To see the other types of publications on this topic, follow the link: Russia in art.
Journal articles on the topic 'Russia in art'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Russia in art.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Beriger, Julian-Ivan. "Die staatliche Blockierung des Zugangs zu Internetinhalten in Russland – Eine Analyse aus verfassungsrechtlicher Sicht." osteuropa recht 65, no. 1 (2019): 5–36. http://dx.doi.org/10.5771/0030-6444-2019-1-5.
Full textAbstract:
Since 2012, the legal possibilities for state blocking of web content in Russia have been largely expanded by amendments to the Federal Information Act (Art. 15.1.-15.8. Federal law of 27 July 2006 No. 149-FZ). Therefore, Internet censorship has been steadily growing in Russia over the last years. From a constitutional point of view, the “ordinary procedure” in Art. 15.1. InfoG and the “express block” in Art. 15.3. InfoG are the most important state blocking procedures. While in the “ordinary procedure” the owner of the website is given the opportunity to voluntarily delete the offending information, the “express block” suggests immediate blocking of the relevant websites by order of the Attorney General of the Russian Federation. The state blocking of online content affects the right to information and communication and the freedom of expression, guaranteed in Art. 29 of the Russian Constitution (Art. 10 ECHR and Art. 19 ICCPR). The current blocking practice of the Russian authorities does not meet the requirement of “proportionality“ of state action, which is stated by Art. 55 (3) of the Russian Constitution (Art. 10 (2) ECHR and Art. 19 (2) ICCPR). Legal regulation of the internet is expected to continue growing in Russia due to the various legislative initiatives in this field.
2
Shkurko, Alla. "Medallic Art in Russia XVIII c." Scientific and analytical journal Burganov House. The space of culture 16, no. 1 (March 10, 2020): 80–99. http://dx.doi.org/10.36340/2071-6818-2020-16-1-80-99.
Full textAbstract:
Summary: The article is dedicated to the history of medalic art of Russia since the time of its appearance at the boundary 17–18 cc. and its further developing as a definite kind of art in the course of the century. In 1701 a new Mint began its work in Moscow in Kadashev sloboda. For some period of time it was the main Mint issuing coins and medals. Among the engravers working there the first place belongs to Fedor Alekseev who was the leading medalist since 1701. Afterwards the leading initiative was given to foreign masters who had come to work for Russia. The first foreign medalists working on Russian services were Frenchman Solomon Gouin and Saxon G. Haupt. During the whole part of the first quarter of 18 c. Russian medalic works were signed by foreign craftsmen. The series of medals in memory of the North war performed by the German medalist Ph.G. Mueller and left a noticeable trace in the development of Russian medalic art. Medals of the first quarter of 18 c. reflected the successful events of Russia in the North war most fully but very few medals were devoted to the home life of the country. Medals of the first quarter of 18 c. served as the firm foundation for further development of the Russian medalic art. In 30–40s years the leading place at the Russian Mints was occupied by foreign medalists. Chief medalist was Dane Anton Shultz who was engaged not only in cutting dies but also taught Russian masters. The main service of I.G. Waechter rendered to the Russian medalic art consists in the further widening of artistic possibilities of medals. Virtuosity of ability to use technique, the accuracy in the gradation of the relief, fine feeling of light and shade allowed the artist to create such pictorial relief that is always connected with his name in the Russian medalic art. Together with the artists already spoken about, Russian masters work professionally too. The creative work of two medalists Tymophey Ivanov and Samoilo Yudin is very important. The circle of Russian medalists of 18 c. is completed by Karl Leberecht. By his creative work he realized the transition to a new period of medalic art – classicism. In the first half of the 18 c. medals immortalized a small number of important events and ruling monarchs, but in the second half of the century the medallic art began to aspire to reflect the events in many fields of historical life of Russia much wider. This tendency became stronger in the 19 c. when medals issue increased.
3
Blakesley, Rosalind P. "Art, Nationhood, and Display: Zinaida Volkonskaia and Russia's Quest for a National Museum of Art." Slavic Review 67, no. 4 (2008): 912–33. http://dx.doi.org/10.2307/27653031.
Full textAbstract:
In 1831, the journal Teleskop published Princess Zinaida Volkonskaia's proposal for a national art museum in Moscow. Volkonskaia's project was progressive to a degree (Russia had no such museum at the time), yet the model she proposed was highly traditional. She excluded Russian art entirely, despite her support of modern Russian artists. Instead, Volkonskaia privileged classical and more recent western European art, underlining the deference to western practice that influenced cultural politics even as Russia moved toward a stronger national sense of self. Volkonskaia's project marks an important juncture in Russia's cultural history: the intersection of aristocratic female patronage and the institutionalization of academic procedure. It also provides a platform from which to consider Russia's self-image vis-à-vis Europe in the aftermath of the Napoleonic campaigns. By tracing an intricate dialogue in which national pride developed alongside continuing admiration for neoclassical ideals, Rosalind P. Blakesley addresses the paradoxes of Volkonskaia's project, and the difficulties of conceptualizing a “national” space of artistic display. Volkonskaia's project poses significant interpretive problems and her exclusion of Russian art prefigures the segregation of Russian and western art in Russian museums today, which has marginalized Russian art even within Russia itself. Volkonskaia's project thus has wide resonance, for the question of whether and how museums encapsulate national cultural identities remains an issue of great intellectual concern.
4
조규연. "Mayakovsky and Russian Futurism: Art of Revolution, Revolution of Art." Russian Language and Literature ll, no. 58 (August 2017): 7–36. http://dx.doi.org/10.24066/russia.2017..58.001.
Full text
5
Giuliani, Rita. "About the Utility of Russian Literature Outside of Russia." Проблемы исторической поэтики 18, no. 3 (July 2020): 290–300. http://dx.doi.org/10.15393/j9.art.2020.8262.
