Aleksei Semenenko – författare

This book examines how the Soviet past is culturally negotiated, reimagined, and recreated in new temporal regimes; how the Soviet project is "e;recycled"e; and used as a key component in the construction of a new Russian collective identity; and how it has metamorphosed from a historical dimension to the sphere of myth.These processes, conceptualized under the term "e;Soviet myth,"e; are crucial for understanding the growing nostalgia for the USSR in Russia, recent cultural and ideological developments, and current domestic and foreign policies. The scope of this study extends from the late Soviet period to the present, but most chapters examine the pivotal decade in the formation of the Soviet myth, 2012-2022. Written by experts in the field, the book presents a broad spectrum of examples of how the Soviet legacy has been transmuted into the realm of mythology in visual arts, film, television, urban narratives, music, and video games.Soviet Myth in Post-Soviet Russia is of value to researchers studying Slavic and Russian studies, in particular post-Soviet culture, languages, literatures, anthropology, and political science.

This book examines how the Soviet past is culturally negotiated, reimagined, and recreated in new temporal regimes; how the Soviet project is "e;recycled"e; and used as a key component in the construction of a new Russian collective identity; and how it has metamorphosed from a historical dimension to the sphere of myth.These processes, conceptualized under the term "e;Soviet myth,"e; are crucial for understanding the growing nostalgia for the USSR in Russia, recent cultural and ideological developments, and current domestic and foreign policies. The scope of this study extends from the late Soviet period to the present, but most chapters examine the pivotal decade in the formation of the Soviet myth, 2012-2022. Written by experts in the field, the book presents a broad spectrum of examples of how the Soviet legacy has been transmuted into the realm of mythology in visual arts, film, television, urban narratives, music, and video games.Soviet Myth in Post-Soviet Russia is of value to researchers studying Slavic and Russian studies, in particular post-Soviet culture, languages, literatures, anthropology, and political science.

This book examines how the Soviet past is culturally negotiated, reimagined, and recreated in new temporal regimes; how the Soviet project is “recycled” and used as a key component in the construction of a new Russian collective identity; and how it has metamorphosed from a historical dimension to the sphere of myth.These processes, conceptualized under the term “Soviet myth,” are crucial for understanding the growing nostalgia for the USSR in Russia, recent cultural and ideological developments, and current domestic and foreign policies. The scope of this study extends from the late Soviet period to the present, but most chapters examine the pivotal decade in the formation of the Soviet myth, 2012-2022. Written by experts in the field, the book presents a broad spectrum of examples of how the Soviet legacy has been transmuted into the realm of mythology in visual arts, film, television, urban narratives, music, and video games.Soviet Myth in Post-Soviet Russia is of value to researchers studying Slavic and Russian studies, in particular post-Soviet culture, languages, literatures, anthropology, and political science.

This book studies satirical protest in today’s Russia, addressing the complex questions of the limits of allowed humor, the oppressive mechanisms deployed by the State and pro-State agents as well as counterstrategies of cultural resistance. What forms of satirical protest are there? Is there State-sanctioned satire? Can satire be associated with propaganda? How is satire related to myth? Is satirical protest at all effective?—these are some of the questions the authors tackle in this book. The first part presents an overview of the evolution of satire on stage, on the Internet and on television on the background of the changing post-Soviet media landscape in the Putin era. Part Two consists of five studies of satirical protest in music, poetry and public protests.