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Rose, Katherine Mae. "Multivalent Russian Medievalism: Old Russia Through New Eyes." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493416.
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This thesis explores representations of medieval Russia in cultural and artistic works of the late nineteenth and early twentieth centuries, with an eye to the shifting perceptions of Russia’s cultural heritage demonstrated through these works. The thesis explores the history of medievalism as a field of study and interrogates the reasons that medievalism as a paradigm has not been applied to the field of Russian studies to date. The first chapter is an investigation of architectural monuments incorporating Old Russian motifs, following the trajectory of the “Russian Style” in church architecture, one of the most prominent and best-remembered forms of Russian medievalism. Chapter two explores the visual representation of medieval Russian warriors, bogatyri, in visual and plastic arts, and the ways in which this figure is involved in the national mythmaking project of the nineteenth century. The third chapter focuses on the Rimsky-Korsakov opera, The Invisible City of Kitezh and the Maiden Fevroniya, investigating the ways that different medieval and modern elements come together in this work to present an aestheticized image of medieval Russia. In this analysis of diverse and far-ranging facets of Russian medievalism in the plastic, visual, literary and performing arts, the complicated relationship between medievalism and the prevalent discourse of nationalism is investigated, opening up new opportunities for scholarly intersections with other medievalisms – in Western Europe and beyond.Slavic Languages and Literatures
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Bang, Rosaria E. "Russian Art Education: A Study on Post-Soviet Perspectives." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-07282006-130035/.
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Thesis (M.A.E.)--Georgia State University, 2006.Title from title screen. Melody Milbrandt, committee chair; Mariama Ross, Teresa Bramlette Reeves, committee members. Electronic text (186 p. : col. ill.) : digital, PDF file. Deescription based on contents viewed May 10, 2007. Includes bibliographical references (p. 93-110).
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Winskell, Samantha Kate. "Dada and Russia : Zurich and Berlin, 1915-1922." Thesis, Courtauld Institute of Art (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.294791.
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Roy, Nina Tamara. "Harvest of memories : national identity and primitivism in French and Russian art, 1888-1909." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37827.
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This dissertation analyses the convergence of primitivism and nationalism in late-nineteenth and early-twentieth century French and Russian art. The discourse of primitivism has yielded a number of critical studies focusing on the artistic appropriation of aesthetics derived from "tribal" arts, Asian arts, medieval icons, outsider art, and peasant arts and crafts. Within that scholarship, modern European art that appropriates the aesthetics of folk arts and themes of the peasantry is frequently considered to be representative of national identity and myth. The artistic elucidation of the peasantry as emblematic of national identity combined with their incorporation into primitivism produces a tension that complicates the conventional, binary structure of the discourse. It is therefore necessary to examine artistic expressions of national myth and the peasantry's absorption into the primitivist discourse, as this indicates a critical point at which issues of nationalism and primitivism converge. In the cultural realm, that juncture is located in the artistic idealisation of peasant cultures, which is indicative of a mythical state of being from which national identity could be rearticulated.The myth of the peasantry as developed in nineteenth century European thought centres around the premise that rural populations were an unchanging element of society whose traditional customs, religious beliefs, and modes of production contrasted sharply with the accelerated changes in urban culture. A critical examination of selected paintings by the French artist Paul Gauguin (1848--1903), the Russian Neoprimitivist Natalia Goncharova (1881--1962), and the French Fauve painter Othon Friesz (1879--1949) within their specific, social contexts reveals the ways in which the modern, artistic maintenance of the rural myth elucidates current political and social issues of nationalism. This underscores the peasantry's symbolism within the nation as representative of a national, collective consciousness and ancestry. The peasantry's incorporation into the primitivist discourse and the cultural articulation of the rural myth are revealed in the paintings The Vision After the Sermon (1888), Yellow Christ (1889), Fruit Harvest (1909), and Autumn Work (1908). The paintings and their respective social contexts situate the peasantry both as constructions within the primitivist discourse and symbols of national identity, thereby disrupting the structure of alterity upon which primitivism is predicated.
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Sapwell, Mark Andrew. "Art of accumulation : the role of rock art palimpsests in Fennoscandia 4500-1200 BC." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648511.
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Diederich, Jill. "Trash to Treasure : Art between Contemporary and Conventional Ecological Practices in Arkhangelsk, Russia." Thesis, Uppsala universitet, Institutionen för kulturantropologi och etnologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-365195.
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Recycling and solid waste management are a serious problem in the Russian North. The necessary infrastructure, as well as the awareness of the citizens is missing to resolve this problem efficiently. Artists and environmental activists have therefore looked for a way to make people aware of the need for recycling and initiate social change in this regard. The medium that has been chosen by activists and artists alike is art. By involving people in creating an art object or by presenting art to them, the activists and artists hope to initiate awareness concerning our consumption patterns and, like this, show them that recycling is one of many solutions. This thesis should demonstrate how intertwined the connections between the different groups of people, but also with the (art) objects are. This is done by drawing on the actor-network-theory by Bruno Latour as an analytical tool to understand these connections. Key component in this theory, as well as the artist-activist- collective is reassembling. By constantly reassembling people into new projects, as well as household items into art objects, the collective manages to remain visible to the public and to be flexible enough to react to changing needs.
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Winstead, Caitlin Leigh. "ART, LIFE, AND COMMUNITY IN RUSSIA ABROAD: AN EXAMINATION OF THE EMIGRE MAGAZINE TEATR’ I ZHIZN’." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami150163074847434.
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Zeisler, Wilfried. "Les achats d’objets d’art français par la Cour de Russie, 1881-1917." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040109.
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La thèse Les achats d’objets d’art français par la Cour de Russie, 1881-1917, consacrée à un nouvel aspect des relations franco-russes, pose un regard bilatéral sur les arts décoratifs français et russes, dont elle étudie le goût au cœur d’interactions politiques, commerciales et artistiques. Le contexte favorable dans lequel s’effectuent ces achats sous les règnes d’Alexandre III et de Nicolas II repose sur l’ancienneté des relations franco-russes, reconnues pour leur richesse au XVIIIe siècle et au début du XIXe siècle. Il se manifeste par le développement des exportations des produits de l’industrie française d’art et de luxe en Russie depuis le Second Empire, d’autant plus facilitées par la conclusion de l’Alliance franco-russe. Ainsi favorisés, les fournisseurs de l’objet d’art français en Russie, appartenant à des industries variées – mobilier, bronze, textile, orfèvrerie, céramique, verrerie, bijouterie et joaillerie – bénéficient des séjours répétés de la clientèle russe en France. Fournisseurs et différents intermédiaires en profitent pour développer leurs relations avec le marché russe et y renforcent le succès de l’objet d’art français, dont les modèles ont une certaine influence en Russie.De l’empereur au grand bourgeois, les clients russes, reflet de l’évolution sociale du pays accumulaient les achats dans leurs résidences et affirmaient ainsi, par le goût du fabriqué en France, leur appartenance à une élite européenne. L’étude des collections russes d’objets d’art français, dispersées à la Révolution, permet de cerner un aspect de l’histoire du goût et témoigne du rayonnement international de l’art décoratif françaisThe thesis The purchases of French “objets d’art” by the Russian Court, 1881-1917, dedicated to a new aspect of French-Russian relationships, gives a dual view on the French and Russian decorative arts and studies them in the context of political, commercial and artistic interactions.The favorable context of these purchases, during the reigns of Alexander III and of Nicolas II, is based on the historical French-Russian relations, very developed in the XVIIIth century and at the beginning of the XIXth century. This context results in an increased of export of French “objets d’art” in Russia since the Second Empire, facilitated by the new French-Russian Alliance.The suppliers of the French “objets d’art” in Russia, belonging to the various French Art and Luxury industries – furniture, bronze, textile, silver, ceramic, glassware and jewellery – benefit from repeated stays of Russian customers in France. Consequently, suppliers and various partners develop their relations with the Russian market and strengthen the success of the French “objets d’art”, which were used as a model in Russia.From the emperor to the “grand bourgeois”, the Russian clients, who illustrate the social evolution of the country, collected their purchases in their residences and showed, by their taste for the made in France objects, that they belonged to the European elite. The study of the Russian collections of French “objets d’art”, dispersed during the Revolution, illustrates an aspect of the history of taste and shows the international success of the French decorative arts
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Nadezda, Chamina <1977>. "La fortuna della scenografia italiana nella Russia Neoclassica. Il teatro di Pietro Gonzaga a Mosca." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3167/.
