Olga Soboleva

Posobie prednaznacheno dlja podgotovki uchaschikhsja 7 klassov obscheobrazovatelnykh organizatsij k Vserossijskoj proverochnoj rabote (VPR) po obschestvoznaniju. Sbornik soderzhit 10 trenirovochnykh variantov VPR, pozvoljajuschikh otsenit individualnye dostizhenija shkolnikov po predmetu. Kazhdyj variant vkljuchaet zadanija, natselennye na proverku znanija uchaschimisja razlichnykh aspektov bazovykh sotsialnykh rolej: grazhdanina, potrebitelja, truzhenika, chlena semi, a takzhe osnov mezhlichnostnykh otnoshenij i osobennostej povedenija cheloveka v sovremennom mire. V kontse knigi dany otvety na vse zadanija i kriterii otsenivanija ikh vypolnenija.

George Bernard Shaw is commonly regarded as one of the most controversial intellectuals of the first half of the twentieth century. Known for the ambiguity of his statements and the seeming inconsistency of his views, there was, nevertheless, one idea to which the British dramatist remained constant throughout his life: his long-term enthusiasm for Russia and his firm belief that the Russians would ‘give the world back its lost soul’. Moved by the Russian cultural tradition, he found inspiration in the morally charged writings of Tolstoy and Gorky, and sent a copy of his Back to Methuselah to Lenin. The Soviet utopia fascinated him, and he made a much-publicised journey to the USSR to see the results of socialist construction, remaining for the rest of his life an unrepentant advocate of Stalin’s policies. Focusing on detailed textual analysis, this book traces the Russian sources that contributed to the formation of Shaw’s literary style. By reflecting on these parallels, as well as by drawing on archive reports in the Russian and Western media, the authors attempt to establish the extent to which Shaw’s obsession with the socialist cause affected the evolving character of his dramatic output. The book also explores the enduring positive reception of Shaw’s plays on the Russian stage.

A highly signi?cant movement within the Silver Age, harlequinade did not surface in Russian high culture until the turn of the twentieth century, when it suddenly began to attract the close attention of symbolist authors. In the present work, an attempt is made to show that the proliferation of the new cultural idiom was indicative of the fundamental concerns of the time and intimately related to the development of artistic thought. Although the theme is considered in its cultural totality (visual arts, literature and drama), the work is focused on symbolist poetry. It provides a close analysis of the ‘harlequinade’ verse of Blok and Belyi – two leading ?gures of the movement, in whose writings the symbolist theory found its maturity and perfection. The poems in question are conceptually centred on the dialectical unity of self and other – one of the key-notes in the new symbolist outlook. This is traced at various levels of poetic representation: in the imagery system and the principles of text construction, in linguistic features and poetic devices employed by the authors. Special attention is given to the sound organization of the poems, which heightens considerably the semantic potential of the text.