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Dissertations / Theses on the topic 'Soviet culture'
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1
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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Widdis, Emma Kathrine. "Projecting a Soviet space : exploration and mobility in Soviet film and culture, 1920-1935." Thesis, University of Cambridge, 1998. https://www.repository.cam.ac.uk/handle/1810/273070.
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Avrutin, Lilia. "The semiotic anthropology of Soviet film culture, 1960s-1990s." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ34731.pdf.
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Chernyshova, Natalya. "Shopping with Brezhnev : Soviet Urban consumer culture, 1964-1985." Thesis, King's College London (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518541.
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The Brezhnev years in the Soviet Union have often been dismissed as an `era of stagnation'. Below the quiet surface of stability, however, a new revolution was threatening Soviet socialism itself: a consumer revolution. This remarkable transformation is the subject of my thesis. The era of consumption was initially signalled by government policies. Consumption and living standards became key policy elements under Khrushchev, most evident in his mass housing campaign. After Khrushchev's dismissal, the emphasis on consumption continued. Indeed, the Soviet elite set a personal example. Leonid Brezhnev's collection of expensive Western cars - the ultimate consumer luxury - included gifts from President Nixon. (Brezhnev specifically requested a sporty Chevrolet Monte Carlo when it was named `the car of the year' by the Motor Trend magazine in 1974.) But the consumer revolution was driven by ordinary people, whose opportunities to consume improved significantly in terms of income and the relative availability of goods. Attitudes to consumption relaxed, encouraged by policies from `above', and demand grew. When consumers' growing expectations clashed with continuing shortages, commodities acquired even greater importance for a supposedly anti-commercial state. My thesis examines this contradiction in both ideology and society with particular emphasis upon consumption practices and attitudes. Arguing that Soviet citizens were turning from good communists into good consumers, it rejects the primacy of high politics. Instead consumption became the most meaningful `politics' on the eve of perestroika, a crucial factor in socialism's disintegration. While the regime's relative tolerance of consumerism initially seemed to buttress the system, it also unleashed consumers' expectations. When economic growth slowed dramatically from the mid-1970s, this increasingly undermined the `deal' and turned consumer discontent into an imminent threat to the government's legitimacy. Gorbachev's opening of the political floodgates facilitated its transformation into a disruptive force that helped topple the regime.
5
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.
6
Oryshchuk, Nataliya. "Official Representation of the Works by Alexander Grin in the USSR: Constructing and Consuming Ideological Myths." Thesis, University of Canterbury. Languages and Cultures, 2006. http://hdl.handle.net/10092/926.
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The present thesis analyzes the cultural image of the Russian neo-Romantic writer Alexander Grin (1880-1932) as it has been constructed by Soviet ideology and received in Soviet popular culture since the late 1950s. The topic of the thesis is unique, and it has not yet been investigated before. The thesis explores three major aspects of Grin's representation in Soviet culture: critical, fictional and cinematic. The first part "Critical representation of Grin's works in the USSR" focuses upon the process of construction and development of ideological "myths about Grin" in the system of Soviet culture. It demonstrates and analyzes the transformation of the official and public attitude to Grin's works from the 1920s to the 1980s. The second part is entitled "Representation of Grin's image in Soviet fiction: Grin as a fictional character". Through the coherent analysis of three Soviet novels (introducing Alexander Grin as a protagonist), it explores the phenomenon of the transformation of both the personal and socio-cultural attitudes to Grin. The fictional works are viewed in chronological order: The Black Sea by Konstantin Paustovsky (Chernoe more, 1935), The Wizard from Gel'-Giu by Leonid Borisov (Volshebnik iz Gel'-Giu, 1944) and The Lord of Chances by Valentin Zorin (Povelitel' sluchaynostey, 1977-79). The third part concentrates entirely on the Cinematic representation of Grin's works on the Soviet screen, analyzing five major film-versions of Grin's works: Scarlet Sails (Alye parusa, dir. Ptushko, 1961), She Who Runs the Waves (Begushchaya po volnam, dir. Lubimov, 1967), Shining World (Blistayushchiy mir, dir. Mansurov, 1984), The Golden Chain (Zolotaya Tsep , dir. Muratov, 1986), Mister Designer (Gospodin oformitel', dir. Teptsov, 1986). The study of Grin's case offers a unique opportunity to investigate how the old ideological myths are occupying the minds of younger generations nowadays. Grin is still a "cult figure" for Russian society, but it remains to be investigated to what extent his contemporary image (and the image of his fiction) is influenced by the old models of the Soviet era.