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La tesi ha come oggetto lo studio dei legami culturali posti in essere tra la Russia e l’Italia nel Settecento effettuato a partire dall’analisi del teatro di Arkhangelskoe (nei pressi di Mosca), ideato da Pietro Gonzaga. Ciò ha consentito di inquadrare l’atmosfera culturale del periodo neoclassico a partire da un’angolazione insolita: il monumento in questione, a dispetto della scarsa considerazione di cui gode all’interno degli studi di storia dell’arte, racchiude diverse ed interessanti problematiche artistiche. Queste ultime sono state tenute in debito conto nel processo dell’organizzazione della struttura del lavoro in relazione ai differenti livelli di analisi emersi in riferimento alla tematica scelta. Ogni capitolo rappresenta un punto di partenza che va utilizzato al fine di approfondire problematiche relative all’arte ed al teatro nei due Paesi, il tutto reso possibile grazie all’applicazione di un originale orientamento analitico. All’interno della tesi vengono infatti adoperati approcci e tecniche metodologiche che vanno dalla storia dell’arte all’analisi diretta dei monumenti, dall’interpretazione iconografica alla semiotica, per arrivare agli studi sociologici. Ciò alla fine ha consentito di rielaborare il materiale già noto e ampiamente studiato in modo convincente ed efficace, grazie al ragionamento sintetico adottato e alla possibilità di costruire paralleli letterari e artistici, frutto delle ricerche svolte nei diversi contesti.
Il punto focale della tesi è rappresentato dalla figura di Pietro Gonzaga. Tra i decoratori e gli scenografi italiani attivi presso la corte russa tra il Settecento e l’Ottocento, questi è stato senza dubbio la figura più rilevante ed affascinante, in grado di lasciare una ricca eredità culturale e materiale nell’ambito dell’arte scenografica russa. Dimenticata per lungo tempo, l’opera di Pietro Gonzaga è attualmente oggetto di una certa riconsiderazione critica, suscitando curiosità e interesse da più parti. Guidando la ricerca su di un duplice binario, sia artistico che interculturale, si è quindi cercato di trovare alcune risonanze tra l’arte ed il pensiero di Gonzaga ed altre figure di rilievo non solo del suo secolo ma anche del Novecento, periodo in cui la cultura scenografica russa è riuscita ad affrancarsi dai dettami impartiti dalla lezione settecentesca, seguendo nuove ed originali strade espressive. In questo contesto spicca, ad esempio, la figura di Vsevolod Meyerchold, regista teatrale (uno dei protagonisti dell’ultimo capitolo della tesi) che ha instaurato un legame del tutto originale con i principi della visione scenica comunicati da Pietro Gonzaga.
Lo sviluppo dell’argomento scelto ha richiesto di assumere una certa responsabilità critica, basandosi sulla personale sicurezza metodologica ed esperienza multidisciplinare al fine di tener conto dall’architettura, della teoria e della pratica teatrale – dalla conoscenza delle fonti fino agli studi del repertorio teatrale, delle specifiche artistiche locali, del contesto sociale dei due paesi a cavallo tra il ‘700 e l’‘800. Le problematiche toccate nella tesi (tra le quali si ricordano il ruolo specifico rivestito dal committente, le caratteristiche proprie della villa neoclassica russa, il fenomeno di ‘spettacoli muti’, la “teatralità” presente nel comportamento dei russi nell’epoca dei Lumi, la risonanza delle teorie italiane all’interno del arte russa) sono di chiara attualità per quanto concerne le ricerche relative al dialogo storico-artistico tra i due Paesi.
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Nolte, Jacqueline Elizabeth. "Figurative art in Soviet Russia circa 1921-1934 : situating the realist-anti-realist debate in the context of changing definitions of proletarian culture." Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/21781.
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Bibliography: p. 247-263.In this dissertation I demonstrate that in many Western and Soviet texts the work of so called formalist leftists and figurative artists are viewed as diametrically opposed to one another. I argue against the perpetuation of this polemic and the assumptions that inform this view. These assumptions are that the leftists produced self-referential works indicative of an anti-realist philosophy and that figurative artists produced social commentaries informed by a philosophy of realism which led 'inevitably' to Socialist Realism. Although a few recent texts warn against oversimplifying this debate, none go far enough in deconstructing the view that there were two groupings diametrically opposed to one another. In fact, many simply repeat the argument as it was articulated in the twenties and thirties, which is to ignore the possibility of a critical analysis of the theoretical principles and constraints informing the debates current at that time. Categorising leftists as anti-realist and figurative artists as realist is not satisfactory firstly because neither the leftists nor the figurative artists existed as homogenous groupings and secondly because many figurative artists (the so-called realists) in fact challenged the idea of a coherent world order existing external to the art work. Nevertheless there are artists from both these categories who asserted the importance of an objective world that was external to and a primary determinant of the art work. In this dissertation I demonstrate that these figurative artists often shared the same ideological goals with leftists. Instead of working with the idea of viewing artists of the twenties and thirties as realist or anti-realist, figurative or so-called formalist, I discuss their philosophical and stylistic choices in relation to the political and economic project of the period, namely the empowerment of the proletariat and the attempt to foster a proletarian culture.
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Wilson, Erin Elizabeth. "An Alternative Ancien Régime? Elisabeth Vigée-Lebrun in Russia." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6157.
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In the last few decades interest in the life and work of Elisabeth Vigée-Lebrun has increased significantly, with numerous publications and a retrospective exhibition dedicated to her oeuvre. Yet, while much new and valuable information has been introduced, very little of it deals specifically with the period from 1795-1800 when she lived as an émigré in Saint Petersburg, Russia.
In this thesis I analyze two Russian portraits by Elisabeth Vigée-Lebrun, in relation to two earlier works she painted in Paris, the duchesse d’Orleans (1789) and Marie Antoinette, Queen of France (1783), elucidating the overt similarities to her earlier portraiture practice and exploring the cultural and political climate in which they were created. I argue that the Imperial family as well as the upper echelons of Russian society actively utilized imagery associated with the Ancien Régime to depict a perceived stability at a time when much of Europe was in flux. This political maneuver afforded Vigée-Lebrun the opportunity to live and work in a society similar to the one she left behind in Paris, Russia served thus as a surrogate for Ancien Régime France.
In addition to examining the socio political climate of Russia, I consider portraiture practices in general, noting opposing trends that were developing contemporaneously elsewhere in Europe and review Vigée-Lebrun’s unusual status as an émigré. By contextualizing Princess Anna Alexandrovna Golitsyna and Empress Maria Fyodorovna I provide reasoning for her surprising level of success in Saint Petersburg while simultaneously highlighting the importance of this period in Vigée-Lebrun scholarship.
