To see the other types of publications on this topic, follow the link: Boris Strugatsky.
Journal articles on the topic 'Boris Strugatsky'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 23 journal articles for your research on the topic 'Boris Strugatsky.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Morrison, Michael A. "Hard to Be a God by Arkady Strugatsky & Boris StrugatskyDefinitely Maybe: A Manuscript Discovered under Strange Circumstances by Arkady Strugatsky & Boris Strugatsky." World Literature Today 88, no. 5 (2014): 81–83. http://dx.doi.org/10.1353/wlt.2014.0009.
Full text
2
Shlapentokh, Dmitry V., Yvonne Howell, Arkady Strugatsky, and Boris Strugatsky. "Apocalyptic Realism: The Science Fiction of Arkady and Boris Strugatsky." Russian Review 55, no. 1 (1996): 116. http://dx.doi.org/10.2307/131922.
Full text
3
Kustanovich, Konstantin, and Yvonne Howell. "Apocalyptic Realism: The Science Fiction of Arkady and Boris Strugatsky." Slavic and East European Journal 40, no. 3 (1996): 568. http://dx.doi.org/10.2307/310158.
Full text
4
Kuznetsov. "The views of Arkady and Boris Strugatsky on the education of the generations: The motive of the escape of children in the novels of 1960-ies." Rhema, no. 2, 2019 (2019): 9–18. http://dx.doi.org/10.31862/2500-2953-2019-2-9-18.
Full textAbstract:
The article focuses on the correlations between the changes in the Soviet education system under Khrushchev’s rule, the brothers Strugatsky’s pedagogical views, and some aspects of the plot-construction in their novels of the 1960s. Arguments are cited in favor of the influence of the USSR’s education policy on the Strugatskys and the gradual development of the escape motif in their work.
5
Обвинцева, Ольга Владимировна, and Татьяна Олеговна Обвинцева. "REPRESENTATION OF THE CONCEPT SCIENCE IN THE STORY “ROADSIDE PICNIC” BY ARKADY AND BORIS STRUGATSKY." Tomsk state pedagogical university bulletin, no. 4(216) (July 6, 2021): 91–99. http://dx.doi.org/10.23951/1609-624x-2021-4-91-99.
Full textAbstract:
Введение. Дана репрезентация индивидуально-авторского концепта НАУКА в художественном тексте, относящемуся к научно-фантастическому дискурсу. Представлено соотношение понятий «лингвокультурный концепт», «художественный концепт» и «индивидуально-авторский концепт». Обоснована ключевая роль компонента «наука» для выражения сути жанра научной фантастики. Описаны различные методики репрезентации лингвокультурного и индивидуально-авторского концептов, реализованных в художественном тексте. Материал и методы. Материалом исследования послужила повесть «Пикник на обочине» Аркадия и Бориса Стругацких – ярких представителей жанра научной фантастики. Методологическая основа работы – это существующие в лингвокультурологии подходы, согласно которым лингвокультурный концепт, преобразованный автором в соответствии с его собственным восприятием действительности, репрезентируется посредством языка в художественном тексте в виде художественного (индивидуально-авторского) концепта. Методика описания лингвокультурных концептов З. Д. Поповой и И. А. Стернина, использованная в исследовании, включает этимологический и дефиниционный анализ имени концепта, выявление синонимов имени концепта, анализ паремий и фразеологизмов, содержащих имя концепта, ассоциативный эксперимент. Для репрезентации лингвокультурного концепта НАУКА применялись лексикографические источники – общелингвистические и специализированные словари русского языка. Результаты и обсуждение. Выстроена структура содержания лингвокультурного концепта НАУКА в русском языке, включая его понятийную и ценностную части. Репрезентирован индивидуально-авторский концепт НАУКА, вербализованный в художественном тексте повести А. и Б. Стругацких. Проведен сопоставительный анализ содержания лингвокультурного концепта НАУКА и одноименного индивидуально-авторского концепта. Заключение. Индивидуально-авторский концепт НАУКА, репрезентированный в повести «Пикник на обочине», отличается от одноименного лингвокультурного концепта по содержанию номинативного поля: ядерной зоной здесь стала «работа, род занятий, профессия», появился новый признак «объекты научного исследования», который привносит дополнительный смысл: научное познание – это не только рациональное следование законам, но и нечто интуитивное, иногда иррациональное. Оценочная часть индивидуально-авторского концепта отражает романтическое, эмоциональное представление братьев Стругацких о науке как о важнейшей профессиональной деятельности. Introduction. The article describes how the author’s individual