In the present paper a research has been done on the essay ‘Can the Subaltern Speak’ by’ Gayatri Chakravorty Spivak’. It has been explained into much simpler language about what the author conveys for better understanding and further references. Also the criticism has been done by various critiques from various sources which is helpful from examination point of view. The paper has been divided into various contexts with an introduction and the conclusions. Also the references has been written that depicts the sources of criticism.

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Can the Subaltern Speak

Probing the Limits of Representation: Nazism and the "Final Solution".

In this interview a well-known Soviet and Russian sociologist, Ovsei Shkaratan, narrates his academic career and the renaissance of sociology in Soviet academia at the end of 1950s and the beginning of the early 1960s. He describes the first social research projects in Leningrad, such as the study of “communist labor teams” which pioneered the sociology of labor in the USSR. The interview gives an opportunity to become aware of the Western sociologists who were known amongst the Soviet sociologists during this period and also to further understand the reception of Western theories at the time. The position of Shkaratan with regards to Soviet authorities of that time and of the time of interview (2000s) is of a particular interest. He further shares his views on the social policy of the Russian government and on the perspectives of sociology in modern Russia.

Интервью с Овсеем Ирмовичем Шкаратаном, профессором, доктором исторических наук, заведующим кафедрой социально-экономических систем и социальной политики государственного университета высшей школы экономики

After Stalin's death in 1953, the Soviet Union dismantled the enormous system of terror and torture that he had created. But there has never been any Russian ban on former party functionaries, nor any external authority to dispense justice. Memorials to the Soviet victims are inadequate, and their families have received no significant compensation. This book's premise is that late Soviet and post-Soviet culture, haunted by its past, has produced a unique set of memorial practices. More than twenty years after the collapse of the Soviet Union, Russia remains "the land of the unburied": the events of the mid-twentieth century are still very much alive, and still contentious. Alexander Etkind shows how post-Soviet Russia has turned the painful process of mastering the past into an important part of its political present.

Cultural Memory in the Present : Warped Mourning : Stories of the Undead in the Land of the Unburied

The Patriotism of Despair: Nation, War, and Loss in Russia

The three articles included in the preprint, show different options for applying the methods of the history to the study of the history of Soviet educational policy. Included in the preprint studies analyze specific types of educational institutions - namely, schools with enhanced learning of foreign languages and children's choral studio.

"Working with the concepts" in the Soviet educational policy and pedagogy of the second half of 1940 - end 1950 [«Работа С Понятиями» В Советской Образовательной Политике И Педагогике Второй Половины 1940-Х – Конца 1950-Х Годов]

Documentalist Strategies in Contemporary Russian Poetry

Cultural Shifts in Russia since 2010: Messianic Cynicism and Paradigms of Artistic Resistance

Playing the Revolt: The Cultural Valorization of Russian Rap and Covert Change in Russian Society of the 2010s

This paper discusses the reinvention of the humanist ideas and values in the Soviet post-World War II and post-Stalinist culture (the 1950s and the1960s) with the help of Renaissance plots and images in Soviet semi-official art, the main examples being Pavel Antokolsky's poem Hieronymus Bosch (1957), the Strugatsky brothers' novel Hard to Be a God (1963), and Grigory Kozintsev's films based on Shakespeare's Hamlet (1964) and King Lear (1970), as well as David Samoilov's poem Bertold Schwarz: A Monologue , set in the late Middle Ages. The paper isolates an aesthetic movement that developed in the Soviet culture of those decades; I propose to call this movement "posttraumatic humanism." It was based on the new aesthetic idiom of "gloomy Renaissance," including images of conflagration, ruins, violence. The works of this movement did not use the Aesopian language — or, at least, did not use it as a primary or only tool. Rather, it involves a covert comparison of the Soviet present with the European pre-Enlightenment past and aesthetical valorization and sublimation of 20th-century catastrophic experience. Images of "gloomy Renaissance" conveyed the erosion the Soviet belief in progress and moral modernization as inevitable consequences of Bolsheviks' revolution. One of the earliest mature works of posttraumatic humanism in Soviet culture was Vasily Grossman's essay The Sistine Madonna (1955). Alexei German Sr.'s film Hard to Be a God (2013) can be regarded as the concluding and summarizing work in this movement.

Ilya Kukulin

Papers

Documentalist Strategies in Contemporary Russian Poetry

Cultural Shifts in Russia since 2010: Messianic Cynicism and Paradigms of Artistic Resistance

Playing the Revolt: The Cultural Valorization of Russian Rap and Covert Change in Russian Society of the 2010s

In a Muddy Land, Wearing a Historical Costume: Posttraumatic Humanism in Post-Stalinist Soviet Culture