AdamsS (2011) Castoriadis’s Ontology. Being and Creation. New York, NY: Fordham University Press.
2.
AgambenG (2002) Difference and repetition: on Guy Debord’s films. Cambridge: MIT Press.
3.
Alqudsi-ghabraT (2012) Creative use of social media in the revolutions of Tunisia, Egypt & Libya. International Journal of Interdisciplinary Social Sciences6(6): 147–158.
4.
AnankaYArcimovichTBrunnerS, et al. (2020) BELARUS! Das weibliche Gesicht der Revolution. Berlin: edition.fotoTAPETA__Flugschrift.
5.
AndersenRSVuoriJAGuillaumeX (2015) Chromatology of security: introducing colours to visual security studies. Security Dialogue46(5): 440–457.
6.
AndräCde GuevaraBBColeL, et al. (2020) Knowing through needlework: curating the difficult knowledge of conflict textiles. Critical Military Studies6: 1–19.
7.
ArkhipovaAAlekseyevskiM (2014) “My ne nemy!”: Antropologia protesta v Rossii 2011-2012 godov. Tartu: Nauchnoe Izdatelstvo ELM.
8.
ArkhipovaARadchenkoDKirzyukA (2020) Our shmuck: Russian folklore about American Elections. The Journal of American Folklore133(530): 452–470.
9.
BakerJEClancyKClancyB (2020) Putin as gay icon? Memes as a tactic in Russian LGBT+ activism. In: BuyantuevaRShevtsovaM (eds) LGBTQ+ Activism in Central and Eastern Europe. Berlin: Springer, pp. 209–233.
10.
BarthesR (1977) Rhetoric of the image. In: HeathStephen (ed. and trans) Image, Music, Text. New York: Hill and Wang.
BergerJ (2008) Ways of Seeing. New York, NY: Penguin UK.
15.
BleikerR (2018) Visual Global Politics. Abingdon: Routledge.
16.
ChaitinGD (1996) Rhetoric and Culture in Lacan. Cambridge: Cambridge University Press.
17.
DavydovaD (2019) Between Heteropatriarchy and Homonationalism: Codes of Gender, Sexuality, and Race/Ethnicity in Putin’s Russia. PhD Dissertation, University of York, Toronto, Canada.
18.
EksiBWoodEA (2019) Right-wing populism as gendered performance: Janus-faced masculinity in the leadership of Vladimir Putin and Recep T. Erdogan. Theory and Society48(5): 733–751.
19.
EmeryDB (1993) Self, creativity, political resistance. Political Psychology14: 347–362.
20.
FabrykantM (2018) Why nations sell: reproduction of everyday nationhood through advertising in Russia and Belarus. In: PoleseASeliverstovaOPawluszEMorrisJ (eds) Informal Nationalism After Communism: The Everyday Construction of Post-Socialist Identities. London: IB Tauris, pp. 83–102.
21.
FabrykantM (2019) Russian-speaking Belarusian nationalism: an ethnolinguistic identity without a language?Europe-Asia Studies71(1): 117–136.
22.
FoucaultM (2009) Manet and the Object of Painting. New York, NY: Harry n. Abrams.
23.
FoxallA (2013) Photographing Vladimir Putin: masculinity, nationalism and visuality in Russian political culture. Geopolitics18(1): 132–156.
24.
Gel’manV (2013) Cracks in the wall: challenges to electoral authoritarianism in Russia. Problems of Post-Communism60(2): 3–10.
25.
GorsuchAE (1996) A woman is not a man: the culture of gender and generation in Soviet Russia, 1921–1928. Slavic Review55(3): 636–660.
26.
HanipovRA (2008) Ukorenennost’ tyuremnykh i kriminal’nykh praktik v kul’ture sovremennogo rossiyskogo obshchestva. Mir Rossii. Sotsiologiya. Etnologiya17(3): 132–148.
27.
HansenL (2011) The politics of securitization and the Muhammad cartoon crisis: A post-structuralist perspective. Security Dialogue42(4–5): 357–369.
28.
HansenL (2015) How images make world politics: International icons and the case of Abu Ghraib. Review of International Studies41(2): 263–288.
