today, although the student community has long ago ceased to be a masculine one. Masculinity, frivolity, beer, youth, love, gaiety – these are the main themes that have perhaps determined the long-lived popularity of the songs in question. However, the analyzed songs are interrelated not only in terms of their themes; they keep balancing on the borderline between cultural layers. Having emerged from the professional compositions, they are likely to be performed onstage, nicely arranged and perfectly intoned by professionally trained choirs. Yet another time the same song can completely adhere to the requirements of the popular scene, readily adapting to the popular taste by flexibly altering its shape and finally sounding in accordance to the requirements of almost the lowest social strata. Nevertheless, the most intriguing is the possibility of discerning the basic principles of folklore in the history of these songs; these principles are essentially similar to those developed by the oral culture in the ancient communities. Songs keep surviving for lengthy periods; they are repeated and in demand, since their texts seem lucid to the majority of the community members. They reflect the prevailing vision of the surrounding world, although their melodies change while crossing different countries and regions: they are adapted or even recreated, because they keep hitting the local filters that censor the song’s expression; these comprise certain pools of the musical forms, intonations and complex figures. The power of these filters may perhaps account for dissemination of certain forms of the musical expression in some areas and their total absence or strong changes in the others. If we add criteria of variation, collectivity, loss of authorship or its assumed irrelevance, and emphasize the importance that these songs acquire in relation to customs and rituals, we can perhaps complete the list of the main principles of folklore that are observed in these hybrid compositions – student songs.The traces of folklore found in the student songs do not mean, however, that these compositions can be considered folklore. Still, the student songs are shaped, sound and leave the living tradition precisely following the laws of the oral cultural pattern, thus “behave” in correspondence to its norms. So, even if today we are surrounded not only by the written, but also by the media culture, the modern community, if it is indeed a living and a self-renewing one, cannot completely discard the patterns of oral culture as well. The songs are an inherent part of such pattern, accompanying various rituals and customs or simply helping to create a happier kind of the daily life and making it meaningful.