concept SCIENCE is represented in a science fiction book “Roadside Picnic” written by Arkady and Boris Strugatsky. The introduction correlates the concepts of “linguocultural concept”, “literary concept” and “author’s individual concept”, substantiates the key role of the component «science» in expressing the essence of the science fiction genre, describes various methods of representing the linguocultural concept and the author’s individual concept, implemented in the literary text. Aim and objectives. The article aims at the representation of the author’s individual concept SCIENCE in a literary text belonging to science fiction discourse. Material and methods. The material for this research is the story “Roadside Picnic” written by Arkady and Boris Strugatsky in the genre of science fiction. The methodological basis of the research is represented by existing cultural linguistic approaches, according to which the linguocultural concept, transformed by the author in accordance with his/her own perception of reality, is represented by means of language in a literary text in the form of a literary (author’s individual) concept. The methodology for describing linguocultural concepts by Z. D. Popova and I. A. Sternin, which is used in this work, includes: etymological and definitional analysis of the concept name, identifying synonyms for the concept name, analysis of paremias and aphorisms, which include the name of the concept, associative experiment, frequency analysis, etc. To represent the linguocultural concept SCIENCE, general linguistic and specialized dictionaries of the Russian language were used. Results and discussion. As a result of the research we have built the structure of the content of the linguocultural concept of SCIENCE in the Russian language, including its conceptual and value parts; have represented the author’s individual concept of SCIENCE, verbalized in the literary text of the Strugatsky story and have carried out a comparative analysis of the content of the linguocultural concept of SCIENCE and the same-name author’s individual concept. Conclusion. It is concluded that the individual author’s concept SCIENCE, represented in the story “Roadside Picnic”, differs from the linguocultural concept SCIENCE in terms of the content of the nominative field: “work, occupation, profession» became the nuclear zone, and a new concept feature “objects of scientific research” appeared, bringing an additional meaning. The evaluative part of the author’s individual concept reflects the Strugatskys’ romantic, emotional view of science as the most important professional activity.
6
Abramova, Oksana, and Jolanta Sukhotskaya. "ESCHATOLOGICAL MOTIFS IN THE SHORT NOVEL “DEFINITELY MAYBE” BY A. AND B. STRUGATSKY." Проблемы исторической поэтики 22, no. 3 (2024): 286–308. http://dx.doi.org/10.15393/j9.art.2024.14202.
Full textAbstract:
The article presents an analysis of eschatological motifs in Arkady and Boris Strugatsky’s short novel “Definitely Maybe” (“One Billion Years to the End of the World”) (1976), in particular, it describes the development of the motifs of the Last Judgment, the end of the world and the fate of the universe in the original idea of the story as reflected in the author’s sketches and in the final text. The motif of the Last Judgment underwent a strong change in the text of the story and was realized in the form of self-judgment of the scientists, who are the heroes of the story. They condemn themselves to a future in which their scientific potential will not be fully realized. The motif of the end of the world is stated in the title and the main conflict of the story, which entails the heroes’ confrontation with the force that prevents scientific discoveries that could lead to the end of the world. Most scientists try to make sense of what is happening by appealing to folklore, religious experience, or ideas about extraterrestrial civilization. The fate of the universe is closely connected with the phenomenon of the Homeostatic Universe, which influences the lives of the characters in the story not directly, but implicitly, through everyday phenomena, which by the story’s finale add up to an insurmountable obstacle for most scientists. The eschatological motifs of the Strugatsky brothers were formed under th
7
Del Percio, Daniel Clemente. "ARQUITECTURAS INFERNALES. DISTOPÍAS Y UTOPÍAS SOVIÉTICAS EN LA NOVELA CIUDAD MALDITA, DE ARCADI Y BORIS STRUGATSKY." Astrolabio, no. 20 (June 30, 2018): 74–90. http://dx.doi.org/10.55441/1668.7515.n20.19545.
