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This book is among the very few publications offering to the English-speaking readership significant insights into contemporary Lithuanian folklore research. Dealing with broad variety of materials—from archived manuscripts to audio-recorded life stories to internet folklore, it comprises such topics as history and identity, traditional worldview influencing modern people’s actions, construction of the mental landscape, types and modes of storytelling, the modern uses of proverbs, anecdotes, and internet lore. In a balanced way reflecting upon past and present, tradition and modernity, individual and collective, and employing modern research methodologies to dissect and analyze popular subjects and themes, the eight separate essays comprising the book present a condensed view of the popular Lithuanian culture and mentality.

Folklore --- Baltic culture. --- Lithuanian folklore. --- humor. --- ideology. --- internet lore. --- life story. --- lived experience. --- mental landscape. --- narrative. --- national identity. --- oral history. --- post-Soviet culture. --- proverb. --- storytelling. --- tradition. --- vernacular.

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Largely forgotten during the last 20 years of his life, the Soviet filmmaker Dziga Vertov (1896-1954) has occupied a singular and often controversial position over the past sixty years as a founding figure of documentary, avant-garde, and political-propaganda film practice. Creator of "Man with a Movie Camera" (1929), perhaps the most celebrated non-fiction film ever made, Vertov is equally renowned as the most militant opponent of the canons of mainstream filmmaking in the history of cinema. This book, the first in a three-volume study, addresses Vertov's youth in the largely Jewish city of Bialystok, his education in Petrograd, his formative years of involvement in filmmaking, his experiences during the Russian Civil War, and his interests in music, poetry and technology.

Art --- Vertov, Dziga, --- Criticism and interpretation. --- Marxism. --- Soviet culture. --- avant-garde. --- cinema. --- communism. --- documentary. --- experimental art. --- media studies. --- propaganda. --- sound studies.

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Futurism was Russia's first avant-garde movement. Gatecrashing the Russian public sphere in the early twentieth century, the movement called for the destruction of everything old, so that the past could not hinder the creation of a new, modern society. Over the next two decades, the protagonists of Russian Futurism pursued their goal of modernizing human experience through radical art. The success of this mission has long been the subject of scholarly debate. Critics have often characterized Russian Futurism as an expression of utopian daydreaming by young artists who were unrealistic in their visions of Soviet society and naïve in their comprehension of the Bolshevik political agenda. By tracing the political and ideological evolution of Russian Futurism between 1905 and 1930, Iva Glisic challenges this view, demonstrating that Futurism took a calculated and systematic approach to its contemporary socio-political reality. This approach ultimately allowed Russia's Futurists to devise a unique artistic practice that would later become an integral element of the distinctly Soviet cultural paradigm. Drawing upon a unique combination of archival materials and employing a theoretical framework inspired by the works of philosophers such as Lewis Mumford, Karl Mannheim, Ernst Bloch, Fred Polak, and Slavoj Žižek, The Futurist Files presents Futurists not as blinded idealists, but rather as active and judicious participants in the larger project of building a modern Soviet consciousness. This fascinating study ultimately stands as a reminder that while radical ideas are often dismissed as utopian, and impossible, they did—and can—have a critical role in driving social change. It will be of interest to art historians, cultural historians, and scholars and students of Russian history.

Futurism (Art) --- Art and society --- History. --- Political aspects --- Russia (Federation) --- Russland. --- Sowjetunion. --- avant-garde movement, utopian society, Soviet culture, Karl Mannehim, Lewis Mumford, Ernst Bloch, Fred Polak, Slavoj Zizek.

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The impetus for Charms of the Cynical Reason is the phenomenal and little-explored popularity of various tricksters flourishing in official and unofficial Soviet culture, as well as in the post-soviet era. Mark Lipovetsky interprets this puzzling phenomenon through analysis of the most remarkable and fascinating literary and cinematic images of soviet and post-soviet tricksters, including such "cultural idioms" as Ostap Bender, Buratino, Vasilii Tyorkin, Shtirlitz, and others. The steadily increasing charisma of Soviet tricksters from the 1920's to the 2000's is indicative of at least two fundamental features of both the soviet and post-soviet societies. First, tricksters reflect the constant presence of irresolvable contradictions and yawning gaps within the soviet (as well as post-soviet) social universe. Secondly, these characters epitomize the realm of cynical culture thus far unrecognized in Russian studies. Soviet tricksters present survival in a cynical, contradictory and inadequate world, not as a necessity, but as a field for creativity, play, and freedom. Through an analysis of the representation of tricksters in soviet and post-soviet culture, Lipovetsky attempts to draw a virtual map of the soviet and post-soviet cynical reason: to identify its symbols, discourses, contradictions, and by these means its historical development from the 1920's to the 2000's.

Russian fiction --- Tricksters in literature. --- Tricksters in motion pictures. --- Trickster in literature --- Tricksters --- Motion pictures --- Literature and society --- History and criticism. --- History. --- History --- Literature --- Literature and sociology --- Society and literature --- Sociology and literature --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Social aspects --- History and criticism --- Popular culture --- Popular culture. --- Tricksters. --- 1900-1999. --- Russia (Federation). --- Soviet Union. --- Sociolinguistics --- Audio-visual materials --- Mass media --- Performing arts --- literature --- Soviet culture

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The creation of Soviet culture in the 1920s and the 1930s was the most radical of modernist projects, both in aesthetic and in political terms. "Modernism and the Making of the New Man" explores the architecture of this period as the nexus between aesthetics and politics. The design of the material environment, according to the author, was the social effort that most clearly articulated the dynamic of the socialist project as a negotiation between utopia and reality, the will for progress and the will for tyranny. It was a comprehensive effort that brought together professional architects and statisticians, theatre directors, managers, housewives, pilots, construction workers. What they had in common was the enthusiasm for defining the "new man", the ideal citizen of the radiant future, and the settings in which he or she lives.

