Graham Roberts – författare

As shopping has been transformed from a chore into a major source of hedonistic pleasure, a specifically Russian consumer culture has begun to emerge that is unlike any other. This book examines the many different facets of consumption in today’s Russia, including retailing, advertising and social networking. Throughout, emphasis is placed on the inherently visual - not to say spectacular - nature both of consumption generally, and of Russian consumer culture in particular. Particular attention is paid to the ways in which brands, both Russian and foreign, construct categories of identity in order to claim legitimacy for themselves. What emerges is a fascinating picture of how consumer culture is being reinvented in Russia today, in a society which has one, nostalgic eye turned towards the past, and the other, utopian eye, set firmly on the future. Borrowing concepts from both marketing and cultural studies, the approach throughout is interdisciplinary, and will be of considerable interest, to researchers, students and practitioners wishing to gain invaluable insights into one of the most lucrative, and exciting, of today’s emerging markets.

As shopping has been transformed from a chore into a major source of hedonistic pleasure, a specifically Russian consumer culture has begun to emerge that is unlike any other. This book examines the many different facets of consumption in today’s Russia, including retailing, advertising and social networking. Throughout, emphasis is placed on the inherently visual - not to say spectacular - nature both of consumption generally, and of Russian consumer culture in particular. Particular attention is paid to the ways in which brands, both Russian and foreign, construct categories of identity in order to claim legitimacy for themselves. What emerges is a fascinating picture of how consumer culture is being reinvented in Russia today, in a society which has one, nostalgic eye turned towards the past, and the other, utopian eye, set firmly on the future. Borrowing concepts from both marketing and cultural studies, the approach throughout is interdisciplinary, and will be of considerable interest, to researchers, students and practitioners wishing to gain invaluable insights into one of the most lucrative, and exciting, of today’s emerging markets.

This significantly updated new edition of Developing Java Software is a thorough presentation of object-oriented design and programming concepts using the Java 5 programming language. The book takes the reader from the basics of using Java 5 to the creation of complete, object-oriented programs. Following an ‘objects early’ approach, the core elements of the Java language are covered, including the use of recently added features such as generics. The encouragement of the proper creation and use of classes, and the demonstration of the strategies used to create good quality code are at the core of this book. You will learn how Java programs work and how they can be designed and implemented in an organized and systematic way. In addition, the book addresses how a Java programming project should be managed and introduces the Ant build tool and the Subversion version control system.Testing has always been an important part of Developing Java Software. This edition provides new chapters which give a detailed introduction to Test-driven Development (TDD). This approach to programming introduces more rigor to writing programs by placing emphasis on writing high quality testable and tested code from the outset. A series of examples and case studies shows how TDD works and highlights the strategies for testing code.Reflecting recent changes to the Java programming language and newly focused on first courses in programming, this excellent primer is ideal for classroom use or self-study. The many motivating examples and larger case studies show how core ideas can be applied when creating real applications, and show how to use object-oriented methods effectively to create robust, reliable, and fully-tested Java applications.

This is a comprehensive study of a group of avant-garde Soviet writers active in Leningrad in the 1920s and 1930s who styled themselves OBERIU, 'The Association for Real Art'. Graham Roberts re-examines commonly held assumptions about OBERIU, its identity as a group, its aesthetics and its place within the Russian and European literary traditions. He focuses on the prose and drama of group members Daniil Kharms, Aleksandr Vvedensky, and Konstantin Vaginov; he also considers work by Nikolay Zabolotsky and Igor Bakhterev, as well as the group's most important 'fellow-traveller', Nikolay Oleinikov. He places OBERIU in the context of the aesthetic theories of the Russian formalists and the Bakhtin circle. Roberts concludes by showing how the self-conscious literature of OBERIU - its metafiction - occupies an important transitional space between modernism and postmodernism.

This is a comprehensive study of a group of avant-garde Soviet writers active in Leningrad in the 1920s and 1930s who styled themselves OBERIU, 'The Association for Real Art'. Graham Roberts re-examines commonly held assumptions about OBERIU, its identity as a group, its aesthetics and its place within the Russian and European literary traditions. He focuses on the prose and drama of group members Daniil Kharms, Aleksandr Vvedensky, and Konstantin Vaginov; he also considers work by Nikolay Zabolotsky and Igor Bakhterev, as well as the group's most important 'fellow-traveller', Nikolay Oleinikov. He places OBERIU in the context of the aesthetic theories of the Russian formalists and the Bakhtin circle. Roberts concludes by showing how the self-conscious literature of OBERIU - its metafiction - occupies an important transitional space between modernism and postmodernism.

European Cinemas in the Television Age is a radical attempt to rethink the post-war history of European cinemas. The authors approach the subject from the perspective of television’s impact on the culture of cinema’s production, distribution, consumption and reception. Thus they indicate a new direction for the debate about the future of cinema in Europe. In every European country television has transformed economic, technological and aesthetic terms in which the process of cinema production had been conducted. Television’s growing popularity has drastically reshaped cinema’s audiences and forced governments to introduce policies to regulate the interaction between cinema and television in the changing and dynamic audio-visual environment. It is cinematic criticism, which was slowest in coming to terms with the presence of television and therefore most instrumental in perpetuating the view of cinema as an isolated object of aesthetic, critical and academic inquiry. The recognition of the impact of television upon European cinemas offers a more authentic and richer picture of cinemas in Europe, which are part of the complex audiovisual matrix including television and new media.Features*Contains detailed case studies of Britain, France, Germany, Spain, Poland, Italy and Denmark.*Includes contributions from leading scholars in the fields of cinema and television studies: Pierre Sorlin, Luisa Cignoetti, Valeria Camporesi, Gunhild Agger, Magrit Grieb, Malgorzata Radkiewicz and Will Lehman.*Will appeal to students and researchers in a wide range of fields, including cinema, television, media and communication studies.

This is an account of Soviet documentary output during the years between the "Great October Socialist Revolution" and the "Great Patriotic War". Graeme Roberts re-views the examples of Soviet, and world, non-fiction cinema, like "The Man With the Movie Camera" and "The Fall of the Romanovs", and uncovers many intriguing films. He discusses the careers of the men and women who made them, including Vertov, Shub, Medvedkin and Karmen, and investigates the problems of analysis and context, offering insights into that context. The text demonstrates how, through looking as the history of Soviet non-fiction film, it becomes possible to gain insight into the agencies that shaped Soviet culture and history under Stalinist regime into and beyond the 1930s.

The "KINO Russian Cinema" series has been expanding to provide students and general readers with readable companion handbooks to important and interesting films of Russian cinema from its beginnings to contemporary times. This volume investigates the production, context and reception of the film "The Man with the Movie Camera" directed by Dziya Ventov, the people who made it, and the film itself, including its place in Russian and World cinema.