Dissident “street art” resisting neo-Soviet discourse: the“Voina” and “Pussy Riot” groups

The link between Moscow art-group “Voina” and the movement of Moscow Conceptualism was clear when, in 2007, it planned a performance with the artist Dmitrii Prigov, called “Voina/War does only unskilled jobs”.  Prigov died before he could take part in the performance but the group “Voina”  has since carried out an ever more spectacular series of  projects, bordering on pornography, as in the notorious performance "Fuck for the Heir Puppy Bear!", staged in February 2008, when five couples had public sex in Moscow’s Museum of Biology. This and other actions were filmed and posted on YouTube and other social networks, immediately going viral. The same M.O. was adopted in the actions of  the group “Pussy Riot”, and in Ukraine by “Femen”.While more traditional media such as TV and radio are government monopolies, access to internet and social media is still free and provides a powerful means for these dissident groups to publicize their performances against the restoration of neo-Soviet ideology and to assert their non-conformist identity. The link between Moscow art-group “Voina” and the movement of Moscow Conceptualism was clear when, in 2007, it planned a performance with the artist Dmitrii Prigov, called “Voina/War does only unskilled jobs”.  Prigov died before he could take part in the performance but the group “Voina”  has since carried out an ever more spectacular series of  projects, bordering on pornography, as in the notorious performance "Fuck for the Heir Puppy Bear!", staged in February 2008, when five couples had public sex in Moscow’s Museum of Biology. This and other actions were filmed and posted on YouTube and other social networks, immediately going viral. The same M.O. was adopted in the actions of  the group “Pussy Riot”, and in Ukraine by “Femen”.While more traditional media such as TV and radio are government monopolies, access to internet and social media is still free and provides a powerful means for these dissident groups to publicize their performances against the restoration of neo-Soviet ideology and to assert their non-conformist identity.

Il paradosso del mentitore in Memorie dal sottosuolo di Dostoevskij

In this article the Liar\u2019s Paradox is examined in reference to Dostoevsky\u2019s novel Notes from the Underground (1864). First the concept of unreliable narrator is discussed and examined within the genres of autobiography and \u2018confession\u2019, where the narrator not always tells the truth but sometimes intentionally lies in order to obtain the reader\u2019s sympathy and admiration. Then the narrative strategies of the Man from the underground are analyzed and a series of \u201cextreme\u201d narrative devices (Richardson 2006) are identified, such as \u201cepanorthosis\u201d, \u201cdenarration\u201d, \u201cdisnarration\u201d. All of these narrative devices realize verbally the Liar\u2019s paradox which traps the Man from the Underground into a vicious circle from which it is impossible to exit

Lo sviluppo dei gendernye issledovanija in Russia nell'ultimo decennio

The Development of Gender Studies in Russia during the Last Decade This paper provides a brief outline of the development of women. s and gender studies in Post-Soviet Russia during the past decade. A series of internet sites linked with Centers for women.s and gender studies are quoted. Moreover, some points of terminology connected with this issue are discussed

Políticas deportivas de inclusión para niños, niñas y adolescentes: un diagnóstico nacional y propuestas de Política Pública

La actividad deportiva es considerada no solo un hábito saludable que previene el surgimiento de enfermedades no transmisibles (OMS, 2020) sino que, también, es una herramienta de integración en su contexto comunitario. Esta perspectiva es particularmente importante en niños, niñas y adolescentes porque otorga sentido de pertenencia y fomenta valores positivos para la vida en sociedad brindando beneficios individuales y colectivos a largo plazo (Fondo de las Naciones Unidas para la Infancia, 2004). Por otro lado, además del déficit en la realización de actividad física registrado mundialmente en niños, niñas y adolescentes (OMS, 2019), se registra a nivel nacional una situación deficitaria y regresiva para los chicos a medida que desciende el estrato social (Tuñon, 2014) que lleva a reflexionar cómo se logra incorporar a los niños, niñas y adolescentes a estas prácticas y, a los fines de esta investigación, otorgar especial énfasis hacia aquellos que no pueden hacerlo por una cuestión económica (entre otras asociadas). Para ello, este trabajo propone analizar qué políticas deportivas se encuentran implementadas en Argentina teniendo como población objetivo a niños, niñas y adolescentes en los distintos niveles de gobierno, incluyendo dimensiones que permitan resolver la siguiente pregunta de investigación: ¿Qué elementos debe tener una política pública deportiva dirigida a la niñez para ser inclusiva?, y, de manera asociada: ¿Cómo plantear una política deportiva para niños y adolescentes en edad escolar