7
Shin, Boram. "Between the Uzbek and the Soviet : Uzbek identity construction through Soviet culture from the 1930s to 1940s." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709314.
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Zhukova, Tatyana Alexandra. "The gift-giving culture of Anglo-Muscovite diplomacy, 1566-1623." Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/55471/.
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In 1589, the government of Tsar Feodor I of Muscovy returned the gift of golden medals received from Queen Elizabeth I, describing the offending objects as neither commendable nor agreeable. The rejection was accompanied with opprobrious public speeches about the gift's unsuitability and a threat to transfer Muscovite favour unto other European nations if Elizabeth offered no immediate redress. In her defence, Elizabeth argued that diplomatic gifts were to be accepted not in respect of the object itself, but of the royal majesty from whom it was presented. While the episode appears to show a petty squabble over material trinkets, its diplomatic repercussions were significant as the following five years would be dedicated to the repair of Anglo-Muscovite relations. Clearly, gifts were integral to the mechanics of early modern diplomacy. This thesis explores an intriguing, but as yet scarcely studied, facet of diplomatic history: the operation of Muscovite diplomacy prior to the reign of Peter the Great. It focuses on Muscovy's long-term relations with England (Muscovy's first continual diplomatic relationship with a Western European power in the sixteenth century) and examines the exchange of sovereign gifts between the two royal courts. The principal novelty of this research lies in its departure from the anthropological definition of the gift as a 'material' object, instead it argues that non-tangible components, such as royal favours, were also 'gifts', provided they were given willingly, were reciprocated− if not necessarily symmetrically, and created emotional, political and social bonds between the participants. As an example of such intangible gift, this thesis uses the Muscovite zhalovannaia gramota (a charter of mercantile privileges). In this way, the research explores the full range and complexity of diplomatic gift-exchange between the two monarchies in a crucial period of dynastic change in both countries. Frequently, gift-giving is interpreted as either a means of intercultural communication par excellence or, in the case of a rejected gift, as evidence of an inevitable clash of cultures. This thesis, however, demonstrates that diplomatic gift-exchange was a multi-faceted process. Royal intentions were complex and, therefore, required different levels of engagement; their transmission was reliant upon intermediaries (ambassadors), and the reception of gifts was intrinsically linked to diplomatic aims. Secondly, in contrast to the widespread assumption that the diplomatic cultures of England and Muscovy were discordant, day-to-day diplomatic exchanges (including gift-giving) drew the Tsars into a shared ceremonial arena, where other rulers competed for the symbolic resources of sovereignty. The exchange of gifts between the two states facilitated the process of gradual integration of the apparently alien Muscovite Tsar into the English (and essentially European) standardised codes of diplomatic behaviour and ceremonial communication. It was not until the reign of Peter I, however, that the Tsars fully became prominent members of the European society of princes. Diplomatic practice was neither universal nor culturally specific; such assumptions are obstructive to a better understanding of the mechanics of cross-cultural interactions. Ultimately, diplomatic ceremony and gift-giving were driven by notions of sovereign honour and the symbolic language of the court society, and not by political, national or cultural incommensurability. Thus, the foundations of Muscovy's gradual integration into European codes of diplomatic behaviour can be traced to the reign of Ivan IV, and specifically, to the continuous Muscovite diplomatic relationship with the English Crown.
9
Wulf, Meike. "Historical culture, conflicting memories and identities in post-Soviet Estonia." Thesis, London School of Economics and Political Science (University of London), 2006. http://etheses.lse.ac.uk/1874/.
