Despite the central place occupied by the concept of anachronism in the modern historical consciousness, it rarely becomes an object of historical and cultural research. This is because a historian who decides to tackle this topic inevitably has to go beyond the limits of his discipline and learn to see it from the outside. In this paper, an attempt is made to propose theoretical grounds that could facilitate such refection. The author believes that the revolution in the theory of history, which has gained the label the “linguistic turn”, as well as the concept of “politics of time”, frst developed in theoretical anthropology, may suitably serve in that capacity. On the basis of works by some contemporary intellectual historians the author tries to demonstrate the advantages that a research position built into the perspective of the “linguistic turn” and “politics of time” can provide for understanding the historiographic culture of the early modern period.

Heterochrony, essentially proper to every event or literary text, is highlighted in historical novels by special fgures of anachronism. The present article draws distinctions between three such fgures: metaphoric anachronism (the past is assimilated to the present, sometimes as an instructive example), metonymic anachronism (the events of the past anticipate other events taking place later as their consequences), and metaleptic anachronism (people of the past are endowed with ideas of our time, and people of the present passionately drawn to the past).

The article considers 20th century philosophers' and literary critics' focus on the problem of allegory and the connection of this topic with the problem of temporality. The article concentrates on the conceptions of Walter Benjamin and Gilles Deleuze; texts by E. Bloch, R. Barthes, P. De Man, F. Ankersmit, G. Didi-Huberman, M.A. Holly, and others are analyzed in order to determine both their theoretical context and subsequent development. We also examine the interconnection between the concepts of allegory as temporality and empirical materials from the Renaissance, baroque and romanticism, which were frequently used for the conceptualizations. The main conclusion of the article is that anachronism as the main mechanism and practice in allegory, interpreted as a literary experience which overcomes temporal linearity, turns out to be the most important common point for different conceptualizations of allegory as a mode of temporality.

The article examines ‘ruin' as a promising theoretical concept for the study of photography. A ruin, in particular, a Modern ruin, is seen as a multilayered object which brings the past and the present in close proximity. It compromises the stable position of the viewer, and thus introduces multiple perspectives on the past. Two examples of photography are examined in the article: the series Batterfelds by Sally Mann, a contemporary American photographer, and stereographic images made by Sergey Chelnokov, an amateur Russian photographer from the beginning of the 20th century. Sally Mann achieves the effect of superimposing different historical ‘times' by using 19th century photographic techniques to create contemporary depictions of Civil War battlefelds. As for Chelnokov's visual archive, the technical qualities of stereo photography allow contemporary viewers to undertake a conceptual redefnition of their relation to the past.

This article investigates the changes in everyday consumer practices from the point of view of the lifespan of things. Theoretically, it is based on the concept of rhythmanalysis of Henri Lefebvre [Lefebvre 2007] and its application to the “biographies of things” [Kopytoff 1986], everyday practices and macro-characteristics of societies [Baudrillard 2004; Toffer 2006]. In the empirical part, drawing on data from in-depth interviews, I distinguish four concepts describing the rhythms and longevity of humans-things relationships. These are “long-term”, “transitional”, “fast,” and “slow” consumption. These concepts were dominant in a particular period of Russian history, but they can also be observed today in the lifestyles of various social groups.

In this article, the cultural history of time and time measuring is considered in connection with the history of European subjectivity in the early Modern period. The author analyses the famous diary of 17th-century English offcial Samuel Pepys — a work that researchers frequently regard as a prime example of new notions of time, because of both its day-to-day narrative form, and its modern subjectivity due to the privacy of the diary. This article examines the problem of individualization and privatization of time in early Modern European culture by focusing on Pepys' practices of oaths, which are depicted in the diary. The vows he took to limit his play-going and wine-drinking or to perform some duties are seen as attempts to manipulate time and to construct his own temporality to ensure his future prosperity and respectability. Our analysis considers the practices of self-discipline and the separation of the private and the public sphere that are a part of early modern subjectivity.

In this paper we consider constructions that involve the name of a decade — the twenties, the thirties, the forties etc. — and an adjective in attributive function. The basic assumption is that these constructions refect the mnemonic pattern of each decade in Soviet and Post-Soviet history, and, therefore, that analysis of these constructions provides a way to reconstruct these patterns. The data for this research was obtained from the Russian National Corpus. Six semantic adjectival classes have been designated, each of which sets its own projection of the mnemonic pattern of the decade in the language. Comparison of the collocations of different adjectives and decade names allows us to determine which signifcant 20th century time periods exist in cultural memory and to identify the associative traits connected with these decades. As a result, our research shows the differences in perception of the various decades and allows us to reconstruct the “memory landscape” of Soviet and Post-Soviet history.

This article discusses the phenomenon of Russian digital projects to preserve personal memories, which include “Oral History”, “European Memory about the GULAG”, the Obninsk digital project, PastVu, Relikva, etc. The goal of the research is to answer the question whether these projects are able to form public alternatives to offcial constructions of the past and ways in which that past is to be studied. The qualitative research is theoretically and methodologically based on notions of memory theory, public and digital history as well as media memory and digital network memory. Problems of participatory culture in digital historical projects are also studied. The authors put forward an analytical model based on uncovering the aims and themes of digital projects, the particulars of their funding, the role of professional historians and the participatory practices of the audience.