Full textAbstract:
<p>This article analyzes the excellence, uniqueness and specific elements of Russian literature that make it valuable in the eyes of a Western reader, helping him or her to better understand Russia and enrich his or her spiritual dimension. There are many such elements, and while I cannot touch on all of them, I would like to remind the reader of the fact that Russian literature has always been that particular point where social, humanitarian, political and philosophical thought comes together. Russian literature also sheds light on the mindset of the Russian people (<em>narod</em>), offering a different perspective to a Western reader. In addition, Russian literature, with its cultural ‘explosions’ (<em>vzryvy</em>) and the writers who embodied these explosions, greatly influenced European literature, inspiring entire generations of readers and writers. What turned out to be most unique in Russian literature was a perpetual attention to the great questions of human existence, the so-called “damned questions” (<em>proklyatye voprosy</em>). But Russian literature has an additional quality, starting from that moment when its hero became the human soul. It is precisely the soul, the protagonist of Russian literature, which unites Russian writers in a unique and inimitable community, and their readers and admirers — in a community moved and grateful. Ultimately, Dostoevsky — probably the most beloved Russian writer in the West — was right when he asserted in his well-known Pushkin speech, “the capacity for universal compassion (<em>otzyvchivost’</em>) is the most important quality of our national character”.</p>
6
Bolotyan, Ilmira. "About feminist art in Russia." nauka.me, no. 2 (2019): 0. http://dx.doi.org/10.18254/s241328880008079-0.
Full text
7
Musatova, Tatyana. "Nicholas I in Florence (1845). The Artistic Aspect of the Visit." Stephanos Peer reviewed multilanguage scientific journal 53, no. 3 (May 31, 2022): 64–86. http://dx.doi.org/10.24249/2309-9917-2022-53-3-64-86.
Full textAbstract:
The article analyzes the previously insufficiently researched art program of Nicholas I in Florence. That is – the study of the museum fund of Italian and European paintings, orders of art copies within the framework of the general state policy of copying similar to the policy of France and Italy, replenishment of the museum fund of St. Petersburg and Russia. Based on documents kept in domestic and foreign archives, modern literature of art historians in Russia and Italy, the author draws attention to the “pitfalls” of the classical art market in Italy, which the Russian monarch faced. His artistic preferences are also analyzed; his contribution to the formation of the museum fund of St. Petersburg and Russia is assessed. The features of the “Russian approach” to copying are revealed, which acquire relevance and practical significance during the pandemic crisis and modern technologies.
8
Nikulina, Viktoriya Vladimirovna. "“French element” in the Russian art culture of the mid XVIII century." Философия и культура, no. 1 (January 2022): 36–44. http://dx.doi.org/10.7256/2454-0757.2022.1.37370.
Full textAbstract:
The subject of this research is the reflection of Russian realities of the mid XVIII century in cultural sphere. The article touches upon the problem of cross-cultural communication between Russia and France in the XVIII century: the theme of “French presence” in the Russian art and theater culture of the first half and the middle of the XVIII century. The acquired results elucidate the characteristic features of the relations between French and Russian people during this period. The research was conducted with consideration of the unity of internal and external, subjective and objective factors within the framework of the cultural-historical process. The conclusions were made leaning on the analysis of the entire range of sources use and existing research traditions. The article reveals the contribution of the French representatives of art and culture while their stay in Russia, as well as describes the forms and manifestations of their activity that in prospect affected the image of Russia. The author believes that working at the Russian Court, the French representatives imposed the vision of their country on Russia, transforming the Russian images in the French spirit. The presented materials are valuable for the study of cross-cultural communication between Russia and France in the XVIII century. This article is important and relevant in the conditions of constantly developing cultural dialogue and determination of the new vectors of cooperation between the countries.
9
Davydova, Olga. "“Dreaming of Russia”." Experiment 25, no. 1 (September 30, 2019): 189–206. http://dx.doi.org/10.1163/2211730x-12341338.
Full textAbstract:
Abstract The National-Romantic trend in Russian Art Nouveau is characterized by a lyrical approach to the past, including imagery from folklore. This tendency is also identifiable within the global development of Art Nouveau, each country expressing its national identity in highly characteristic forms in design and architecture. Art Nouveau coincided with the zenith of Symbolism and, therefore, transmitted both its universal ideas and the unique creative psychology of the individual artist, who often based personal quest upon local traditions and innate cultural memory. This article analyzes the poetics of this style in Russia. The lyrical and mythological approach towards artistic images, influencing design, form, and meaning, is studied through an examination of the works of artists close to the Abramtsevo circle and the innovative experiments of the World of Art group (1898-1904).
10
Board, Editorial. "Cover Art." Public Voices 1, no. 3 (April 11, 2017): 6. http://dx.doi.org/10.22140/pv.462.
Full text
11
Etinhof, Olga E. "ON THE QUESTION OF CLASSICAL THEMES IN THE ART OF PRE-MONGOL RUSSIA." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 1 (2021): 152–83. http://dx.doi.org/10.28995/2686-7249-2021-1-152-183.
Full textAbstract:
A narrow range of Byzantine texts, primarily chronographic ones, containing classical themes and images, were translated in Russia starting from the 11th century.These texts became the literary basis of secular and ecclesiastic art. Several iconographic motifs from mythological stories and the “Ascension of Alexander the Great” entered the art of pre-Mongol Russian. Byzantium was the main source of the antique elements in Old Russian culture. Some motifs were also adopted in Old Russia from Romanesque art, through close contact with Western Europe. The tradition of using ancient subjects for the decoration of churches in relief, which was widespread both in Byzantine and in Romanesque art, was continued in Russian monuments. Сlassical subjects on the walls of churches served as apotropaic images, but their symbolism could also include other aspects. Antique motifs are encountered even in the frescoes of monastery churches which followed a strict, ascetic iconographic programme in spite of the general orientation of Old Russian art towards the monastic culture of Byzantium. The author deals with the problem of specific samples. It is unlikely that objects of applied art could have served as models for church sculpture.
12
Robson, Roy. "Art and Politics at the Vatican Congregation for the Oriental Churches, 1917-45." Russian History 38, no. 1 (2011): 42–57. http://dx.doi.org/10.1163/187633111x549597.
Full textAbstract:
AbstractIn the period 1917-45, the Roman Catholic Church vacillated in its views of Russian Orthodoxy and the Russian Revolution. Some forces in the Vatican focused on the “consecration” of Russia, connoting support for Orthodoxy. Others preferred to push for the “conversion” of Russia to Roman Catholicism. The tension between these competing views can be seen in the Vatican's patronage of the arts. From 1925-1945, the Congregation for the Oriental Churches commissioned works by four artists—Leonid and Rimma Brailowski, Pimen Sofronov, and Jérôme Leussink. Collectively, their work illustrated the changing mixture of politics, piety, and aesthetics that characterized Rome's view toward Russia in the first half of the twentieth century.