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This study investigates the interplay of collective memories and national identity in Estonia, and uses life story interviews with members of the intellectual elite as the primary source. I view collective memory not as a monolithic homogenous unit, but as subdivided into various group memories that can be conflicting. The conflict line between 'Estonian victims' and 'Russian perpetrators' figures prominently in the historical culture of post-Soviet Estonia. However, by setting an ethnic Estonian memory against a 'Soviet Russian' memory, the official historical narrative fails to account for the complexity of the various counter-histories and newly emerging identities activated in times of socio-political 'transition'. Considering that any national history is above all the tale of the dominant group, a comparative analysis of the different group memories among those debating, teaching and writing Estonian history helps to discover which historical facts were integrated into the official narrative after 1991 and which had to be deliberately omitted. From the life story interviews with over forty intellectuals of Estonian, Russian and Estonian Russian background it transpired that group memories are not determined by ethnic background alone, but that generational factors and the socio-political milieu play as significant a role. In the interviews 'narrative identity' is reconstructed and the intertwined levels of 'communicative memory' and of 'cultural memory' are revealed. Post-Soviet Estonia is a 'nationalising state' with an exclusive ethnic concept of the nation. Estonian identity is based on language, folklore and culture and a long tradition of defining one's identity against the 'other' (i.e. Baltic German, Soviet Russian rule). In contrast to some postmodernists, I argue that it is memories of certain 'formative historical events' that compose one constitutive part of national identity. At the core of Estonia's national narrative lies the story of subjugation and survival; thus events of collective suffering and resistance figure prominently. After 1940 in particular it was up to individual history teachers to convey a more critical view on the past, and it was historians born in the late 1950s who took an active political stance in the move for independence (e.g. Estonian Heritage Society). Quintessentially, historians did not function as 'custodians of counter-memory' during the Soviet period; instead it was through private family memories, underground literature, forbidden books and other sites of counter memory that alternative historical accounts were preserved. This study of emerging collective identities in Estonia is applicable to the larger context of societies in Eastern Europe that have undergone processes of identity-reconfiguration during and after the collapse of the Soviet bloc.
10
Schull, Joseph. "Russian political culture and the revolutionary intelligentsia : the stateless ideal in the ideology of the populist movement." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65974.
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Grözinger, Elvira. "Shternshis, Anna, Soviet and kosher, Jewish popular culture in the Soviet Union 1923-1939. / [rezensiert von] Elvira Grözinger." Universität Potsdam, 2007. http://opus.kobv.de/ubp/volltexte/2008/2251/.
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Rezensiertes Werk:
Shternshis, Anna: Soviet and kosher : Jewish popular culture in the Soviet Union, 1923-1939 / Anna Shternshis. - Bloomington, Ind. : Indiana University Press, 2006. - XXI, 252 S.: Ill.
12
Sundaram, Chantal. "Manufacturing culture, the Soviet state and the Mayakovsky legend, 1930-1993." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ50061.pdf.
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Ekeltchik, Serguei. "History, culture, and nationhood under high Stalinism, Soviet Ukraine, 1939-1954." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ59954.pdf.
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Lukin, Alexander Vladimirovich. "#Democratic' groups in Soviet Russia (1985-1991) : a study in political culture." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339883.
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Geisler, Johanna Conterio. "The Soviet Sanatorium: Medicine, Nature and Mass Culture in Sochi, 1917-1991." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11660.
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In this study, I trace the development and influence of a network of concepts, practices and ideas about nature and health in the Soviet Union from 1917 to 1991 that I call "turning to nature for health." Turning to nature for health sought to reform and re-frame the processes of urbanization and industrialization in Soviet culture. It provided a vocabulary that framed these processes in terms of their influence on health. "Nature" (priroda) was constructed as an antidote to the modern city. In nature, sanatorium visitors sought relief from various "maladies of civilization," understood to result from the poor material conditions, "Americanization," and alienation from nature of urban life. Nature was conceptualized as a source of spiritual renewal, aesthetic pleasure and rest as well as healing and medical therapy. At the center of the culture of turning to nature for health was a constructed division between the profane urban world and the idealized world of nature.History
16
Froggatt, Michael. "Science in propaganda and popular culture in the USSR under Khruschëv (1953-1964)." Thesis, University of Oxford, 2006. http://ora.ox.ac.uk/objects/uuid:101d4ec5-48cc-4a85-b7e9-0e5b7c8fdafd.