La stella Černobyl’. Narrare la catastrofe nucleare

From the Apocalypse: «... there went down from heaven a great star, burning like a flame, and it came on a third part of the rivers and on the fountains of waters. And the name of the star is Wormwood».Another word for Wormwood in Russian is “Černobyl’”. Once Soviet scientists maintained that nuclear power stations were «stars in the heavens of progress» that the government would disseminate within the URSS territory. Behind this pun, one can see the tragedy of the nuclear power station which after it explosion on April 26, 1986, is still nowadays spreading death, ruin and diseases. Is it an omen of the fall of the Soviet Empire? Is it a warning for humankind against its continual exploitation of the resources of the earth?This essay analyses the novel by the Russian dissident Julija Voznesenskaja The Star Černobyl’ (1987) in particular, comparing it with Christa Wolf’s novel Accident (1987), Vladimir Gubarëv's drama Sarcophagus: a Tragedy (1986) and Nobel Prize Svetlana Aleksievič's Chernobyl Prayer: A Chronicle of the Future, written ten years after the catastrophe. It is possible to analyse this novel from a feminist perspective: not by chance the main characters are three sisters who, through their testimony and sacrifice, contribute in keeping alive the memory of the tragedy.Nell’Apocalissi leggiamo: «E dal cielo cadde una grande stella, ardente come una torcia; e cadde sopra la terza parte de’ fiumi, e sopra le fonti delle acque. E il nome della stella è ‘Assenzio’».Un altro nome russo dell’Assenzio è “Černobyl’”. A suo tempo gli scienziati sovietici affermavano che le centrali nucleari erano «astri del firmamento del progresso» che il governo avrebbe disseminato su tutto il territorio dell’URSS. Dietro a questo gioco di parole si cela la tragedia della centrale termonucleare che esplose il 26 aprile 1986 seminando morte e distruzione e una scia di malattie che perdura ancora. Una nefasta premonizione del crollo dell’Impero sovietico? Oppure, al di là della contingenza più immediata, un monito sulla catastrofe che attende tutto il Pianeta se si perdura nel dissennato sfruttamento delle sue risorse? Spontaneo il confronto con il romanzo di Christa Wolf L’incidente (1987) o con il dramma Il Sarcofago: una tragedia (1986) di Vladimir Gubarëv. La catastrofe nucleare è stata narrata da diverse prospettive negli oltre trent’anni che sono trascorsi, non ultima Preghiera per Černobyl’ del premio Nobel Svetlana Alexievič. Ci si sofferma in particolare su La stella Černobyl’ (1987) della dissidente russa Julija Voznesenskaja. Molti sono i possibili approcci al romanzo, non ultimo quello da una prospettiva femminista: non a caso protagoniste sono tre sorelle che attraverso la loro testimonianza, e sacrificio, contribuiscono a mantenere viva la memoria della tragedia

Under Children's Eyes: Armenia in Nina Gabrielian's Work

Nina Gabrielian is a Russian writer of Armenian origin who lives and works in Moscow. She has published collections of poems, stories and critical essays. She is also a fine painter and from the early 2000s she has taken part in several exhibitions collective and personal as well. The imaginative world of her paintings is permeated by the memory of Armenia. In her stories and poems there is particular attention to colour and shape. The lyrical hero is constantly recovering the collective memory of the Armenian Genocide, which can take the deceptively innocent appearance of a children's game. In this paper I will investigate the way Gabrielian depicts childhood and memory in her literary work