Nationalism: Past as Prologue began as a single volume being compiled by Ad Akande, a scholar from South Africa, who proposed it to me as co-author about two years ago. The original idea was to examine how the damaging roots of nationalism have been corroding political systems around the world, and creating dangerous obstacles for necessary international cooperation. Since I (Bruce E. Johansen) has written profusely about climate change (global warming, a.k.a. infrared forcing), I suggested a concerted effort in that direction. This is a worldwide existential threat that affects every living thing on Earth. It often compounds upon itself, so delays in reducing emissions of fossil fuels are shortening the amount of time remaining to eliminate the use of fossil fuels to preserve a livable planet. Nationalism often impedes solutions to this problem (among many others), as nations place their singular needs above the common good. Our initial proposal got around, and abstracts on many subjects arrived. Within a few weeks, we had enough good material for a 100,000-word book. The book then fattened to two moderate volumes and then to four two very hefty tomes. We tried several different titles as good submissions swelled. We also discovered that our best contributors were experts in their fields, which ranged the world. We settled on three stand-alone books:” 1/ nationalism and racial justice. Our first volume grew as the growth of Black Lives Matter following the brutal killing of George Floyd ignited protests over police brutality and other issues during 2020, following the police assassination of Floyd in Minneapolis. It is estimated that more people took part in protests of police brutality during the summer of 2020 than any other series of marches in United States history. This includes upheavals during the 1960s over racial issues and against the war in Southeast Asia (notably Vietnam). We choose a volume on racism because it is one of nationalism’s main motive forces. This volume provides a worldwide array of work on nationalism’s growth in various countries, usually by authors residing in them, or in the United States with ethnic ties to the nation being examined, often recent immigrants to the United States from them. Our roster of contributors comprises a small United Nations of insightful, well-written research and commentary from Indonesia, New Zealand, Australia, China, India, South Africa, France, Portugal, Estonia, Hungary, Russia, Poland, Kazakhstan, Georgia, and the United States. Volume 2 (this one) describes and analyzes nationalism, by country, around the world, except for the United States; and 3/material directly related to President Donald Trump, and the United States. The first volume is under consideration at the Texas A & M University Press. The other two are under contract to Nova Science Publishers (which includes social sciences). These three volumes may be used individually or as a set. Environmental material is taken up in appropriate places in each of the three books. * * * * * What became the United States of America has been strongly nationalist since the English of present-day Massachusetts and Jamestown first hit North America’s eastern shores. The country propelled itself across North America with the self-serving ideology of “manifest destiny” for four centuries before Donald Trump came along. Anyone who believes that a Trumpian affection for deportation of “illegals” is a new thing ought to take a look at immigration and deportation statistics in Adam Goodman’s The Deportation Machine: America’s Long History of Deporting Immigrants (Princeton University Press, 2020). Between 1920 and 2018, the United States deported 56.3 million people, compared with 51.7 million who were granted legal immigration status during the same dates. Nearly nine of ten deportees were Mexican (Nolan, 2020, 83). This kind of nationalism, has become an assassin of democracy as well as an impediment to solving global problems. Paul Krugman wrote in the New York Times (2019:A-25): that “In their 2018 book, How Democracies Die, the political scientists Steven Levitsky and Daniel Ziblatt documented how this process has played out in many countries, from Vladimir Putin’s Russia, to Recep Erdogan’s Turkey, to Viktor Orban’s Hungary. Add to these India’s Narendra Modi, China’s Xi Jinping, and the United States’ Donald Trump, among others. Bit by bit, the guardrails of democracy have been torn down, as institutions meant to serve the public became tools of ruling parties and self-serving ideologies, weaponized to punish and intimidate opposition parties’ opponents. On paper, these countries are still democracies; in practice, they have become one-party regimes….And it’s happening here [the United States] as we speak. If you are not worried about the future of American democracy, you aren’t paying attention” (Krugmam, 2019, A-25). We are reminded continuously that the late Carl Sagan, one of our most insightful scientific public intellectuals, had an interesting theory about highly developed civilizations. Given the number of stars and planets that must exist in the vast reaches of the universe, he said, there must be other highly developed and organized forms of life. Distance may keep us from making physical contact, but Sagan said that another reason we may never be on speaking terms with another intelligent race is (judging from our own example) could be their penchant for destroying themselves in relatively short order after reaching technological complexity. This book’s chapters, introduction, and conclusion examine the worldwide rise of partisan nationalism and the damage it has wrought on the worldwide pursuit of solutions for issues requiring worldwide scope, such scientific co-operation public health and others, mixing analysis of both. We use both historical description and analysis. This analysis concludes with a description of why we must avoid the isolating nature of nationalism that isolates people and encourages separation if we are to deal with issues of world-wide concern, and to maintain a sustainable, survivable Earth, placing the dominant political movement of our time against the Earth’s existential crises. Our contributors, all experts in their fields, each have assumed responsibility for a country, or two if they are related. This work entwines themes of worldwide concern with the political growth of nationalism because leaders with such a worldview are disinclined to co-operate internationally at a time when nations must find ways to solve common problems, such as the climate crisis. Inability to cooperate at this stage may doom everyone, eventually, to an overheated, stormy future plagued by droughts and deluges portending shortages of food and other essential commodities, meanwhile destroying large coastal urban areas because of rising sea levels. Future historians may look back at our time and wonder why as well as how our world succumbed to isolating nationalism at a time when time was so short for cooperative intervention which is crucial for survival of a sustainable earth. Pride in language and culture is salubrious