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Dissertations / Theses on the topic 'Soviet art'
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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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Budrytė, Kristina. "Lithuanian Abstract painting in Soviet period." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20090312_110650-92526.
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The Aim of the research is to define and analyse works of Lithuanian abstract painting during the Soviet period by establishing and comparing the diversity of criticism and practices of abstract art in Lithuania over several decades (from the end of the 1950s to the 1980s).
In this thesis abstract paining is treated as a radical artistic reaction in Lithuania in terms of its theoretical and historical characteristics, and the general artistic context during the Soviet period is analysed in terms of socio-political issues. This is a study of the most celebrated examples of Western European art (also American art) presenting the most recent tendencies that developed out of them and juxtaposing it with the Central European culture (as the area of Soviet influence). Western European culture and its artistic movements were a complete opposition to the artificially built Eastern Block during the Soviet period. The forced separation of this period defined its unique qualities that found one expression in Central Europe and a different one in countries occupied by the Soviets (eg. in Lithuania); it also formed the position of freedom of an alternative art. Whereas in the West abstraction, in its own time, was the great boom of modernism because it freed painting from the traditional language of ‘representation’ and illustration, in Lithuania, in its local context, it had more functions: it was considered to be the great achievement of late modernism that helped to discover newer than... [to full text]Disertacijos santraukoje nurodomi analizuoti Lietuvos abstrakčiosios tapybos kūriniai sovietmečiu, išskiriant ir lyginant kelių dešimtmečių (nuo šeštojo pabaigos iki devintojo) dailės ir dailės kritikos įvairovę Lietuvoje. Abstrakčioji tapyba, peržvelgus jos teorinius ir istorinius akcentus, vertinama kaip radikali meninė reakcija Lietuvoje, o bendras meninis kontekstas sovietmečiu analizuojamas iš sociopolitikos problematikos perspektyvos. Tai Vakarų Europos (bei iš JAV atkeliavusių) žymiausių pavyzdžių analizė, pateikianti išsivysčiusias iš jų naująsias tendencijas ir Vidurio Europos (kaip sovietmečio įtakos lauko) kultūrų sugretinimas. Visiška priešingybe sovietmečio dirbtinai suręstam Rytų blokui buvo Vakarų Europos kultūra ir jų meninės srovės. Priverstinis to laikotarpio atskyrimas nulėmė savitumus, vienaip pasireiškusius Vidurio Europoje, kitaip – sovietų okupuotose šalyse (pvz., Lietuvoje), ir iššaukusius kitokio meno laisvės poziciją. Vakaruose abstrakcija buvo modernizmo suklestėjimas, tai reiškė išsivadavimą iš tradicinės dailės kalbos, susijusios su vaizdo atvaizdavimu. Lietuvoje abstrakcijos apraiškos turėjo ir kitokių funkcijų: plastinės meninės kalbos įvairove buvo bandoma paneigti priverstinai primestą socrealizmo ideologiją. Disertacijos santraukoje atskleidžiamos Lietuvos abstrakčiosios tapybos formavimosi prielaidos ir galimybės. Abstrakčiosios tapybos užuomazgos –– S. Kisarauskienės, V. Kisarausko darbų pavyzdžiai, J. Švažo, L. Katino ir kt. tapyba XX... [toliau žr. visą tekstą]
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Harrison, Richard W. "The development of Russian-Soviet operational art, 1904-1937, and the imperial legacy of Soviet military thought." Thesis, King's College London (University of London), 1994. https://kclpure.kcl.ac.uk/portal/en/theses/the-development-of-russiansoviet-operational-art-19041937-and-the-imperial-legacy-of-soviet-military-thought(5800e0a9-42d4-44bf-ad6d-1f24bf63729f).html.
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Davis, Randy. "BAKHTIN’S CARNIVALESQUE: A GAUGE OF DIALOGISM IN SOVIET AND POST-SOVIET CINEMA." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3442.
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This dissertation examines fifteen films produced in seven political eras from 1926 thru 2008 in Soviet / Post-Soviet Russia. Its aim is to determine if the cinematic presence of Bakhtin’s ten signifiers of the carnivalesque (parody, death, grotesque display, satirical humor, billingsgate, metaphor, fearlessness, madness, the mask, and the interior infinite) increase in their significance with the historical progression from a totalitarian State (e.g., USSR under Stalin) to a federal semi-residential constitutional republic (e.g., The Russian Federation under Yeltsin - Putin). In this study, the carnivalesque signifiers act as a gauge of dialogism, the presence of which is indicative of some cinematic freedom of expression. The implication being, that in totalitarian States, a progressive relaxation of censorship in cinema (and conversely, an increase in cinematic freedom of expression) is indicative of a move towards a more representative form of governance, (e.g., the collapse of the totalitarian State). The fifteen films analyzed in this study include: Battleship Potemkin (1925), End of St. Petersburg (1927), Chapaev (1934), Ivan the Terrible, Part II (1946, released in 1958), Spring on Zarechnaya Street (1956), The Cranes are Flying (1957), Stalker (1979), Siberiade (1979), The Legend of Suram Fortress (1984), Repentance (1984, released in 1987), Cold Summer of 1953 (1987), Little Vera (1988), Burnt by the Sun (1994), House of Fools (2002) and Russian Ark (2002). All fifteen films were produced in the Soviet/Post-Soviet space and directed by Russian filmmakers; hence, the films portray a distinctly Russian perspective on reality. These films emphasize various carnivalesque features including the reversal of conventional hierarchies, usually promoting the disprivileged masses to the top, thus turning them into heroes at the expense of traditional power structures.
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Buhler, Clinton J. "Life Between Two Panels: Soviet Nonconformism in the Cold War Era." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366080515.
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Goff, Samuel Alec. "Physical culture and the embodied Soviet subject, 1921-1939 : surveillance, aesthetics, spectatorship." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/273344.
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My thesis examines visual and written culture of the interwar Soviet Union dealing with the body as an object of public observation, appreciation, and critique. It explores how the need to construct new Soviet subjectivities was realised through the figure of the body. I explore the representation of ‘physical culture’ (fizkul’tura), with reference to newspapers, specialist fizkul’tura and medical journals, and Party debates. This textual discourse is considered alongside visual primary sources – documentary and non-fiction film and photography, painting and sculpture, and feature films. In my analysis of these visual primary sources I identify three ‘categories of looking’ – surveillance, aesthetics, and spectatorship – that I claim structure representations of the embodied Soviet subject. My introduction incorporates a brief history of early Soviet social psychological conceptualisations of the body, outlining the coercive renovative project of Soviet subjectification and introducing the notion of surveillance. My first and second chapters explore bodily aesthetics. The first focuses on non-fiction media from the mid- to late-1920s that capture the sporting body in action; this chapter introduces the notion of spectatorship and begins to unpack the ideological function of how bodies are observed. The second further explores questions of bodily aesthetics, now in relation to fizkul’tura painting and Abram Room’s 1936 film, Strogii iunosha. My third chapter looks at fizkul’tura feature films from the mid- 1930s to explore how bodies were related to social questions of gender and sexuality, including marriage and pregnancy. My final chapter focuses on cinematic representations of football from the late 1930s and the relationship between bodies on display and onlooking crowds. These two chapters together indicate how the dynamic between the body and its spectator (whether individual or in a group) was reimagined in the late interwar years; the body’s aesthetic appeal is now of little importance compared to its ability to constitute a public subjectivity through the manipulation of emotion, trauma, and pathos.
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Brewin, Jennifer Ellen. "Navigating 'national form' and 'socialist content' in the Great Leader's homeland : Georgian painting and national politics under Stalin, 1921-39." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/290266.