Chapter Velimir Chlebnikov: dall’utopia neoslava a quella eurasiatica

This paper analyses Velimir Khlebnikov’s early Pan-Slavic and anti-German ideological positions against the background of the Balkan crisis (1908, 1912) and the development of the Neo-Slavophile movement. Furthermore, we illustrate how Khlebnikov’s encounter with Janko Lavrin influenced his linguististic conceptions, which in 1913 led to the publication of a series of articles in the newspaper “Slavyanin”. Finally, we argue that some of these articles already showed a significant shift from his Neo-Slavophile ideas to a new conception, which turns towards the Eurasian continent as the arena for his utopian visions

Chapter Guerra e nazionalismo nel futurismo italiano e nel futurismo russo

This article argues that the traditional picture of Russian Futurists as fiercely opposed to this war does not correspond to reality. We begin by examining the general historical background for Marinetti’s notorious motto “War as the World’s only Hygiene” and identify echoes of this conception in articles that Vladimir Majakovskij published in the autumn of 1914. Nationalistic and panslavic ideas, coupled with anti-German sentiments, characterized the early years of Velimir Chlebnikov’s literary activity; we explore these ideas and Chlebnikov’s gradual passage from this belligerent vision to his utopian project for a world without wars

The quest for the other football field: Report and reflection of the jornadas arqueológicas granates

El presente informe emerge como resultado de una experiencia de investigación histórico-arqueológica llevada a cabo por el colectivo de trabajo de la Cooperativa Arqueoterra, en el marco de una gestión cultural comunitaria de patrimonialización y memoria coordinada por el Departamento de Cultura y el Museo Granate del Club Atlético Lanús. En el siguiente escrito se detallan las actividades, los resultados y las reflexiones producto de múltiples jornadas arqueológicas realizadas en la campaña de patrimonialización comunitaria de los vestigios del primer estadio del Club Atlético Lanús que funcionó entre 1915 y 1932, en el actual municipio de Lanús en la Provincia de Buenos Aires, Argentina. La labor con les vecines e integrantes del Club se orientó a problematizar la producción de conocimiento arqueológico, tensionando su rol como disciplina en la afirmación de una relación con el pasado a partir de redes y grupos comunitarios.The present report emerges from an archaeological and historical experience carried out by the Arqueoterra Cooperative's research team, in the context of a community management of heritage and memory coordinated by the Department of Culture and the Granate Museum of the Club Atlético Lanús. The following document details the activities, results and reflections resulting from the archaeological work accomplished in the community patrimonialization campaign of the vestiges of the first stadium of the Club Atlético Lanús that operated between 1915 and 1932, in the current municipality of Lanús in the Province of Buenos Aires, Argentina. Working with neighbours as well as with members of the Club as part of a local community network oriented the production of archaeological knowledge by questioning the role and place of the discipline and the established relationship with the past.Fil: Weissel, Axel Rex. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Fundación de Historia Natural Félix de Azara; Argentina. Cooperativa Arqueoterra Ltda.; Argentina. Universidad Maimonides. Centro de Ciencias Naturales, Ambientales y Antropologicas. Departamento de Arqueologia.; ArgentinaFil: Imposti, Sebastián. Cooperativa Arqueoterra Ltda.; Argentina. Universidad Nacional de San Martín; ArgentinaFil: Candela, Gustavo. Cooperativa Arqueoterra Ltda.; Argentina. Universidad de Buenos Aires; Argentin

Introduzione: dalla traduzione intersemiotica all’Atlante lessicografico

Introduzione al 7° numero della rivista dedicato a PAROLA -Scena Le parole della scena: traduzione intersemiotica e interlinguistica dei testi drammaturgici, letterari e di teoria teatrale, il quale trae origine da una serie di discussioni avvenute a margine di convegni e di incontri di lavoro tra studiose/i di teatro, lingua e letteratura russa negli ultimi anni. La questione verteva sul problema della traduzione di termini tecnici, espressioni verbali, parole, concetti estetici e filosofici propri della pratica teatrale in Russia che, applicati in altri contesti culturali, hanno prodotto fraintendimenti e interpretazioni errate, ma anche nuove e stimoltanti interpretazioni