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| 1 |
ID:
135302
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| Summary/Abstract |
The Winter Olympic Games in Sochi and the annexation of Crimea were two major international events in which Russia engaged in early 2014. In spite of all the divergence in the logic underpinning each of them, four concepts strongly resonate in both cases. First, in hosting the Olympics and in appropriating Crimea, Russia was motivated by solidifying its sovereignty as the key concept in its foreign and domestic policies. Second, the scenarios for both Sochi and Crimea were grounded in the idea of strengthening Russia as a political community through mechanisms of domestic consolidation (Sochi) and opposition to unfriendly external forces (the crisis in Ukraine). Third, Sochi and Crimea unveiled two different facets of the logic of normalisation aimed at proving – albeit by different means – Russia’s great power status. Fourth, one of the major drivers of Russian policy in both cases were security concerns in Russia’s southern flanks, though domestic security was also an important part of the agenda.
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| 2 |
ID:
163787
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| Summary/Abstract |
The article examines the question of how the refugee crisis in Europe re-actualizes the existing national geopolitical narratives and affects the border-(re)drawing of European political communities. I particularly refer to the Estonian experience, which I examine through two different case studies. The first one focuses on the refugee issue as seen from the perspective of fostering a less nationalistic and more heterogeneous identity in Estonia, expressed in the language of contemporary art. The second one addresses the perceptions of the refugee debate by Russian speakers in Narva who directly relate this question to their personal experiences with integration into Estonian society since the fall of the Soviet Union. I analyse both issues within the framework of popular geopolitics that tackles cultural representations of territories, spaces, and identity politics from the viewpoint of vernacular, home-grown, and routine meanings, to bring this culturally focused approach to the foreground of research into politically sensitive phenomena.
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| 3 |
ID:
156687
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| Summary/Abstract |
The article addresses the sphere of performing arts as part of Russia’s security policy and, in particular, its propaganda dimensions. The authors approach cultural representations as appeals to universal norms rather than to national interests and in this respect focus on two specific cases of aestheticization of military force applied beyond the national borders of the Russian Federation — in Georgia in August 2008 and in Syria since September 2015. These cases are comparable with each other, since the external projections of Russia’s hard power were accompanied by similar cultural gestures — namely, public concerts of classical music performed by the world-famous Valery Gergiev’s Mariinsky Theater in two sites controlled by Russian troops, Tskhinvali and Palmyra. The article argues that the Russian government uses two strategies of aestheticizing its military missions — mimetic (implying the closest possible correspondence to reality) and aesthetic (based on imageries), though the distinction between the two is not always well fixed.
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