Full textAbstract:
La distopía o utopía negativa es un subgénero que ha hecho famoso la literatura inglesa, particularmente desde las obras de George Orwell (1984, de 1948) y Aldous Huxley (Brave New World, de 1932). Sin embargo, suele pasarse por alto que la primera antiutopía moderna pertenece a un autor ruso, Evgueni Zamiátin: la novela Nosotros (My), de 1922, producto de una modernidad tardía. Esta obra estableció los paradigmas que caracterizarían de ahí en más formalmente a la distopía. En 1968, los hermanos Arcadi y Boris Strugatsky, principales referentes de la ciencia ficción soviética en aquellos años, reelaboraron a partir de estas bases una ciudad ya no distópica sino infernal y oscuramente irracional, eje de su novela Ciudad maldita (Grab obrechonni), una distopía ya en clave posmoderna, llevándola a un auténtico (e irresuelto) planteo sobre la naturaleza del mal. A partir de un marco teórico que vincula la evolución de las utopías negativas con la ciencia ficción, nuestra hipótesis implica que esta novela, curiosa síntesis de ciencia, política, esoterismo y literatura, define un nuevo tipo de obra distópica. El paisaje de ruinas que implica, tan caro a la ciencia ficción posterior a la caída del Muro de Berlín, se vuelve un sistema de sinécdoques que representa, desde la estética del fragmento, un profundo nihilismo donde la posmodernidad adquiere la forma de abismo.
8
Lisovitskaya, Valeriya N. "Dialogue with the Reader in the Novel <i>One Billion Years to the End of the World</i> by the Strugatsky Brothers." Sphere of culture 4, no. 1 (2023): 25–32. http://dx.doi.org/10.48164/2713-301x_2023_11_25.
Full textAbstract:
Arkady and Boris Strugatskys novel One Billion Years to the End of the World has certain features in terms of subject organization. The article is devoted to the analysis of the authors strategy for building a dialogue with the reader in the novel. Arguments are made to prove that the primary subject of speech is a personified narrator disguising as impersonal; the form of diary entries is designed to establish a trusting relationship with the reader, while the main strategy used by the authors of the novel is understanding.
9
Geeraert, Dustin. "“In the Shadow of Greater Events in the World:” The Northern Epic in the Wake of World War II." Scandinavian-Canadian Studies 26 (December 1, 2019): 240–75. http://dx.doi.org/10.29173/scancan170.
Full textAbstract:
ABSTRACT: World War II was marked by widespread use of heroic narratives, national legacies, and grand ideas about destiny or the “arc of history.” These topics have a firm foundation in medieval literature, particularly in northern traditions. While literary medievalism had been in the limelight during the nineteenth century, during the early twentieth century it had been dismissed as a quaint curiosity; suitable for the benighted souls of the reading public, perhaps, but not to be taken seriously by avant-garde intellectuals. In the mid-twentieth century, however, literary medievalism returned with a vengeance. Questioning the critical narrative of twentieth-century literary history, this article examines iconoclastic works by Halldór Laxness (Iceland), T. H. White (England), John Gardner (America), and the Strugatsky brothers (Arkady and Boris, Russia), in order to compare perspectives on medievalism from different countries in the aftermath of the bloodiest conflict of all time.
10
Rieger, Marc Oliver. "The “alien” alien in Stanislaw Lem’s Solaris and its manifold echoes in the world of literature." Papers in Literature, `10 (July 30, 2022): 91–102. http://dx.doi.org/10.31648/pl.7857.
Full textAbstract:
Stanislaw Lem has left a remarkable impact on world literature in science fiction and beyond. One of the reasons for this is his – often radical – approach to exploring new topics and philosophical concepts. In this article, we study his concept of an unknowable intelligence that eludes all scientific approaches by humans who try to understand its motivations, reasoning and functioning; an “alien” alien, as it is most clearly presented in Lem’s 1961 novel Solaris. Echoes of this radical concept can be found, albeit often in a highly diluted form, in a number of subsequent works by various writers like Arkady and Boris Strugatsky, Iain M. Banks and Cixin Liu. They also resurface in other media, from mainstream movies to anime. We argue that Lem’s original concept has been utilized by later writers for manifold purposes, sometimes merely as a plot device, but at other times as a metaphor exemplifying the insurmountable limits of knowledge or even for transporting entirely different ideas.
