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Joel Crotty

The author engages with how communism and socialist realism have been re-presented in post-communist Europe. Communist cultural artefacts are displayed in museums and theme parks on a continuum from dangerous relics to benign kitsch. He argues for neutrality when dealing with musical socialist realism and demonstrates some of the pitfalls in taking that position through examples of Romanian art music from the mid-20th century.

is a co-editor of Changing Political and Economic Regimes in Russia (Routledge, 2013). He has published articles in leading journals such as Global Governance , International Spectator , European Regional and Urban Studies , Problems of Post-Communism , Demokratizatsiia , Journal of

Asiya Bulatova

had been completely discredited” – communism is not the final, but only the first stage in world reconstruction. Katerina Clarke pointed to the Constructivist belief that “a new man and a new consciousness could be created less by individual acts of perception than by establishing a totally new

Aleksandr A. Pertsev, Yekaterina S. Cherepanova and Yekaterina A. Batyuta

organization which was involved in attempting a coup d’état (followed by the establishment of the notorious GKChP – State Committee on the State of Emergency), the entire “Marxist-Leninist” worldview, based on dialectical materialist philosophy and scientific communism, was banned. However, the philosophy of

Milan Orlić

, yet critically laughs at everything – is represented as the beginning of the end of Communism. The plot of the novel begins with the accidental death of Jose Ramon Espeso, who was a Communist sympathiser and thus was held in prison several times by Franco’s regime. Arranging for Espeso to be

Sanna Turoma and Kaarina Aitamurto

April, 2014 : http://www.novayagazeta.ru/columns/63084.html (Accessed June 15, 2016). Fagan G. , Believing in Russia—Religious Policy after Communism ( London : Routledge , 2013 ). Franklin S. and Widdis E. , ‘ All the Russias…?’ in National Identity in Russian Culture , eds

The War in Chechnya in Russian Cinematographic Representations

Biopolitical Patriotism in “Unsovereign” Times

Andrey Makarychev

://www.radicalphilosophy.com/reviews/individual-reviews/whats-left-of-biopolitics . (Accessed 20 April 2016.). 23 Jabri 2006 , 830. 24 O. Riabov and T. Riabova, “The remasculinization of Russia? Gender, nationalism, and the legitimation of power under Vladimir Putin”, Problems of Post-Communism 61(2) ( 2014 ): 23–35. 25 Singer and Weir, 445–446. 26 J. Oksala

Slobodanka Vladiv-Glover

’s Enthusiasm: Symphony of the Donbas deconstructs the march of history towards Communism by representing the march in circular motion: a toy train, carrying Proletarian ‘objects’ (things) towards a Five-Year-Plan, but the train is a maquette which goes around in circles. The very genre of the “symphony” as

Susan Ikonen

depicted the October Revolution, the people who conducted it, and the entire project of building Communism in the ussr in a slanderous manner ( klevetnicheski ), which was now “hoisted as armour by the bourgeois press and taken as armament by the international reactionary forces”. According to Soviet