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The Soviet and Post-Soviet Review最新文献

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Resilience in the Finnish-Russian Border Region and Russia’s War against Ukraine: From the Perspective of Locally Engaged People 芬兰-俄罗斯边境地区的复原力与俄罗斯对乌克兰的战争:从当地居民的视角出发
Pub Date : 2024-04-08 DOI: 10.30965/18763324-bja10095
Katarzyna Stokłosa, Jussi Laine
The article deals with people’s resilience in the Finnish-Russian border region. The authors first show how inhabitants of the EU’s longest external border slowly acquired cross-border contacts and co-operation after a long period of war between 1939 and 1945. In the later parts, using a case study, they describe how the Russian war against Ukraine has drastically changed the life of the inhabitants of the Finnish-Russian border region. Nevertheless, a special group of inhabitants of this region practice everyday resilience in many ways: they try to live and maintain their relations as they did before the war.
文章论述了芬兰-俄罗斯边境地区人民的复原力。作者首先展示了欧盟最长外部边界的居民是如何在 1939 年至 1945 年的长期战争后慢慢获得跨境接触与合作的。在后面的部分,作者通过一个案例研究,描述了俄罗斯对乌克兰的战争如何极大地改变了芬兰-俄罗斯边境地区居民的生活。然而,该地区的一个特殊居民群体以多种方式践行着日常的复原力:他们试图像战前那样生活并维持他们之间的关系。
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引用次数: 0
Indifference in Recent Russian Films: The Gulag Face of Cruelty Returns 俄罗斯近期电影中的冷漠:古拉格的残酷面孔再次出现
Pub Date : 2024-04-08 DOI: 10.30965/18763324-bja10096
Irina Dzero
Several recent Russian films show victimizers become victims, and victims— victimizers. This random division into victimizers and victims was forced on society by Stalin, who enjoyed sending his intimate friends-victims (and their wives, children, and relatives) to torture and death. Millions of innocent Russians were captured, killed, or sent to the Gulag, but in an unprecedented way, they were also made to implicate their own intimate friends and family members and become victimizers in their turn. Alternatively, the NKVD torturers were also turned into victims, periodically killed off and replaced by new recruits. Testimonies of Shalamov, Ginsburg, and Dovlatov show that when intimate relationships shrink to command-compliance, both victimizers and victims shed emotions, including shame and guilt, and aggression becomes the only socially meaningful action and the last available entertainment. I identify the visual metaphor of this dynamic, the always identical indifferent face of cruelty, in the films Burnt by the Sun, The Return, Elena, Loveless, and Captain Volkonogov Escaped.
最近的几部俄罗斯电影表现了加害者变成受害者,受害者变成加害者。斯大林喜欢把他的亲密朋友--受害者(以及他们的妻子、孩子和亲属)送上酷刑和死亡之路。数百万无辜的俄罗斯人被抓、被杀或被送进古拉格,但他们也被史无前例地牵连到自己的亲密朋友和家人,反过来成为加害者。另外,NKVD 的酷刑实施者也变成了受害者,他们定期被杀害,然后由新招募的人员取而代之。沙拉莫夫、金斯伯格和多夫拉托夫的证词表明,当亲密关系缩减到服从命令时,加害者和受害者都会流露出羞愧和内疚等情绪,攻击成为唯一有社会意义的行为和最后的娱乐。我在电影《烈日灼心》、《归来》、《爱莲娜》、《无爱》和《沃尔科诺戈夫上尉逃亡记》中发现了这种动态的视觉隐喻,即残忍的冷漠面孔总是一模一样。
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引用次数: 0
Outlaw Music in Russia: The Rise of an Unlikely Genre, written by Anastasia Gordienko 俄罗斯的非法音乐:一个不可能的流派的崛起》,作者 Anastasia Gordienko
Pub Date : 2024-01-02 DOI: 10.30965/18763324-bja10091
Elizabeth Abosch
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引用次数: 0
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The Soviet and Post-Soviet Review
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