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In the bibliography, I have adhered to the LOC system. In this book I have used the United States Library of Congress transliteration system for the Russian language, except in cases where familiar names (Tolstoy, Dostoyevsky) might be rendered unfamiliar, and for readability (Litichevsky rather than Litichevskii). Everything good in this book is owing to their influence everything bad flows exclusively from me.
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Seth Graham, time and again, has shown himself a great inspiration, consigliere, friend, and professional lodestar. Douglas Machle of Classics also helped with his Dutch skills. In particular I want to thank Bojan Belic and Katarzyna Dziwirek for their assistance with Serbian and Polish materials, respectively. Indeed, all my colleagues at the University of Washington Department of Slavic Languages and Literatures have helped create an ideal environment for my work none is more tireless than Shosh Westen. For unflagging support and loyalty, though, none can compare to the illustrious Galya Diment. No one helped me more than the great Misha Zaslavsky. Ilya Kitup, Andrei Ayoshin, Sergei Repyov, Dmitry Yakovlev, Khikhus, and all the staff at the KomMissia comics festival. Of special mention: Mikhail Sidlin, Zhora Litichevsky, Gosha Ostretsov, IX In Russia, I found a wonderful group of komiks artists, scholars, and supporters, without whom this project simply would not exist. I bow my head low before the god-like John Lent. Among these stalwarts, I single out Rusty Witek, Marc Singer, Charles Hatfield, Gene Kannenberg, Héctor Fernández-l’Hoeste, and Ana Merino. My comics studies fellow travelers at the International Comic Arts Forum were the first to hear me try out much of this material it has been greatly improved by their comments. Natasha Perova of Glas is my oldest and most-valued Moscow friend. Of the University of Pittsburgh contingent, Volodya Padunov, Nancy Condee, and Helena Goscilo all pushed me along, in ways they may not have realized. Others who contributed to my professional and personal development at Berkeley, the University of Texas at Austin, and the Moscow Tribune include Charles Ramírez-Berg, Robert Twombly, Anthony Vanchu, Frances Masiello, Eric Naiman, Linda Williams, Alexei Yurchak, Tomohiro Machiyama, and Anthony Luis. Irina Paperno at the University of California, Berkeley, got the first look in 1997 at what would become this project without her support it may have gone no further. I would also like to thank an anonymous collector of Russian caricature and poster art in Prague for the chance to examine his materials in summer 2007. Research on this book profited immensely from a 2008 National Endowment for the Humanities-funded summer institute at the New York Public Library’s Slavic and East European Collection, whose director, Edward Kasinec, proved a model of professionalism and collegiality. Portions of this study have appeared in different versions in Ulbandus, Ante, Kinokultura, the International Journal of Comic Art, the Comics Journal, Khroniki Chedrika, and the anthologies Russian Children’s Literature and Culture and Uncensored? Reinventing Humor and Satire in Post-Soviet Russia. “I Want”: Women in Post-Soviet Russian Comics Autobiography in Post-Soviet Russian Comics: The Case of Nikolai MaslovĨ. To the memory of two great women, sadly passed on: Frances Till and Natalya Monastyrova and to two, to my great fortune, who are still with us: Raquel Alaniz and Tiziana BertoliniĬontents Acknowledgments Introduction: Komiks Agonistes Comic books, strips, etc.-Russia (Federation) 2. Includes bibliographical references and index.
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Komiks : comic art in Russia / José Alaniz. Copyright © 2010 by University Press of Mississippi All rights reserved Manufactured in the United States of America First printing 2010 ∞ Library of Congress Cataloging-in-Publication Data Alaniz, José. Halverson The University Press of Mississippi is a member of the Association of American University Presses.