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Pac, Teresa. "Churches at the edge a comparative study of Christianization processes along the Baltic Sea in the Middle Ages: Gdańsk and Novgorod. /." Diss., Online access via UMI:, 2005.
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Maravic, Tihana <1976>. "Il folle in Cristo come performer. Teatralità e performatività nel fenomeno della sacra follia a Bisanzio (secc. IV-XIV) e in Russia (secc. XI-XVII)." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2008. http://amsdottorato.unibo.it/1118/.
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Kononova, Brown Vera. "From Tempera to Ink to Code: The Other Media of Orthodox Iconography." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/597.
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From Tempera to Ink to Code traces the remediation of Orthodox icons. It examines icons’ unexplored, other media: cheap print, the book and digital media. Its interdisciplinary, cross-medial approach draws upon the fields of media studies, art history, art practice, religious studies, history and bibliography to establish an alternative way of viewing and understanding the icon beyond its original medium. The study focuses on the Vladimir icon of the Mother of God as one of the most venerable Russian Orthodox icons. It traces the Vladimir icon’s process of remediation from tempera on wooden panel to loose print, to bound codex and to digital form. It brings into focus the icon’s less researched, mass-produced media and applies the methods of art historical and bibliographic research to all media in question with equal scrutiny and attention. The dissertation provides a new way of looking at the storage, handling and display of icons in all their media. It categorizes the icon’s media into two groups: display media (tempera icons and loose prints) and storage/cache media (books and digital images). The display media invite veneration and thereby retain an “aura,” in the terminology of Walter Benjamin and David Morgan. Storage media, on the other hand, discourage veneration and, so, accrue no such aura. The study concludes that the loss of an object’s aura happens in unexpected aspects of remediation—in the binding, coding and, in a word, storing of information. The relationship that the study draws between the codex and hard drive has important implications for both book history and media studies, whereas its discussion of remediation, veneration and aura offer valuable contributions to the fields of iconology and iconography.
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Laurent, Nicolas. "La sculpture russe, du naturalisme à l'art nouveau : une approche géopolitique des pratiques artistiques." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100104/document.
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Le présent travail intègre une dimension internationale dans son sujet : La sculpture russe du naturalisme à l’Art Nouveau : géopolitique des pratiques artistiques. Il a pour fondement l’étude de ceux des sculpteurs russes qui, d’une manière ou d’une autre, ont voyagé ou séjourné à l’étranger entre 1870 et 1914. En faisant converger les approches de la nouvelle « macro-histoire de l’art », soutenue par les méthodes statistiques de l’histoire de l’art quantitative, avec l’émergence d’une problématique non pas « bilatérale » mais « multilatérale », à même de rendre compte de manière complète de l’évolution internationale d’un art et de ses acteurs, l’étude se concentre sur les rapports entretenu par des artistes d’un pays avec les autres pays en général. Il cherche ainsi à redéfinir une géographie européenne de l’art, avec une mise en relation des différents centres artistiques entre eux vus par un prisme étranger. Ainsi, par une approche multinationale, distingue-t-il les centres artistiques européens majeurs de la période : Paris supplantant progressivement Rome au cours du siècle en tant que centre artistique de niveau mondial, Munich et Berlin se disputant la place de centre majeur de l’Europe médiane. Paris assoit alors sa domination écrasante dans la concentration des sculpteurs par rapport à ses concurrentes allemandes et italiennes. Les circulations internationales influencent dès lors l’évolution artistique en Russie, notamment lorsque les sculpteurs y reviennent après un séjour à l’étranger : les apports de la sculpture occidentale interviennent dans les multiples évolutions qui affectent la plastique russe depuis les années 1870 jusqu’à l’Âge d’ArgentThe following work is to be considered from a global point of view, as shown in this topic: Russian sculpture from naturalism to Art nouveau: a geopolitical analysis of artistic practices. The basis of this study is that of the Russian sculptors who have somehow traveled or stayed abroad between 1870 and 1914. By putting together the new ‘macro art history’ approaches supported by the statistics of a quantitative method of art history with the emergence of a rather multi-lateral question than a bi-lateral one which has the power to fully acknowledge the global evolution of an art and its participants, this study focuses on the relations maintained by the artists from one country with other countries in general. From a foreign perspective, this study aims at redefining the European geography of art while connecting various artistic centers together. A distinction is therefore made from a global approach between the most important art-related European centers of the time; namely Paris, which progressively replaced Rome over the century as a nationally-scaled point of interest, as well as Munich and Berlin, which challenged their number one standing in central Europe. Unlike its German and Italian competitors, Paris managed to establish its authority by gathering sculptors. Global migration consequently influenced the evolution of art in Russia, especially when sculptors went back after staying abroad. Thereby, contributions from Western sculptures played an essential role in the various artistic evolutions that affected Russia from the 1870’s to the Silver Age
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PRATI, ELENA. "Serie tv Made in Russia. Percorsi produttivi di original e scripted format nell'economia televisiva della Federazione." Doctoral thesis, Università Cattolica del Sacro Cuore, 2021. http://hdl.handle.net/10280/97591.
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Negli ultimi dieci anni la Federazione Russa si è lanciata nel mercato globale della produzione di contenuti televisivi, migliorando la qualità dei propri prodotti e distinguendosi per i generi e le storie raccontate. Studiarne il sistema televisivo contemporaneo, con la peculiarità dei remake “made in Russia”, permette di comprenderne il funzionamento e l’evoluzione passata e futura, in un’ottica di economia globale. Capire come e perché sui palinsesti nazionali circolano ancora oggi prodotti che sono una copia di serie televisive originali occidentali (ben lontani dal concetto di scripted format) è alla base dell’analisi del sistema televisivo economico e produttivo.
Questi remake sono presenti fin dai primi anni Duemila e, seppur con lievi differenze, sono tuttora presenti, prodotti e trasmessi, nonostante la loro versione originale sia comodamente fruibile sia attraverso la televisione lineare, sia attraverso le piattaforme OTT. Per quale motivo, quindi, non risultano ridondanti? Per quale motivo il pubblico russo ne sente la necessità? Esistono degli iter produttivi standardizzati che ne facilitino la produzione e la categorizzazione?
Queste le domande alla base dello studio dei percorsi produttivi che le serie televisive occidentali intraprendono una volta che valicano i confini della Federazione Russa, in un meccanismo che rappresenta un unicum nel sistema televisivo economico globale.In the last ten years Russian Federation has entered the global market of tv-content production, improving the quality of its products and standing out for the genres and stories told. Studying its contemporary television system, with the peculiarity of its remakes “made in Russia”, helps us understanding its functioning and evolution (past and future), in a global economy perspective. Understanding how and why on national show schedules still circulate products that are a copy of Western original television series (distant from the concept of ‘scripted format’) represents the basis of the analysis of the economic and productive system. These remakes are already present at the beginning of the new Millennium and, even if with slight differences, are still present and broadcast, nevertheless their original version can be found and watched both through DTT television and OTT platforms. From what reason, then, aren’t they redundant? Why Russian audience needs them? Are there any standardized productive paths that simplify their production and organization? These are the questions at the foundation of the study of productive paths that Western television series take once they cross Russian Federation borders, in a mechanism that represents an unprecedented example in the global economic television system.
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Cezar, Luiz Alberto. "Cinquenta gotas de sangue: a estética conceitualista Dmitri Prigov." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-10012008-114027/.