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This thesis examines the interaction of Georgian painting and national politics in the first two decades of Soviet power in Georgia, 1921-1939, focussing in particular on the period following the consolidation of Stalin's power at the helm of the Communist Party in 1926-7. In the Stalin era, Georgians enjoyed special status among Soviet nations thanks to Georgia's prestige as the place of Stalin's birth. However, Georgians' advanced sense of their national sovereignty and initial hostility towards Bolshevik control following Georgia's Sovietisation in 1921 also resulted in Georgia's uniquely fraught relationship with Soviet power in Moscow in the decades that followed. In light of these circumstances, this thesis explores how and why the experience and activities of Georgian painters between 1926 and 1939 differed from those of other Soviet artists. One of its central arguments is that the experiences of Georgian artists and critics in this period not only differed significantly from those of artists and critics of other republics, but that the uniqueness of their experience was precipitated by a complex network of factors resulting from the interaction of various political imperatives and practical circumstances, including those relating to Soviet national politics. Chapter one of this thesis introduces the key institutions and individuals involved in producing, evaluating and setting the direction of Georgian painting in the 1920s and early 1930s. Chapters two and three show that artists and critics in Georgia as well as commentators in Moscow in the 1920s and 30s were actively engaged in efforts to interpret the Party's demand for 'national form' in Soviet culture and to suggest what that form might entail as regards Georgian painting. However, contradictions inherent in Soviet nationalities policy, which both demanded the active cultivation of cultural difference between Soviet nationalities and eagerly anticipated a time when national distinctions in all spheres would naturally disappear, made it impossible for an appropriate interpretation of 'national form' to be identified. Chapter three, moreover, demonstrates how frequent shifts in Soviet cultural and nationalities policies presented Moscow institutions with a range of practical challenges which ultimately prevented them from reflecting in their exhibitions and publications the contemporary artistic activity taking place in the republics of the Caucasus and Central Asia. A key finding of chapters four and five concerns the uniquely significant role that Lavrenty Beria, Stalin's ruthless deputy and the head of the Georgian and Transcaucasian Party organisations, played in differentiating Georgian painters' experiences from those of Soviet artists of other nationalities. Beginning in 1934, Beria employed Georgian painters to produce an exhibition of monumental paintings, opening at the Tretyakov Gallery in Moscow in 1937, depicting episodes from his own falsified history of Stalin's role in the revolutionary movement in Transcaucasia. As this thesis shows, the production of the exhibition introduced an unprecedented degree of direct Party supervision over Georgian painting as Beria personally critiqued works by Georgian painters produced on prescribed narrative subjects in a centralised collective studio. As well as representing a major contribution to Stalin's personality cult, the exhibition, which conferred on Georgian painters special responsibility for representing Stalin and his activities, was also a public statement of the special status that the Georgians were now to enjoy, second only to that of the Russians. However, this special status involved both special privileges and special responsibilities. Georgians would enjoy special access to opportunities in Moscow and a special degree of autonomy in local governance, but in return they were required to lead the way in declaring allegiance to the Stalin regime. Chapter six returns to the debate about 'national form' in Georgian painting by examining how the pre-Revolutionary self-taught Georgian painter, Niko Pirosmani, was discussed by cultural commentators in Georgia and Moscow in the 1920s and 30s as a source informing a Soviet or Soviet Georgian canon of painting. It shows that, in addition to presenting views on the suitability of Pirosmani's painting either in terms of its formal or class content, commentators perpetuated and developed a cult of Pirosmani steeped in stereotypes of a Georgian 'national character.' Further, the establishment of this cult during the late 1920s and early 1930s seems to have been a primary reason for the painter's subsequent canonisation in the second half of the 1930s as a 'Great Tradition' of Soviet Georgian culture. It helped to articulate a version of Georgian national identity that was at once familiar and gratifying for Georgians and useful for the Soviet regime. The combined impression of cultural sovereignty embodied in this and other 'Great Traditions' of Soviet Georgian culture and the special status articulated through the 1937 exhibition allowed Georgian nationalism to be aligned, for a time, with support for Stalin and the Soviet regime.
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Holland, Nicole Murphy. "Worlds on view visual art exhibitions and state identity in the late Cold War /." Diss., [La Jolla] : University of California, San Diego, 2010. http://wwwlib.umi.com/cr/ucsd/fullcit?p3397171.
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Thesis (Ph. D.)--University of California, San Diego, 2010.Title from first page of PDF file (viewed March 30, 2010). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references.
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Dyshlyuk, Liubov <1987>. "Soviet Cinema in Italy in the Post-War Period (1950-1970)." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amsdottorato.unibo.it/8226/1/dyshlyuk_liubov_tesi.pdf.
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The doctoral dissertation develops the Italian-Soviet relations in cinema in the post-war years and the history of the Soviet cinema presence in Italy. Interdisciplinary character of the research united history and cinema in that period of the XXth century when culture totally depended on the geopolitical situation. The object of the work was the historical material connected with the presence of Soviet cinema in Italy that have not yet been studied and united in one work. There was done an archival work in order to find out all the Soviet cinema festivals that appeared in Italy in the mentioned period in different Italian cities, their organizers, distributors and the amount of the spectators involved. It became clear what films arrived from the USSR, what impression they made on Italian critics and spectators. For that purpose the Italian mass media of the period was also studied. The fullest list of films made in Italian-Soviet co-production and their stories from both points of views was also one of the research’s results. As well as the first time revealed from the Venice Film Festival’s archive the detailed list of the Soviet films and their awards. The archive work and bilateral relations studies demanded several methodological approaches to be used: comparative historical method, text-based method and problematic chronological method. The research made it possible to follow the whole dynamics of the Italian-Soviet cinema processes from the total absence in the beginning of 1950s to the cinema festivals and co-productions. The contribution of the prominent figures in building those bilateral relations was also reflected in the dissertation. Important task was realized by uniting Italian and Russian archival and scientific sources and could be used in future by cinema experts interested in the Soviet cinema presence in European countries or in Italian cinema distribution, circuits, etc.
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Nobre, Maria José. "Inner speech as the basis for artistic conceptualization : Soviet psycholinguistics and semiotics of art /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487323583620267.
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Ratanova, Maria. "The Soviet Political Photomontage of the 1920s. the Case of Gustav Klucis." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493382.
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The Soviet political photomontage, as a turn “from faktura to factography,” is sometimes viewed as a compromise that the constructivists had to make to meet the aesthetic and informational needs of their new audience, the proletarian masses. I argue that it was an expansion of the constructivist paradigm, and that throughout the 1920s Soviet photomontage was not only feeding on the principles of analytical art, but in a sense became their ultimate expression. Gustav Klucis, a pioneer of the Soviet political photomontage, and the hero of my dissertation, stated in his theoretical writings, that photomontage is the form of analytical art. The hybrid genre of photomontage was in fact a result of the constructuvists’ search for an adequate form to interpret political reality. In the case of Klucis photomontage was anything but a direct and simple agitational genre.
I prove that in Klucis’s agitational photomontage the radical constructivist form and the factographic material were organically intertwined. There was never a forced incorporation of ideology into an elaborate geometric construction. On the contrary, contemporary life and current political events captured by the artist-photographer’s camera, served as a catalyst for invention of new forms. I argue that the political photo-slogan-montage invented by Klucis emerged from his earlier experimental “small architecture” created in 1922: agitational kiosks, stands for slogans, podiums, and ‘radio-orators.’
I focus in particular on the series of Klucis’s constructivist photomontages of the 1920s: illustrations to Molodaya Gvardia, and the series of illustrations to Mayavovsky’s poem Lenin. The idea of depicting Lenin as iconoclast and the productivist artists’ ally in their project of rebuilding the entire world led Klucis to challenge the boundaries of his art. The Lenin series, one of the most complex examples of constructivist photomontage of the 1920s, demonstrates close affinities of photomontage with the avant-garde poetry of Mayakovsky, the constructivist theater of Vsevolod Meyerhold and set designer Liubov Popova, and Dziga Vertov’s avant-garde film.Slavic Languages and Literatures
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Gnezdilova, Anastasia. "Sculptor Nina Slobodinskaya (1898-1984). Life and search of creative boundaries in the Soviet epoch." Doctoral thesis, Universitat de Girona, 2015. http://hdl.handle.net/10803/334701.
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Nina Konradovna Slobodinskaya - sculptor of Soviet epoch and space. Her creative work embraces more than 50 years and mirrors all artistic tendencies, actual subjects, main sculptural genres of the most contradictory, bloody period of XX century.
Undoubtedly, the artist belongs to her time, sensitively facing and reacting at issues and challenges posed by the epoch, reflecting them in her artworks. However, the sculptor was able to become an independent master, choosing deeply human and supertemporal subjects in her creative work. Finally, following her proper artistic inclinations she contradicted the strict artistic rules of the Soviet reality. Hence, Nina Slobodinskaya opposed herself to the State’s demands, dooming her creative work to the social disregard and ignoration, and therefore was consigned to the oblivion.
Noble by origin, being a part of Russian cultural intelligentsia (writers, artists, philosophers, scientists), she was capable to adapt and transmit her world vision’s beliefs into sculptures, enriching them with symbolical multi-level content. Accordingly, discovering a sculptor with a proper artistic vision and a developed individual style we also bring to light the philosophical and spiritual beliefs of Russian cultural elite, which by their system of values still belonged to the former Imperial Russia and, therefore, was condemned to the extermination by Lenin’s and Stalin’s policy.Aquesta tesi doctoral estudia l’obra de Nina Konradovna Slobodinskaya (1898-1984), escultora a l’època soviètica. La seva obra creativa abraça més de 50 anys i inclou totes les tendències artístiques, temes actuals i tota classe de gèneres culturals en el període més contradictori i sanguinari de l’art rus del segle XX. Nina Slobodinskaya és una artista del seu temps, que va reaccionar als reptes del moment i que va saber reflectir-ho en les seves obres. No obstant, encara que es trobés immersa en plena era soviètica, va crear de manera independent, escollint temes humanistes i atemporals. Com que va seguir les seves pròpies inclinacions artístiques, va contradir les estrictes normes soviètiques, es va oposar a seguir els dictàmens artístics de l’Estat, i això va fer que se la menystingués i se la ignorés, i va caure a l’oblit. D’origen noble i pertanyent al cercle d’artistes, filosofs, esculptors i escriptors de l’ elit cultural russa, va saber captar i transmetre els seus valors i la seva visió del món a les seves escultures; les va enriquir amb un profund contingut simbòlic i espiritual. D’aquesta manera descobrim una escultora amb una visió artística pròpia i un estil individual que ens porta a entreveure creences espirituals i filosòfiques, inherents a la tradició russa, que pel seu sistema de valors encara pertanyia a la Rússia imperial que, per tant, va estar condemnada a l’extermini per les polítiques de Lenin i Stalin
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Budrytė, Kristina. "Lietuvos abstrakčioji tapyba sovietmečiu." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20090312_110911-83759.