to individuals’ sense of history and identity. Excess nationalism that prevents international co-operation on harmful worldwide maladies is quite another. As Pope Francis has pointed out: For all of our connectivity due to expansion of social media, ability to communicate can breed contempt as well as mutual trust. “For all our hyper-connectivity,” said Francis, “We witnessed a fragmentation that made it more difficult to resolve problems that affect us all” (Horowitz, 2020, A-12). The pope’s encyclical, titled “Brothers All,” also said: “The forces of myopic, extremist, resentful, and aggressive nationalism are on the rise.” The pope’s document also advocates support for migrants, as well as resistance to nationalist and tribal populism. Francis broadened his critique to the role of market capitalism, as well as nationalism has failed the peoples of the world when they need co-operation and solidarity in the face of the world-wide corona virus pandemic. Humankind needs to unite into “a new sense of the human family [Fratelli Tutti, “Brothers All”], that rejects war at all costs” (Pope, 2020, 6-A). Our journey takes us first to Russia, with the able eye and honed expertise of Richard D. Anderson, Jr. who teaches as UCLA and publishes on the subject of his chapter: “Putin, Russian identity, and Russia’s conduct at home and abroad.” Readers should find Dr. Anderson’s analysis fascinating because Vladimir Putin, the singular leader of Russian foreign and domestic policy these days (and perhaps for the rest of his life, given how malleable Russia’s Constitution has become) may be a short man physically, but has high ambitions. One of these involves restoring the old Russian (and Soviet) empire, which would involve re-subjugating a number of nations that broke off as the old order dissolved about 30 years ago. President (shall we say czar?) Putin also has international ambitions, notably by destabilizing the United States, where election meddling has become a specialty. The sight of Putin and U.S. president Donald Trump, two very rich men (Putin $70-$200 billion; Trump $2.5 billion), nuzzling in friendship would probably set Thomas Jefferson and Vladimir Lenin spinning in their graves. The road of history can take some unanticipated twists and turns. Consider Poland, from which we have an expert native analysis in chapter 2, Bartosz Hlebowicz, who is a Polish anthropologist and journalist. His piece is titled “Lawless and Unjust: How to Quickly Make Your Own Country a Puppet State Run by a Group of Hoodlums – the Hopeless Case of Poland (2015–2020).” When I visited Poland to teach and lecture twice between 2006 and 2008, most people seemed to be walking on air induced by freedom to conduct their own affairs to an unusual degree for a state usually squeezed between nationalists in Germany and Russia. What did the Poles then do in a couple of decades? Read Hlebowicz’ chapter and decide. It certainly isn’t soft-bellied liberalism. In Chapter 3, with Bruce E. Johansen, we visit China’s western provinces, the lands of Tibet as well as the Uighurs and other Muslims in the Xinjiang region, who would most assuredly resent being characterized as being possessed by the Chinese of the Han to the east. As a student of Native American history, I had never before thought of the Tibetans and Uighurs as Native peoples struggling against the Independence-minded peoples of a land that is called an adjunct of China on most of our maps. The random act of sitting next to a young woman on an Air India flight out of Hyderabad, bound for New Delhi taught me that the Tibetans had something to share with the Lakota, the Iroquois, and hundreds of other Native American states and nations in North America. Active resistance to Chinese rule lasted into the mid-nineteenth century, and continues today in a subversive manner, even in song, as I learned in 2018 when I acted as a foreign adjudicator on a Ph.D. dissertation by a Tibetan student at the University of Madras (in what is now in a city called Chennai), in southwestern India on resistance in song during Tibet’s recent history. Tibet is one of very few places on Earth where a young dissident can get shot to death for singing a song that troubles China’s Quest for Lebensraum. The situation in Xinjiang region, where close to a million Muslims have been interned in “reeducation” camps surrounded with brick walls and barbed wire. They sing, too. Come with us and hear the music. Back to Europe now, in Chapter 4, to Portugal and Spain, we find a break in the general pattern of nationalism. Portugal has been more progressive governmentally than most. Spain varies from a liberal majority to military coups, a pattern which has been exported to Latin America. A situation such as this can make use of the term “populism” problematic, because general usage in our time usually ties the word into a right-wing connotative straightjacket. “Populism” can be used to describe progressive (left-wing) insurgencies as well. José Pinto, who is native to Portugal and also researches and writes in Spanish as well as English, in “Populism in Portugal and Spain: a Real Neighbourhood?” provides insight into these historical paradoxes. Hungary shares some historical inclinations with Poland (above). Both emerged from Soviet dominance in an air of developing freedom and multicultural diversity after the Berlin Wall fell and the Soviet Union collapsed. Then, gradually at first, right wing-forces began to tighten up, stripping structures supporting popular freedom, from the courts, mass media, and other institutions. In Chapter 5, Bernard Tamas, in “From Youth Movement to Right-Liberal Wing Authoritarianism: The Rise of Fidesz and the Decline of Hungarian Democracy” puts the renewed growth of political and social repression into a context of worldwide nationalism. Tamas, an associate professor of political science at Valdosta State University, has been a postdoctoral fellow at Harvard University and a Fulbright scholar at the Central European University in Budapest, Hungary. His books include From Dissident to Party Politics: The Struggle for Democracy in Post-Communist Hungary (2007). Bear in mind that not everyone shares Orbán’s vision of what will make this nation great, again. On graffiti-covered walls in Budapest, Runes (traditional Hungarian script) has been found that read “Orbán is a motherfucker” (Mikanowski, 2019, 58). Also in Europe, in Chapter 6, Professor Ronan Le Coadic, of the University of Rennes, Rennes, France, in “Is There a Revival of French Nationalism?” Stating this title in the form of a question is quite appropriate because France’s nationalistic shift has built and ebbed several times during the last few decades. For a time after 2000, it came close to assuming the role of a substantial minority, only to ebb after that. In 2017, the candidate of the National Front reached the second round of the French presidential election. This was the second time this nationalist party reached the second round of the presidential election in the history of the Fifth Republic. In 2002, however, Jean-Marie Le Pen had only obtained 17.79% of the