13
Guseva, Zulfiya U., and Galina V. Alekseeva. "The Image of the Virgin Mary in the Visual Arts of Modern Russia." ICONI, no. 3 (2021): 48–57. http://dx.doi.org/10.33779/2658-4824.2021.3.048-057.
Full textAbstract:
The article is devoted to the issue of the continuity of the Russian pictorial tradition and the representation of spiritual meanings in contemporary Russian art. The authors aims to consider the image of the Virgin Mary as part of the cultural code of Russia. The object of the research is the materials of the visual art works by contemporary Russian artists of the late 20th and early 21st centuries, studied from the perspective of their Byzantine origins. The subject of this research is the image of the Virgin Mary in contemporary Russian visual art. The result of the research is an understanding of the forms of transformation of the canon of spiritual tradition in contemporary art.
14
Oh Jong-Woo. "The eros and art of Doctor Zhivago." Russian Language and Literature ll, no. 29 (October 2008): 141–61. http://dx.doi.org/10.24066/russia.2008..29.006.
Full text
15
Tsvetkova, Yulia. "Art Communities at Risk: On Russia." October, no. 178 (2021): 144–46. http://dx.doi.org/10.1162/octo_a_00445.
Full text
16
Veshnev, Vasily P., and Dmitry G. Tkach. "Contemporary Russian street art. Formation and development." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 59 (2021): 343–51. http://dx.doi.org/10.37816/2073-9567-2021-59-343-351.
Full textAbstract:
The paper provides an overview of the main periods of formation of Russian street art as an artistic phenomenon. It analyzes the role of leading authors and associations that have played a key role in the development of this type of art. The study identified the structure and characteristic features of Russian street art. Street art is a specific form of contemporary urban visual art, characterized by a wide variety of creative concepts and artistic techniques. Street art works are always contextual, to a greater or lesser extent integrated into the urban aesthetic and communication environment, and as a rule, stylistically and thematically relevant, aimed at direct dialogue with the viewer. In Russia, street art emerged in the late 1990s and early 2000s as a continuation of artistic practices of the graffiti subcultures and included three periods of its subsequent formation and development: 1995–2005 — the formation of an artistic phenomenon; 2005–2015 — development and public recognition; 2015 till present — active expansion into the information and media space, into the field of art and design, institutional recognition. The development of street art in Russia, as well as throughout the world, is affected by the global mass visual culture, however, in the last decade, an alternative trend has been gaining momentum, which consists in the active use of national artistic and imaginative content. Thus projects reflecting socio-political and cultural agenda that is relevant for Russia and timed to coincide with memorable dates and major events in the country are being promoted and approved.
17
Borovkova, Natalia V. "Lapidary Art of the Altai and the Urals of the Late 18th — 19th Centuries: The Russian Cultural Phenomenon and European Influence." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 3 (2021): 291–303. http://dx.doi.org/10.15826/izv2.2021.23.3.060.
Full textAbstract:
The study of Russian stone-cutting art remains an important and urgent task of contemporary Russian art history. It is necessary to take a fresh look at this direction of Russian decorative art and find out whether Russian stone-cutting art is an internal phenomenon, or it is based on European borrowing. This article refers to works of stone-cutting enterprises of the Urals and the Altai, i. e. Yekaterinburg and Loktevsk Manufactories, which worked exclusively at the order of the Cabinet. In the late eighteenth century, there was a system for ordering stone products in Russia. To do this, they formed sets of “samples” of natural ornamental stone from Russian deposits and compiled albums of product projects. When sending an order to the factory, they attached a sketch and indicated the number of the stone which the product was to be made of. A complex analysis of Russian stone-cutting art testifies to the fact that it followed European fashion, traditions, and technology. European specialists were invited to Russia in order to organise stone-cutting production. Also, travellers brought elegant artworks made of decorative stone by European masters. By the late eighteenth century, stone-cutting production had come a much longer way in Western Europe than in Russia. The production of works of art made of stone was carried out in Italy, France, England, Sweden, and other European countries. Russian commissioners wanted to obtain similar items, and the masters imitated and reproduced European originals. When comparing designs of decorative vases, one can see an undoubted influence of European analogues. However, if there is an obvious similarity to their decorative design, Russian masters are characterised by the ability to reveal the unique aesthetic properties of the material. At the first stage, the influence of European masters was not to be argued, but later on, Russian stone-cutting art began to acquire its own unique features, although it developed along the lines of the dominating pan-European stylistic trends.
18
Kochetkov, V. V. "Constitutional issues of russian federalism." Russian Journal of Legal Studies 3, no. 2 (June 15, 2016): 112–21. http://dx.doi.org/10.17816/rjls18154.
Full textAbstract:
This article addresses a problem of the form of government of Russia as a constitutional state. Even in the Russian political and legal thought in the second half of XIX - early XX century, the main debate was between supporters of federalization and the so-called autonomy of certain territories of Russia. The first thought that the Federation allows us to give a legal response to the challenges of nationalism and proletarian internationalism in the Bolshevik version. The latter believed that in the Russian Empire at that time there were no territory of equal size that could exist independently, and therefore to act as full-fledged subjects of the federation. Modern Russia, according to the 1993 Constitution, is a federal state. The concretization of the principles of Russian federalism performed in Chapter 3 of the Constitution in Art. 71, which sets out the objects of the exclusive jurisdiction of the Russian Federation; Art. 72, which lists the subjects of joint jurisdiction of the Russian Federation and the Russian Federation, as well as in art. 73, which establishes that outside the jurisdiction of the Russian Federation and the RF power to the joint jurisdiction of the Russian Federation and the subjects of the RF subjects of the Russian Federation shall possess full state power. However, the economic, social and political differentiation of regions that differ significantly from each other on the living conditions of citizens and labor rise to doubts aboutthe fairness of the existing system. Endowment of most subjects of the federation, and, consequently, their dependence on subsidies of the federal government, leaving no place for the realization of the interests of territorial public collectives living in the Federation. The current system of federal relations in modern Russia is more consistent with the concept of Russian jurists of the early twentieth century of autonomy than with federalism. And accordingly, it generates the same antinomy in the theory and the negative effects in practice. To overcome them must apply to the basic principles of constitutionalism as a form of legal: freedom and justice based on the recognition of equal human dignity. Federalism in a constitutional state is based on the totality of territorial public collectives having legal capacity. Therefore, no joint terms of jurisdiction of the center and subjects of federation in the federal constitutional state under Art. 72 of our Constitution cannot exist, since thereby seriously limit legal capacity of members of the federation.