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Disertacijoje apibrėžiami ir analizuojami Lietuvos abstrakčiosios tapybos kūriniai sovietmečiu, išskiriant ir lyginant kelių dešimtmečių (nuo šeštojo pabaigos iki devintojo) dailės ir dailės kritikos įvairovę Lietuvoje.
Abstrakčioji tapyba, peržvelgus jos teorinius ir istorinius akcentus, vertinama kaip radikali meninė reakcija Lietuvoje, o bendras meninis kontekstas sovietmečiu analizuojamas iš sociopolitikos problematikos perspektyvos. Tai Vakarų Europos (bei iš JAV atkeliavusių) žymiausių pavyzdžių analizė, pateikianti išsivysčiusias iš jų naująsias tendencijas ir Vidurio Europos (kaip sovietmečio įtakos lauko) kultūrų sugretinimas. Visiška priešingybe sovietmečio dirbtinai suręstam Rytų blokui buvo Vakarų Europos kultūra ir jų meninės srovės. Priverstinis to laikotarpio atskyrimas nulėmė savitumus, vienaip pasireiškusius Vidurio Europoje, kitaip – sovietų okupuotose šalyse (pvz., Lietuvoje), ir iššaukusius kitokio meno laisvės poziciją. Vakaruose abstrakcija buvo modernizmo suklestėjimas, tai reiškė išsivadavimą iš tradicinės dailės kalbos, susijusios su vaizdo atvaizdavimu. Lietuvoje abstrakcijos apraiškos turėjo ir kitokių funkcijų: plastinės meninės kalbos įvairove buvo bandoma paneigti priverstinai primestą socrealizmo ideologiją.
Disertacijoje gilinamasi į Lietuvos abstrakčiosios tapybos formavimosi prielaidas ir galimybes. Abstrakčiosios tapybos užuomazgos –– S. Kisarauskienės, V. Kisarausko darbų pavyzdžiai, J. Švažo, L. Katino ir kt. tapyba XX amžiaus šeštojo... [toliau žr. visą tekstą]The Aim of the research is to define and analyse works of Lithuanian abstract painting during the Soviet period by establishing and comparing the diversity of criticism and practices of abstract art in Lithuania over several decades (from the end of the 1950s to the 1980s). In this thesis abstract paining is treated as a radical artistic reaction in Lithuania in terms of its theoretical and historical characteristics, and the general artistic context during the Soviet period is analysed in terms of socio-political issues. This is a study of the most celebrated examples of Western European art (also American art) presenting the most recent tendencies that developed out of them and juxtaposing it with the Central European culture (as the area of Soviet influence). Western European culture and its artistic movements were a complete opposition to the artificially built Eastern Block during the Soviet period. The forced separation of this period defined its unique qualities that found one expression in Central Europe and a different one in countries occupied by the Soviets (eg. in Lithuania); it also formed the position of freedom of an alternative art. Whereas in the West abstraction, in its own time, was the great boom of modernism because it freed painting from the traditional language of ‘representation’ and illustration, in Lithuania, in its local context, it had more functions: it was considered to be the great achievement of late modernism that helped to discover newer than... [to full text]
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Choate, Ksenia. "From "Stalinkas" to "Khrushchevkas": The Transition to Minimalism in Urban Residential Interiors in the Soviet Union from 1953 to 1964." DigitalCommons@USU, 2010. https://digitalcommons.usu.edu/etd/628.
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During the shift from the rule of Joseph Stalin to that of Nikita Khrushchev, people in the Soviet Union witnessed dramatic political, economic, and social changes, evident even in such private aspects of life as residential home interiors. The major architectural style of Stalin's era, known as Stalin's Empire Style, was characterized by grandeur and rich embellishments. The buildings' interiors were similarly grandiose and ornate. By endorsing this kind of design, Stalin attempted to position himself as an heir of classical traditions, to encourage respect for his regime, and to signal his power. When Nikita Khrushchev became the country's leader shortly after Stalin's death in 1953, he proclaimed that "excessive decorations" were not only unnecessary, but harmful. As a result, the standardized panel buildings produced at his initiative were defined by straight, plain lines, and were devoid of literally any architectural details that were not considered functional. These changes in Soviet architecture were reflected in interior design and furnishings: the minimalist aesthetic became their defining characteristic. The purpose of this study is to gain, through examination of existing literature, new insight into why a transition to a minimalist aesthetic was happening in the 1950s and 1960s in Soviet urban interior design. To achieve this goal, the present thesis analyzes works by contemporary scholars on the subject and examines statements the Soviet government as well as Soviet architects and interior decoration specialists made regarding the state's views on architecture and interiors during the period of 1950-1960. While research has been published that explores some aspects of this stylistic transition, the present work is unique in that it identifies and focuses on three distinct reasons for the change to minimalism in Soviet urban residential interiors under Khrushchev: the deficit of apartment space, reduction of construction costs, and ideological motives.
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Banko, Vitaliya. "Visual representation of gay-and-lesbian communities in the post-Soviet space." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130731_115742-80270.
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The subject of master work is homosexuality.
Main goals: clearly represent such topics as homosexual communities, discrimination, love, sex, individual alienation; to show more exposed and more honest version of individuality, personal features, that could be built only on individual preferences and life experience; examine the origins of the phenomenon of "homophobia" by analyzing the concept of "sexuality" and "homosexuality" in the Soviet era; the causes of lack of knowledge or awareness on homosexual topic in the post-soviet time; analyze how "authoritative importunity" of public conscience cultivates homophobic reactions; present a final project in the format of photo-book that could be a “deconstructor“ of the logic of public thinking towards the perception of LGBT-communitis in Belarus and Lithuania.
Visual representation: a series of photographs of homosexual people , mostly portraits, that clearly represents each person’s identity and unique features of character with strong attempt of understanding a contradictory of individual essence and personal establishment. The project is represented as a photo-book under the name “Sweet dreams“.
The master work is focused on: the sphere of homophobic problematic with the help of photo-visual explanation of personal meaningfulness and importance in social being and everyday life development without any references to stigmatic dogmas of sexual orientation that still save unreasonable character... [to full text]Darbo tikslas - pristatyti tokias temas kaip homoseksuali visuomenė, diskriminacija,meilę,individualus atsiskyrimas.
Итак, исходя из сказанного выше, необходимо обозначить, что объект магистерской работы – гомосексуальность. Целью работы является привлечение внимание общественности к проблеме “закрытости” гомосексуалов на постсоветском пространстве, а также связанных с этим ряде других факторов, оказывающих негативное влияние на формирование гомосексуальной идентичности. Задачи, которые необходимо рассмотреть в данной работе, заключаются в следующем: исследовать истоки формирования такого явления как “гомофобия”, анализируя понятие “сексуальности” и “гомосексуальности” в эпоху советскости; также причины нехватки знания или осведомленности общества по вопросам гомосексуального характера в постсоветское время; проанализировать, каким образом “властная навязчивость” общественного сознания культивирует гомофобную реакцию; представить итоговый проект в формате фото-книги, который бы являлся “деконструктором” логики общественного мышления по отношению к ЛГБТ-сообществам Литвы и Беларуси. Визуальными средствами репрезентации является постановочная фотография, фото-книга. Проект ориентирован на широкую аудиторию таких стран, как Литва и Беларусь. Магистерская работа может быть полезна людям, работающим в сфере фотографии, дизайна, работникам по гендерной теории, студентам художественных специальностей.
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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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Spjut, Annilyn Marie. ""How in This Cruel Age I Celebrated Freedom": Aesopian Subversion in Nikolai Ulyanov's Painting for the 1937 Pushkin Centenary." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6342.
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Painted in 1937 as part of the centenary celebration of the death of Alexander Pushkin, Nikolai Ulyanov's A. S. Pushkin and his Wife, N. N. Pushkina at the Imperial Ball has been lauded as the quintessential example of Soviet history painting. Modern scholars have followed the lead of Soviet critics, who praised the painting for its insight into the psychology of the brilliant poet repressed by the tyrannical tsarist regime. According to this interpretation, Soviet viewers in the 1930s were to ponder on the tragedy of Pushkin's demise and rejoice that the victory of Socialism had freed them from such repression. However, this thesis suggests that Ulyanov embedded a secondary, subversive message in his masterpiece. Through careful manipulation of Pushkin's complex semiotic significance, Socialist Realist dialectics, and the Aesopian method, Ulyanov crafted an image that could be celebrated for its adherence to Soviet ideology, while simultaneously suggesting to those who detected his clues that artistic repression had not ended with the revolution. In this subversive reading, Ulyanov's masterwork becomes a psychological self-portrait of an artist living under Stalinist oppression during the Great Terror.
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Kivimaa, Katrin. "Nationalism, gender and cultural identities : the case of Estonian art from the impact of modernity to the post-Soviet era 1850-2000." Thesis, University of Leeds, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402534.