votes, while fifteen years later his daughter, Marine Le Pen, almost doubled her father's record, reaching 33.90% of the votes cast. Moreover, in the 2019 European elections, re-named Rassemblement National obtained the largest number of votes of all French political formations and can therefore boast of being "the leading party in France.” The brutality of oppressive nationalism may be expressed in personal relationships, such as child abuse. While Indonesia and Aotearoa [the Maoris’ name for New Zealand] hold very different ranks in the United Nations Human Development Programme assessments, where Indonesia is classified as a medium development country and Aotearoa New Zealand as a very high development country. In Chapter 7, “Domestic Violence Against Women in Indonesia and Aotearoa New Zealand: Making Sense of Differences and Similarities” co-authors, in Chapter 8, Mandy Morgan and Dr. Elli N. Hayati, from New Zealand and Indonesia respectively, found that despite their socio-economic differences, one in three women in each country experience physical or sexual intimate partner violence over their lifetime. In this chapter ther authors aim to deepen understandings of domestic violence through discussion of the socio-economic and demographic characteristics of theit countries to address domestic violence alongside studies of women’s attitudes to gender norms and experiences of intimate partner violence. One of the most surprising and upsetting scholarly journeys that a North American student may take involves Adolf Hitler’s comments on oppression of American Indians and Blacks as he imagined the construction of the Nazi state, a genesis of nationalism that is all but unknown in the United States of America, traced in this volume (Chapter 8) by co-editor Johansen. Beginning in Mein Kampf, during the 1920s, Hitler explicitly used the westward expansion of the United States across North America as a model and justification for Nazi conquest and anticipated colonization by Germans of what the Nazis called the “wild East” – the Slavic nations of Poland, the Baltic states, Ukraine, and Russia, most of which were under control of the Soviet Union. The Volga River (in Russia) was styled by Hitler as the Germans’ Mississippi, and covered wagons were readied for the German “manifest destiny” of imprisoning, eradicating, and replacing peoples the Nazis deemed inferior, all with direct references to events in North America during the previous century. At the same time, with no sense of contradiction, the Nazis partook of a long-standing German romanticism of Native Americans. One of Goebbels’ less propitious schemes was to confer honorary Aryan status on Native American tribes, in the hope that they would rise up against their oppressors. U.S. racial attitudes were “evidence [to the Nazis] that America was evolving in the right direction, despite its specious rhetoric about equality.” Ming Xie, originally from Beijing, in the People’s Republic of China, in Chapter 9, “News Coverage and Public Perceptions of the Social Credit System in China,” writes that The State Council of China in 2014 announced “that a nationwide social credit system would be established” in China. “Under this system, individuals, private companies, social organizations, and governmental agencies are assigned a score which will be calculated based on their trustworthiness and daily actions such as transaction history, professional conduct, obedience to law, corruption, tax evasion, and academic plagiarism.” The “nationalism” in this case is that of the state over the individual. China has 1.4 billion people; this system takes their measure for the purpose of state control. Once fully operational, control will be more subtle. People who are subject to it, through modern technology (most often smart phones) will prompt many people to self-censor. Orwell, modernized, might write: “Your smart phone is watching you.” Ming Xie holds two Ph.Ds, one in Public Administration from University of Nebraska at Omaha and another in Cultural Anthropology from the Chinese Academy of Social Sciences, Beijing, where she also worked for more than 10 years at a national think tank in the same institution. While there she summarized news from non-Chinese sources for senior members of the Chinese Communist Party. Ming is presently an assistant professor at the Department of Political Science and Criminal Justice, West Texas A&M University. In Chapter 10, analyzing native peoples and nationhood, Barbara Alice Mann, Professor of Honours at the University of Toledo, in “Divide, et Impera: The Self-Genocide Game” details ways in which European-American invaders deprive the conquered of their sense of nationhood as part of a subjugation system that amounts to genocide, rubbing out their languages and cultures -- and ultimately forcing the native peoples to assimilate on their own, for survival in a culture that is foreign to them. Mann is one of Native American Studies’ most acute critics of conquests’ contradictions, and an author who retrieves Native history with a powerful sense of voice and purpose, having authored roughly a dozen books and numerous book chapters, among many other works, who has traveled around the world lecturing and publishing on many subjects. Nalanda Roy and S. Mae Pedron in Chapter 11, “Understanding the Face of Humanity: The Rohingya Genocide.” describe one of the largest forced migrations in the history of the human race, the removal of 700,000 to 800,000 Muslims from Buddhist Myanmar to Bangladesh, which itself is already one of the most crowded and impoverished nations on Earth. With about 150 million people packed into an area the size of Nebraska and Iowa (population less than a tenth that of Bangladesh, a country that is losing land steadily to rising sea levels and erosion of the Ganges river delta. The Rohingyas’ refugee camp has been squeezed onto a gigantic, eroding, muddy slope that contains nearly no vegetation. However, Bangladesh is majority Muslim, so while the Rohingya may starve, they won’t be shot to death by marauding armies. Both authors of this exquisite (and excruciating) account teach at Georgia Southern University in Savannah, Georgia, Roy as an associate professor of International Studies and Asian politics, and Pedron as a graduate student; Roy originally hails from very eastern India, close to both Myanmar and Bangladesh, so he has special insight into the context of one of the most brutal genocides of our time, or any other. This is our case describing the problems that nationalism has and will pose for the sustainability of the Earth as our little blue-and-green orb becomes more crowded over time. The old ways, in which national arguments often end in devastating wars, are obsolete, given that the Earth and all the people, plants, and other animals that it sustains are faced with the existential threat of a climate crisis that within two centuries, more or less, will flood large parts of coastal cities, and endanger many species of plants and animals. To survive, we must listen to the Earth, and observe her travails, because they are increasingly our own.