19
Ilinskaya, N. I. "ART MEDIATION IN RUSSIA AND FRANCE: GENERAL AND DIFFERENCES." Arts education and science 1, no. 4 (2020): 149–54. http://dx.doi.org/10.36871/hon.202004019.
Full textAbstract:
The article discusses the phenomenon of art mediation. The relevance of this problem is due to the fact that the concept of art mediation, or "museum as a cultural mediator", is relatively new in Russia. It is mainly adopted in our country by contemporary art museums, often nonstate. At the same time, in a number of countries around the world, and especially in France, the concept of art mediation (médiation culturelle), or "museum-mediator", firmly rooted in museum practice, in the legal field, as well as in university education and training, practically forcing out the more familiar for Russia term "museum pedagogics" (pédagogie muséale). In this regard, it is important to think about and understand the French experience in this field and how it can be applied in the Russian context, outside the still relatively small sphere of private and contemporary art museums, where this experience is already being applied.
20
이주은. "“World of Art” and Decadent Art of Late Czarist Russia." Journal of History of Modern Art ll, no. 28 (December 2010): 67–96. http://dx.doi.org/10.17057/kahoma.2010..28.003.
Full text
21
JÄRVINEN, HANNA. "‘The Russian Barnum’: Russian Opinions on Diaghilev's Ballets Russes, 1909–1914." Dance Research 26, no. 1 (April 2008): 18–41. http://dx.doi.org/10.3366/e0264287508000042.
Full textAbstract:
This article discusses the little-known Russian reviews of Sergei Diaghilev's ballet company. It argues that Diaghilev's reputation and social position in Imperial Russia affected how his troupe and the works famous in Western Europe were regarded in the Russian press. In Russia, Diaghilev was accused of exporting a false image of Russia as a semi-Oriental nation of barbarians. Russian critics found evidence for this from the predominantly Orientalist reviews appraising the Ballets Russes in Paris and London. They also judged their Western colleagues incompetent for not corresponding to the Russian idea of what was important in ballet as an art form.
22
Kharitonova, Natalya Stepanovna. "Interaction of Artistic Culture of Russia and Scandinavian Countries at the turn of the 19th-20th Centuries." Journal of Flm Arts and Film Studies 7, no. 2 (June 15, 2015): 97–104. http://dx.doi.org/10.17816/vgik7297-104.
Full textAbstract:
The author examines similarity of historical and cultural development of Russia and Scandinavian countries. Cultural ties between the two domains evolved over many centuries. The most intensive period of development of Russian-Scandinavian artistic contacts stretched from mid-1880s-1890s up to the end of the first decade of the 20th century. In 1890s Russian painters considered achievements of Scandinavian colleagues as an example of a quest for progress, a creative approach to finding ones way in development of fine arts. At the same period in Russia a number of major international art exhibitions were arranged with active northern painters participation. The Russian interest in the art of Scandinavian countries in the late 19th - early 20th c. was anything but accidental. The development of artistic culture in Nordic countries was in tune with the Russian artists quest for other ways of creative expression. Northern culture attracted sympathy of Russian painters, black-and-white artists and art critics of diverse, often opposing groups and movements. For example, among the admirers of Scandinavian fine arts were V.V. Stasov and A.N. Benoit, I.E. Repin, V.A. Serov, F.A.Malyavin, the artists of the "Mir iskusstva group, and representatives of Moscow School of Painting (K. Korovin, A. Arkhipov, V. Perepletchikov etc.). By mid-1890s relations of Russian and Scandinavian art schools had become very intense and productive. This interaction coincided with significant events that influenced further development of artistic and other forms of culture on both sides. It manifested itself in publications of works of A. Strinberg and K. Hamsun in Russian, in staging of H. Ibsens plays at the Moscow Art Theater, exhibitions (especially of A.Tsorns works), and other activities that served to cross-fertilisation of cultures of Russia and Scandinavian countries.
23
Mordkovitch, T. A., and V. V. Salynskaya. "Images of Crimea in the Art Memory of Russia (Art Materials from the Collections of the Russian State Art Library)." Bibliotekovedenie [Library and Information Science (Russia)], no. 1 (February 28, 2015): 46–52. http://dx.doi.org/10.25281/0869-608x-2015-0-1-46-52.
Full text
24
Zakharov, Vladimir. "The Relevance of Dostoevsky." Неизвестный Достоевский 8, no. 1 (March 2021): 5–20. http://dx.doi.org/10.15393/j10.art.2021.5321.
Full textAbstract:
The year 2021 marks the 200th anniversary of Dostoevsky’s birth and the 140th anniversary of his immortality. Literary anniversaries became a part of the Russian culture relatively recently. The celebration is usually held in memory of those who had already found eternity. The attempt to celebrate the tercentenary of Shakespeare (1864) and the centenary of Pushkin’s birth in 1899 marked the beginning of a new cultural tradition. The dates of literary anniversaries in the 20th century reflect the struggle between these trends: birthdays are gradually replacing memorial days. Anniversaries tend to be an occasion not only for understanding a writer’s significance in the modern world, but also for analyzing the trends and prospects of studying their legacy. The article provides an overview of the past anniversaries of Dostoevsky in Russia and an analysis of several articles from the first issue of The Unknown Dostoevsky journal for 2021. The special feature of Dostoevsky’s bicentennial anniversary is the competition held by the Russian Foundation for Basic Research (RFBR) “Sources and methods in the study of the legacy of F. M. Dostoevsky in Russian and world culture” (2018–2021), which resulted in the support of 28 projects by leading Russian scientists. They will result in the publication of an unprecedented corpus of studies on Dostoevsky’s biography, philosophy, creativity, textual criticism and poetics. In post-Soviet Russia, the gap between Dostoevsky studies and mass consciousness, science and education is apparent. Moreover, technologies to counteract Dostoevsky’s influence on the modern Russian person are still operating. Reading and studying Dostoevsky remains the privilege of philologists, whose number in Russian universities has been drastically reduced with no prospects of the development of continuous humanitarian education. Nevertheless, despite influential opponents, Dostoevsky represents Russia, the Karamazovs are the most famous Russian surname, and today, just like 150 years ago, the prophet and apostle Dostoevsky conveys the word of truth and veracity to the world.