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This thesis is the first detailed study of the way in which science and technology were portrayed in propaganda and popular culture during the Khrushchëv period, a time when the Soviet leadership invested significant resources, both at home and abroad, in order to capitalise on its scientific achievements. It draws upon a wide range of previously unseen materials from the archives of the RSFSR Ministry of Education, the Soviet Academy of Sciences, the State Committee on Radio and Television and the Central Committee of the CPSU. It provides the first archive-based analysis of the lecturing organisation 'Znanie', which was crucial to the dissemination of Soviet propaganda in the post-war period. The thesis also makes use of a variety of published sources, such as popular science publications and journals, as well as a number of Soviet films from the Khrushchëv period. The thesis examines the manner in which scientific information was disseminated to the Soviet public and the ways in which public scientific opinion was able to participate in, and influence, this process. It is shown that a general lack of institutionalised control enabled members of the scientific intelligentsia to exercise a degree of control over the content of scientific propaganda, often in a very idiosyncratic fashion. The way in which the rhetorical and ideological presentation of science changed during the Khrushchëv period (often identified as 'the Thaw') is analysed, and it is shown that while Soviet popular science did become increasingly open to foreign influence it became preoccupied with new threats, such as generational and personal conflict. The thesis also uses the available sources to consider popular responses to scientific propaganda and, in particular, whether attempts to use scientific-atheistic propaganda to create a 'materialist' worldview amongst Soviet citizens met with any success. The thesis provides detailed case studies of the use of science in Khrushchëv's atheistic campaigns, of propaganda surrounding early Soviet achievements in the space race and of the portrayal of the Lysenko controversy in the popular media.
17
Igmen, Ali F. "Building Soviet Central Asia, 1920-1939 : Kyrgyz houses of culture and self-fashioning Kyrgyzness /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/10385.
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Young, Gregory Denton. "A question of balance: Strategic culture and the Cold War (Soviet Union, United States)." Diss., Connect to online resource, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3207735.
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Alekseyeva, Anna. "Planning the Soviet everyday : reimagining the city, home and material culture of developed socialism." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:241245c9-e5c1-4f11-8e2c-051b9a601088.
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This thesis explores professional visions for the planning of everyday life during the period of developed socialism. Considering a wide range of disciplinary literature, including architecture, urban planning, design and sociology, this thesis analyses how professionals imagined residential and domestic life in an urbanised and technologically advanced socialist society. Continuing the narrative of Khrushchev’s modernising programme to reform everyday life (byt) into the post-Khrushchev period, the thesis follows professionals of the last two Soviet decades who criticised the rationalising and collectivising planning paradigm inaugurated during the preceding decades. Professionals argued that this paradigm had produced a dehumanised and alienating everyday environment in the city and the home. After setting out the theoretical framework and the historical context of developed socialism, the first empirical section addresses urban residential life. It focuses on the microdistrict planning unit to illustrate how professionals, disillusioned with functionalist planning, searched for ways to humanise the city and adapt it to the behaviours and needs of urban residents. Part two investigates shifting professional views on the home and the everyday processes associated with it, such as cooking and cleaning. No longer seen as a utilitarian space in which everyday processes transpire, the home came to be understood as a personal and emotionally resonant place. Part three focuses on material culture, investigating evolving views on consumption and aesthetics. It illustrates how professionals endeavoured to rehabilitate the object world and align it with populist preferences while nonetheless maintaining a commitment to technological and forward-looking principles. In contributing to the scholarly understanding of developed socialism, this thesis contends that the 1970s-1980s saw experts embrace individual agency and popular sentiments. This turn did not, however, signify a turn towards individualism or de-politicised malaise: professionals maintained their utopian aspirations to engineer and control everyday life.
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Thiessen, Willy. "The effects of acculturation on the religiosity of Soviet German immigrants a pilot case study /." Theological Research Exchange Network (TREN), 1996. http://www.tren.com.
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Thesis (M.A.)--Trinity Evangelical Divinity School, 1996.Abstract. Appendix includes German letter sent to the pastor of the Evangelical Free Church in Bonn, Germany. Includes bibliographical references (leaves 47-56).
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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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Baker, Cathy Jo. "Smoking Behavior Among Immigrants from the Former Soviet Union." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1218638322.
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Purvina, Elizabete Marta. "Historical culture of Soviet mass deportations in contemporary Latvia. How do cultural expressions form historical narrative and use of history?" Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23994.