The Russian arts were as fascinated by exotic languages, cultures, and locales as their Western European counterparts, and at first glance, Russian settings of the poetry of Hafiz appears to form part of the broader field of musical exoticism in general, and Russian orientalism in particular. This chapter begins by examining the relationship between empire and music, before setting out a rather different account of Russian musical orientalism, one marked by a complex transnational flow of literary and musical influences, as well as practices of translation, imitation, cultural appropriation, and cross-border artistic exchange. Whilst forming part of a broader tendency to imagine visions of a supposed ‘orient’ that had little to do with any documented anthropological, ethnographic, philological, or linguistic reality, Russian settings of Hafiz’s poetry are ultimately the result of the import of elements of German romanticism. Here, writers, translators, and commentators co-opted a range of ‘exotic’ literatures in an attempt to distinguish themselves from the dominance of French classicism and fashion an autonomous form of German nationalism, key elements of which were then incorporated into mid-nineteenth-century Russian culture (as in the case of Afanasy Fet’s translations of Georg Daumer’s well-known ‘versions’ of Hafiz). Accordingly, Hafiz figures not so much as the object of orientalist representation (although there is certainly a strong element of that to the songs discussed here), but as an exemplary figure within a complex network of literary mediation.

Ivan Petrovich Sakharov (1807-1863) was one of the most famous publishers of folklore in Russia in the 1830s-1840s. With references to the manuscript, which was allegedly kept in Tula by the merchant Belsky, he published epics and fairy tales in his publications Songs of the Russian people, Tales of the Russian people and Tales of the Russian people about the family life of their ancestors. P. A. Bessonov, and after him A. N. Pypin and other researchers established that the Belsky's manuscript had in factnever existed, and Sakharov's reports about it had been a literary hoax. Nevertheless, so far no one has tried to find out whether the merchant Belsky existed in Tula and whether he could have been the owner of such a manuscript. This article summarizes for the first time information about the mythical «Belsky's manuscript» given by Sakharov in his numerous editions. Archival data about the Tula merchant Pyotr Ivanovich Belsky (1769-1830) are also reported. A preface to the second part of Tales of the Russian people in which Sakharov talks about the fate of the Belsky's manuscript is published. The materials presented in the article brings to the much more complete description of the imaginary «Belsky's manuscript» as a kind of literary hoax in Russia in the 1830s.