11
Fritz, Morgan. "Miniaturization and Cosmopolitan Future History in the Fiction of H.G. Wells." Science Fiction Studies 37, Part 2 (2010): 210–29. https://doi.org/10.1525/sfs.37.2.0210.
Full textAbstract:
The prolific and pioneering H.G. Wells, in addition to establishing himself as the founder of modern science fiction, also wrote several realist and satirical novels, a pair of world history volumes, and two books about miniature, tabletop gaming. With his world histories, he sought to fulfill Immanuel Kant’s proposed project of writing a universal, cosmopolitan history. I argue that in many of his science fiction novels, from When the Sleeper Wakes to The Shape of Things to Come, Wells sought to execute a complementary project of imagining a future history leading to a cosmopolitan outcome. The open-ended nature of this endeavor, however, often conflicted with the domineering impulse that Wells displays in his fascination with imagining miniature worlds in Floor Games and Little Wars, and in his attempt to commandeer the reins of the Fabian Society. Nevertheless, the cosmopolitan future history is one of Wells’s most lasting literary innovations, resonating in the work of modern sf writers including Olaf Stapledon, Ursula K. Le Guin, Boris and Arkady Strugatsky, and Kim Stanley Robinson.
12
Froggatt, Michael. "Alien places in late Soviet science fiction: the ‘unexpected encounters’ of Arkady and Boris Strugatsky as novels and films." Slavonica 22, no. 1-2 (2017): 96–98. http://dx.doi.org/10.1080/13617427.2017.1382674.
Full text
13
Maguire, Muireann. "Alien places in late Soviet science fiction: the ‘unexpected encounters’ of Arkady and Boris Strugatsky as novels and films." Studies in Russian and Soviet Cinema 10, no. 3 (2016): 262–64. http://dx.doi.org/10.1080/17503132.2016.1220739.
Full text
14
Тулякова, Наталья, and Наталья Никитина. "Travelling to the described present: mago-space in the Strugatskys’ Monday starts on Saturday." Studia Rossica Posnaniensia 46, no. 2 (2021): 93–104. http://dx.doi.org/10.14746/strp.2021.46.2.7.
Full textAbstract:
Fantasy and science fiction genres extensively use imaginary settings and locations different from realistic ones but striving to look real. Arkady and Boris Strugatsky, pioneers of the science fiction genre in Russia, actively exploited the potential of both genres in their early tale, Monday starts on Saturday (1964), which combines features of the two space types. The present paper analyses the principles of creating ‘mago-space’ in the book. To do so, we look at the spatial organization of the events involved in the plot and the personages’ ideas regarding space. The research will enable us to clarify the role of space in conveying the authors’ message, which in this tale is quite explicit. We argue that the space changes significantly within the book, accompanying genre transformations and the development of the protagonist. Since the tale uses ‘mental sublocations’ as the main units of spatial organization, each part is determined by a certain type of cultural heritage. In the first part, it is the mental space of folklore and classical literature, in the second – that of mythology and science fiction, and in the final – philosophy and science. Mental spaces that coexist and follow various laws form a narrative which turns out to be a journey to the described present in the variety of its forms.
15
Bąbel, Agnieszka. "Magia, parodia, cenzura. Poniedziałek zaczyna się w sobotę Arkadija i Borisa Strugackich – przekłady polskie wobec oryginału [Magic, parody, censorship. Monday Begins on Saturday by Arkady and Boris Strugatsky – Polish translations and the original]." Napis XXIV (2018) (December 28, 2018): 344–80. https://doi.org/10.18318/napis.2018.1.18.