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Este trabalho compreende a tradução diretamente do russo de textos poéticos do escritor pós-modernista Dimitri Prigov, reunidos na coletânea intitulada Cinqüenta Gotas de Sangue num Meio Absorvente, e uma exploração teórica de aspectos relevantes da estética a que se filia a obra: o conceitualismo russo. O papel de enfrentamento representado por essa estética com relação aos padrões canônicos da literatura e a natureza das inovações por ela introduzidas em matéria de estratégias lingüísticas - no ambiente de cultura que marcou o fim do regime soviético - são questões que transparecem do desenvolvimento do tema. Secundariamente, ficam também evidenciadas as relações que estabelece entre o visual e o textual nas artes russas bem como a força do substrato histórico de que se vale no processo de criação poética.This work comprehends a directly translation from Russian of the poems digest Fifty Drops of Blood in Absorbent Medium, wrote by the postmodernist poet Dimitri Prigov, and a theoretical exploration on the main issues of the aesthetics which his work is affiliated, the conceptualism. The confrontational role represented by this aesthetics, related to literary canonic patterns and the innovations introduced by it on matters of linguistic strategies - in a cultural environmental of ending soviet regime - are all them kind of questions which surges from the development of the theme. Secondary the work evidences too the relationship between the visual and the textual in Russian arts, established by the aesthetics, as well the power of history\'s sub-extracts in the creation process of poetry itself.
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Whiting, Jeanna Marie. "Tolstoy and the woman question." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001667.
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Brooks, Cassandra M. "Cultural Exchange: the Role of Stanislavsky and the Moscow Art Theatre’s 1923 and 1924 American Tours." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699929/.
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The following is a historical analysis on the Moscow Art Theatre’s (MAT) tours to the United States in 1923 and 1924, and the developments and changes that occurred in Russian and American theatre cultures as a result of those visits. Konstantin Stanislavsky, the MAT’s co-founder and director, developed the System as a new tool used to help train actors—it provided techniques employed to develop their craft and get into character. This would drastically change modern acting in Russia, the United States and throughout the world. The MAT’s first (January 2, 1923 – June 7, 1923) and second (November 23, 1923 – May 24, 1924) tours provided a vehicle for the transmission of the System. In addition, the tour itself impacted the culture of the countries involved. Thus far, the implications of the 1923 and 1924 tours have been ignored by the historians, and have mostly been briefly discussed by the theatre professionals. This thesis fills the gap in historical knowledge.
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Knox, Zoe Katrina. "Russian society and the Orthodox Church : religion in Russia after communism /." London ; New York : RoutledgeCurzon, 2005. http://catalogue.bnf.fr/ark:/12148/cb39944351p.
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Rudich, Olha Vitaliivna. "Presentation of Russia and the West in Mikhalkov's Barber of Siberia and Sokurov's Russian Ark." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1396454061.
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Strugnell, James Paul. "Paintings by numbers : applications of bivariate correlation and descriptive statistics to Russian avant-garde artwork." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/10722.
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In this thesis artwork is defined, through analogy with quantum mechanics, as the conjoining of the nonsimultaneously measurable momentum (waves) of artwork-text (words within the primary sources and exhibition catalogues) with the position (particles) of artwork-objects (artist- productivity/exhibition-quantities). Such a proposition allows for the changes within the artwork of the Russian avant-garde to be charted, as such artwork-objects are juxtaposed with different artwork-texts from 1902 to 2009. The artwork of an initial period from 1902 to 1934 is examined using primary-source artwork-text produced by Russian artists and critics in relation to the contemporaneous production-levels of various types of Russian-avant-garde artwork-objects. The primary sources in this dataset are those reproduced in the artwork-text produced by the 62 exhibitions described below, and those published in John E. Bowlt's 1991 edition of Russian Art of the Avant-Garde: Theory and Criticism. The production of artwork in the latter period from 1935 to 2009 is examined through consecutive exhibitions, and the relationship between the artwork-text produced by these exhibitions and the artwork-objects exhibited at them. The exhibitions examined within this thesis are 62 containing Russian avant-garde artwork, held in Britain from 1935 to 2009. Content analysis, using an indices-and-symptom analytical construct, functions to convert the textual, unstructured data of the artwork-text words to numerical, structured data of recording-unit weighted percentages. Whilst artist-productivity and exhibition-quantities of types of artwork-object convert the individual artwork-objects to structured data. Bivariate correlation, descriptive statistics, graphs and charts are used to define and compare relationships between: The recording units of the artwork-texts; the artist-productivity/ exhibition-quantities of types of artwork-objects; the structured artwork-text data and structured artwork-object data. These various correlations between structured artwork-text data and structured artwork-object data are calculated in relationship to time (Years) to chart the changes within these relationships. The changes within these relationships are synonymous with changes within Russian avant-garde artwork as presented from 1902 to 1934 and within the 62 British exhibitions from 1935 to 2009. Bivariate correlations between structured artwork-texts data and structured artwork-objects data express numerically (quantitatively) the ineffable relationships formed over time by large sets of unstructured data in the continued (re)creation of artwork.
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Chinyaeva, Elena. "Russians outside Russia : the émigré community in Czechoslovakia, 1918-1938 /." München : R. Oldenbourg, 2001. http://catalogue.bnf.fr/ark:/12148/cb38829990q.
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Weis, Christina Corinna. "Reproductive migrations : surrogacy workers and stratified reproduction in St Petersburg." Thesis, De Montfort University, 2017. http://hdl.handle.net/2086/15036.
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Surrogacy is an arrangement whereby a woman conceives in order to give birth to child or children for another individual or couple to raise. This thesis explores how commercial gestational surrogacy is culturally framed and socially organised in Russia and investigates the roles of the key actors. In particular it explores the experiences of surrogacy workers, including those who migrate or commute long distances within and to Russia for surrogacy work and the significance of their origin, citizenship, ethnicity and religion in shaping their experience. Ethnographic fieldwork was carried out in St Petersburg between August 2014 and May 2015 and involved semi-structured interviews, (participant) observations, informal conversations and ethnographic fieldnotes with 33 surrogacy workers, 7 client parents, 15 agency staff and 11 medical staff in medical and surrogacy agency facilities. Data were analysed using inductive ethnographic principles. A reflexive account, which includes a consideration of the utility of making one’s own emotional responses a research tool, is also included. Drawing on and expanding on Colen’s (1995) conceptual framework of stratified reproduction and Crenshaw’s (1989) analytical framework of intersectionality, this research shows that surrogacy in Russia is culturally framed and therefore socially organised as an economic exchange, which gives rise to and reinforces different forms of intersecting reproductive stratifications. These stratifications include biological, social, geographic, geo-political and ethnic dimensions. Of particular novelty is the extension of Colen’s framework to address geographic and geo political stratifications. This was based on the finding that some women (temporarily) migrate or commute (over long distances) to work as gestational carriers. The thesis also demonstrates how an economic framing of surrogacy induced surrogacy workers to understand surrogacy gestation as work, which influenced their relationships with client parents. Given the rapid global increase in the use of surrogacy and its increasingly internationalised nature, this research into the social organisation of commercial gestational surrogacy in Russia is timely and has implications for users, medical practitioners and regulators, as well as researchers concerned with (cross-border) surrogacy and reproductive justice.
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Behzadi, Asl Vahid. "EU-Russia gas relations : what are the drivers of the Russian energy strategies? : what challenges for Europe?" Thesis, University of Dundee, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.510650.
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Thompson, Rowan Douglas. "Art and authority : aspects of Russian art since 1917." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1007298.