Spiritual verses are a genre associated with an oral folk tradition, and they are often found in written form as part of handwritten spiritual verse collections, which were often accompanied by Russian “hook” notation. In Russian and Slavic folklore, they relate in content and style to church liturgy books and occupy a middle ground between such writings and folklore. Russian spiritual verses arose, most probably, back in the pre-Mongol period. Designed to support the spirit of piety in people, in the past they were performed by travelling singers, so-called “kaliki perehozhiye“. The Old Believers serve as custodians of the oldest examples of spiritual verses up to this day. The poems can be performed at a funeral, on remembrance, during a meal. They served as a particular link that connected the Church and everyday life for the believer. The article examines some types of the Old Believers’ spiritual poems, which are not infrequently compared to examples from eastern and southeastern European folk songs.

Abstract The originality of the Anti-Formalist Rayok should be assessed not only from the point of view of its place within Shostakovich’s legacy, but in the context of the broad traditions of satire in Russian culture. Russian musical satire is an organic and deeply original part of Russia’s spiritual culture. It is a legacy that is a thousand years old, and one that continues to thrive today: from the crude Slwmorokhi lampoons of the tenth to seventeenth centuries to the obscene modern-day chastushki about Khrushchev, Brezhnev, and Gorbachev and the political songs of Galich and Vysotsky: from Dargomyzhsky’s ‘The Worm’, Borodin’s ‘Pride’, Musorgsky’ s ‘The Seminarist’, ‘The Classicist’, and ‘The Flea’, Rimsky-Korsakov’s The Tale of Tsar Saltan, Kashchei the Immortal, and The Golden Cockerel to Prokofiev’s The Buffoon, Mosolov’s Newspaper Announcements, Shos takovich’s secret anti-Soviet works, Shchedrin’s Bureaucratiada, and Schnittke’s Life with an Idiot. Musorgsky’s Rayok and Shostakovich’s Anti-Formalist Rayok, two masterpieces of Russian musical satire, occupy a special place in this sphere of denunciatory laughter. A whole century separates them. Musorgsky wrote his Rayok in 1870, and Shostakovich finished the last scene of his work at the end of the 1960s. They nevertheless have much in common. The object of the satire in these works is the relationship between art and power, and therefore art itself and also ultimately the artist.

As it noted by the researchers, the “Song of fate” accumulates painful thoughts of A.A. Blok about the fate of Russia and about his personal fate associat ed with the past, present and future of the Motherland. In addition to the ideological problems raised in it, the poem is interesting in an attempt to escape from the specifics of historical and national-cultural realities through their symbolization, combining the plans of life and being. The white house with a garden on the hill, in which the action of the play begins and the return to which is implied at the end, incorporates the most important features of Russia as a cultural, natural and spiritual space. The world of the estate is opposed by the space of the modern city and the big world of Russian open spaces. However, the estate for Blok is Russia the same. Therefore, Elena, the keeper of the estate, and Faina, the personalization of the world element, are two parts of one whole, as if the projection of an ideal Russia. The plot of the “Song of fate”, accord ing to D.M. Magomedova, I.S. Prikhodko, etc., is an artistic realization of the Gnostic myth of the captive Sophia, the Soul of the world. The imposition of the Gnostic myth in the “Song of fate” on the entire existing in Russian literature of the XIX century poetosphere of the estate leads to the creation of the author’s myth about Russia, the transformation of poetosphere in the mythopoetics.