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Trankvillitskaïa, Tatiana. "Sous l'oeil des instances officielles : la coopération entre peintres français et soviétiques dans l'entre-deux-guerres." Thesis, Lille 3, 2014. http://www.theses.fr/2014LIL30056.
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Cette thèse analyse les échanges artistiques entre la France et l’URSS durant l’entre-deux-guerres, leurs rouages et les avantages mutuels qu’ils présentent. Cette période connaît quatre phases successives, ce qui permet de découper la recherche en autant de parties. La première étudie la période d’avant la reconnaissance de l’URSS par la France et la mise en place des relations diplomatiques (avant 1924) ; la deuxième se penche sur les premiers liens officiels qui suivent ladite reconnaissance (1925-1928) ; la troisième s’intéresse aux années 1928-1934, période du « Grand Tournant » dans l’économie soviétique, et enfin la quatrième englobe les années qui suivent l’instauration du réalisme socialiste en 1934 et se termine avec la guerre. Notre projet tente d’évaluer la pertinence de l’approche stéréotypée portant sur le lien entre art et idéologie, de voir si la peinture soviétique, telle que présentée lors des expositions en France, était similaire à celle exposée en URSS et constituait un outil de propagande à part entière. Sous quelle forme l’art soviétique est-il présenté en France et quel est le rôle des instances dans la mise en place de ces manifestations ? Il s’agit d’étudier le rôle des acteurs de ces échanges : instances étatiques, associations, galeries, spécialistes d’art, intellectuels, collectionneurs ou enfin les artistes eux-mêmes. Nous nous intéressons également aux expositions d’artistes français et à l’organisation de leurs voyages en URSS. Ce travail montre que les maillons de la chaîne « politique-idéologie-finances » sont intimement liés entre eux et que l’argent a souvent un rôle décisif pour les instances soviétiquesThis dissertation focuses on artistic exchange between France and the USSR in the interwar period, its mechanisms and the benefits it presented. This period can be divided into four successive phases, accounting for the four parts this research falls into. The first part studies the years leading up to the recognition of the USSR by France and the setting up of diplomatic relations (prior to 1924); the second part deals with the first official links following the recognition (1925-1928); the third part focuses on the years 1928-1934, a period of economic change also known as « the Great Turn » in Soviet economy and the fourth and final part spans the years after socialist realism was established from 1934 on up to the outbreak of the war. This research questions the stereotypical approach to the link between art and ideology and asks whether Soviet painting, as shown during exhibitions in France, was similar to that shown in the USSR and whether it was, or not, a sheer tool for propaganda. Under what form was Soviet art presented in France and what role did authorities play in organizing artistic events? The role played by the actors of this exchange is studied: state authorities, associations, art galleries, art specialists, intellectuals, collectors, intellectuals, and last but not least the artists themselves. Also studied are the exhibitions of French artists and how their trips to the USSR were organized. This research shows that politics, ideology and money are tightly linked together and that money played a decisive role for Soviet authorities
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Žuramskienė, Eglė. "Sovietinio vitražo likimas." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140703_155250-29366.
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Po nepriklausomybės atgavimo, daugelį pastatų privatizavus, atsirado grėsmė juose esantiems dailės kūriniams. Svarbus yra ir visuomenės požiūris į sovietinį, mums svetimą, paveldą. Vitražai išmontuojami vien todėl, kad primena praeitį. Be politinių aspekto, Sovietinio paveldo išlikimą lemia ir ekonominiai veiksniai. Daug kur vitražai išmontuoti renovuojant pastatus ir teisinantis, kad jų restauracijai trūksta lėšų.
Nors sovietmetis tituluojamas lietuviško vitražo „aukso amžiumi”, dabartinė šio laikotarpio kūrinių padėtis sudėtinga. Pradėjus išsamiau domėtis sovietinio vitražo dabartine būkle susiduriama su medžiagos trūkumu.
Renkant medžiagą apie sunaikintus, restauruotus vitražus iškilo ir paveldo apsaugos klausimas. Kaip ir kiek sovietinį paveldą įstatymais gali apsaugoti valstybė ir ar gali tuo pasirūpinti pats darbų autorius.
Pirmoje darbo dalyje aptariamas sovietinis vitražas ir jo klestėjimo prielaidos, trumpai supažindinama su tuo metu kūrusiais vitražistais, jų ryškiausias darbais. Išskiriamos dvi pagrindinės prielaidos: valstybiniai užsakymai ir glaudus architektų bei vitražistų bendradarbiavimas. Pateikiama ryškesnių to meto architektų ir vitražistų bendradarbiavimo pavyzdžių.
Antroje darbo dalyje aprašomi sovietinių vitražų sunaikinimo, rekonstravimo, perkėlimo atvejai. Pateikiama sunaikintų, rekonstruotų vitražų pavyzdžių. „Išlikusių vitražų pavyzdžiai ir objektyvios jų išlikimo sąlygos. Nagrinėjamos vitražo sunaikinimo priežastys.
Trečioje darbo... [toliau žr. visą tekstą]A lot of public places there privatized after the restoration of independence in Lithuania. A real threat occurred for monumental artworks in architecture after the biulding was privatized. In this situation a public opnion about soviet heritage is really important. Despite the political aspect, there is economical factors as well. Stained glass windows, can’t be fixed because of lack of finance. Though soviet times in Lithuania was „golden age“ for stained glass it has real preservation problem in nowdays. There is a lack of information about these days soviet stained glass situation. The first part of this work contains short history of soviet stained glass and the sources of prosperity. There was two main assumptions for prosperity of stained glass in soviet times: first was orders from soviet goverment and the second was artist and architectures cooperation. The exposition part is illiustration about stained glass destruction, and real situation of soviet stained glass in these days. The final part of the work is about the heritage of soviet art works and preservation of stained glass.
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Kazakova, Ekaterina. "La figure de la victime : un nouvel idéal artistique? : La (re) construction des imaginaires nationaux des états post-soviétiques à la Biennale de Venise (1993-2015)." Thesis, Université Grenoble Alpes, 2020. http://www.theses.fr/2020GRALH018.
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Les Etats post-soviétiques participent à la Biennale d’art contemporain de Venise depuis les années 1990. Ils ont montré, dans les pavillons nationaux, tout au long de leur participation et de manière récurrente, des images de souffrance physique, de catastrophe sociale et de traumatisme politique. Ce thèse vise à analyser les causes possibles d’une telle insistance sur la représentation de la catastrophe en les liant aux enjeux politiques, économiques et artistiques qui déterminent, pour ces Etats, leur participation aux foires artistiques internationales.Ces pays post-soviétiques vérifient, en premier lieu une transformation radicale de la culture politique moderne: en quelques décennies, l'idéal orienté vers un avenir de progrès et de liberté a été remplacé par la célébration douloureuse d’un passé décliné sous une forme victimaire. Une telle transformation s'est accompagnée d'un changement de certains idéaux sociaux caractéristiques de la mythologie communiste : "Au centre de la culture historique moderne n'est plus l'idéal du héros, mais l'idéal de la victime". Le statut privilégié de la victime dans les années 1990 a créé alors de nouvelles formes d'auto-représentation et de politique identitaire : l'Arménie, un pays avec une longue tradition de souffrances depuis le génocide du début de siècle, ou les pays baltes, après l'effondrement de l'Union soviétique, ont construit leur identité sur le rôle de victime, en transformant l'histoire traumatique de la répression stalinienne et de l'occupation soviétique en glorification collective du passé misérable de leur peuple... Des expositions pour la Biennale illustrent visuellement, et avec une ferveur presque religieuse, cette histoire sacrificielle, représentant la résistance à la violence et le catastrophe vécu par le peuple comme origine héroïque de la naissance des nations. La célébration des catastrophes fonde une nouvelle conception de l'identité nationale. L'histoire traumatique, encore activement présente dans la mémoire vivante des contemporains, est transformée en objet esthétique et incluse dans le système international des manifestations artistiquesThe post-Soviet states have been participating in the Biennale of Contemporary Art in Venice since the late 1990s. They have constantly shown, in their national pavilions and throughout their participation, images of physical and social suffering and trauma. The PHD project analyse the possible causes of such an insistence on the representation of the suffering of people by linking them to the political, economic and artistic stakes that determine, for these states, their participation in international art fairs.These post-Soviet countries mainly deal with a general phenomenon which in political science has been called the conflict or the competition of victims. Victims compete for a bigger role in social memory. The historian Martin Sabrov asserts that a radical transformation of modern political culture took place: within a few decades, the ideal oriented towards a future of progress and freedom has been replaced by the painful celebration of a past haunted by victimhood. Such a transformation was accompanied by a change in certain social ideals characteristic of communist mythology: “At the center of modern historical culture is no longer the ideal of the hero, but the ideal of the victim.” The privileged status of the victim in the 1990s created new forms of self-representation and identity politics: Armenia, a country with a long tradition of suffering since the genocide of the turn of the century, and the Baltic countries, after the collapse of the Soviet Union built their identities on the role of the victim, transforming the traumatic history of Stalinist repression and the Soviet occupation into a collective glorification of the miserable past of their people. Exhibitions for the Biennale illustrate visually, and with almost religious fervour, this sacrificial history, representing the resistance to violence and the miserable destiny of the people as the heroic origin of the birth of nations. The celebration of heroic and miserable victims is the foundation of a new conception of national identity. Traumatic history, still actively present in the living memories of contemporaries, is transformed into an aesthetic object and included in the international system of artistic manifestations
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Ziada, Hazem. "Gregarious space, uncertain grounds, undisciplined bodies the Soviet avant-garde and the 'crowd' design problem." Diss., Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/39599.