Full textAbstract:
The article is dedicated to one of the most popular novels by Arkady and Boris Strugatsky, <em>Monday Begins on Saturday</em> (1965). It discusses the circumstances of the novel’s origins, as well as portraying the differences between two Polish translations – one from 1970/1989 (Irena Piotrowska) and another from 2009 (Ewa Skórska). Analysing the most significant changes and omissions allows one to conclude that those were, by their nature, imposed by the censorship which was at work in the Soviet Union as well as in the People’s Republic of Poland (albeit on slightly different terms). A comparison with the Russian text (the ‘canonical’ edition from the collected works 2000-2001) illustrates that the Polish translators used different editions of the original. Магия, пародия, цензура. <em>Понедельник начинается в субботу</em> Аркадия и Бориса Стругацких: польские переводы и оригинал Статься посвящена одному из самых популярных романов Аркадия и Бориса Стругацких, <em>Понедельник начинается в субботу</em> (1965 г.). В ней рассматривается контекст создания произведения и анализируются различия между двумя польскими переводами романа – 1970-1989 гг. (Ирэны Пиотровской) и 2009 г. (Эвы Скурской). Анализ ключевых замен и опущений позволяет утверждать, что в большинстве случаев они были вызваны цензурой, функционировавшей как в СССР, так и в ПНР (хотя и по-разному), а сравнение с текстом оригинала («каноническое» издание собрания сочинений 2000-2001 гг.) показывает, что польские переводчицы пользовались разными версиями оригинала.
16
Bellamy Ortiz, Adriana. "Stalker: la imagen poética de la ciencia ficción." Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada, no. 8 (September 20, 2023): 77–93. http://dx.doi.org/10.22201/ffyl.29544076.2023.8.1903.
Full textAbstract:
El cine de ciencia ficción ha tenido importantes transformaciones vinculadas tanto a los avances tecnológicos de la industria cinematográfica como a la historia del cine en general. En muchos casos, aunque las películas que forman parte de este género suelen tener un énfasis visual en los efectos especiales y lo espectacular, en otras ocasiones más bien forman parte de la estilística-estética de un autor particular. De tal forma, Stalker, realizada en 1979 por Andréi Tarkovski, adapta la novela Picnic a la orilla del camino de los hermanos Boris y Arkadi Strugatsky para integrarla a una obra fílmica caracterizada por un trabajo minucioso de lo que Gilles Deleuze denomina la imagen-tiempo, basada en la duración de la toma larga, la composición visual, la presencia de los objetos al interior del encuadre, un empleo puntilloso de la luz y la amplitud del plano sonoro, tanto musical como analógico. En este artículo, mediante el análisis fílmico y comparativo de algunas secuencias, se verá cómo el proceso de adaptación parte de la novela para crear una de las películas más significativas del universo tarkovskiano no sólo porque fue el último proyecto en su tierra natal, sino también por la postura crítica que se traslada del texto a la pantalla.
17
Rovenko, Nadezhda, and Sofia Loiter. "PROFESSOR EVGENIY NEYOLOV. FAIRY TALE AND FANTASY RESEARCHER: CELEBRATING HIS 75TH BIRTHDAY ANNIVERSARY." Children's Readings: Studies in Children's Literature 23 (2023): 445–52. http://dx.doi.org/10.31860/2304-5817-2023-23-1-445-452.
Full textAbstract:
The review covers the materials of a research seminar dedicated to the anniversary of Professor Evgeniy Neyolov (1947–2014), which was a continuation of the seminar in memory of his teacher, Professor Irina Lupanova. The purpose of these seminars is to broaden the scope of the study of folklore and literary fairy tales, modern school folklore, children’s literature, science fiction and fantasy through in-depth familiarity with the personalities and works of Irina Lupanova and Evgeniy Neyolov. The purpose of these seminars is to broaden the scope of the study of folklore and literary fairy tales, modern school folklore, children’s literature, science fiction and fantasy. The discussion of the proposed topics involves professional polemics and deepens and consolidates the material, as the participants include not only educators and scholars but also undergraduate and graduate students as well as high school teachers and students. The papers and presentations delivered at this seminar reveal the innovative and original nature of Ev- geniy Neyolov’s research and demonstrate the continuity of the approaches of contemporary researchers and the methodology developed by the scholar. In the world of fairy tale and fantasy unexpected associations, meanings and motifs are revealed, which is shown in the presentations, primarily devoted to the work of a variety of writers: Yevgeny Baratynsky, Konstantin Gnetnev, Veniamin Kaverin, Lyudmila Petrushevskaya, Mikail Bulgakov, Arkady and Boris Strugatsky, and Viktor Pelevin.
18
Grinfeld, V. A. "A revolution of subjects. On two publications of Arkady and Boris Strugatsky’s novella." Voprosy literatury, no. 6 (December 25, 2022): 106–17. http://dx.doi.org/10.31425/0042-8795-2022-6-106-117.