Realism, as the prevailing aesthetic in mid-nineteenth-century Russia, shaped the artistic practice of even those artists who may not have seen themselves as realists. In this regard, the case of Tchaikovsky is particularly instructive. Tchaikovsky’s songs enjoyed considerable popularity; however, César Cui, for example, denounced them for failing to respect the literary values of the words they set. Tchaikovsky’s views about the ability of music to access a form of truth that lay beyond verbal language might suggest a belief in the fundamental primacy of music over text. His songs play a crucial role in literary, as well as musical, culture, and in some cases are the only known source for otherwise unpublished poetry. He composed songs to his own lyrics, and also wrote poems not intended to be set to music. One of these, ‘Lilies of the Valley’ (‘Landyshi’), was set in part by Arensky, arguably misrepresenting the poem. Tchaikovsky particularly admired the work of the poet Afanasy Fet, comparing him to Beethoven. In the work of Tchaikovsky and of other song-composers of the nineteenth century, music plays a crucial role in the formation and dissemination of the literary canon.

For over a thousand years the banya has been a crucial institution to a wide variety of people: men and women, rich and poor, straight and gay, religious and atheist. The omnipresence of the banya makes it a lens through which to view many aspects of Russia history—hygiene, intimacy, sociability, the relationship of Russia to the West. The banya is full of contradictions. It can clean bodies and spread disease. It can purify and befoul. It can create community and provide a means of excluding others. The argument is based on thousands of sources ranging from archival documents and municipal regulations to idioms, films, art, cartoons, memoirs, diaries, songs, novels, poems, and plays. Inevitably, some aspects of Russia’s past come through stronger than others in these sources. But, taken together, they provide a brand new portrait of the institution of the banya and of the history of Russia.

Ivan Turgenev’s novel Fathers and Sons has been adapted into five films and a four-part television series produced by Avdotya Smirnova in 2008. The chapter applies the concept of ‘communicative space’ developed in the works of Boris Gasparov and Yuri Lotman to Smirnova’s adaptation of Fathers and Sons. Smirnova moves away from the Soviet vision of the novel. She sees the novel as a family chronicle: ‘Turgenev’s novel is not political, as is commonly believed, but antipolitical’. The chapter analyses Smirnova’s attempt to bring Turgenev’s novel closer to the post-Soviet audience by creating a nostalgic mood.

Chapter 5 explores contemporary Soviet anxieties about mass media and popular culture by detailing Valentin Silvestrov’s shift in the 1970s from avant-garde cacophony to a quiet, nostalgic style that he unironically called “kitsch.” During this dark economic period, when he also was persona non grata in the Ukrainian Union of Composers, Silvestrov hoped to earn money by writing pop songs, a failed venture that resulted in his unpublished Kitsch Songs (1973), a cycle that sounds closer to Schubert and nineteenth-century Russian romances than the Beatles or contemporary Soviet pop. Silvestrov’s next works, including the important cycle Quiet Songs for voice and piano (1973–77), continued his resuscitation of earlier styles, usually involving texts by canonic Russian and Ukrainian poets (e.g., Pushkin, Lermontov, Mandelstam, and Shevchenko). In the preface to his 1977 Kitsch-Music for piano, Silvestrov claimed that he “regard[ed] the term ‘kitsch’ (weak, rejected, abortive) in an elegiac rather than an ironic sense.” In other words, he hoped that by taking “trivial,” overly familiar sources seriously, he might redeem them. His audiences often had other ideas, laughing at what they assumed was a parody. Others were captivated by his meditative evocations of the past.

The article analyzes the numerous polonisms used in V.Krestovsky's dilogy “Bloody pouf”. The dilogy contains not only words, but also whole phrases in Polish, most often of a hybrid Polish-Russian character. Often the titles of the chapters of the novel are presented in Polish. Also included are Polish prayers and songs. Polonisms refer to different parts of speech. Most of them are common nouns (19 lexical and semantic groups) and proper nouns. There are analyzed ways of adapting polonisms for understanding them by Russian-speaking readers. The function of transmitting the local specificity and national marking of the Poles is combined in Krestovsky's novel with the ideological one: showing the Poles as the inspirers and organizers of the uprising of 1861-1863 (“bloody pouf”) , that is , the enemies of Russian Empire.