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From Introduction: The Artist was denied any role in Plato's Republic because of his ability to impair reason by imitating reality through his works. Aristotle, however, welcomed the artist because of his ability to express ideas about society through artistic form. Ernst Fischer agrees with the latter view, "Art enables man to comprehend reality, and not only helps him to bear it but increases his determination to make it more human and more worthy of mankind. Art is itself a social reality, society needs the artist ... and it has a right to demand of him that he should be conscious of his social function" (Fischer: 1963:46). Fischer adds to Aristotle's view by stating that society has a right to demand a social function from the artist. This issue has been the subject of controversial debate throughout the history of art. In a society based on class, the classes try to recruit art to serve their particular purposes. Art is seen by some as a powerful weapon - a means by which people can be swayed towards certain ideals. At the time of the Counter Reformation Italian artists were given strict instructions by the Jesuits on how to persuade and educate the people with their paintings. Napoleon urged his men of letters, painters and architects to refer to the classical ideals of ancient Greece and Rome to shape the emergent French Republic. The French philosopher, Dennis Diderot, stressed the futility of art unless it expressed great prinCiples or lessons for the spectator. Ideals of justice, courage and patriotism were embodied in the Neo-Classical movement. The didactic paintings of Jacques Louis David portray the above ideals. History records several attempts by those in power to coerce artists into conforming to their idea of society, indicating that authoritative manipulation of the arts is not purely a twentieth century phenomenon. This thesis intends to examine aspects of Russian art since 1917. Because Soviet art was dominated by policies which enabled authorities to determine its content, its history raises ideological issues which are relevant to the study of art. The theories of Suprematism, Constructivism and Socialist Realism will be discussed and conclusions will be drawn as to whether these theories succeeded as art movements which were ostensibly designed for the improvement of mankind. Present attitudes toward the visual arts in Russia will also be examined. However, in order to examine the above it is necessary to place the development of art into historical perspective.
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Tillberg, Margareta. "Coloured universe and the Russian Avant-Garde : Matiushin on colour vision in Stalin's Russia 1932 /." Stockholm : Stockholms universitet, 2003. http://catalogue.bnf.fr/ark:/12148/cb39170804t.
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Girault, René. "Emprunts russes et investissements français en Russie, 1887-1914 /." Paris : Comité pour l'histoire économique et financière de la France, 1999. http://catalogue.bnf.fr/ark:/12148/cb37042135k.
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Titarchuk, Victor N. "Christian Liberal Arts Higher Education in Russia: A Case Study of the Russian-American Christian University." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3607/.
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This is a case study of the historical development of a private Christian faith-based school of higher education in post-Soviet Russia from its conception in 1990 until 2006. This bi-national school was founded as the Russian-American Christian University (RACU) in 1996. In 2003, RACU was accredited by the Russian Ministry of Education under the name Russko-Americansky Christiansky Institute. RACU offers two state-accredited undergraduate academic programs: 1) business and economics, and 2) social work. RACU also offers a major in English language and literature. The academic model of RACU was designed according to the traditional American Christian liberal arts model and adapted to Russian higher education system. The study documents the founding, vision, and growth of RACU. It provides insight into the academic, organizational, and campus life of RACU. The study led to the creation of an operational framework of the historical development of RACU. The study also provides recommendations for the development of new Christian liberal arts colleges and universities based on the experience and the underlying structure of RACU.
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Clark, Toby. "Representations of Russian Art in American Art History and Criticism 1917-1939." Thesis, University of Sussex, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522624.
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This dissertation examines the critical reception and historical construction of Russian art in the United States between 1917 and 1939. The study focuses on two main types of Russian art; that of the Russian avant-garde, and that of artists who emigrated to the United States and achieved a high level of critical visibility and commercial success there during the 1920s. The discussion of the Russian emigre artists concentrates on the treatment of their work in the American curatorial system and art market. It examines the critical strategies used to promote these artists, particularly in the writings of Christian Brinton, who formulated a new category termed 'Slavic art' which relied on theories of racial essentialism. The subsequent decline of the careers of the emigre artists can be explained partly by reference to the reorientation in American critical values after the early 1930s. Research on the interpretation of the Russian and Soviet avantgarde in the United States is focussed on two main Modernist institutions; the Societe Anonyme during the 1920s and the Museum of Modern Art in New York after 1929. The Societe Anonyme's management of its large collection of Russian avant-garde art is discussed in relation to the contrasting aesthetic perspectives and political alignments of Katherine Dreier and Louis Lozowick, and compared with alternative interpretations in western Europe. The study of the representation of the Russian avant-garde by the Museum of Modern Art is concentrated on the writings of Alfred Barr and his critical theory of Modernism. Barr's account of the history of Russian Constructivism and Soviet cultural policies in 1936 is seen to have performed an important function for establishing an ideological position for the ascending discourses of American Modernism in opposition to the competing positions of conservative anti-Modernism and left-wing aesthetics.
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Jackson, D. "Ilya Repin : ideology and aesthetics in Russian art." Thesis, University of Edinburgh, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.652898.
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This thesis aims to seek a more judicious appreciation of Repin's worth through a comprehensive survey of his life and work, utilising as reference points the twin constituents of painting, form and content, which find reflection in the East/West proclivity towards ideology and aesthetics. The first chapter deals with Repin's early development, from his birth in 1844 into a provincial military settlement, to his enrolment in 1864 at the Imperial Academy in St. Petersburg, and considers the relative influences of the Academy, the secessionist Artel based around Ivan Kramskoy, and the emerging Peredvizhniki. Chapter 2 covers Repin's residency in Paris, 1873-1976, a period of conflicting interests during which his allegiance to the nascent Russian school of critical realism was called into question by contact with Western art. The central chapters, 3-6, consider the chief genres within Repin's output: history painting, scenes from contemporary life, political themes, and portraiture, and considers to what degree ideological and formal considerations shaped his mature work. Chapter 7 deals with reactions to artistic innovations from the 1890s onwards, a period of avowed aestheticism on Repin's part, which saw his resignation from the Petedvizhniki, transference to the reformed Academy, and a brief liaison with Diaghilev's Mir iskusstva, but which ended in acrimonious public disputes with the forces of 'modernism'. Chapter 8 is devoted to the last decade of Repin's life, spent on his estate on the Finnish Gulf, a period of physical decline and post-Revolutionary isolation, during which he worked obsessively on recurrent themes with a discernibly freer style. The concluding chapter considers some of the East/West uses, abuses, and misunderstandings which have dogged Repin's work, before assessing the strengths and weaknesses, consistencies and contradictions within his oeuvre, based on the findings of previous chapters.
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Miguel, Jair Diniz. "Arte, ensino, utopia e revolução: os ateliês artísticos Vkhutemas/Vkhutein (Rússia/URSS, 1920-1930)." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-02022007-171251/.