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This thesis proposes a theoretical framework for spatial inquiry into conditions of radical social gregariousness, through probing the crowd design problem in the work of the Soviet Rationalist architects (1920s-30s) - particularly their submissions to the Palace of Soviets competition (Moscow 1931-3). Legitimizing the crowd construct as an index of collective consciousness, and examining the early-modern revolutionary crowd's struggles for proclaiming its self-consciousness, this thesis investigates the interwar political phenomenon of amassing large crowds within buildings as a device for constructing collective social relations.
The research project is divided into two main parts. The first is concerned with the crowd design problem, identifying this problem not just as the technical task of accommodating large political crowds, but as the basis of the formulation a new kind of conceptual intent in architecture. Finding the competition brief inadequate to in-depth formulation, the thesis investigates three primary sources for the crowd design problem: mass-events, revolutionary-theatre and revolutionary-art. Four components comprise the Crowd Design Problem each seeking legitimacy in the mass of crowd-bodies: i) the problem of crowd configurations; ii) challenges from the kinesthetic-space conception evoked by theatrical director V.E. Meyerhold's Biomechanics; iii) the legitimacy of 'the object' within a spatial-field of intersubjectivity; and iv) the challenge of 'seeing' crowds from immersive viewpoints counteracting representational filters of class privilege.
Part-II focuses on the response of the Rationalists--one of the groups participating in the competition--to the crowd design problem. The study unearths in their designs a logic of space-making founded in the construction of inter-subjective states of consciousness radically different from prevailing individualistic conceptions of social space. To explain this logic of space-making, it proposes the notion of Gregarious Space--a theoretical framework of inquiry into what Marx called "species-being", taking radical gregariousness as the primary, generative condition of society. Besides drawing on morphological principles, social theory, historical analyses, and philosophical reflections, the notion of Gregarious Space is found to be particularly amenable to design propositions. Within the proposed theoretical framework, the Rationalists' design-proposition of curved-grounds, dense notations, textured co-visibilities and empathetic graphic conventions - all comprise a founding spatial-principle trafficking in rhythmic fields between subjects and against non-commodified objects: a principle which challenges the material domain of Productivist Constructivism as well as Historical Materialism's canonical constructs of alienation. Moreover, its uncertain kinesthetics sustain dynamic, aleatory states of consciousness which subvert prevailing disciplinary techniques of Panopticon inspection.
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Arūnienė, Jovita. "Sovietmečio vaistinių architektūra ir interjerai Lietuvoje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120621_102625-62571.
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Šiame darbe pristatoma Lietuvos sovietmečio vaistinių architektūra ir interjerai. Šios anksčiau nenagrinėtos temos atskleidimas turi didelę reikšmę mūsų tautos kultūros paveldo išsaugojimui. Darbe apžvelgti trys vaistinių architektūrai ir interjerui svarbūs laikotarpiai: pokaris – iki 1960-jų metų, modernizmas – nuo 1960 iki 1970-jų metų ir vėlyvasis modernizmas – nuo 1970 iki 1990-jų metų. Šiame darbe nagrinėjamos vaistinių architektūros ir interjerų vystymosi tendencijos priklausomai nuo tuo metu Lietuvoje buvusių ekonominių ir politinių sąlygų, išsamiai pateiktas ir normatyvinis dokumentas, reglamentavęs vaistinių kūrimą bei veiklą. Darbe panaudota daug neskelbtos informatyvios medžiagos iš pokalbių su išlikusių vaistinių savininkais bei nuotraukų, kurios pačios magistrantės padarytos dar išlikusiose sovietmečio vaistinėse. Darbas gausiai iliustruotas nuotraukomis, kurios pateikiamos kataloge. Šis darbas kultūros paveldo ir turizmo sferų darbuotojams gali pasitarnauti kaip autentiškos informacijos šaltinis.The present paper focuses on the review of the architecture and interior design of pharmacies built during the Soviet era. The recollection of this hardy researched topic is of utmost importance in terms of the preservation of our cultural heritage. The paper reviews three important historical periods which particularly influenced the architecture and the interior design of pharmacies, namely the postwar period until 1960, the modern period from 1960 till 1970, and the late modern period from 1970 till 1990. The paper analyzes the developmental trends of the architecture and interior design of pharmacies within the given periods of time in the context of the economic and political background that prevailed in Lithuania at each particular time. The laws and legal regulations that governed the establishment and operation of pharmacies during those times are also discussed in detail. The master thesis includes a lot of previously unpublished informative materials gathered in during the interviews with the owners of the still operating pharmacies as well as the unique pictures taken by the writer of the paper in the Soviet era pharmacies. The study includes many photographs which are enclosed in a catalog. The present study may be used as a source of authentic information for those who are employed in the fields of cultural heritage and tourism.
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Benjaminson, Eric. "The Soviet Critique of a Liberator's Art and a Poet's Outcry: Zinovii Tolkachev, Pavel Antokol'skii and the Anti-Cosmopolitan Persecutions of the Late Stalinist Period." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23907.
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This thesis investigates Stalin’s post-WW2 anti-cosmopolitan campaign by comparing the lives of two Soviet-Jewish artists. Zinovii Tolkachev was a Ukrainian artist and Pavel Antokol’skii a Moscow poetry professor. Tolkachev drew both Jewish and Socialist themes, while Antokol’skii created no Jewish motifs until his son was killed in combat and he encountered Nazi concentration camps; Tolkachev was at the liberation of Majdanek and Auschwitz. Both men were excoriated during the “anti-cosmopolitan” campaign. Using primary sources, I examine their art and the balance between Judaic and Soviet references, the accusations made and the connections between the attacks, the Holocaust, and Soviet paranoias of that era. While anti-Semitism played a role, I highlight the authorities’ reaction to their style and content. This moment in cultural policy was part of a continuum of reactions to World War II and included themes that went beyond the native anti-Semitism of the period.
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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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Gudelytė, Indrė. "Architekto Justino Šeiboko kūryba." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100803_110143-32939.
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Baigiamajame darbe ne tik nagrinėjama J. Šeiboko kūryba, bet ir perteikiamos architekto įžvalgos skirtingų sociokultūrinių laikmečių kontekste, nušviečiama J. Šeiboko pedagoginė veikla, pateikiami kolegų komentarai analizuojamais klausimais. Darbas atskleidžia architekto kūrybinius principus, J. Šeiboko kūrybos vertę ir jai kylančias išlikimo grėsmes. Yra daroma išvada, kad J. Šeiboko kūriniai - vertingi architektūriniu, meniniu požiūriu ir tai yra svarus indėlis į šiuolaikinę Lietuvos architrektūrą. Baigiamojo darbo įvade aprašomas darbo aktualumas ir ištirtumas, tikslas, tyrimo uždaviniai, įvardijami moksliniai nagrinėjimo metodai. Pirmajame skyriuje pateikiama J. Šeiboko kūrybos analizė – aprašomi ne tik ryškiausi, bet ir ne tokie žinomi J. Šeiboko architektūros objektai, atskleidžiamas jo kūrybinės asmenybės vystymasis. Antrame skyriuje į skirtingų laikmečių sociokultūrinį, politinį kontekstą stengtasi pažvelgti ne tik remiantis literatūroje dėstomais faktais, bet ir gretinant juos su J. Šeiboko architekto ir pedagogo įžvalgomis. Darbo pabaigoje formuluojami apibendrinimai. Darbą sudaro: įvadas, du skyriai, apibendrinimai, J. Šeiboko darbų sąrašas, literatūros ir šaltinių sąrašas, iliustracijų sąrašas bei priedas. Darbo apimtis: 90 p. teksto be priedų, 165 iliustracijos, 77 bibliografiniai šaltiniai, priedas.The final thesis approaches the creation of the architect J. Šeibokas as well as his insights in the context of divers sociocultural periods. In addition, the pedagogical activity of the architect is described and the comments of the colleagues are presented in correspondence to some analysed points. The Master paper reflects the essential principles of architect‘s creation and similarly proves the value of J. Šeibokas‘ creation and its survival threats. The main conclusion is, that the works of J. Šeibokas are architecturally and creatively valuable. Consequently, the creation of this architect is a weighty contribution to the contemporary Lithuanian architecture. The introduction of this research work defines the relevance and the exploration level of the Master thesis, the object, the goals and the methods of research used. The introduction also indicates the sources coherent to the research object. The first part of the Master paper is the analysis of J. Šeibokas‘ creation, where not only his most outstanding architectural objects are approached, but also less significant works, thus the development of the architects creative „self“ is revealed. In the second chapter the author of the final thesis intended to take a broader look to the divers sociocultural-political context with reference to J. Šeibokas‘ point of view as an architect as well as a professor. Lastly, the summation of the whole research is stated. Structure: introduction, two chapters, summation, the list of... [to full text]
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Songailaitė, Lina. "Šeimos portetas." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120702_111243-79281.