25
Eichwede, Wolfgang. "Trophy Art as Ambassadors: Reflections Beyond Diplomatic Deadlock in the German-Russian Dialogue." International Journal of Cultural Property 17, no. 2 (May 2010): 387–412. http://dx.doi.org/10.1017/s0940739110000159.
Full textAbstract:
AbstractThis article provides brief coverage of the Russian-German dialogue since 1991 and the search for solutions about looted art of German ownership seized at the end of the Second World War and still held in Russia. So far, while Russia and Germany regard themselves as partners and friends in political and economic realms, they have been unable to find agreement about the looted art. Germany seems no longer to retain Russian cultural goods plundered during the war, whereas Russia still possesses a significant amount of German cultural assets. On the basis of existing treaties and international law, Germany demands its restitution. Russia, on the other hand, has nationalized the confiscated goods in 1998 as compensation for its own war losses. Nevertheless, not a few citizens of both countries have been returning artworks and books privately, in some cases supported by the governments. A convincing solution for the general problem can only be found if the treasures, which in the past have been understood as trophies, could be transformed into cultural ambassadors, while dialogue and the search for new ways continue within the framework of a policy of reconciliation. This approach also includes further research and analysis of the Russian cultural losses resulting from the war, a project undertaken in the 1990s at the Forschungsstelle Osteuropa (Research Center for Eastern Europe) of the University of Bremen, as briefly described in an appendix to the article.
26
Scherbakova, Elena. "JAPONISME IN RUSSIAN ART CULTURE OF SILVER AGE." Herald of Culturology, no. 1 (2022): 74–85. http://dx.doi.org/10.31249/hoc/2022.01.04.
Full textAbstract:
The article tries to trace the Japan influence on the Russian Art Culture in the end of XTX - beginning of XX centuries. Tt is found that the beginning of Japanese culture reception in Russia was connected with decorative and applicable art and painting and then with the theatre, literature and music. Tn some cases reception took place indirectly through oriental genres of European Art.
27
Parkhomenko, Tatiana A. "A. N. BENOIS ON ART IN THE GERMAN COLLECTION OF THE EARLY 20TH CENTURY “RUSSIANS ABOUT RUSSIA”." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 268–77. http://dx.doi.org/10.37816/2073-9567-2020-58-268-277.
Full textAbstract:
The paper explores the work of A. N. Benois “Contemporary Art”, which was published in 1906 in German in Frankfurt-am-Main in the collection of articles “Russians about Russia”. It focused on the analysis of artistic situation in Russia at the beginning of the 20th century, consideration of the work of Russian masters of the older, middle and new generations, and assessment of their contribution to the culture and cultural heritage of the country. Acting as a historian of art, critic and artist, Benois provided foreign readers with a rich tapestry of Russian art life with all its participants and auxiliary commentaries according to his vision of their talent, originality and value. In his lifetime his judgments about art were often subjected to accusations in bias and subjectivity, however over the course of a century they acquired exceptional significance for understanding complex historical and cultural context of the era, called the Silver Age of Russian culture. Currently the works of Alexandre Benois are included in the golden fund of the national cultural heritage, highly valued and studied all over the world. Their unique, extremely wide and diverse creative content has retained its relevance and continues to be in high demand in modern art, educational and socio-cultural practice.
28
Dienes, Laszlo, and Theofanis George Stavrou. "Art and Culture in Nineteenth-Century Russia." Russian Review 44, no. 4 (October 1985): 412. http://dx.doi.org/10.2307/129798.
Full text
29
Katz, Martin, and Theofanis George Stavrou. "Art and Culture in Nineteenth-Century Russia." American Historical Review 90, no. 3 (June 1985): 736. http://dx.doi.org/10.2307/1861077.
Full text
30
Churilina, L. N., and D. S. Buzhinskaya. "RUSSIA Art Concept as National Concept Variant." Nauchnyy dialog, no. 4 (2019): 114–26. http://dx.doi.org/10.24224/2227-1295-2019-4-114-126.
Full text
31
Shamlikashvili, Tsisana. "State of the Art: Mediation in Russia." Alternatives to the High Cost of Litigation 33, no. 9 (October 2015): 136–38. http://dx.doi.org/10.1002/alt.21602.
Full text
32
Kozak, Nazar. "Art Resistance against Russia’s “Non-Invasion” of Ukraine." East/West: Journal of Ukrainian Studies 9, no. 1 (March 30, 2022): 67–104. http://dx.doi.org/10.21226/ewjus585.
Full textAbstract:
When Russia invaded Ukraine in 2014, the Russian media ran what I propose to call a simulation of “non-invasion”—a spectacle aimed to distance Russia from the war. This essay explores activist art resistance against this simulation. Specifically, I discuss three art projects that were staged during the first, most violent year of the Russian-Ukrainian conflict: Mariia (Maria) Kulikovs'ka’s performance at “Manifesta 10” in St. Petersburg, Serhii Zakharov’s guerrilla installations on the streets of occupied Donetsk, and Izolyatsia’s #onvacation occupation of the Russian pavilion at the 56th Venice Biennale. These art projects, I argue, not only attacked the simulation from the outside as independent entities, but, by penetrating the simulation on site and online, they disrupted it from within. I offer three reasons to support this claim. First, these art projects superimposed images of the invasion over the physical sites where the “non-invasion” simulation dwelt and, in this way, not only made the war visible but also produced “a glitch in the matrix” effect—a conflict within the simulation visual regime that was inconsistent with its concealment function. Second, they “hailed” (in Louis Althusser’s terms) actants of the simulation as subjects of Putin’s regime, provoking suppressive reactions that proved Russia’s participation in the war—which the simulation, thus, failed to downplay. And third, with carefully orchestrated strategies of online outreach to the public, these art projects attached themselves to the media dimension of the simulation, making the simulation’s media proliferation work against itself.