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Em vinte anos de vanguarda russa, entre 1910 e 1930, seus artistas experimentaram diversas linguagens artísticas, do futurismo italiano ao mais vigoroso produtivismo (uma vertente radical de fusão da arte com a vida), em busca da expressão perfeita da modernidade, da realidade por eles vivida e da história em construção no período. Ao concentrar tantos caminhos e esforços em uma só instituição de ensino de artes, estava aberta a passagem para a inovação e a revolução que o VKhUTEMAS/VKhUTEIN operou dentro da história da arte soviética. A Seção de Base com suas disciplinas amplas e integradoras, a abertura pedagógica, as disputas teórico-conceituais, a extensa lista de professores vanguardistas e um ambiente acadêmico de pesquisa e novidades, são as principais conquistas da instituição que dominou a cena artística em Moscou e na União Soviética nos anos de 1920. Uma escola voltada para o futuro, para uma nova vida e um novo mundo.In a short period of twenty years, between 1910 and 1930, the russian avant-garde artists experiment different kinds of artistic languages, from Italian Futurism to the Productivism, a radical trend in the front of life and art fusion - in the very straight way -, searching for the perfect expression of the modernity, the reality of these times and the making of history in these context. Focusing various ways and efforts in a single institute to teaching arts established a passage to the innovation and revolution how VKhUTEMAS/VKhUTEIN was inside the soviet art history. The Basic Unit, with its extensive and integrative ensemble of classes, the pedagogical aperture, the theoretical conceptual controversies, the wide list of avant-garde teachers and the openly to researches and growth academic environment are the key acquisition of this institute which ruled over the Moscow and Soviet Union artistic scene at the 1920\'s. A school orientated to the future, to the new life and new world.
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Degtjarova, Varvara. "Russlandbilder im deutschen Fernsehen 2001-2002 : Studie zur Konstruktion Russlands bei öffentlich-rechtlichen und privatrechtlichen Sendern (ARD, NDR und RTL) /." Hamburg : Dr. Kovač, 2007. http://www.verlagdrkovac.de/978-3-8300-3058-4.htm.
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Silva, Fabio Roberto Porto. "Arca russa, arca da memoria." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252123.
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Orientador: Milton Jose de AlmeidaDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Este trabalho é uma interpretação do filme ¿Arca Russa¿, dirigido pelo cineasta Alexander Sokurov, como construção de um espaço da memória sob a luz dos escritos do autor italiano Giulio Camillo. ¿Arca Russa¿ remete a imagens literárias, imagens de um palácio, imagens de quadros, imagens de uma cidade, imagens da imaginação. Segui a própria idéia do filme que se compõe da articulação de fragmentos de múltiplas temporalidades que formam uma visão de simultaneidade histórica em uma rede de imagens e de palavras, amalgamadas no tempo contemporâneo do filme, produzido esteticamente como um único plano-seqüência
Abstract: This is a study of the movie ¿Russian Ark¿, directed by Alexander Sokurov, structured as space of memory and having regard as reference the texts of Italian renaissancist author Giulio Camillo. ¿Russian Ark¿ refers to images from literature, images from imagination, from art history, from a city. The text followed the film's dynamism and rhythm, which is set joining diferent temporalities and composing a simultaneous historical view in a network of words and pictures, all of them in contemporaneous time and taken in a 96-minute one-shot
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
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Krauss, Charlotte. "La Russie et les Russes dans la fiction française du XIXe siècle (1812-1917) : d'une image de l'autre à un univers imaginaire /." Amsterdam : Rodopi, 2007. http://catalogue.bnf.fr/ark:/12148/cb41064338b.
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Arnold, Richard A. "From Graffiti To Genocide: Why Are There Different Forms of Ethnic Violence?" The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1244224599.
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Schmidt, Christoph. "Russische Presse und Deutsches Reich : 1905-1914 /." Köln : Böhlau Verlag, 1988. http://catalogue.bnf.fr/ark:/12148/cb35496789k.
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Posner, David M. "Reviving a lost art : piano music of Russian-Jewish origin /." Access Digital Full Text version, 1988. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10809193.
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Mazourenko-Monebhurrun, Elena. "La tapisserie dans la nouvelle Russie : étude historique et esthétique : recherches et propositions pour un renouveau." Paris 1, 2008. http://www.theses.fr/2008PA010514.
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L' étude historique et esthétique montre que le développement et les tendances de l'art russe sont liés aux événements politiques de l'histoire nationale. Au travers des reformes menées par Pierre Le Grand il y a trois siec1es, les tapisseries russes, soviétiques et de Nouvelle Russie peuvent être considérées comme de l'art français implanté a Saint - Petersbourg. L'influence culturelle réciproque enrichissante de la France et de la Russie continue jusqu'a nos jours. Pour le travail pratique, les principes conceptuels de l'art contemporain occidental sont appliqués. La réalisation de ma tapisserie "Matriochka" symbolise la renaissance spirituelle de l'humanité
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Feuillebois, Victoire. "Nuits d'encre : cycles de fictions nocturnes à l'époque romantique (Allemagne, Russie, France)." Thesis, Poitiers, 2012. http://www.theses.fr/2012POIT5013.
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La thèse isole un corpus particulièrement large dans l'Europe romantique, constitué de fictions à récit-cadre oral nocturne organisées en « veillées », « nuits » ou « soirées ». Ce constat bibliographique fait apparaître un paradoxe : la littérature de l'époque romantique rêve-t-elle encore de pratiques orales alors que s'inaugurent au même moment le fonctionnement moderne de l'ordre des livres et sa régulation par des techniques commerciales ? Comment conjuguer l'idée du sacre de l'écrivain et la nostalgie apparente pour le récit de vive voix ? Le cycle de fictions nocturnes semble d'abord une survivance ou une nostalgie des formes plurimillénaires de narration orale (Le Pantchatrantra, Les Mille et une nuits) : les auteurs ressusciteraient la technique du récit encadré pour mieux profiter de la vitalité associée à l'échange direct ainsi simulé dans ces textes. Pourtant, l'étude de ce corpus montre que la relecture romantique n'a rien d'un archaïsme. D'abord, le cycle nocturne est en réalité une forme intermédiaire entre la tradition littéraire et les modifications contemporaines du champ : parfaitement adaptées à la publication journalistique, les fictions nocturnes rétablissent néanmoins une forme d'aura auctoriale en instaurant une ambivalence orale qui suggère une présence directe du conteur. Les « nuits » permettent donc de tirer parti de la mercantilisation croissante du monde des lettres, tout en continuant à bénéficier du prestige des mages romantiques et autres poètes de la nuitThis dissertation isolates in European romantic literature a particularly broad corpus of fictions with an oral frame organized in "watches", "nights" or "evenings". This bibliographic presence underlines a paradox: why does romantic literature still dream of oral practices whereas at the same time are inaugurated the modern textualisation of literature and its regulation by commercial techniques? How to combine the idea of the sacre of the writer and the nostalgia for direct speech ? The cycle of night fictions seems initially a survival or a sign of nostalgia of the antique forms of oral narration (Panchatrantra, Thousand and One Nights) : the authors appear to resurrect the technique of the frame narrative to benefit from the vitality associated with the direct exchange simulated in these texts. However, the study of this corpus shows that this romantic intertextual reading has nothing to do with a taste for archaism. Initially, the nocturnal cycle is actually an intermediate form between the literary tradition and the contemporary modifications of the literary context : it is perfectly adapted to publication in the press, but nevertheless makes it possible to restore a form of auctorial aura auctoriale by establishing an oral ambivalence which suggests a direct presence of the storyteller. The "nights" thus allow the author to adapt to the increasing mercantilisation of the literary world, while continuing to profit from the prestige associated to the romantic magi and other « poets of the night »
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Nucci, Angela. "O trabalho pedagogico de Kazimir Malievitch : uma abordagem a partir da teoria do elemento adicional em pintura." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279110.