29.
HasenmuellerC (1978) Panofsky, Iconography, and Semiotics. The Journal of Aesthetics and Art Criticism36(3): 289–301. Critical Interpretation (Spring, 1978).
30.
HaynesJ (2003) New Soviet Man: Gender and Masculinity in Stalinist Soviet Cinema. Manchester: Manchester University Press.
31.
HealeyD (2010) Active, passive, and Russian: the national idea in gay men’s pornography. The Russian Review69(2): 210–230.
32.
HeckASchlagG (2013) Securitizing images: The female body and the war in Afghanistan. European Journal of International Relations19(4): 891–913.
33.
HollyMA (1984) Panofsky and the Foundations of Art History. Ithaca: Cornell University Press.
34.
HoltDCameronD (2010) Cultural Strategy: Using Innovative Ideologies to Build Breakthrough Brands. Oxford: Oxford University Press.
35.
JonsonL (2015) Art and Protest in Putin’s Russia. Abingdon: Routledge.
36.
KleymonovaYG (2012) Tyuremnaya subkul’tura kak osobyy vid sotsial’nogo vzaimodeystviya. Vestnik Udmurtskogo universiteta. Seriya «Filosofiya. Psikhologiya. Pedagogika (4): 33–37.
KuzminaN (2010) The Image of the Father of the Nation in Contemporary Belarusian Politics: The Case of AR Lukashenka. Budapest: Central European University.
39.
Łukasik-TureckaA (2012) Outdoor advertising in the 2012 Ukraine parliamentary election. The Copernicus Journal of Political Studies2(2): 63–77.
40.
McMichaelP (2013) Defining Pussy Riot musically: performance and authenticity in new media. Digital Icons: Studies in Russian, Eurasian and Central European New Media9: 99–113.
41.
MorozovV (2015) Russia’s Postcolonial Identity: A Subaltern Empire in a Eurocentric World. Basingstoke: Palgrave Macmillan.
NovikowaI (2012) Fatherhood and masculinity in postsocialist contexts—lost in translations? In: OechsleMMüllerUHessS (eds) Fatherhood in Late Modernity: Cultural Images, Social Practices, Structural Frames. Opladen: Verlag Barbara Budrich, pp. 95–112.
45.
PanofskyE (1955) Meaning in the Visual Arts. Chicago: Chicago University Press.
46.
ParisiV (2013) The dispersed author. The problem of literary authority in samizdat textual production. In: SamizdatPV (ed.) Between Practices and Representations Lecture Series at Open Society Archives. Budapest: IAS Publications No. 1, pp. 63–72.
47.
PaulauskasDTimárE (2015) How Vladimir Putin became a gay icon: a reparative reading of queer political iconography. Unpublished Master’s Thesis, Central European University, Budapest.
ReidSE (1998) All Stalin’s women: gender and power in Soviet art of the 1930s. Slavic Review57(1): 133–173.
50.
RobertsGH (2017) Homo post-Sovieticus: (re)fashioning the male body in Putin’s Russia. Journal of Asia-Pacific Pop Culture2(1): 6–29.
51.
RowleyA (2017) Trump and Putin sittin’in a tree’: material culture, slash and the pornographication of the 2016 US presidential election. Porn Studies4(4): 381–405.
52.
RuncoMA (2014) Creativity: Theories and Themes: Research, Development, and Practice. Amsterdam: Elsevier.
53.
RuttenEZverevaVFedorJ (2013) Memory, Conflict and New Media: Web Wars in Post-Socialist States. Abingdon: Routledge.
54.
SperlingV (2014) Sex, Politics, and Putin: Political Legitimacy in Russia. Oxford: Oxford University Press.
55.
StavrakakisY (2007) The Lacanian Left: Essays on Psychoanalysis and Politics. Albany, NY: SUNY Press.
56.
VoroninaOG (2013) Pussy Riot steal the stage in the Moscow Cathedral of Christ the Saviour: punk prayer on trial online and in court. Digital Icons: Studies in Russian, Eurasian and Central European New Media9: 69–85.