Suchergebnisse

The article deals with the Soviet-German relations in the period of 1939‒1941. It is shoun that after signing of the Munich agreements in September, 1938, Germany generally defined its strategy of pressure on countries that fit into the Hitler's concept of "Push to the East". Its victims in 1935 were Czechoslovakia and Poland. After the German occupation of Czechoslovakia, Great Britain and France sought to review the "policy of appeasement" of Hitler and were ready to join the USSR in the search for ways to prevent Hitler's expansion. However, the inconsistency and contradictoriness of this "change of milestones" strengthened the position of the Soviet leadership in favour of reaching agreements with Germany. The summer of 1939 was the apotheosis of fruitless negotiations between the "Troika" (the USSR, Great Britain and France), which objectively prompted Moscow to accept the German proposal for fundamentally new bilateral agreements (the Pact of August 23, 1939). Subsequent events up to June 22, 1941 showed the unreliability of agreements with Nazism, facilitated the fleeting victory of Germany over Poland and France, and the actual isolation of Great Britain. Hitler's attack on the Soviet Union did not remove from the Soviet leadership the historical guilt of being unprepared for war with fascism, for the colossal human and territorial losses of the first stage of the Great Patriotic War

While the profound effect that metropolitan France has had on the contours of the global literary marketplace (or 'littérature-monde') has figured prominently in much recent scholarship, the similarly central role that Paris plays in the nebulous domain of world cinema remains ripe for scrutiny. The status of the Cannes Festival is well known as perhaps the single most powerful gatekeeper to a filmmaker's international circulation, but the broader relationship between France's administration of film culture and the international art-house circuit is not widely understood. This paper engages with competing definitions of 'world cinema' on both sides of the Atlantic and lays the groundwork for a historical inquiry into the Aide aux cinémas du monde, a production grant that the Centre national du cinéma established in 2012 to replace its long-running Fonds Sud, a fund for film projects originating in the southern hemisphere and beyond.

The Journal of Service Research ( JSR) is one of the leading outlets in service research. It is international in scope and widely recognized among scholars, academicians, and practitioners for its original and well-executed research. In its 22 years of publishing, the journal has produced literary content considered classics in the service domain. With the application of bibliometric techniques, we examine articles published in JSR between 1998 and 2019. Our study explicates JSR's prominent topics and tracks the evolution of research themes in the journal. "Customer satisfaction," "service recovery," and "service quality" are some of the prolific themes trending in JSR, while "big data," "value cocreation," "customer resource integration," "service design," and "customer participation" are its hottest topics. This study contributes primarily by providing a rich retrospective of JSR's 22 years of publishing and proposes future research topics for the journal.

The article is devoted to the analysis of the epic nature of the novel «Anna Karenina» by Leo Tolstoy. Artistic concept dedicated to the crisis era of the 1870s as the most important milestone in Russian history, the wide coverage of the events contemporary for the author, the depiction of representatives of different estates - testify to the scale of the creative task. The article examines the originality of Leo Tolstoy's epic narrative, which is largely determined by the choice of the protagonist. Endowed with a sensitive heart and a troubled conscience, seeking his true destiny, such a man always goes the same path – from egocentrism to understanding of folkish life, realising himself as part of a common «swarm» life. Nikolenka Irteniev, Dmitri Nekhlyudov, Pierre Bezukhov are a complex reflection of Leo Tolstoy himself, each at a certain stage in his spiritual
biography. In the gallery of Leo Tolstoy's heroes, Konstantin Lyovin occupies a special place, since he reflects a writer who is on the verge of a serious worldview revolution. Understanding the biographical and artistic principles in the image of Konstantin Lyovin is given in the context of epistolary and memoir sources in the article. The story of Konstantin Lyovin with his uneasy search for the meaning of life, with religious doubts, embodied the author's innermost thoughts repeatedly expressed by him in letters to Nikolay Strakhov. Not only the most important page of Leo Tolstoy's biography is revealed in the fate of Konstantin Lyovin, but the fate of a person of transition time closely related to the life of the country, is planned.