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Orientador: Nelson Alfredo AguilarDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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RESUMO: A obra de Kazímir Sievierínovitch Maliévitch (1878-1935) compõe um dos relatos mais significativos que se relacionam tanto ao declínio das concepções tradicionais da arte e a eclosão das vanguardas modernistas quanto ao confronto entre as diversas tendências ideológicas que marcaram a Rússia nas primeiras décadas do séc. XX. Nesse sentido, a importância de sua obra não está encerrada em um nível estritamente artístico, mas que se estende a um quadro coerente aos ideais revolucionários do período, os quais garantiam aos artistas um papel de destaque na construção da nova sociedade soviética. Quase como uma regra, após a Revolução de 1917, os artistas da vanguarda russa buscaram criar no interior das instituições de arte parâmetros científicos de pesquisa, fruição e análise das formas artísticas, ou em outras palavras, a sistematização do conhecimento artístico. A Teoria do elemento adicional em pintura criada por Maliévitch foi o eixo de seu método pedagógico. Com base em uma consistente produção teórica e prática realizada ao longo de sua vida, Maliévitch elaborou um modelo capaz de analisar diferentes culturas pictóricas do início do século XX, propondo a desmistificação do processo criativo em resposta ao suposto caráter inacessível da arte moderna, produção relevante até os dias de hoje, de interesse tanto no âmbito da história da arte como da educação estética.
ABSTRACT: The work of Kazimir Severinovich Malevich (1878-1935) makes up one of the most significatives accounts that relate not only to the fall of the traditional concepts of art and modernist vanguards birth, but also to the confrontation amongst the ideological strains which marked Russia in the first decades of the XX century. In this sense, the importance of his work is not restrained to an estrictly artistic sense, but it extends to a consistent to the period revolutionary ideals one, which vouched the artists a prominent role in the construction of the new soviet society. Almost as a rule, after the 1917 Revolution, the Russian vanguard artists pursued the creation of scientific research parameters within the art institutions, or, in short, the artistic knowledge systematization. The Theory of additional element in painting created by Malevich was the core of his pedagogical method. Based in a sound theoretical and practical production made on the course of his life, Malevich engendered a model capable of analyze different pictorical cultures of the XX century beginning, proposing the creative process desmistification in respond to the assumed unattainable form of the modern art, a production pertinent to this day, of concern not just in the art history realm, but in aesthetical education also.
Mestrado
Historia da Arte
Mestre em História
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Brod, Heather Christine. "Colorist art, contemporary Russian art, and Neue Slowenische Kunst in the collection of Neil K. Rector." Connect to resource, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1210265694.
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Neiß, (Neiss) Michael, B. Sholts Sabrina, and Sebastian K. T. S. Wärmländer. "3D laser scanning as a tool for Viking Age studies." Uppsala universitet, Institutionen för arkeologi och antik historia, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-180568.
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Three-dimensional (3D) laser scanners are becoming increasingly more affordable and user-friendly, making 3D-modeling tools more widely available to researchers in various countries and disciplines. In archaeology, 3D-modeling has the particular advantages of facilitating the documentation and analysis of objects that are fragile, rare, and often difficult to access. We have previously shown that 3D-modeling is a highly useful tool for shape analysis of archaeological bone material, due to the high measurement accuracy inherent in the latest generation of 3D laser scanners (Sholts et al. 2010; 2011). In this work, we explore the utility of 3D-modeling as a tool for Viking Age artefact analysis. To test the usefulness of 3D-modeling when analyzing artefacts with a very complex morphology, we chose highly ornate Viking Age baroque shaped brooches as study objects. These baroque shaped brooches constitute a group of dress ornaments mainly encountered in eastern Viking Age Scandinavia. Due to their large cast and/or attached bosses they obtain an almost baroque appearance, hence their name (cf. Jansson 1984: p. 81). They appear in two major versions, i.e. circular or equal armed, and in two kinds of material, i.e. silver- and copper-based alloys. Because of the position of bronze brooches in burial contexts, it appears they were used to fasten the cape or shawl in the female dress (cf. Jansson 1984: p. 75ff., Aagård 1984: p. 96ff.; Neiß 2006, figs. 3, 4; Capelle 1962: p. 106). For the present work a recently excavated brooch from Denmark was analyzed, together with three Russian brooches with nearly iconic status in the field of Viking Age studies. In the three case studies, we investigated possible uses of 3D-modeling for artefact analysis, artefact reconstruction, and tool mark and motif analysis. Exploring the usefulness of 3D-modeling for these purposes allowed us to draw conclusions regarding how 3D-analysis can be best incorporated into future artefact analysis. In addition, the case studies allowed us to gain new insights about the baroque shaped brooches and their uses.Forskningsfinansiärer: Helge Ax:son Johnsons stiftelse, Svenska institutet (Visby-programmet), Kungliga vitterhets historie och antikvitets akademin (Montelius minnesfond); Svenska fornminnesforeningen
3D-laserskanning som verktyg vid vikingatidsstudier
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Pivniouk, Oksana. "Teaching Methods and Pedagogical Ideas of Pavel Petrovich Chistyakov - A Talented Russian Artist and Exceptional Art Educator." Thesis, The University of Arizona, 2013. http://hdl.handle.net/10150/301476.
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The following paper is an opportunity for me to introduce Pavel Petrovich Chistyakov and his pedagogical ideas to English-speaking educators. His life's accomplishments seem even more remarkable when considering the fact that he was born into a family of serfs and later became a professor at the Russian Academy of Fine Arts. Among his students were well-known Russian artists such as Valentin Serov, Mikhail Vrubel, Vasily Surikov, Victor Vasnetcov, and Vasily Polenov. In this paper, I present you with a brief analytical summary of his methodology on teaching drawing and painting, his pedagogical approaches, as well as his ideas on the development of art education in the public school setting. Chistyakov's pedagogical system still seems relevant today and, with slight adjustments, can be adapted to various teaching situations depending on the educational environment and students' abilities.
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Issiyeva, Adalyat. "Russian orientalism: from ethnography to art song in nineteenth-century music." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121101.
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Russia's ambivalent geo-political and socio-cultural position, as a self-avowed intermediary between the East and the West, shaped its double identity and played an important role in the creation of Russia's own Oriental Other. This dissertation examines the political and cultural resonance of nineteenth-century Russian art songs with oriental or Asian subjects, both within and outside of Edward Said's theoretical construct of "Orientalism." It also addresses how Russian art song composers adapted, transformed and assimilated music drawn from ethnographic sources published during the century. By contextualizing nineteenth-century Russian Orientalism through an analysis of folksong collections, ethnographies, and art songs this study addresses the very formation of the Russian image of Otherness in conjunction with the construction of a specifically Russian national and musical identity. Drawing on an extensive yet under-analyzed and under-theorized repertoire of Russian folk and art songs with oriental subjects, as well as a host of writings by Russian literati, travelers, ethnographers, and ordinary individuals about the music and culture of Russian oriental minorities, this dissertation reveals the changing nature of the theory, practice, and creation of nineteenth-century Russian music with oriental subjects, as well as the diverse and often contradictory representations of oriental Others and the extraordinary complexity of the colonizer-colonized relationship in Russia.La position géopolitique et socioculturelle ambivalente de la Russie, en tant qu'intermédiaire autoproclamé entre l'orient et l'occident, a formé sa double identité et cela a joué un rôle important dans la création de son propre Autre Oriental. Cette thèse examine l'influence politique et culturelle de plusieurs mélodies russes du dix-neuvième siècle ayant des sujets orientaux ou asiatiques, à la fois à l'intérieur comme à l'extérieur du contexte « d'orientalisme » d'Edward Said. Elle analyse également la manière dont les compositeurs de mélodies russes ont adapté, transformé et assimilé la musique provenant de sources infographiques publiées tout au long du siècle. En contextualisant l'Orientalisme du dix-neuvième siècle à l'aide d'analyses de collections de chansons folkloriques, d'ethnographies, et mélodies russes, cette étude s'intéresse à la formation même de l'image russe de l'Autre conjointement à l'édification d'une identité nationale et musicale spécifiquement russe. Basée sur un répertoire abondant – bien que peu analysé et théorisé – de mélodies russes ayant des sujets orientaux, de même que plusieurs écrits d'érudits, de voyageurs, d'individus ordinaires et d'ethnographes russes à propos de la musique et de la culture des minorités orientales russes, cette thèse met en lumière la nature changeante de la théorie, la pratique et la création de la musique russe du dix-neuvième siècle ayant des sujets orientaux, de même que les représentations variées et souvent contradictoires de l'Autre oriental et l'extraordinaire complexité de la relation colonisateur-colonisé en Russie.