Full textAbstract:
Arkady and Boris Strugatsky’s works never stop fascinating their readers — general audiences and scholars alike. The latter tend to consider fction, including sci-f, a form of society’s social self-awareness. Among Strugatskys’ oeuvre, the novella Noon, 22nd Century [Polden, dvadtsat vtoroy vek] especially stands out. Published in the 1960s, it became a symbol of an intellectual utopia. The Noon Universe [Mir Poludnya] has since been used as a general term for a place where the authors and their readers would love to live. However, the novella took extra work before its canonical version crystallised. Its second edition, printed fve years afer the frst, had been revised and extended. This paper analyses the authors’ changes to the text and traces their connection with the social processes unfolding in that turbulent period. The era was marked by a burgeoning consumer society and the growth of an opposing movement that promoted personal development. The second trend was referred to as a revolution of subjects by the Polish psychologist K. Obuchowski.
19
Filippov, Sergey. "Critical Attitudes among the Soviet Scientific and Academic Intelligentsia in the Historical and Socio-Cultural Context of 1960-1990s." Ideas and Ideals 14, no. 2-1 (2022): 68–85. http://dx.doi.org/10.17212/2075-0862-2022-14.2.1-68-85.
Full textAbstract:
The article deals with investigating into the conditions of the critical attitude spread among scientists and academicians during the period of 1960s–1990s towards some aspects of domestic and foreign state policy of that time. At the same time, the motives for such a criticism seem not to be obvious, since the social status and well-being of the scientific and academic intelligentsia, as well as its public prestige, was one of the highest among the socio-professional groups of Soviet society. To perceive criticism of Soviet scientists as a form of struggle against the regime does not seem entirely correct, since the critically thinking Soviet scientists did not seek to popularize their socio-political ideas and attract supporters from other social groups. On the contrary, the discussion on “complex” political and socio-economic aspects of the Soviet society took place within closed communities. In addition, the Soviet scientific intelligentsia of that time, unlike the pre-revolutionary intellectuals, did not idealize people; they did not have a sense of “guilt” towards it, as well as the idea of selfless “serving the people”. Soviet scientists perceived themselves as an elite, even aristocratic group, and this idea found expression in the science-fiction novel “Hard to Be a God” by the Soviet writers Arkady and Boris Strugatsky. The main character of the novel is the historian Anton, who was sent to the Arkanar Kingdom on an alien planet and assumed the role of an aristocrat named Don Rumata. He masterfully uses a sword, enjoys phenomenal success with women and contributes to the progress of local humanity. The Soviet intellectuals of that time constructed their own elite professional and social identity using the practices of prestigious consumption and behavior and pursuing specific socialization strategies that were alternative to the official Soviet norms and rules of behavior. The self-identification of scientists as an elite group within the Soviet society was based on the social conditions for the development of science in the USSR in the 1950s–1960s such as a high level of prestige of scientific and academic activities, high expectations from science as well as creating relatively autonomous scientific centers (“Academic Town” or ZATO (‘closed administrative-territorial formation’) – closed towns with secret research installations). Such settlements were quite independent from the local and regional authorities being subordinated directly to Moscow. Besides, secrecy of closed cities or facilities limited the possibilities of the direct control and interference from regional party and state authorities in the activities of scientific institutions and scientists.
20
ANDRIANOVA, Elena V., Vladimir A. DAVYDENKO, and Yuliya Khudyakova. "PARADOXES OF MODERN INSTITUTIONAL DEVELOPMENT OF PEASANT (FARMER) FARMS." Tyumen State University Herald. Social, Economic, and Law Research 8, no. 1 (2022): 51–101. http://dx.doi.org/10.21684/2411-7897-2022-8-1-51-101.
