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Cover page -- Halftitle page -- Title page -- Copyright page -- Dedication -- Contents -- Acknowledgements -- Notes on contributors -- List of figures -- INTRODUCTION -- References -- PART ONE Material Culture and (De)classification -- 1 Windows in Russian Peasant Dwellings in the Seventeenth and Eighteenth Centuries -- References -- 2 Equalizing Misery, Differentiating Objects: The Material World of the Stalinist Exile -- Introduction -- Objects as chances of survival -- First-aid objects on the road to exile -- Installation and key objects of adaptation -- Objects as signs of distinction -- Discovery and narratives of otherness -- Exchanging objects -- Improvements and reconstructions in the camera lens of the deportees -- Notes -- References -- 3 Constructing Soviet Domesticity and Managing Everyday Life from Khrushchev to Collapse -- Introduction -- Visions and realities: the role of aesthetic professionals in the production process -- The apartment as reprieve and responsibility -- Fostering domestic comfort ( uyut ) -- A new relationship between resident and expert -- Conclusion: was private life truly 'private'? -- Notes -- References -- 4 Photographs in Contemporary Russian Rural and Urban Interiors -- Introduction -- The 'red corner' and its equivalents -- Pictures of the living and the dead -- Stand or hang -- Visual message -- On the shelves -- Rules of grouping -- Conclusion -- Notes -- Acknowledgements -- References -- PART TWO Consuming Ideology -- 5 Russian Culture Through a Shot Glass: The Shustov Cognac Advertising Campaign, 1910-12 -- Notes -- References -- 6 The Invention of Soviet Advertising -- The first Soviet advertisements -- Conclusion -- Notes -- References -- 7 Gender and the Emergence of the Soviet 'Citizen-Consumer' in Comparative Perspective -- Introduction -- Consumers' interests and governmental accountability.

1. From red square to Nike town : re-enchanting the retail experience -- 2. From Superman to the Invisible Man : imagining the male body in contemporary Russian advertising -- 3. The politics of packaging in post-socialist Russia : labels, logos, locations -- 4. The final frontier : brands and branding on social media in the new Russia.

This volume highlights the diversity and complexity of cultural dialogue between Russia and Western Europe since the end of the eighteenth century. Part one contains contributions which focus on how these cultures have viewed each other. There are chapters on the myth of Dumas père in Russia, the Russian travelogues of Henry Lansdell, Konstantin Leont'ev's views on Great Britain and France, and the Russian Symbolists' construction of a mythical European past. Authors in the second part compar...

The subject of this article is Russo-American artist Slava Mogutin. A close associate of Gosha Rubchinskiy and Lotta Volkova, Mogutin has been based in New York since 1995. While he originally shot to fame as a poet and novelist, Mogutin is today better known as a performance artist, filmmaker and photographer. The aim of my article is to locate Mogutin, and in particular his fashion photography, within current debates around the representation of masculinity and the construction of masculine subjectivity/-ies. More specifically, using a visual analysis methodology, I analyse the camp aesthetics of Mogutin's fashion imagery. In a number of ways, Mogutin's camp aesthetic raises questions about displacement and identity, the clash between individual desires and social norms and – as he puts it – 'what it means to be a young man in the modern world'. It also constitutes an avowedly political challenge, not just to the state-sponsored homophobia and heteronormativity of Mogutin's native Russia but also to the identity politics underpinning today's fashion industry. I conclude by suggesting that Mogutin's openly political form of camp might pose a challenge to the traditional Sontagian view of camp as apolitical.

In my article, I analyse some of the ways in which Gosha Rubchinskiy, Demna Gvasalia and Lotta Volkova might be said to 'queer' masculinity. I draw parallels between their work and the modernist, utopian, Constructivist project of Soviet fashion designers of the 1920s such as Varvara Stepanova and Lyubov' Popova. Most importantly, both groups of artists share a desire to organize their fashion practice within a broader ideological project. At the heart of their respective projects is a fundamental challenge to conventional notions of gender in fashion, and in the fashion industry. In both cases, the 'queering' of gender norms, distinctions and hierarchies, both on and off the catwalk, is designed to produce a radical transformation of the relationship between the fashioned object and the fashionable, consuming subject. As far as today's post-Soviet fashion designers are concerned, by the way in which they either queer masculinity or perform their own, queer brand of masculinity, they produce a new, utopian subject. Far from being the antithesis of the Constructivist project, then, this post-socialist utopian body can be seen as constituting perhaps its most spectacular realization to date.

Abstract
The subject of this article is the male body in contemporary Russian fashion photography. My aim is to locate such photography within current debates around subject construction, representation, and masculinity. In particular, I argue that a number of images of the male body that can be found on the websites of three Russian fashion designers—Serguei Teplov, Cyrille Gassiline, and Gosha Rubchinskiy—can be read as homoerotic. This emergent homoeroticism is all the more interesting because it comes at a time when Russia's president, Vladimir Putin, has made heroic, heteronormative masculinity a central pillar both of his own personal popularity and of Russian national identity. As well as being noteworthy in itself, this raises important questions about the ideological nature of men's fashion photography, not only in twenty-first-century Russia but also in a more general sense.

PurposeThe purpose of this paper is to assess the future development of the transport sector in Europe.Design/methodology/approachDrawing on published sources of information and some expert views, the paper considers trends, drivers of change, possible scenarios and policy issues.FindingsTransport demand for passengers and goods has grown consistently in the past and is expected to continue to do so in the future. Existing policies are unlikely to modify this trend or alleviate existing problems.Research limitations/implicaionsThe paper is based on existing sources.Practical implicationsDecisions in a wide range of policy fields have implications for transport, which are seldom considered.Originality/valueQuestions the sustainability of continuing growth in transport demand and the adequacy of current policy.