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Trijų dalių tapybos kolekcija „Šeimos portretas“ – tai tremtį išgyvenusių vyro ir žmonos psichologinis portretas. Kūrybinė interpretacija paremta sovietinio laikotarpio nuotraukomis. Tapybos darbuose keliama problema – skaudžios tremtinių patirties vaizdavimas. Politiniu, istoriniu, teisiniu atžvilgiu svarbi tema lemia archyvuojamų dokumentų saugojimą, žiniasklaidos aktyvumą, asmeninių patirčių pasakojimus, - atvirą galimybę menininkams įvairiai interpretuoti tremties temą – vaizduoti įvykius, procesus, padarinius, abstrahuoti, apibendrinti tikrovę ir individualias patirtis. Kolekcijos „Šeimos portretas“ temai atspirties tašku tapo fotografo V. Stanionio 1947 metų fotosesija, skirta naujų pasų nuotraukoms. To meto įvykiai susiję su masiniu trėmimu. Kūrybinė medžiaga kaupiama įvairiais būdais: skaitmenine spauda, vaizdą perkeliant ant drobės, grafiškų atspaudų kūrimu, tapybos variantų ieškojimu, schemų sudarymu kompiuterinėmis programomis (Photoshop, Corel Draw). Galutinis darbas atliekamas drobėje, aliejiniais dažais. Trijų dalių tapybos kolekcija atliekama 140 x 100 cm formate. Kompozicija artima altorinei, ji yra centrinė, uždara. Koloritas analogiškas nespalvotai fotografijai. Dramatiška šviesokaita, niaurių šešėlių pritvinkusiu fonu, siekiama išryškinti trapią nuotraukų šviesą. Baltais, tuščiais fragmentais kalba nyki tyla. Tremtis – šeimos, žmonijos laikmečio tamsi dėmė, prisiminimų ir vilties šviesoje.The three-part paintings' collection called "The Family Portrait" is the psychological portrait of the family witch survived the exile. Creative interpretation is based on the Soviet period photographs. The problem posed by paintings is to depict painful experience of persons who survived an exile. Politically, historically, legally important issue determined archived documents storage, information motion, media activity, personal experiences. Stories became the open opportunity for the artists to interpret the theme of exile in different various ways – as the events, the processes or the effections. Abstract and summed up reality becames an individual experience. The starting point for the collection is 1947-th photo session for the new passports organised by photographer V. Stanionis. The recent events related to the mass deportations. The creative material is collected in various ways: by digital printing, an image transphered into the canvas, by graphically print design, by search options for painting plasics, schemes projected by computer software (Photoshop, Corel Draw). The final work is done on canvas using oil paints. Every three-piece collection takes 140 x 100 cm size. Composition close to the altar, it is a central and enclosed. The colours were chosed similar to the blac-white photography. The dramatic change of the concrasts, somber shadows filled up the background highlights the delicate images of the light. White and empty fragments speaks about the... [to full text]
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Vitols, Maruta Zane. "From the Personal to the Public: Juris Podnieks and Latvian Documentary Cinema." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1210796660.
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Michelkevičius, Vytautas. "Photography as medium dispositif in the 1960s–80s in Lithuania." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20101001_150550-76904.
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The doctoral thesis deals with a methodological problem of analyzing photography. The argumentation is built on assumption that analysis of a content of a medium (in this case: photography) alone is unable to reveal important social and political aspects of the medium. Therefore an integral analysis of medium and its context is indispensable. Combination of approaches used in communication and media studies, philosophy, and art history lets to define the notions of dispositif and medium, which lead to construction and operationalization of a model of medium dispositif. The model is used for research and analysis of power relations around photographical discourse in Lithuania in 1960s–1980s.
Research material gathered while interviewing relevant actors in the field and analyzing visual and textual archives lets to define the dispositif of photography of the time period chosen as the a particular actor-network. The analysis reveals how the network of art photography developed, how it became stable and irreplaceable, what was its impact on specific mode of use of photography, so called photo-art, and formation of common photographical style, The School of Lithuanian Photography. The institutional role of Society of Art Photography, its interaction with communicational conventions (eg. Social Realism), philosophical statements, and the whole photographical discourse are taken into particular account. The analysis and combination of different elements, constituting photographical... [to full text]Disertacijoje sprendžiama kompleksiškos fotografijos analizės metodologijos problema. Remiamasi prielaida, kad analizuojant vien medijos (šiuo atveju fotografijos) turinį, neįmanoma atskleisti svarbių socialinių ir politinių medijos aspektų. Todėl siekiama analizuoti pačią mediją kartu su jos kontekstu. Derinant komunikacijos bei medijų mokslų, filosofijos ir menotyros prieigas suformuojamos dispozityvo ir medijos sampratos, kurias jungiant sukonstruojamas ir operacionalizuojamas medijos dispozityvo modelis. Šis modelis yra taikomas Lietuvos fotografijai XX a. septintajame–devintajame dešimtmetyje analizuoti ir diskursą formavusiems galios santykiams atskleisti. Pasitelkiant interviu su fotografijos veikėjais ir fotografijų bei tekstinių šaltinių interpretaciją išanalizuojamas pasirinkto laikotarpio fotografijos dispozityvas, kuris apibrėžiamas kaip veikėjas-tinklas. Disertacijoje atskleidžiama, kaip formavosi fotografijos meno tinklas, kaip jis tapo stabiliu ir nepakeičiamu, kaip jis konstravo ir reguliavo specifišką fotografijos vartojimo būdą – fotomeną ir vientisą stilių – Lietuvos fotografijos mokyklą. Analizuojant ir jungiant skirtingus fotografijos medijos elementus, siekiama parodyti priežastingumo ryšius tarp estetinių, politinių ir socialinių fotografijos aspektų. Disertacijoje nagrinėjamas institucijos (Fotografijos meno draugijos) vaidmuo bei jos sąveika su komunikacinėmis konvencijomis (pvz., socrealizmo stiliumi), filosofinėmis nuostatomis ir fotomeno diskursu.
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Pihalskaya, Ala. "Формы репрезентации повседневности в белорусском плакате 1966-1980 годов." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130627_103154-50380.
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В исследовании Формы репрезентации повседневности в белорусском плакате 1966-1980 годов Пигальской Аллы, ставится цель выявить формы репрезентации повседневности в белорусских плакатах, в период наиболее массового их выпуска на территории Беларуси.
Исследование базируется на антрополого-социологической трактовке повседневности Мишеля де Серто; анализе визуальной репрезентации, согласно конструктивистскому подходу визуальных исследований Стюарта Холла с элементами семиотического анализа фигуративного и пластического уровней визуального сообщения.
Исследование культуры повседневности М. де Серто как одновременное существование устной и письменной парадигм, задающих логику выполнения разрозненных повседневных практик, позволил рассматривать белорусские плакаты в контексте устного и письменного типов коммуникаци. Письменный тип коммуникации актуализирует культурные механизмы, которые структурируются относительно “закона”, частной собственности, дифференциации пространства, техник индивидуализации. Устный тип коммуникации ориентирован на воспроизведение знакомого и понятного, поддерживающего целостность коллектива, в котором недопустимо нарушение “неписанных” правил и норм. Доминирование устной парадигмы в советской культуре позволяет реконструировать логику выполнения художественных практик.
В исследовании показано, что использование в белорусском плакате 1966-1980-х фигуративных и пластических средств обусловлено доминированием устной парадигмой, поэтому характерны... [полный текст, см. далее]Alos Pihalskayos tyrime Kasdienybės reprezentavimo formos Baltarusijos plakatuose 1966-1980 metais keliamas tikslas išryškinti kasdienybės reprezentavimo formas Baltarusijos plakatuose, aktyviausiu jų leidybos periodu Baltarusijos teritorijoje. Tyrimas yra tarpdisciplininio pobūdžio, nes remiasi Michelio de Certeau pasiūlyta antropologine-sociologine kasdienybės traktuote; vizualinio reprezentavimo analize, kuri atitinka Stuarto Hallo konstruktyvistinį požiūrį į vizualinius tyrimus, turintį semiotinės figūratyvinio ir plastiško vizualinio pranešimo lygmenų analizės elementų. M. de Certeau požiūris į kasdienybės kultūrą kaip į kartu egzistuojančias žodinę ir rašytinę paradigmas, lemiančias skirtingų kasdienybės praktikų įgyvendinimo logiką, leido pažvelgti į baltarusiškus plakatus žodinės ir rašytinės komunikacijos tipų kontekste. Rašytinės komunikacijos tipas aktualizuoja kultūrinius mechanizmus, kurie struktūriškai siejasi su „teise“, privačia nuosavybe, erdvės diferencijavimu, individualizacijos technikomis. Žodinis komunikacijos tipas orientuotas atkartoti tai, kas žinoma ir suprantama, kas palaiko kolektyvo vientisumą, jame neleistina pažeisti „nerašytų“ taisyklių bei normų. Žodinės paradigmos dominavimas sovietinėje kultūroje leidžia rekonstruoti meninių praktikų atlikimo logiką. Tyrime parodyta, kad figūratyvinių ir plastiškų priemonių 1966-1980 m. baltarusiškuose plakatuose naudojimą sąlygojo žodinės paradigmos dominavimas, todėl jiems būdingi nekintantys teksto ir... [toliau žr. visą tekstą]
The aim of the dissertation Forms of Everyday Representation in Belarus posters 1966-1980 completed by Ala Pihalskaya, is to identify forms of representation of the everyday in Belarusian posters, when they were most actively produced on a mass scale in Belarus. The research is interdisciplinary in nature, since it is based on the anthropological and sociological interpretation of the everyday proposed by Michel de Certeau, while the analysis of visual representation is made according to the constructivist approach in visual studies developed by Stuart Hall, with elements of the semiotic analysis of the figurative and plastic levels of the visual message. The analytical model of the investigation of everyday life proposed by Michel de Certeau, which posits the simultaneous existence of oral and written paradigms that explain the logic of disparate everyday practices, make it possible to study Belarusian posters in the context of oral and written types of communication. The written paradigm actualizes cultural mechanisms that are structured according to "law", private property, the "conquest" of space and individualization, while the oral paradigm is focused on the repetition of the familiar. In a culture where the oral type of communication dominates, "law" and private property do not matter, whereas everything that can maintain the integrity of the collective as a unity is highly appreciated. The study shows that the figurative and plastic properties conform to the oral... [to full text]
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Walworth, Catherine. "Making Do for the Masses: Imperial Debris and a New Russian Constructivism." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366044910.