The article examines representation of time and historical events in Modnyi Magazin (Fashionable Journal) — a highly popular women's magazine established in 1862, shortly after the abolition of serfdom in the Russian Empire. The materials under consideration here, besides memoirs and essays directly addressing historical topics, include texts of diverse genres, from the editor's perennial fashion column to pieces of polemical journalism dedicated to “the woman question”. Inspired by liberal reforms of the beginning of Alexander II's reign, the editorial team and the authors of Modnyi Magazin promoted the notion of women's rights, whose extension was described as a necessary stage of historical progress. At the same time, radical proponents of women's emancipation were treated in the journal with suspicion due to the supposed lack of femininity evident in their rejection of fashion and good taste. Apart from being a staple of womanliness, fashion played a key role in defning historical sensibilities of the era: it helped visualize a linear timeline along which various events and personalities could be located, while also contributing to valorization of change. The article shows how the authors of Modnyi Magazin used the past to negotiate the notion of proper femininity, simultaneously carving out a place for women in history. The woman called to inhabit this place was pictured as a reader: the magazine's audience was invited to identify with female historical characters shown poring over historical books and to appropriate their model emotional responses.

The article presents a section of the Introduction to the author's Ph.D. thesis (2000), which reviews the approaches to studying representations of the Other (hence the Other, as well) that by the late 1990s formed in post-colonial theory and the ‘historical turn' within the context of the critique of Orientalism and ‘classical' anthropology. The aims of this publication are, on the one hand, to recall the approaches themselves (nowadays dominant, they are still not always recognized in some Russian researchers' spontaneous practices), and, on the other, to give an example — within the context of discussions on post-Soviet scholars' attitudes to the afore-mentioned critique — of its interpretation by a postSoviet ‘Africanist' (at the time, the author was one). While highlighting the critique of cultural determinism and essentialism, the conceptualization of the ‘West' and the ‘Orient' as social constructs, the historical understanding of ‘culture', as well as renouncing its inner coherence and accentuating multi-level, situational and individualizing analysis (trends new at that time even for those post-Soviet scholars who pursued cultural studies opposed to the orthodox Soviet scholarship), the author also indicated a shift in the approaches under study — from a hermeneutic ‘understanding' of the Other to questions of identity. In looking for a way to combine the presumptions of the historical turn and the endeavors of such understanding, she suggested viewing representations of the Other as a sort of cultural boundary where the notions of ‘we' and ‘they' are most fully articulated, thus revealing cultural categories that underlie the process.

The paper attempts to fnd a methodological and practical possibility to describe some implicit features of the culture of Soviet Russia in the 1930s. The subjects of the analysis are books by
E. E. Cummings and P. Travers, who wrote about their experience of visiting the USSR. The texts were chosen according to the principle of inclusion in / exclusion from a certain (and unique) cultural genre of that time. On the one hand, they correspond to the type of works produced by “fellow travelers / political pilgrims”, on the other hand, they are internally opposed to it. The author of the article is also concerned about a theoretical question: to what extent may one detect the ‘Stimmungen' (in the words of H. U. Gumbrecht), which determine the “fne adjustments” of culture and time. These belong not to the feld of meanings, but to the mood feld, and therefore are diffcult to identify. Also, in searching for such settings, to what extent may one utilize the experience of foreign observers, that is, people outside of the internal culture. Moreover, the question of the limits and problems of individual perception always remains open. Nevertheless, it appears that the impression of Soviet Russia as the space of death — as described in the two texts — is of defnite interest for characterizing the culture of that time.

The following paper is an abstract from a soon to be published monograph, Parisians on themselves and their city: “Paris, or The Book of a Hundred and One (1831–1835). The book includes translations of 15 essays from this edition. One of those, “A fâneur in Paris”, laid down the basis for a new understanding of fâneur. While until the late 1820s this word would have been used to denote an ordinary rubbernecker, loitering around the town and looking around but never refecting on what he sees, in the early 1830s several texts emerged, which contrasted fâneur with to a rubbernecker (badaud, musard): a fâneur is portrayed as an interpreter of surrounding reality, “a semiologist avant la lettre”. True enough, the fâneur himself writes nothing; yet some authors present their works as transcripts of tales and observations by a fâneur. The introduction to these texts, and to the published essay from The Book of a Hundred and One in particular, enables us to specify the — rather negativistic — interpretation of fâneur put forward by Walter Benjamin.

В статье анализируется метафора поэзии как нематериального памятника, увековечивающего заслуги поэта, на примере рецепции оды Горация 3.30 в русской литературе (от Державина и Пушкина до Брюсова, Маяковского, Ходасевича, Бродского, Заходера и Пурина, чьи стихотворения до сих пор, насколько известно, не привлекали внимания исследователей). Изучение поэзии, основанной на метафоре поэтического памятника, позволяет выделить ее характерные черты: интертекстуальность, выражающуюся в цитатах, аллюзиях, пародиях, бриколаже, пастише; доминирование мотива поэтической эгоцентричности; развертывание метафоры памятника во временнóй и пространственной перспективах. Метафора поэтического памятника становится фактом русской литературы благодаря Ломоносову и Державину, однако своей необыкновенной популярностью в России (несравнимой с ее судьбой ни в одной литературной традиции) ода Горация обязана стихотворению Пушкина, с которого начинается разрушение канонического осмысления метафоры поэзии как невербального памятника. Полемические отклики Брюсова и Маяковского направлены на стихотворение Пушкина, подтверждая постоянное присутствие метафоры поэтического памятника в коллективной памяти наций, говорящих на русском языке. Пародийное осмысление продолжает процесс деканонизации литературной традиции, показывая ее важность для современной культуры, которая подвергает рассматриваемую метафору «остранению» травестией, как в стихотворении Бродского, или иронией, как в стихах Ходасевича или Заходера, или бриколажем, как в «Памятнике» Пурина. Традиция, основанная на метафоре невербального памятника, трансформированная, но не уничтоженная пародией, представляет собой открытую систему, а потому ее пародийное (или каноническое) осмысление скорее всего обречено на продолжение в постмодернистской литературе.

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