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SUMMARY

Oksana Gavrishina. Everyday Life in the Plural Case
The experience of theorizing everyday life in West European and American
humanities (history, sociology, culture studies) is discussed in terms of
(1) reasons for this theme's prominence, the variety of approaches
practiced in recent decades; (2) ways to do justice to everyday life's
dynamic, self-reflexive nature; (3) ideological and political choices
involved in concentrating on this subject of research. Domesticating this
new field of study in contemporary Russia presents another set of
problems: some of the biases characteristic for younger generation of
scholars and areas to explore are outlined.

Olga Diankina. Noone and Anyone: The Ordinary as Play
An analysis of e.e.cummings's poetry invites to consider various
possibilities of reading everyday life. Its monotony and irrationality
make reading for story and/or message impossible or absurd. The
alternative is reading for play-a revelation of the adventure of the
common.

Elena Trubina. Acknowledging the Common: Everyday in Stanley Cavell's
Philosophy
The paper seeks to do justice to Stanley Cavell's ideas about everyday
life and, in particular, his concept of acknowledgement. The first
section of the essay explores similarities and differences in the
philosophical treatment of everyday reality by Heidegger and Cavell. It
contends that (1) if most critics of European modernity associated
everyday existence with various forms of inauthenticity, both Heidegger
and Cavell believed it possible to transform the inauthentic everyday
into authentic, and (2) for Cavell such a possibility is related to the
overcoming of skepticism. The second section of the essay presents an
exploration of the method and the manner in which Cavell addresses the
issue of everyday life. In his analysing of Hollywood comedies of
remarriage as studies in acknowledgement he develops a democratic
understanding of the domestic and the everyday.

Tatiana Venediktova. Persons and Walls: Conceptualizing Everyday Life and
Literary Imagination (Melville and Dostoyevsky)
Focusing on the image of the wall in Melville's Bartleby the Scrivener
and Dostoyevsky's Notes from the Underground the paper explores its
implications as symbol of the "assumptions" of common knowledge.
Providing everyday life with structure, these are necessary but also
inhibiting, they make routine communication possible but also futile. The
self-reflexive subject's ability to see through the artificiality of
these structures is source of his power and impotence. Literary
imagination, to the extent of being reflexive of the same, is experienced
as both authoritative and suspect, "true" and "false". The ethically and
heuristically productive stance toward the everyday is associated by both
authors with the self-unconscious risk of absurdity, utter vulnerability-
throwing oneself open to what Dostoyevsky described as "the terribly
simple. life alive".

Anna Trakhtenberg. "We devoted our lives for eternity": Russian and
American Journalism Compared ("The Russian Question" by K. Simonov and "A
Russian Journal" by J. Steinbeck)
A comparison is drawn between a popular Stalinist play "The Russian
Question" (1947), written by the famous playwriter K. Simonov after his
visit to the USA, and "A Russian Journal" by J. Steinbeck. The
protagonist of the play is an "ideal" American journalist who tries to
write "the Truth" about Soviet Russia in anti-communist America. The
author is relying on a distinctly Russian cultural code-depicting his
character not as a professional who "serves his day" but rather as a
prophet serving eternity and suffering for his revelations. This seems to
have been totally missed by J. Steinbeck who during his visit to Russia
(1948) parodied Simonov's production. Cultural differences underlying
Russian and American professional codes in journalism are discussed.

Elena Meshcherkina. Ordinary Life in Biography and Oral History
Extended descriptions as well as casual references to ordinary life in
biographical discourse are ever a challenge to interpretation.
Characteristically, they provide a set of common presuppositions and
ground for emotional identification between author/narrator and
reader/inter-preter. Strategies of oral history and communicational
memory studies present a new paradigm of socially oriented historical
research. An analysis of an ethnic autobiography is offered as a case
study.

Boris Dubin. Weekdays and Holidays in Soviet and Post-Soviet Russia
The forms of collective identity of Soviet and post-Soviet societies were
reproduced in solidarity rituals in everyday life and/or celebrations and
festivities. The semantics changed as the Soviet system evolved over time
(the post-revolutionary period, 1930s, post-war decade, the Khrushchev
"thaw", the "stagnation" under Brezhnev) generally correlating with the
relative strengthening or weakening of coercive pressure for social
mobilization. At present, former Soviet holidays (with the sole exception
of Victory Day) lost most if not all of their symbolic meaning. The
emergence and increased visibility of church holidays is notable, as well
as the domestication and de-ritualization of traditional and family
festivities (like New Year or birthday celebrations). There is a growing
symbolic gap between the official, national level and the private,
familial one. The two are connected by TV-which not only broadcasts
common national symbols into each family, but also has become the focus
of the latter's solidarity and the organizer of shared leisure.

Serguei Oushakine. The Rubbish of Daily Life: External Conditions for
Internal Construction
Texts by prominent Soviet figures, such as writer Maxim Gorky (1868-
1936), biologist Trofim Lysenko (1898-1976), and educator Anton Makarenko
(1888-1939), are analyzed to show how the uncertainty of social norms in
early Soviet society and the prevailing feeling of life as "plotless"
were projected upon the natural environment and reinterpreted as its
immanent instability. In the absence of clearly articulated models of
subjectivity powerful social rhetoric was generated to describe/create
the tightly controlled environment of culture as "second nature" (M.
Gorky).