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Lovell, Stephen. "The Russian reading revolution : print culture in the Soviet and post-Soviet eras /." London : New York : Macmillan : School of Slavonic and East European studies, University of London ; St. Martin's press, 2000. http://catalogue.bnf.fr/ark:/12148/cb37108403k.
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Kho, Song-Moo. "Koreans in Soviet central Asia /." Helsinki : Finnish Oriental society, 1987. http://catalogue.bnf.fr/ark:/12148/cb35823281z.
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Zweerde, Evert van der. "Soviet philosophy, the ideology and the handmaid : a historical and critical analysis of Soviet philosophy with a case-study into Soviet history of philosophy /." Nijmegen : E. van der Zweerde, 1994. http://catalogue.bnf.fr/ark:/12148/cb358090865.
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Fitzpatrick, Robert Shane. "The Helsinki final act and human rights in Soviet-American relations." Thesis, University of Edinburgh, 1989. http://hdl.handle.net/1842/18882.
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Clark, Rhonda (Rhonda Ingold). "The Communist Party and Soviet Literature." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc500452/.
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The Communist Party's control of Soviet literature gradually evolved from the 1920s and reached its height in the 1940s. The amount of control exerted over Soviet literature reflected the strengthening power of the Communist Party. Sources used in this thesis include speeches, articles, and resolutions of leaders in the Communist Party, novels produced by Soviet authors from the 1920s through the 1940s, and analyses of leading critics of Soviet literature and Soviet history. The thesis is structured around the political and literary developments during the periods of 1917-1924, 1924-1932, 1932-1941, and 1946-1949. The conclusion is that the Communist Party seized control of Soviet literature to disseminate Party policy, minimize dissent, and produce propaganda, not to provide an outlet for creative talent.
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Whitefield, Stephen. "Industrial power and the Soviet State /." Oxford : Clarendon press, 1993. http://catalogue.bnf.fr/ark:/12148/cb35626720h.
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Arns, Inke. "Objects in the mirror may be closer than they appear." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2004. http://dx.doi.org/10.18452/15154.
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Die Dissertation untersucht einen Paradigmenwechsel in der Rezeption der historischen Avantgarde in (medien-)künstlerischen Projekten der 1980er und 1990er Jahre in Ex-Jugoslawien und Russland. Dieser Paradigmenwechsel liegt im veränderten Verhältnis zum Begriff der (politischen wie künstlerischen) Utopie begründet. In den 1980er Jahren zeichnet sich die Rezeption sowohl im sogenannten sowjetischen Postutopismus (Il’ja Kabakov, Ėrik Bulatov, Oleg Vasil’ev, Komar & Melamid, Kollektive Aktionen) als auch in der jugoslawischen Retroavantgarde (NSK, Mladen Stilinović, Malevič aus Belgrad etc.) durch ein ‚diskursarchäologisches’ Interesse an potentiell totalitären Elementen der Avantgarde aus. Seit Beginn der 1990er Jahre lässt sich eine signifikant veränderte Rezeption der historischen künstlerischen Avantgarde in Projekten junger KünstlerInnen aus dem östlichen Europa festellen (Neoutopismus, Retroutopismus). Die Utopien der Avantgarde werden im sogenannten Retroutopismus (Marko Peljhan, Vadim Fishkin) nicht mehr primär mit totalitären Tendenzen gleichgesetzt, sondern sie werden jetzt vor allem auf ihre medientechnologischen Projektionen und Entwürfe durchgesehen. Diese wurden nicht nur von einzelnen Avantgarde-Künstlern und –Theoretikern (Velimir Chlebnikov, Bertolt Brecht), sondern auch von Wissenschaftlern und Ingenieuren (Nikola Tesla, Herman Potočnik Noordung) am Anfang des 20. Jahrhunderts entwickelt. In den 1990er Jahren wird in künstlerischen Projekten somit ein verstärktes medienarchäologisches Interesse für frühe utopische Technologiephantasien der Avantgarde wahrnehmbar, das symptomatisch für ein signifikant verändertes Verhältnis zur Utopie bzw. zum Utopischen ist: Das Utopische löst sich von seinem eindeutig negativen, da politisch-totalitären Beigeschmack (verstanden als ‚Utopismus’) und wird wieder verstärkt positiv politisch konnotiert, d.h. als emanzipatives oder auch visionär-gespinsthaftes Potenzial verstanden (‚Utopizität’).The dissertation researches a paradigmatic shift in the way artists reflect the historical avant-garde in visual and media art projects of the 1980s and 1990s in (ex-)Yugoslavia and Russia. The reasons for this paradigm shift can be found in the changing relationship to the notion of utopia, both in its political and its artistic connotation. In the 1980s, the reception both in so-called Soviet postutopianism (Il’ja Kabakov, Ėrik Bulatov, Oleg Vasil’ev, Komar & Melamid, Kollektive Aktionen) and in the Yugoslav retro-avant-garde (NSK, Mladen Stilinović, Malevič from Belgrads etc.) is characterized by a ‘discourse archeological’ interest in the potentially totalitarian elements of the avant-garde. Yet this point of view changes fundamentally during the 1990s in a younger generation of artists (neoutopianism and retroutopianism). Retroutopianism (Marko Peljhan, Vadim Fishkin) no longer primarily equates the utopianism of the avant-garde with totalitarian tendencies, but is reexamined with regard to its media-technological projections and designs, which were not only developed by individual avant-garde artists and theoreticians (Velimir Khlebnikov, Bertolt Brecht) but also by scientists and engineers during the early 20th century (Nikola Tesla, Herman Potočnik Noordung). Artistic projects of the time reveal an increasing ‘media-archeological’ fascination for the avant-garde's early utopian fantasies of technology. This fascination, in turn, is symptomatic for a significant change in the relationship to utopia and utopian thinking on the whole: utopian thinking per se separates from its unambiguously negative, political-totalitarian aftertaste (understood as 'utopianism') and takes on a new positive political connotation. It is now understood as an emancipatory or visionary-spectral potentiality ('utopicity').
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Aka, Philip Chukwuma. "Soviet Cultural Diplomacy in the Middle East: a Case Study of USSR'S Cultural Relations with Egypt and Syria, 1955-1971." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc500642/.
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This study examines the nature and patterns of Soviet cultural activities in Egypt and Syria, the motivations behind those activities, and the contribution of the Soviet cultural effort toward the attainment of overall Soviet Middle East policies. Chapter I provides background information on Soviet-Arab relations, and in Chapter II Soviet objectives in the Middle East are examined. Chapter III identifies the important components of the Soviet cultural instrument in Egypt and Syria. Chapter IV assesses the contribution made by the cultural tool toward the attainment of Soviet objectives in Egypt and Syria. Finally, Chapter V demonstrates that the Soviet cultural enterprise exerted little impact on overall Soviet policy in the Middle East.
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Almquist, Peter. "Red forge : Soviet military industry since 1945 /." New York (N.Y.) : Columbia university press, 1990. http://catalogue.bnf.fr/ark:/12148/cb355310463.
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Shepherd, David. "Beyond metafiction : self-consciousness in Soviet literature /." Oxford [GB] : Clarendon press, 1992. http://catalogue.bnf.fr/ark:/12148/cb35688877g.
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Nirula. "India and the Soviet Union, 1917 to 1947 /." New-Delhi : A. P. H, 2005. http://catalogue.bnf.fr/ark:/12148/cb410009363.
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Merritt, Sydnee. "Putin's Invisible Hand: Why are GONGOs Increasingly Resurfacing under the Putin Administration?" Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/521.
