Introduction

Jonson, Lena; Erofeev, Andrei

doi:10.4324/9781315186856-1

Cited by 2 publications

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“…With that in mind, we interpret contemporary Russia as a space where the implosion of the formal political sphere led to an explosion in the politics of art. Admittedly, this is not a recent phenomenon: the politics of Russian art has been productively analyzed by a number of scholars (Jonson 2015; Ewell 2017; Beumers et al 2017; Jonson and Erofeev 2017; Engström 2018, 2021; Denisova and Herasimenka 2019; Kukulin 2020). This politics, however, largely remained embedded within the age-old dichotomy of progressive West vs. backward Russia, posing a very familiar challenge for the regime.…”

Section: Introductionmentioning

confidence: 99%

“F*** tha police!” à la Russe: Rancière and the Metamodernist Turn in Contemporary Russian Music

Morozov

Reshetnikov

Gaufman

2022

Nationalities Papers

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The nationwide prominence of Russian oppositional artists has inspired a fair number of studies analyzing the political aspects of their creative output. We argue that the new generation of Russian musicians, whose art became popular in the end of 2010s, brings political engagement to a qualitatively new level. Following Jacques Rancière, we reject the assumption that critical art can bring about political mobilization by exposing social evils. Instead, we juxtapose politics and police, distinguishing between transformative moments of discursive confrontation and the mundane activity centered on distributing places and roles. In this article, we look at three popular Russian musical collectives – IC3PEAK, Shortparis, and Monetochka – whose art disrupts the police order in a novel and subversive manner. Some of their works became even more timely with the outbreak of Russia’s large-scale aggression against Ukraine. We have performed multimodal discourse analysis of their audio and video clips, aimed at identifying the ways in which these artworks create the conditions of possibility for new politics by re-articulating the connection between the political and the universal.

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Section: Introductionmentioning

confidence: 99%

“F*** tha police!” à la Russe: Rancière and the Metamodernist Turn in Contemporary Russian Music

Morozov

Reshetnikov

Gaufman

2022

Nationalities Papers

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Reimagining the Istanbul Encampment of 2013

Kolluoglu

2023

Worldviews

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This article rests upon two kinds of deductions: first a lack of scholarly engagement within cultural constructs of religion in mainstream social movement studies; and the second, the quasi-religious aspects of occupy-like movement. These two problematics, one theoretical, and one ethnographic, are drawn together through Edith Turner’s conceptualization of communitas in light of the fieldwork findings derived from the encampment established at Istanbul’s Gezi Park in 2013.

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Introduction

Cited by 2 publications

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“F*** tha police!” à la Russe: Rancière and the Metamodernist Turn in Contemporary Russian Music

“F*** tha police!” à la Russe: Rancière and the Metamodernist Turn in Contemporary Russian Music

Reimagining the Istanbul Encampment of 2013

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