Teresa L. Ebert. The Concrete of the Everyday
The concrete-as a singular sensuousness-is commonly seen as constituting
the norm of the "real" and the logic of the everyday in contemporary
cultural theory. Cultural theory reifies the tangible, tactile, sensuous,
empirical concrete-whether the specificities of the signifier, the body,
or consumption-as the immediacy of knowledge. In doing so it isolates the
concrete from its social and historical conditions and participates in
the ideological structuring of the everyday in capitalism. The cultural
politics of the concrete is examined focusing on postmodern feminism and
its theories of the body, especially the concrete of breasts. The
question for cultural studies is how to know the sensuous. This is most
effectively done not by de Certeau's "science of singularity" but by
historical materialism-reconnecting the concrete to the social relations
of production, showing it to be, as Marx argued, a "concentration of many
determinations."

Bret Benjamin. Empire Embedded: Reality TV and the Imperialist Legacy
within the Concept of Everyday Life
This essay elaborates on two central theses-"Reality TV figures everyday
life," and "Empire is embedded in the everyday"-to argue against a
romanticized understanding of "everyday life" as an inherently resistant
analytical concept. In comparing the "production of reality" in the
generically typical example of the Reality TV drama Survivor (known as
The Last Hero in Russia) with the so called "news" coverage of the Iraq
war from an "embedded reporter" in the special broadcast Tip of the
Spear, the essay explores the ways in which nationalism, capitalism, and
imperialism each have a deep purchase on the politics of everyday life.

Vera Zvereva. "That's for real": Reality Shows on Russian TV
Russian versions of popular reality shows such as Big
Brother, Survivor, Pop Idol and other are discussed in terms of multiple
forms of audience appeal: the pleasures of peeping, empowerment,
"uncovering the truth", recognizing familiar ("soap") narrative
structures, finding confirmation of the values of one's social group.
Two basic interpretations of the concept of reality are discussed and,
respectively, two modes of its presentation. One sees the real as the
literal-the hidden, largely "negative" underside of life,
only occasionally revealed to the public. The intention of television is
presumed to be its exposure. The other interpretation identifies the
real with the typical-anchored in "higher truth" and eternal values. This
second version seems to be favored and privileged by Russian TV.

Irina Kalashnikova. Classical Music in Film and TV Broadcasts: Between
Fiction and Reality
Since American cinema is becoming ever more popular in Russia, Russian
television is beginning to adapt cinematic approaches to music,
frequently using musical excerpts from American blockbuster films. Well-
known classical themes or leitmotifs (by Puccini, Wagner, etc.), borrowed
from the movies, are heard in the news and documentary programs-they
highlight parallels between television scenes and relevant film
sequences. Analysis of theirs borrowings provide for better understanding
of the current global impact of US culture.

Iulia Lanskaya. "Urban Legends" as Post-Folklore
"Urban Legends" are "rumors" circulating in the "global village". Part
fiction and part reality, sustained by orality as well as print and
visual media, they are thrilling, cautionary, didactic and entertaining.
The "legends" tend to be local but are not contained within a locality,
crossing cultural and national borders with relative ease.

Galina Orlova. "Styliaga". Biography of a Thing
Styliagas (stylemen) became notoriously prominent in the Soviet media
during the 1950s as transmitters of malignant cultural influences from
abroad. Smugglers of some Western patterns of differentiation and
identity building through clothes and behavior, they can, indeed, be seen
as "pioneers" of everyday life-suspect and out of place in their time, in
the climate that gave priority to selfless, impersonal "world-historic"
heroism. Contrary to the prevalent ideology, "stylemen" believed
personality existed only in and through things. To them the width of
trousers was an important cultural choice, which was likely to be
reinterpreted by mainstream society as a political choice as well.

Anna Karpenko. Anatomy of Subculture, or Breaking with the Everyday
The essay is an overview of American and Russian (Soviet) alternative
youth subcultures of the 1960-80s. Similarities, influences and
borrowings as well as differences are noted in the modes of self-
identification through style and behavior, the ways of signifying
opposition to the mainstream.

Olga Gurova. Western Clothes for a Soviet Person: Cultural Interpretations
of "Import" in Soviet Russia in the 1960s
Fashion in Soviet Russia in the 1960s was defined as clothes made outside
the Soviet Union. "Import" became a fetish, and dichotomies like
outlandish/domestic, Western/Soviet, capitalist/socialist served as
important interpretive schemes. The main purpose of this analysis is to
explore how and why western things became important in the lives of
Soviet people in the 1960s and, more broadly, what social and cultural
effects this produced.

Anna Kovaleva. The Status of "Thing" in the Social Organization of a Shared
Apartment
This essay is dedicated to the function of personal and communal items in
the everyday life of friends who share an apartment. Common strategies
and rules for using things are described and explored, as well as the
various ways things organize and coordinate friendly relationships.

Mark Ryabov. Stain and Stain-Removal as the Image of the Everyday
A stain may be described as the quintessence of the everyday-both a
signifier and signified, ordinary and extraordinary. Its causes may be
many, its removal tends to be experienced and described as reintegration
into the "norm". This essay offers an analysis of a manual for stain
removal published in Russia in 1959 (a translation of an earlier Austrian
edition).