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Government Organized Non-Governmental Organizations (GONGOs), once common during the Soviet-era, are now increasingly resurfacing under the Putin administration. Once completely abolished from Russia, these deceitful organizations are accompanying various new laws signed by President Putin in the Russian Federation. While Russia does not claim to be a liberal democracy with a free civil society and Putin has described his state as a “managed democracy,” the puzzle still remains why the Putin administration is secretly using organizations to fulfill government ploys. This thesis will analyze the types of GONGOs along with new laws and policies signed into effect under the Putin and Medvedev Administration. I conclude this thesis by partially confirming my hypothesis that president Putin is rationally choosing to create these organizations in an effort to consolidate his power and promote Russian culture.
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Al-Imam, Jamal D. "U.S. Foreign Policy and the Soviet Gas Pipeline to Western Europe." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc663015/.
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This paper surveys U.S. foreign policy in the late 1970s and early 1980s as the American administration reacted to the Soviet Union's interventions in Afghanistan and Poland and to its planned gas pipeline to Western Europe. Chapter I outlines the origins of the pipeline project; Chapters II and III describe U.S. foreign policy toward the Soviets during the Carter and Reagan administrations. Chapter IV focuses on the economic sanctions imposed against the Soviet Union by the United States and their failure to block or delay the pipeline, and Chapter V stresses the inability of economic sanctions-- in this and other instances--to achieve political ends.
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Lackey, Chad. "Topical, Conceptual, and Theoretical Diversity in American Sociological Sovietology." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc935580/.
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Sociology has remained for years on the fringe of Sovietological pursuits, both quantitatively and qualitatively. Yet, few have made a serious effort to systematically examine sociological Sovietology. To partially compensate for such neglect, this study begins to explore the diversity of what sociology has studied and how it has gone about studying it. Of the fourteen topic areas pursued, only four inspired disagreement and variation. Most sociology has studied the Soviet Union non-comparatively. And the most common theoretical perspective used is the functional perspective. A large number of these functional analyses close upon elements of the political institution without taking full advantage of the various methods and approaches available, sociology's role in American Sovietology will likely remain limited.
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Smith, Austin. "The Red Scare and the BI's Quest for Power: The Soviet Ark as Political Theater." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/6021.
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The Red Scare of 1919-1920 has been presented as a wave of anti-Radical hysteria that swept post WWI America; a hysteria to which the state reluctantly capitulated to by arresting Radicals and deporting those alien Radicals they deemed most threatening. This presentation, however, is ludicrous when the motivations of the state and its conservative allies are examined. The truth of the matter was that almost all of the people targeted by the Red Scare represented no significant threat to the institutions of the United States and were merely targeted for holding Leftwing ideas, or being connected to a group that did. This work examines how the Red Scare deportations were used as a performance to gain power and funding for the Bureau of Investigation and how the Bureau sought to use this performance to set itself up as the premier anti-Radical agency in the United States.
While the topic of the Red Scare of 1919-1920 has been thoroughly covered, most works on the subject attempt to cover the whole affair or even address it as part of a larger study of political repression in the United States. In these accounts these authors do not see the Red Scare as a performance, which culminated in the Soviet Ark deportations, put on by the BI in order to fulfill its goal of expanding its own importance. This work addresses the events leading up to climactic sailing of the Soviet Ark, as political theater put on by the BI and its allies in order to impress policy makers and other conservative interest groups.
Since the Soviet Ark deportations were the climax of the Red Scare performance, this work addresses the event as a theatrical production and follows a three act dramatic structure. It begins by exploring the cast of characters, both individuals and organizations, in the BI's performance. This is followed by an analysis of the rising action of the BI, and other reactionary groups in the evolution of their grand performance. Finally the deportations serve as the climax of the Red Scare in this performance that the BI and its allies would use to justify an expansion of their influence.
Through the use of government records, biographies, and first hand accounts, this work explores the Soviet Ark deportations as the high point of the first Red Scare, the point in which the BI and its allies took their quest for expanded power the furthest before having to change course. The grand performance that the Bureau of Investigation put on is looked at, not as a response to placate others – something the BI was merely swept up in – but as a performance that they designed to meet the specific needs of their campaign to grow their agency, a performance for which they were willing to draft those that represented no real threat despite the consequences to those individuals.M.A.
Masters
History
Arts and Humanities
History; Accelerated MA
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Galaunytė, Aistė. "Postmodernizmo architektūros privatūs gyvenamieji namai Lietuvoje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130621_110828-36685.
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Baigiamajame magistro darbe nagrinėjama postmodernizmo stiliaus raiška privačiuose gyvenamuosiuose namuose Lietuvoje, nuo XX a. 9 dešimtmečio vidurio iki 10 dešimtmečio pabaigos. Siekiant atskleisti šio stiliaus bruožus, specifiką ir kultūrinę reikšmę Lietuvoje darbe analizuojami Vakarų pasaulio (JAV, Vakarų Europos, Japonijos) privačių gyvenamųjų namų etalonai bei sąlygos, nulėmusios jų raidą. Darbe nustatoma, kad to meto socialiniai, politiniai, ekonominiai veiksniai Lietuvoje, iš esmės lėmė ir šios architektūros nepažinimą ir kritišką vertinimą. Daroma prielaida, kad dėl politinių-ekonominių veiksnių, užsienio profesinė periodika buvo viena iš pagrindinių priemonių postmodernizmo architektūrai pažinti. Todėl atliekama privačių gyvenamųjų namų publikuotų užsienio periodiniuose leidiniuose ir Lietuvoje lyginamoji analizė. Nustatomi charakteringiausi Lietuvos postmodernizmo architektūros privačių gyvenamųjų namų bruožai ir jų sąsajos su užsienio architektūra. Iš nagrinėjamų Lietuvos postmodernizmo stiliaus privačių gyvenamųjų namų išskiriami aukšto kokybinio lygio pastatai-etalonai, įvardinamos jų vertingosios savybės.Darbo apimtis – 92 p. teksto be priedo, 57 iliustr., 9 schemos, 99 bibliografiniai šaltiniai, 3 priedai.The goal of Master thesis is to investigate expression and features of postmodern style of private dwelling-houses of Lithuania, from the middle of the 9th decade to the 10th decade of the twentieth century. In order to reveal the characteristics, features and cultural significance of the style in Lithuania, the private dwelling-houses of postmodern style of the Western world (the U.S., Western Europe, Japan) are analyzed, as well as conditions which prompted their development. The paper discusses that the social, political and economic factors of Lithuania at that time, led to the suspicion and critical evaluation of postmodern architecture in general.It is assumed that due to the political-economical factors, the Western magazines were one of the main tools for Lithuanian architects to get to know postmodern architecture. Therefore, a comparative analysis between private dwelling-houses published in foreign periodicals, and of Lithuania, is conducted. Consequently the most common features of private dwelling-houses of postmodern style in Lithuania and their links with Western architecture are determined. Houses of Lithuania of high quality postmodern architecture are named, their valuable properties are defined. Thesis consists of: 92 p. text without extras, 57 pictures., 9 schemes, 99 bibliographical entries, 3 appendixes included.
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Alkan, Özcan Sevinç. "Bir Sovyet mirası : Rus azınlıklar /." İstanbul : Küre, 2005. http://catalogue.bnf.fr/ark:/12148/cb40233515k.
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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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Jakas, Algirdas. "(Ne)išpildytos vietos." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140703_160620-39400.
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Raižau nebaigtus objektus. Pasirinkau Kaliningrade stovinį "Dom Sovietov", jam draugėn atsirado buvusiame Leningrade esantys "Dom Sovietov" (Sovietų namai). Juos jungia ne tik toks pat pavadinimas ,bet ir tai ,kad jie niekada nebuvo iki galo pabaigti - prie pirmojo pastato Kaliningrade darbai sustojo baigus statyti 90 proc. objekto, antrasis ,nors ir baigtas konstrukcine - architektūrine prasme ,niekada nebuvo naudotas pagal paskirtį, kuriai buvo statomas... Taip išsirikiavo vienu ar kitu būdu neužbaigti 7 pastatai - objektai. Vienu atveju tai tik projektas popieriaus lape (administracinis pastatas, planuotas statyti dabartinėje Lukiškių aikštėje) , kitu - vienintelis išlikęs objektas - nuoroda į nepastatytus grandiozinius "Sovietų rūmus". Bandau būti tuo "inžinieriumi", kuris mėgina juos užbaigti raižydamas. Suvienodinu ir nefragmentuoju, sieju juos į visumą ,nesvarbu iš kokio laikmečio šie objektai yra. Aiškinuosi, kokia tų objektų padėtis dabar, žlugus sistemai, ar galima juos atsieti nuo aplinkos ir iš naujo permąstyti ? Prie kiekvieno pastato palieku trumpą jo "biografiją". Taip pat cikle spekuliuoju savo senelio, inžinieriaus, "garbės lenta" - ten įrašau savo vardo raidę , taip ją (lentą) pasisavinu ir jungiu su raižiniais.Print cycle of unfinished soviet era buildings - objects. As example there could be "House of soviets" in Kaliningrad by means of construction unfinished building. In pair to him stands "House of Soviets" in St. Petersburg, in this case building unfinished mentaly. I'm trying to be that engineer who finishes these objects on paper.