The plant was the only manufacturer from the 1950s until the break-up of the Soviet Union. The Soviet trains were manufactured at the Riga Wagon Plant in the Latvian Soviet Socialist Republic, and bore the "ER" ( elektropoezd rizhskiy Cyrillic: ЭР, электропоезд рижский) model designation. A 10-car train has a capacity of 1,200 passengers. Rolling stock Īll elektrichkas are overhead line-fed electrical multiple unit (EMU) trains, usually consisting of 4 to 14 cars with a driver's cab at both ends. Since the collapse of communism, the term "Elektrichka" is not in use with non-Russian speaking population in some countries where native Slavic language speakers are not in the majority. The popular Internet search engine Yandex officially uses Russian "elektrichka" in its branded online schedule services. For instance, the new intra-city train service in Kyiv is officially called "elektrychka" in Ukrainian. However, it is gradually becoming a part of the official trademark names. It will pay special attention to the varying ways in which all three authors employ biblical motifs and stories to position their narratives in the field of tension between a hegemonic culture and a transgressive subculture."Elektrichka" was initially a colloquial abbreviation for elektropoyezd ( Russian: электропо́езд, electric train), the official term for electrical multiple unit passenger train in respective languages. This essay proposes to use Yuri Lotman’s model of culture as a ‘semiosphere’ to conceptualize and analyse the relationship between ‘original’ and ‘adaptations’. Erofeev’s and Mulrine’s as well as Kennedy’s protagonists are continuously oscillating between their actual space of belonging – the empirical reality they live in – and an elusive space of longing which they try to reach through drink – their individual, alluring paradise. Kennedy’s Paradise (2004), another “drunken Odyssey-cum-Via Dolorosa” (Mulrine) that bears striking similarities to both the original and Mulrine’s adaptation. The new title emphasizes the original’s pronounced biblical subtext by alluding to the Way of the Cross, which is also at the core of A.L. In a multilayered process of linguistic, cultural and generic translation, Stephen Mulrine adapted this iconic text for the stage under the ambiguous title Moscow Stations (1993). A comparatively recent case is the adaptation of Venedikt Erofeev’s subversive postmodern drinker’s novel Moscow to the End of the Line ( Moskva-Petushki, 1973) into Scottish literature. Russian topics, motifs, and modes of writing in particular were readily adapted into British fiction. Russian literature has long had a great impact on British authors, especially from the early 20 th century onwards.
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