№ 2(47) 2022: Soviet everyday culture as a new narrative
Guest Editor:
Dr. Olga S. SAPANZHA
Russia, St. Petersburg
Professor of Russian State Pedagogical University named by A.I. Herzen, Director of the museum “XX years after the War. Museum of Everyday Culture of Leningrad 1945–1965”
Soviet everyday life in the last decade has become a real research Atlantis, which, both in journalistic and strictly scientific studies, acquires the features of an independent world, consisting of details, images, causal relationships that form a new “Soviet” narrative. And yet, despite the abundance of works devoted to Soviet everyday life, and, it would seem, the redundancy of knowledge about the recent past, it is her narrative that allows us to offer new points of view on the obvious plots of the organization of life, its strategies and practices.
We propose to reflect on non-trivial solutions to the riddle of the Soviet narrative –to look at everyday life from a new angle, to discover patterns in the organization of cultural practices in the ordinary, to combine fragments of the typical and the exceptional within the framework of research procedures.
Seventy years –a short period of time by historical standards, but significant on the scale of one generation –has become a time of global changes in the world, culture, and way of life.Even the isolation and relative isolation of the system did not allow it to be completely isolated from the global processes of human development, which became part of the ordinary, indirectly included in the space of everyday life.
Another look at Soviet everyday life is a look through the prism of art.The program for educating a Soviet cultural person assumed the mastery of the canonical works of the approved pantheon of arts, which today continues to be the basis of the basic idea of art and the source of network memes – the inherent impulse of the logic of mastering the arts was so strong.
The Soviet narrative has not yet been exhausted, and the new optics of studying its plot elements will once again make it possible to present everyday life as an independent space, formed by circumstances and forming meanings.
We propose to discuss the following questions:
– everyday life as a research problem;
– history of Soviet everyday culture: processes and results;
– elite and mass practices in Soviet everyday culture;
– art and Soviet everyday life;
– artifacts of everyday life and their interpretation;
– the experience of the “Soviet” in modern everyday culture.
№ 3(48)–4(49) 2022: Contemporary dance in the age of performativity
Guest Editor:
Dr. Leonid A. MENSHIKOV
Russia, St. Petersburg
Saint-Petersburg State Rimsky-Korsakov Conservatory, Head of the Humanities Department
The nature of contemporary dance is in the search for self-defining and actual forms, it seeks to engage topical issues, expresses its attitude. Development of this phenomenon during a period more than a century in the West provides a model for its continuous positioning in culture and for its reflects the vicissitudes of the difficult history of the 20th century. Contemporary dance in Russia is thought as a line of evolution forms from the beginning of the 20th century, which was interrupted during the Soviet period and was resumed after its end.
Main directions of the contemporary dance development have been outlined. Contemporary dance as an artistic expressing manifests itself in traditional stage (theatrical) forms and in the field of performance, which is characterized by open composition and interest in physicality. Contemporary dance as a body-oriented practice has given rise to diverse self-valuable dance-movement studies dispossessed visible artistic results., A whole spectrum of different forms of contemporary dance arises between these two poles. Such forms positioning themselves in different ways both in relation to the world of art and in the space of contemporary culture.
The following questions will be considered in the issue:
– artistic practices of contemporary dance;
– definition and genre originality of dance performance;
– physicality in dance and performance: areas of contact and differences in perception;
– historical aspects of the formation of Russian contemporary dance;
– contemporary dance as an artistic expression;
– classification of contemporary dance forms;
– institutionalization of contemporary dance, including in the education system;
– problems of documentation and archiving of contemporary dance and dance performance.
Deadline is 01.07.2022