33
Макаренко, Зоя, Zoya Makarenko, Юлия Жилкова, Yuliya Zhilkova, Марина Бережная, and Marina Berezhnaya. "Items of jewelry art of pre- Mongolian Russia in the collections of Russian museums." Services in Russia and abroad 10, no. 4 (September 22, 2016): 122–31. http://dx.doi.org/10.12737/20189.
Full textAbstract:
The article deals with the question of exhibiting of jewelry art items of pre-Mongolian Russia in Russian museums. Public and private museums that were opening in the Russian Empire contributed to preservation of the cultural heritage of the country. When they were emerging, many private collectors donated part or all of their collections to state. This was especially promoted by opening of the Historical Museum in 1883 for the general public. Exhibits of public museum were replenished by the collections of Uvarovs, Kropotkins, Shcherbatovs, Golitsyns. The fate of collection of the outstanding collector M. Botkin is noteworthy.
Masterpieces of jewelry art of ancient Russia may be exhibited in only a few museums in the country, including two sites in the Moscow Kremlin, which show such kind of items. Collection "Russian gold and silverware of beginning of XII-XVII centuries" is located in the exposition hall 1 of Armory Chamber. The glass case 2 presents gold and silver items, made by goldsmiths of Kiev, Chernigov, Ryazan, Suzdal, Novgorod.
Museum affair after the October Revolution in the country was significantly reformed. Museums and collections of the palaces were declared as the national property. For registration, accounting and secure of all artistic and cultural treasures, the artistic and historical commissions and the State Museum Fund were created. Majority private collections were nationalized.
Russian Museum, located in the Mikhailovsky Palace in Sankt Petersburg has one of the largest collections of pre-Mongolian Russian treasures and individual items of jewelry art of X-XIII centuries.
Thousands of works of jewelry art of ancient Russia are collected in the expositions and funds of Russian museums. Today collections of not only central but also local museums are multiplied, facilities and exhibitions are quality improving.
34
Fomina, Olga, and Roman Malinovich. "ArchBukhta. Teleportation-2021, Art-Residence "Port Olkhon"." проект байкал 18, no. 68 (August 8, 2021): 12–14. http://dx.doi.org/10.51461/projectbaikal.68.1793.
Full textAbstract:
The 15th All-Russian architectural festival “ArchBukhta. Teleportation” was held on Olkhon Island from 10 to 15 March. More than one hundred people from seven regions of Russia, from the first organizers to first-year students, took part in the competition. The article formulates the main idea of the Festival – to create art objects from local materials. The article also presents the results of the Festival: 20 art objects arranged on the territory of the Art Residence “Port Olkhon”. Five of them received prizes.
35
Youseon Cho. "Tolstoy and Community Arts : A Study on What Is Art?" Russian Language and Literature 56, no. ll (February 2017): 165–87. http://dx.doi.org/10.24066/russia.2017.56..007.
Full text
36
Davydova, Olga Sergeevna. "Symbolism in the Russian visual art in the era of Art Nouveau: analytical overview in the light of latest research." Философия и культура, no. 12 (December 2021): 10–24. http://dx.doi.org/10.7256/2454-0757.2021.12.37180.
Full textAbstract:
The subject of this article is the works of the Russian artists of the late XIX – early XX centuries in the context of problematic of symbolism and Art Nouveau, as well as the scientific foundation that has developed as yet in studying this topic. Research methodology is based on the conceptual synthesis of classical art history approaches towards the analysis of artistic material with the theoretical interdisciplinary methods of humanities, such as iconology and hermeneutics, as well as the contextual-associative method developed by the author. The goal of this article consists in determination of the peculiarities of symbolism in Russia due to the transformation of the attitude towards the spiritual problematic of art of the turn of the XIX – XX centuries, which is relevant for the modern art history. The author is firs in the Russian art history to conduct a comprehensive analytical overview of the development stages of symbolism in the Russian visual art based on the years-long work with the archival materials, scientific publications (that cover over a century), and works of the Art Nouveau authors stored in the museum funds, many of which after 1917 appeared to be on the periphery of attention of art historians due to ideological reasons. The revealed individual characteristics of symbolism as a holistic artistic phenomenon, created on the level of modern humanistic knowledge, determine the novelty of this work and can valuable in further study of symbolism and Art Nouveau. Broadening of representations on the Russian art of the late XIX – early XX centuries, allow returning the heritage of the symbolist artists into the context of art, which is of undeniable importance from the perspective of restoration of natural logic of the development of the history of art in Russia, making this publication valuable in various fields of study of art and culture.
37
Vildanova, Tatiana V. "On Images in Russian Folk Art, their Sources and Transformations Produced by the Popular Orthodox Consciousness." Observatory of Culture, no. 3 (June 28, 2014): 128–41. http://dx.doi.org/10.25281/2072-3156-2014-0-3-128-141.
Full textAbstract:
Is devoted to Russian folk art, which was linked to pagan symbolism but also represents the Russian Orthodox tradition. In Early Russia, the applied arts were shaped by Byzantine tradition; since then churches and cathedrals built in the prominent places de facto were also the centres of culture. Church arts producing the high artistic quality objects became the source of the “beauty ideal” that was also implemented in the works of folk art.
38
Sewell, Frank. "“Going Home to Russia”? Irish Writers and Russian Literature." Studia Celto-Slavica 1 (2006): 239–51. http://dx.doi.org/10.54586/vrzx4817.
