This collection covers the major trends of the media environment of the post-Communist world and their recent development, with special focus on Russia and the post-Soviet space. The term ‘media environment’ covers not just traditional print and electronic media, but new media as well, and ranges from the political to entertainment and various artistic spheres.
What role do market forces play in the process of media democratization, and how do state structures regulate, suppress, or use capitalism toward their own gain? What degree of informational pluralism has been achieved in the newly independent republics? What are the prospects for transparency and the participation of civil society in Russian and Eurasian media? To what degree do trends in post-Communist media reflect global trends? Is there a worldwide convergence with regard to both media formats and political messaging?
Western observers usually pay their keenest attention to the role of media in Russia and Eurasia during national elections. While this is a valid focus, the present volume, with contributions by Luca Anceschi, Jonathan Becker, Lee B. Becker, Michael Cecire, Marta Dyczok, Nicola Ying Fry, Navbahor Imamova, Azamat Junisbai, Barbara Junisbai, Kornely Kakachia, Maria Lipman, Oleg Manaev, Marintha Miles, Olena Nikolayenko, Sarah Oates, Tamara Pataraia, Elisabeth Schimpfossl, Abdulfattoh Shafiev, Jack Snyder, Tudor Vlad, and Ilya Yablokov, aims at understanding the deeper overall ‘media philosophies’ that characterize post-Soviet media systems and environments, and the type of identity formation that they are promoting.
The ground-breaking essays gathered in this volume argue that global paradigms of World Literature, often referencing the major metropolitan centres of cultural and literary production, do not always accommodate voices from the margins and writing within minority genres such as the short story. Katherine Mansfield is a supreme example of a writer who is positioned between a number of different borders and boundaries: between modernism and postcolonialism; between the short story and other genres (like the novella or poetry, or non-fiction, such as letters, diaries, reviews, and translations); between Europe and New Zealand. In pointing to the global production and dissemination of short stories, and in particular the growing reception of Mansfield’s work worldwide since her death in 1923, the volume shows how literary modernism can be read in a myriad of ways in terms of the contemporary category of new World Literature.
This music book contains the original sheet music of the Folk Song «Marching through Georgia» for Piano, Vocals and Guitar. Easy arranged in Ab major with lyrics. // Dieses Notenheft enthält die Originalnoten zum Folk-Song «Marching through Georgia» für Klavier, Gesang und Gitarre. Leichter Schwierigkeitsgrad in As-Dur mit Liedtext.
In times of economic downturn, competition for jobs becomes tougher, and only those with the best skills, which includes language skills, and above all English, can survive. Although we hope to help you to improve your English, we know that reading on its own is not enough. It is also essential to improve your understanding of spoken English and your active use of the language.
Chapters are evaluated for you with (E) = easy, (M) = moderate or (C) = challenge. It will certainly help teachers and students to get more fun out of working with this book.
The author would like to thank Jean Fienemann, Robert Jacob, Kimmo Kosunen, Steven Lodge and Roy & Mary Pook for their help. Their professional advice and suggestions were invaluable, and I couldn’t have done it without them.
If you are interested in books or language training dealing with other business subjects, more information can be obtained from www.gtec.asia, or by writing an email to [email protected].
Die Originalversion von «Jimmy Had A Nickel» wurde 1933 veröffentlicht. Von verschiedenen Künstlern wurden in den letzten Jahrzehnten zahlreiche Bearbeitungen des Songs angefertigt. Die bekannteste Versionen stammen von Clarence Williams and His Orchestra und Eddie Cantor. In dieser Ausgabe sind die Klaviernoten im Violin- und Bassschlüssel enthalten. Text, Akkorde und Gesangsmelodie sind separat notiert.
Die Originalversion von «In The Middle Of The House» wurde 1956 veröffentlicht. Von verschiedenen Künstlern wurden in den letzten Jahrzehnten zahlreiche Bearbeitungen des Songs angefertigt. In dieser Ausgabe sind die Klaviernoten im Violin- und Bassschlüssel enthalten. Text, Akkorde und Gesangsmelodie sind separat notiert.
This music book contains the original sheet music of the Folk Song «Little Brown Jug» for Piano, Vocals and Guitar. Easy arranged in C major with lyrics. // Dieses Notenheft enthält die Originalnoten zum Folk-Song «Little Brown Jug» für Klavier, Gesang und Gitarre. Leichter Schwierigkeitsgrad in C-Dur mit Liedtext.
The objective of “The Sacred Scriptures” by John Biermanski is to revoke all falsifications in today's Bibles known so far (in the Old and New Testament), and to restore the original state of the verses as far as possible. In the present work, you will find “The Acts of the Apostles” to “The Letter of Paul the Apostle to Philemon”, in which the verses are written in German and English, as well as an appendix with various elaborations and statements, etc. (see the table of contents). There is both a German and an English edition in which the attachments are available in the respective selected language. This is an English edition.
The author was born in 1963 in North Rhine-Westphalia and completed a traineeship for wholesale and foreign trade in a pharmaceutical wholesale company. In the course of his professional development, he used to be a freelancer but was also officially employed; he has experienced a lot rises and falls throughout his life. While studying the Scriptures, he was led by the Spirit of the only God, the Almighty and the only Holy Father in heaven, whereas, by grace, he could recognize many things that are now presented as heresies to the world. In recent years he has been active in the proclamation of the Word of YAHWEH Elohim (G-d) in Europe, Canada, particularly in Brazil (South America), and has enlightened many people by his message, so that they get to know the true God, His holy name and His will and only obey Him (Exodus 20:2-11; Leviticus chapter 19 and 23 etc.) – and start to think about all this, i. e. “so that they finally decide themselves in favour of the living Elohim (G-d): YAHWEH, instead of against Him, and their names are not erased from the divine 'Book of Life' forever.”
The history of Soviet nonconformism and, more broadly, of East European dissent has been written as a history of ideas, the subject of which is the transfer, internalization, and the subversive force of liberal values in socialist societies. In this sense, the nonconformist subconscious of totalitarian systems was expressed in the universal discourse of human rights. When the Helsinki Accords (CSCE) were signed by the Soviet Union in 1975, the commitment made there to respect for human rights and fundamental freedoms became en-forceable. Since then, freedom of expression, religion, belief, and conscience became rights that were part of the basic vocabulary of the civil rights movements formed illegally within nonconformist groups and networks within the Eastern Bloc. However, the right to private property, which means something essential in the liberal system of values, seems to have played no role in the development of this nonconformist discourse, or its role was at least not considered until now by historians of ideas and of culture. In the present contribution, I would like to begin by addressing the failure to reflect on the relationship between private property and the consensus on liberal values. I will do so in order to show how the discourse of property rights penetrated the Soviet culture of nonconformism and within a short time brought about signifi-cant changes in the social and economic practices of Soviet institu-tions, thus accelerating their decline … . (Aus dem Beitrag von Konstantin Kaminskij)
The song «The world is calling» (performed by Sylvia Vrethammar) arranged in a rock samba-version for piano, vocals and guitar chords.