The purpose of the article is to present, with reference to a number of his stories and plays, the part played by music in Chekhov's works, which contain many borrowings from folk songs, Russian romances and classical music. The heroes of his works sing arias from operas, playing and singing the works of Russian and foreign composers. There are many extracts from the works of Tchaikovsky, with whom the writer enjoyed a relationship marked by mutual respect and friendship. Music in Chekhov's literary works embraces the whole of human life, covering a wide variety of emotions and situa-tions described in many of the writer's works, which also include stories with purely musical titles. The article also briefly mentions some descriptions of Italy, a country much admired by the writer. Keywords: Anton Pavlovich Chekhov

This report discusses a collection of songs and poems written by partisans behind enemy lines. The book contains 58 works. The compiler divided it into six parts. The first two parts are devoted to major events and phenomena as such: namely the Thirteen Special Partisan Regiment and the Bovkin blockade. The remaining four parts are more personalized: the partisan routine and way of life are described, some of the poems are written in memory of the dead, as well as various local events. In addition to poems and songs, a number of personalities (authors and those mentioned), events and locations will be considered. At the end of the report is a list of all mentioned names and places in alphabetical order. The main actions and battles are tied to the Smolensk and Mogilev regions. The poetic creativity of the partisans, shown in the collection from the funds of the Bykhov Museum of Local History, is a curious phenomenon for researchers, museologists, and historians. By studying and analyzing the information obtained from these sources, researchers can draw up a picture of front-line life, relationships, and the emotional state of the fighters.

The article treats the song text as a kind of synthetic text. The intermediate nature of the object of study gives rise to difficulties associated with the need for an interdisciplinary approach to its study. Author's and bard's song, rock poetry and rap poetry - these and adjacent types of combining music and text cannot be described and classified using the available tools. The interaction of music and text, the peculiarities of performance, the variability of song texts - all these complicates the research task. An attempt to resolve the terminological confusion that aroses almost simultaneously with the phenomenon of literary chant and accompanying the entire history of research, is being made. The option of differentiating song texts depending on the category of authorship is proposed. It also seems to be important to determine the degree of influence of third-party subtexts on meaning.

In May 2004, the Global Threat Reduction Initiative agreement was signed by the governments of the United States and the Russian Federation. The goal of this initiative is to minimize, in cooperation with the International Atomic Energy Agency (IAEA) in Vienna, the existing threat of misuse of nuclear and radioactive materials for terrorist purposes, particularly highly enriched uranium (HEU), fresh and spent nuclear fuel (SNF), and plutonium, which have been stored in a number of countries. Within the framework of the initiative, HEU materials and SNF from research reactors of Russian origin will be transported back to the Russian Federation for reprocessing/liquidation. The program is designated as the Russian Research Reactor Fuel Return (RRRFR) Program and is similar to the U.S. Foreign Research Reactor Spent Nuclear Fuel Acceptance Program, which is underway for nuclear materials of United States origin. These RRRFR activities are carried out under the responsibilities of the respective ministries (i.e., U.S. Department of Energy (DOE) and Russian Federation Rosatom). The Czech Republic and the Nuclear Research Institute Rez, plc (NRI) joined Global Threat Reduction Initiative in 2004. During NRI’s more than 50 years of existence, radioactive and nuclear materials had accumulated and had been safely stored on its grounds. In 1995, the Czech regulatory body, State Office for Nuclear Safety (SONS), instructed NRI that all ecological burdens from its past activities must be addressed and that the SNF from the research reactor LVR-15 had to be transported for reprocessing. At the end of November 2007, all these activities culminated with the unique shipment to the Russian Federation of 527 fuel assemblies of SNF type EK-10 (enrichment 10% U235) and IRT-M (enrichment 36% and 80% U235) and 657 irradiated fuel rods of EK-10 fuel, which were used in LVR-15 reactor.