Full textAbstract:
The poet Josef Brodski once wrote: ‘I’m talking to you but it isn’t my fault if you can’t hear me.’ However, Brodski and other Russian writers, thinkers and artists, continue to be heard across gulfs of language, space and time. Indeed, the above line from Brodski forms the epigraph of ‘Travel Poem’, originally written in Polish by Anna Czeckanowicz. And just as Czeckanowicz picks up on Brodski’s ‘high talk’ (as Yeats might call it), so too do Irish writers (past and present) listen in, and dialogue with, Russian counterparts and exemplars. Some Irish writers go further and actually claim to identify with Russian writers, and/or to identify conditions of life in Ireland with their perception of life in Russia. Paul Durcan, for example, entitled a whole collection of poems Going Home to Russia. Russia feels like ‘home’ to Durcan partly because he is one example of the many Irish writers who have listened in very closely to Russian writing, and who have identified with aspects of what they find in Russian culture. Another example is the poet Medbh McGuckian who has looked to earlier Russian literature for examples of women artists who ‘dedicated their lives to their craft’, who ‘never disgraced the art’, who created timeless works in the face of conflict and suffering: she refers particularly to Anna Akhmatova and, especially, Marina Tsvetaeva. Contemplating and dialoguing with her international sisters in art, McGuckian finds a means of communicating matters and feelings that are ‘closer to home’, culturally and politically (including the politics of gender). Ireland’s most famous poet Seamus Heaney has repeatedly engaged with Russian writings: especially those of Anton Chekhov and Osip Mandelstam. The former is recalled in the poem ‘Chekhov on Sakhalin’, a work taut with tension between an artist’s ‘right to the luxury of practising his art’, and the residual ‘guilt’ which an artist may feel and only possibly discharge by giving ‘witness’, at least, to the chains and flogging of the downtrodden. On the other hand, Mandelstam, for Heaney, is a model of artistic integrity, freedom and courage, a bearer of the sacred, singing word, compared by the Irish poet to an on-the-run priest in Penal days. In this conference paper, I will outline some of the impact and influence that Russian writers have had on Irish writers (who write either in English or in Irish). I will point to some of the lessons and tactics that Irish writers have learnt and adopted from their Russian counterparts: including Cathal Ó Searcaigh’s debt to Yevgenii Yevtushenko, Máirtín Ó Cadhain’s to Maxim Gorki, Máirtín Ó Direáin’s to Aleksandr Blok, and Padraic Ó Conaire’s to Lev Tolstoi, etc.
39
BeiBei, Zhou. "Piano Performing Art of Russia: Major Development Trends in the 20th Century." IRA International Journal of Education and Multidisciplinary Studies 13, no. 2 (November 29, 2018): 8. http://dx.doi.org/10.21013/jems.v13.n2.p1.
Full textAbstract:
<p>The purpose of the article is to identify features of the development of piano playing in Russia in the 20<sup>th</sup> century in the context of key trends and leading genre and styles. In connection with the goal, the following tasks were identifying: to consider Essence of Definition “Russian Piano School”; to characterize Russian Piano School in Conditions of Reorganization of System of Music Education after 1917; to consider Russian Piano Performance Art in 1930–1950s; to describe Russian Pianism in 1960–1990s. This work elucidates the Russian Piano School’s evolving characteristics, its tendencies and styles, and how it received such authority and respect throughout the world. This article also reveals the Russian Piano School’s principal musical pedagogical figures, and how diverse and original they are, especially modern Russian pianists. The unique and pivotal influence of these artists is clearly defined in the context of an emerging and distinct Russian Piano School.<em></em></p>
40
Tsarev, A. P. "Problems of Forest Tree Species Breeding in Russia." Resources and Technology, no. 2 (1999): 211–15. http://dx.doi.org/10.15393/j2.art.1999.2497.
Full text
41
Mezinski-Milovanovic, Jelena. "A contribution to researching Russian-Serbian connections in sacral and court painting and architecture through the opera of Russian emigrants in Serbia between the world wars: Examples of adopting Russian models." Muzikologija, no. 28 (2020): 99–124. http://dx.doi.org/10.2298/muz2028099m.
Full textAbstract:
Russian-Serbian cultural connections in a broader sense, represented through direct parallels in Russian and Serbian sacral painting, architectural decoration, sacral interior design and phenomen? in court art canons of the last Romanov?s and Karadjordjevic?s dynasties are insufficiently researched. By using the concrete monuments, mostly in Russian style, Russian symbolism and Art Nouveau, but also the court canon at the turn of the century in Russia through the works of Russian emigrants after the October revolution in Serbia during the 1920s and 1930s, the use of Russian pictorial features and cultural models adapted to Serbian demands is going to be demonstrated.
42
Shopina, E., and M. Markova. "KASLI ART CASTING TECHNOLOGY." Technical Aesthetics and Design Research 2, no. 2 (December 16, 2020): 29–36. http://dx.doi.org/10.34031/2687-0878-2020-2-2-29-36.
Full textAbstract:
The Kasli art casting technology is characterized by its uniqueness; the products are distinguished by precision of execution and uniqueness of style. The Kasli Casting Plant occupies a well-deserved first place in Russia in terms of quality and quantity of products. The object of the research is the features of each of the stages when creating of Kasli castings, as well as the distinctive features of the art casting technology. As a result of the study, the conclusion was formulated that the historical role of Kasli art casting is its influence on the decorative and applied art of Russia. According to the authors, the Kasli plant influenced the further production of castings, producing high-quality products with careful study of details, ensuring a high level of quality for the foundry workers
43
Zhang, Yinran. "The specifics of modern vocal variety art in Russia." Vestnik of Saint Petersburg State University of Culture, no. 3 (52) (2022): 171–76. http://dx.doi.org/10.30725/2619-0303-2022-3-171-176.
Full textAbstract:
Vocal pop art is a fundamentally important social institution that is very actively functioning in the modern system of Russian culture. During his research, the author comes to conclusions about the versatility and multifunctionality of modern vocal pop art in Russia, its enormous ideological and applied significance for the current and future development of society. In addition to a considerable number of positive development prospects, it is also noted that in this context there are certain problematic sectors, such as the stereotypical perception of pop songs by ordinary people and some researchers, insufficient elaboration of didactic (including methodological) methods of teaching student vocalists, insufficient attention of reference groups to the huge creative and ideological potential of this type of musical art. The main conclusion of the author was that vocal pop art is a strategically significant resource for the development of domestic cultural capital.
44
Andrianova, Irina, Elena Vyal, Marina Zavarkina, and Lyubov Alekseeva. "A WORD FROM THE EDITORS." Проблемы исторической поэтики 20, no. 1 (June 2022): 7–8. http://dx.doi.org/10.15393/j9.art.2022.11103.
Full textAbstract:
The articles included in the second issue of "The Problems of Historical Poetics" for 2022 are dedicated to the 60th anniversary of the deputy editor-in-chief of the journal, one of the leading experts on ancient Russian literature Alexander Pigin. These articles were written by his colleagues and students from different cities of Russia and are related to his scientific interests and activities.
