At the intersection of globalization and "civilizational originality' : cultural production in Putin's Russia

This special issue originates from a transnational collaboration of scholars in philology, comparative literature, social theory, sociology, anthropology, ethnography, and media studies. The collection strives to advance a research agenda built on the nexus of three intellectual and academic domains: post-Soviet Russian cultural studies', the research paradigm put forward by Cultural Studies, as well as empirical methods developed in sociology. The collection illustrates the importance of expanding the experience of Cultural Studies beyond its established spheres of national investigation, while it also speaks to the necessity to re-evaluate the hegemony of the English-language academic and cultural production on the global scale. The collection offers insights into the gamut of cultural practices and institutional environments in which Russian cultural production happens today. It shows how cultural industries and institutions in Russia are integrated into the global marketplace and transnational communities, while they also draw on and contribute to local lives and experiences by trying to create an autonomous space for symbolic production at personal and collective levels. Through diverse topics, the issue sheds light on the agency, i.e. practitioners and participants, creators and consumers, of Russian cultural production and the neoliberal practices implemented on creative work and cultural administration in Russia today. The Introduction outlines the development of academic studies on Russian cultural practices since 1991; describes main political developments shaping the cultural field in Putin's Russia; and, finally, identifies the Cultural Studies debates the editors of the collection find most productive for investigations of Russia, i.e. the instrumentalization of culture and culture as resource. Relocated in an analysis of a post-socialist society, these conceptualisations seem increasingly problematic in a situation where local and federal policies governing cultural and creative work focus simultaneously on marketization and on nationalism as the main tools of legitimizing the federal government.Peer reviewe

Outer space technopolitics and postcolonial modernity in Kazakhstan

This is the final version. Available on open access from Routledge via the DOI in this recordThis article examines the role of outer space technopolitics in post-Soviet Kazakhstan. It explores how outer space, the technological artefact of global relevance, works as a postcolonial fetish of modernity that is called upon to produce what it represents, i.e. the reality of a technologically advanced Kazakh nation. The article shows that in its project of becoming a spacefaring nation the country reiterates major incentives that have motivated nuclear and space programme development in the postcolonial context of the Global South. The article explores how collaboration with Russia allows Kazakhstan to claim its share in the Soviet space legacy rather than to distance itself from it. It then traces the rise of a new internationalism in the Kazakhstani space programme outside the post-Soviet context. The article contributes to the debate on postcolonial techonopolitics and shows how outer space has been used to enhance the conventional domain of postcolonial national ideologies – nativism and tradition – with technology and science. Finally, the article depicts how the growing resistance to the space programme among Kazakh civil society groups reveals a close association of the environmental agenda with an “eco-nationalism” permeated by a profoundly anti-imperial and, ultimately, antiauthoritarian political discourse

Second-Hand Nostalgia: Composing A New Reality Out of Old Things

In the last few years, the Moscow photographer Danila Tkachenko has produced several highly successful photo-series that creatively reworked and reframed important material objects of the socialist period. Using some of his projects as a case study, this article offers a methodological shift by approaching a second wave of nostalgia for communist past without relying on socialist experience as a key interpretative  and explanatory frame. As the essay shows, the decreasing prominence of the firsthand knowledge of socialist lifestyle is compensated by the increasing visibility and importance of (old) socialist things. The essay introduces the term ‘second-hand nostalgia' to refer to this type of interaction with the material culture of the socialist period. Retaining the melancholic longing for the times past (typical for any nostalgia), the term points, simultaneously, to a condition of historical disconnect from originary contexts, which made possible the objects of current nostalgic Fascination in the first place. Keywords: nostalgia, material culture, Russia, postcommunism, photograph