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Dunaeva, Cristina Antonioevna 1975. "De sistemas novos na arte de Kazimir Malievitch : da historiab da arte a analise da lingagem artistica." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281797.
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Orientador: Nelson Alfredo AguilarDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-04T02:08:28Z (GMT). No. of bitstreams: 1 Dunaeva_CristinaAntonioevna_M.pdf: 563718 bytes, checksum: 9e1ff31ec246ac81abb6304ae37d9f1b (MD5) Previous issue date: 2005
Resumo: De Sistemas Novos na Arte (O nóvikh sistiémakh v isskûstvie), 1919, é o primeiro tratado teórico de Kazímir Sievierínovitch Maliévitch (1878, Kíiev ¿ 1935, Leningrado), um dos principais artistas da vanguarda russa, criador do suprematismo, teórico da arte, filósofo e pedagogo. No tratado Maliévitch apresenta e analisa os sistemas novos da arte: o impressionismo, o cubismo, o futurismo, a obra pictórica de Cézanne, Van Gogh e Gauguin, assim como a crítica da arte dita primitiva, a arte da Grécia clássica e a romana, o primitivismo moderno e o academismo. A crítica da arte está ligada à reflexão filosófica sobre o contexto histórico e cultural do surgimento da arte moderna e do suprematismo. O tratado está relacionado às atividades pedagógicas desenvolvidas por Maliévitch. Em 1918 ele é o professor dos Ateliês Artísticos Livres do Estado (SVOMAS ¿ Svobódnyie Khudójestviennyie Mastierskíie), em Petrogrado, e em 1919 ¿ o Mestre-Chefe dos I e II Ateliês Artísticos Livres do Estado em Moscou. Em Vítiebsk cria o grupo UNOVIS (Afirmadores da Arte Nova ¿ Utvierdítieli Nóvogo Isskûstva) e embasa o ensinamento na análise dos sistemas pictóricos. O pintor afirmava que o livro editado em Vítiebsk fora a transcrição de uma das palestras supostamente dadas em Moscou1
Abstract: ¿On The New Systems of Art¿, 1919, it¿s a first theoretical work of Kazimir Severinovich Malevich. This Russian artist of avant-garde, philosopher and pedagogue was the creator of the suprematism. In this work Malevich introduce the new systems of modern art, such as the impressionism, the cubism, the futurism, the painting of Cézanne, Van Gogh and Gaugain; and also represent the critics on the primeval art, the classic art of Greece and Rome, the modern primitivism and academic art. This critic is connected to philosophical reflection about the historical and cultural context of the birth of modern art and suprematism. In this period of time (1919) Malevich was a professor of the State Free Artistic Workshops (SVOMAS) in Petrograd and master of the I and II State Free Artistic Workshops in Moscow. In Vitebsk he created the Affirmers of the New Art (UNOVIS) group and instructed the pupils on the new systems of the art
Mestrado
Historia da Arte
Mestre em História
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Crist, Tessa J. "Vladimir Makovsky| The politics of nineteenth-century Russian realism." Thesis, Northern Illinois University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1590999.
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This thesis examines the political work produced by a little-known Russian Realist, Vladimir Makovsky (1846-1920), while he was a member of the nineteenth-century art collective Peredvizhniki. Increasingly recognized for subtle yet insistent opposition to the tsarist regime and the depiction of class distinctions, the work of the Peredvizhniki was for decades ignored by modernist art history as the result of an influential article, "Avant-Garde and Kitsch," written by American art critic Clement Greenberg in 1939. In this article, Greenberg suggests the work of Ilya Repin, the most renowned member of the Peredvizhniki, should be regarded not as art, but as "kitsch"--the industrialized mass culture of an urban working class. Even now, scholars who study the Peredvizhniki concern themselves with the social history of the group as a whole, rather than with the merits of specific artworks. Taking a different approach to analyzing the significance of the Peredvizhniki and of Makovsky specifically this thesis harnesses the powerful methodologies devised in the 1970s by art historians T.J. Clark and Michael Fried, two scholars who are largely responsible for reopening the dialogue on the meaning and significance of Realism in the history of modern art.
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Friedman, Julia P. "Alexei Remizov's threshold art : the illustrated albums of the 1930s /." View online version; access limited to Brown University users, 2005. http://wwwlib.umi.com/dissertations/fullcit/3174602.
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Hunt, Laura A. "From Performer to Petrushka: A Decade of Alexandra Exter's Work in Theater and Film." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/70.
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The subject of my thesis is Russian artist Alexandra Exter’s work in the performing arts, with a focus on her theatrical set and costume designs in the Kamerny Theater, her creations for Iakov
Protazanov’s 1924 science fiction film, Aelita, and finally her exquisitely fabricated set of approximately forty marionettes. Within these colorful wooden figures are reconciled conflicting notions of stasis and dynamism, sculpture and performer, human and object. Drawing upon Victor Shklovskiĭ’s formalist definition of “enstrangement,” I examine her introduction of the object in place of the human performer as a means of exposing the creative process, forcing the viewer to actively engage with the production. Thus, her manipulation and eventual replacement of the human performer not only exemplifies the interconnectivity and mutability of Russian avant-garde art, but impels the viewer to reconsider the familiar in terms of the strange, ultimately calling attention to the humanity of the dehumanized performer.
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Ravant, Claude. "De l'URSS à la Russie : recherches sur l'art non officiel moscovite depuis la mort de staline jusqu'à nos jours." Paris 10, 2002. http://www.theses.fr/2002PA100092.
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Ce travail retrace l'histoire du développement de l'art non officiel moscovite depuis la mort de Staline jusqu'à son entrée dans un musée national, la Galerie Tretiakov en l'occurrence. Il tente de définir un fil conducteur entre l'art non officiel des années 60, souvent négligé au profit du conceptualisme de la décennie suivante, l'art officiel déviant (" l'aile gauche" de l'Union des artistes), l'art semi-officiel (l'art cinétique, l'hyperréalisme), et l'art non officiel dans son ensemble. Les différentes grandes tendances de cet art y sont analysées : le néo-modernisme qui se développe parallèlement au dégel khrouchtchévien, le sots-art, le conceptualisme des années 70 et 80, le post-conceptualisme de la période de la perestroîka et enfin le néo-actionnisme qui fait son apparition dans les années 90 ainsi que la photographie qui prend un nouvel essor à la même époque. Ces mouvements sont envisagés à la lumière de leur contexte politique, institutionnel et artistique. Ils sont parallèlement examinés par rapport aux relations qu'ils entretiennent avec l'idéologie soviétique. Enfin, de façon concomittante, ils sont appréhendés d'un point de vue sémiologique, puisque le langage verbal se révèle être au centre de la problèmatique de la représentation picturale soviétique.