45
Fu, Li. "Features of Professional Individuality of Chinese Students in Russian Art Universities." Педагогика и просвещение, no. 3 (March 2022): 49–59. http://dx.doi.org/10.7256/2454-0676.2022.3.38441.
Full textAbstract:
The article provides a comparative analysis of the role of the professional personality of the future artist-teacher in the professional education of China and Russia in order to build an effective process of training Chinese specialists in Russian universities. In accordance with this , the Russian and Chinese interpretation of the concepts is given: "professional individuality" and "individual educational route". The subject of the study is the study of the role of the development of an educational route in the process of training artistic personnel. The hypothesis of the study is that in order to successfully achieve pedagogical goals in working with Chinese students, it is necessary to take into account the options for building individual educational routes in Chinese universities. It also substantiates the need for drawing up educational routes in art universities, taking into account the ethnocultural and ethnopsychological characteristics of Chinese-speaking students, which is the key to the development of individuality in the profession and subsequent adaptation to the realities of their native country. Similar studies have not been undertaken in Russian before in relation to students from China studying in a modern Russian university specializing in artistic specialties. These materials can be used in the preparation of curricula and educational programs in art and pedagogical universities of Russia, taken into account in further studies of the adaptation of foreign students.
46
Vildanova, Tatyana V. "Russian Folk Art in Its Connection with the Artistic Tradition of Ancient Russia." Университетский научный журнал, no. 68 (2022): 189–95. http://dx.doi.org/10.25807/22225064_2022_68_189.
Full text
47
Rusanova, Nina E. "Assisted reproductive technologies in Russia: medical breakthroughs and social problems." Population and Economics 4, no. 4 (December 31, 2020): 5–18. http://dx.doi.org/10.3897/popecon.4.e58271.
Full textAbstract:
The paper considers the role of assisted reproductive technologies in changing the qualitative and quantitative characteristics of Russian fertility. The author analyzes the quantitative and qualitative characteristics of ART in Russia in 1986-2020, their public perception and current problems based on the data of national ART registers, reviews of international professional associations of reproductive specialists, secondary sociological information and hospital statistics. The general trend is the expansion of the geography of reproductive centers and the diversification of services, but the growing demand for ART as methods of alternative conception in the absence of reproductive disorders intensifies public debate around them, especially in the context of religion and children’s health. Nevertheless, in conditions of low fertility, the state considers ART as instruments of a pronatal demographic policy and finances them even against the backdrop of the coronavirus pandemic.
48
Koptseva, Natalya P. "Regional Art Studies in Modern Russia (Introductory Article)." Journal of Siberian Federal University. Humanities & Social Sciences 15, no. 1 (January 2022): 04–08. http://dx.doi.org/10.17516/1997-1370-0872.
Full textAbstract:
The introductory article reveals the principles of forming a science direction, dedicated to the theory and history of arts, for the journal of the Siberian Federal University «Humanities & Social Sciences». To analyze the topical problems of regional scientific schools of contemporary Russian art history, several principles were chosen: geographical (when studies are presented by regions where the corresponding scientific schools are developing), historical (in accordance with the problems characteristic of one or another significant era in the history of world and domestic art), conceptual (in accordance with the basic ideas, theories, concepts that are shared by the authors), thematic (uniting scientists dealing with similar art history issues). The main approaches of the authors, the topics of their articles, art history ideas and theories that they develop are presented. At this point the schools of Russian art history are associated with the cities of Moscow, St. Petersburg, Chelyabinsk and Krasnoyarsk
49
Bykova, Iuliia Igorevna. "To the question of creation of Great Imperial Crowns in Russia in the XVIII century." Человек и культура, no. 5 (May 2020): 54–75. http://dx.doi.org/10.25136/2409-8744.2020.5.33920.
Full textAbstract:
The object of this research is the Great Imperial Crowns of the Russian monarchs in the XVIII century. The goal consists in clarification of the circumstances of creation and existence of the Great Imperial Crowns in Russia during this period, determination of their artistic peculiarities, and analysis these regalia as the works of jewelry art with consideration of stylistic evolution. For achieving the goal, the complex method based on the synthesis of art and historical-cultural approaches is applied. The author refers to a range of sources: unpublished archival documents, memoirs of the contemporaries, and visual material. This article presents a first comprehensive study on creation of the Great Imperial Crowns in Russia. The examines archival documents allow specifying names of the artists who created these regalia, many of which are introduced into the scientific discourse for the first time. The analysis of artistic image of Great Imperial Crowns is carried out. The research demonstrates that in the XVIII century this image transformed under the influence of stylistic preferences in the Russian art culture, as well as due to succession of the court jewelers who belonged to different jewelry schools. Up until Paul I of Russia, who made these regalia hereditary, the Great Imperial Crowns were usually taken apart after the coronation ceremony they were made for.
50
He, Xing. "Chinoiserie in Russian culture before XX century." World of Russian-speaking countries 4, no. 10 (2021): 127–41. http://dx.doi.org/10.20323/2658-7866-2021-4-10-127-141.
Full textAbstract:
The article deals with the content and meaning of the Chinoiserie art style, which appeared in Europe in the 17th century and is based on traditional Chinese culture. It has distinct Chinese features and reflects a lot of Chinese elements. Chinoiserie still has a great influence on world culture in various spheres of art. The main focus is on the formation and spread of chinoiserie in Russia, which was related to the beginning of the Enlightenment era, the development of Chinese-Russian trade, and the published works on sinology that appeared at that time. In addition, the geographical proximity of the two countries is also considered a major factor in the spread of chinoiserie in Russia. There are several stages in the existence and evolution of chinoiserie in Russia: the era of Emperor Peter the Great (18th century), when elements of Chinese architecture, sculpture, art, clothing, decor and ornaments, household items and utensils appeared. At the same time there also appeared imitations of Russian masters of Chinese decorative and applied arts. During this period of time, ordinary people are also introduced to Chinese items and products, such as cotton cloth, silk, porcelain, tea, rhubarb, etc., which are now an integral part of life in Russia. The next era of introducing Chinese culture is the 19th century. It is connected with the spread of international relations and political ties. But chinoiserie evolution at this time was no longer as rapid and multifaceted as it had been a century earlier. The author concludes that chinoiserie reached its peak in Russia in the XVIII century, gradually began to decline in the XIX century, but in the XX century and nowadays it is becoming popular again.