Full textAbstract:
The work is devoted to the study of the constructive nature of institutions in the space of rural territories in the context of social contradictions, often taking paradoxical formats. Methodologically, the article is written in the traditions of modern critical institutional economics and institutional sociology. The authors’ results of the analysis of statistical data from open sources within the framework of the proposed issues over the past 20 years are presented. Three main historical stages of institutional dynamics in agriculture are characterized, the main of which included the introduction and institutionalization of private ownership of land, effectively returning Russia to the number of global players in the agricultural market. The article presents data on the modernization of agriculture resulting from institutional changes “from above” and institutional mutual obligations in rural areas “from below”. The conclusion is made about the increase in land assets and the growth of the total income of landowners. Quantitative indicators of the development of small- and medium-sized peasant (farmer) farms and large landholdings in Russia (agricultural holdings) according to various reporting data are presented. The socio-economic contradictions are revealed that point to the paradoxical development of rural areas of Russia. The foreign experience of managing modern rural business is presented, which can be considered as options for a possible future of Russia. The authors come to the conclusions that the Russian institutional dynamics in rural areas demonstrates several positive changes that have created the basis for the existence and further development of the country in a short period by historical standards. The article puts forward five hypotheses regarding the institutional development of rural areas, some of which are practically verified. It is proved that at present in Russia the risks and dangers of quantitative and qualitative food shortages have really been overcome, and that sufficiently powerful socio-class groups of landowners have been formed who are fundamentally interested in the qualitative reproduction of rural areas, despite the deepening processes of poverty, which marks the paradoxical institutional dynamics. However, there are indications that application of the concept of global instability (including determinants of СOVID-19 pandemic and “special military operation in Ukraine” after 24 February 2022) marks the existence of a new paradox related to the tragedy of agriculture’s future in Russia. It may realistically result in evolutionary crisis of the civilization if we take into account the paradigm of a “folding civilization” introduced by Arkady and Boris Strugatsky, which means that the civilization under study is left defenseless against “Masters of Fools”.
21
Khagi, Sofya. "One Billion Years after the End of the World: Historical Deadlock, Contemporary Dystopia, and the Continuing Legacy of the Strugatskii Brothers." Slavic Review 72, no. 2 (2013): 267–86. http://dx.doi.org/10.5612/slavicreview.72.2.0267.
Full textAbstract:
The importance of Arkadii and Boris Strugatskii in Soviet science fiction has been thoroughly examined. A less-explored question concerns how they have continued to inspire post-Soviet authors who muse on an environment that differs drastically from the one that gave rise to their works. Sofya Khagi explores how prominent contemporary writers—Garros-Evdokimov (Aleksandr Garros and Aleksei Evdokimov), Dmitrii Bykov, and Viktor Pelevin—examine the Strugatskiis to dramatize their own darker visions of modernization, progress, and morality. They continue the tradition of science fiction as social critique—in this case, a critique of society after the collapse of socialist ideology with its modernizing projects of historical progress, technological development, and social improvement. According to their parables a contrario to the Strugatskiis, the dreams of modernity embodied by the classics of Soviet fantastika have been shattered but not replaced by a viable alternative social scenario. As they converse with their predecessors, contemporary writers examine stagnation, not just in post-Soviet Russia, but in global, postmodern, commodified reality.
22
Forrester, Sibelan, and Yvonne Howell. "Introduction: From Nauchnaia Fantastika to Post-Soviet Dystopia." Slavic Review 72, no. 2 (2013): 219–23. http://dx.doi.org/10.5612/slavicreview.72.2.0219.
Full textAbstract:
Science fiction is the genre that links our lives to the future: the faster the pace of scientific and technological advancement, the greater our awareness of what István Csicsery-Ronay called “the science-fictionality” of everyday life. The more we feel the effect of scientific and technological change on global flows of economic, social, and cultural exchange (not to mention the blurring of biological and environmental boundaries), the more we are drawn to a literature that Boris Strugatskii identified as “a description of the future, whose tentacles already reach into the present.“ It is hardly surprising that scholarly interest in Russian and Soviet science fiction has been growing in recent years, with an expanding roster of roundtables and panels exploring the topic at professional conferences. Why talk about Soviet science fiction? As the articles in this special thematic cluster suggest, science fiction functions more as a field of intersecting discourses than as a clearly delineated genre: for readers of Slavic Review, it is a genre that foregrounds the interdisciplinary connections between the history of Soviet science and technology, political and economic development, and social and literary history. Science fiction, in short, offers a way to read the history of the future, with texts selfconsciously oriented toward distant spatial and temporal horizons, even as they point insistently back to the foundational factors shaping the vectors of a society's collective imagination.
23
"Interview with Boris Strugatsky." Science Fiction Studies 26, Part 3 (1999): 520. https://doi.org/10.1525/sfs.26.3.0520a.
Full text