Propaganda --- Neuer Mensch --- Frauenzeitschrift --- Architektur --- Socialist realism and architecture. --- Modern movement (Architecture) --- Group identity. --- Communist aesthetics. --- Communism and society. --- Communism and culture. --- Group identity --- Socialist realism and architecture --- Marxian sociology --- Society and communism --- Socialism and society --- Sociology --- Culture and communism --- Culture --- Aesthetics, Communist --- Aesthetics, Marxist --- Marxist aesthetics --- Communism and art --- Collective identity --- Community identity --- Cultural identity --- Social identity --- Identity (Psychology) --- Social psychology --- Collective memory --- Modernism (Architecture) --- Modernist architecture --- Architecture, Modern --- International style (Architecture) --- Architecture and socialist realism --- Architecture --- Communication in politics --- Political psychology --- Social influence --- Advertising --- Persuasion (Psychology) --- Psychological warfare --- Public relations --- Publicity --- Social pressure --- History. --- Sowjetunion --- Soviet Union. --- Советский Союз --- Ber. ha-M. --- Zwia̦zek Socjalistycznych Republik Radzieckich --- Szovjetunió --- TSRS --- Tarybų Socialistinių Respublikų Sąjunga --- SRSR --- Soi︠u︡z Radi︠a︡nsʹkykh Sot︠s︡ialistychnykh Respublik --- SSSR --- Soi︠u︡z Sovetskikh Sot︠s︡ialisticheskikh Respublik --- UdSSR --- Shūravī --- Ittiḥād-i Jamāhīr-i Ishtirākīyah-i Shūrāʼīyah --- Russia (1923- U.S.S.R.) --- Sovetskiy Soyuz --- Soyuz SSR --- Sovetskiĭ Soi︠u︡z --- Soi︠u︡z SSR --- Uni Sovjet --- Union of Soviet Socialist Republics --- USSR --- SSṚM --- Sovetakan Sotsʻialistakan Ṛespublikaneri Miutʻyun --- SSHM --- Sovetakan Sotsʻialistakan Hanrapetutʻyunneri Miutʻyun --- URSS --- Unión de Repúblicas Socialistas Soviéticas --- Berit ha-Moʻatsot --- Rusyah --- Ittiḥād al-Sūfiyītī --- Rusiyah --- Rusland --- Soṿet-Rusland --- Uni Soviet --- Union soviétique --- Zȯvlȯlt Kholboot Uls --- Związek Radziecki --- ESSD --- Sahaphāp Sōwīat --- KhSHM --- SSR Kavširi --- Russland --- SNTL --- PSRS --- Su-lien --- Sobhieṭ Ẏuniẏana --- FSSR --- Unione Sovietica --- Ittiḥād-i Shūravī --- Soviyat Yūniyan --- Russian S.F.S.R. --- Związek Socjalistycznych Republik Radzieckich --- ZSRR --- Związek Socjalistycznych Republik Sowieckich --- ZSRS --- History of Eastern Europe --- architecture [discipline] --- communism --- propaganda --- Modern Movement --- group identity --- anno 1920-1929 --- anno 1930-1939 --- Russia --- Baukunst --- Architekt --- Baudenkmal --- Bauweise --- Innenarchitektur --- Frauenpresse --- Frauenzeitschriften --- Magazin --- Menschenbild --- Mensch --- Motiv --- Politische Propaganda --- Beeinflussung --- Indoktrination --- Ittiḥād al-Sūfiyīt --- Ittiḥād-i Shūrav --- Shūrav --- Soi͡uz Radi͡ansʹkykh Sot͡sialistychnykh Respublik --- Soi͡uz Sovetskikh Sot͡sialisticheskikh Respublik --- Soi͡uz SSR --- Sovetskiĭ Soi͡uz --- Szovjetuni --- Republik-Republik Kesatuan Soviet Sosialis --- Sojuz Sovetskich Socialističeskich Respublik --- Union der Sozialistischen Sowjet-Republiken --- Union der SSR --- Union des Républiques Socialistes Soviétiques --- Padomju Sociālistiko Republiku Savienība --- SSṘM --- ZSSR --- Savez Sovjetskih Socijalističkih Republika --- Soviet Union --- Sojuz Radjans'kich Sozialističnich Respublik --- Şyra Sosjalist Cumhyrijjẹtlẹri Ittifakĭ --- Šura Socialist Gümhurietleri Ittipaky --- Šura Sosyalist Ǧümhuriyetleri Ittifaqï --- SSCB --- Союз Советских Социалистических Республик --- СССР --- 1923-25.12.1991 --- Sojuz Sovetskich Socialističeskich Respublik --- Union des Républiques Socialistes Soviétiques --- Padomju Sociālistiko Republiku Savienība --- SSṘM --- Savez Sovjetskih Socijalističkih Republika --- Sojuz Radjans'kich Sozialističnich Respublik --- Şyra Sosjalist Cumhyrijjẹtlẹri Ittifakĭ --- Šura Socialist Gümhurietleri Ittipaky --- Šura Sosyalist Ǧümhuriyetleri Ittifaqï --- Communist Party. --- Leningrad. --- New Man. --- October Revolution. --- Soviet architecture. --- Soviet culture. --- Soviet society. --- Soviet subjectivity. --- aesthetics. --- communist culture. --- idealism. --- politics. --- pragmatism. --- productivist ethos. --- public baths. --- representational ethos. --- socialist modernity. --- socialist realism. --- socially minded women. --- tyranny. --- Sowjetunion.