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This thesis discusses the Soviet mass deportation historical culture narrative formation and their use of history in contemporary Latvia. Looking to find research answer to question of: How are the Soviet mass deportations of 1941 and 1949 used in, and forms Latvian historical culture, in the novel Five Fingers and the film Chronicles of Melanie? The analysis is done via three connected parts using concepts of use of history, cultural and social memory. First, the paper gives an analysis of socio-historical context giving the historical background of mass deportations and the emerging historical culture use in society since 1986. The second part of the paper focuses on two separate narrative analysis of Latvian cultural expressions. The book “Five fingers” by Mara Zalite and the film “Chronicles of Melanie” dir. Viesturs Kairish. Both works analysed by their portrayed story narrative of deportation experience and how they form cultural narratives and use history within the work. The last part of the paper is interpretation- reinterpretation of socio-historical and narrative analysis together. To see the role of the novel and film, have in the use of historical culture, and how they help form the historical narrative in society. Analysing the broader context via social media responses book and film received from the public and seeing how cultural works are forming historical culture in Latvia. The thesis concluded that the novel and film are moral and existential uses of history, as they discuss topics censored during the Soviet period. The authors feel a duty to bring accounts of the past back to the centre of attention in order for people not to forget. Additionally, both works are playing a part in forming new narrative within historical culture, by moving away from identifying as the victim of soviet deportations to survivors of the past. Thus, playing an important role in Soviet mass deportation historical culture in Latvia.
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Goodfellow, Catherine Elizabeth. "Online gaming in post-Soviet Russia : practices, contexts and discourses." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/online-gaming-in-postsoviet-russia-practices-contexts-and-discourses(43d061dd-5108-42e5-b0b1-87d396a53c0c).html.
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In terms of both production and consumption, video games and gaming are a significant phenomenon in Russia, a fact acknowledged by the authorities and mainstream media. Although internet use in Russia has been a point of academic interest over the past few years, scholars have been slower to research video games despite their increasingly popular position in the media ecology of the region. Similarly, despite the abundance of theory and data on gaming in North America and Europe, game studies researchers have hardly skimmed the surface of the cultures, preferences and activities of gamers further afield. This dissertation investigates the online gaming sphere in Russia, presenting an empirical study of the industry, providing insight into gamers themselves, and analysing the media and political discourses surrounding gaming in Russia. In this study, I draw upon survey data, forum, website, and blog posts, user comments from gaming forums and analyses of local games to construct a picture of gaming activity and identity amongst gamers. In particular, I show how Russian-speaking gamers present themselves as members of a distinct subcultural group. Online gamers who participated in this study are shown to consume and discuss games in ways that can differ from elsewhere in the world, but they still retain common beliefs about the importance of expertise, taste and self-discipline within the gaming community. They display a great deal of knowledge about the games and communities available to them locally, while also consuming foreign games in selective and critical ways. For the reader conversant with game studies work, the dissertation constitutes a challenge to West-centric theories of gaming and gamers and demonstrates the importance of cultural context in shaping gaming practice. Throughout the dissertation, interactions between global and local, media and subcultural definitions of ‘gamer’ are crucial to understanding how gaming plays out in a Russian context. The self-definition of gamers differs greatly from mainstream media concepts of gamers. I contextualise discourses of the gaming self within an analysis of how the Russian media presents gamers as young people in need of moral and emotional guidance. Moreover, I show how contemporary media assessments of games and gamers have much in common with earlier moral panics about Western-inflected media and subcultures, such as rock music and style. Ultimately the gaming landscape in Russia is shown to be full of tensions, and the task of this dissertation is to identify, assess and compare these disparate discourses.
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Fahriyev, Dilaver. "The Politics Of National Identity In Post-soviet Ukraine: 1991." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606899/index.pdf.
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This thesis analyzes the role of Ukrainian mythological discourses in the
formulation of Ukrainian national identity. The main purpose of the present thesis is
to explore the interaction between mythological discourses, which are defined as sets
of popular beliefs, presuppositions and the patterns of self-identification rooted in the
consciousness of ethnic collectivities, and the process of national identity formation
in post-Soviet Ukraine. The main focus of the thesis is on the ways of the use of
Ukrainian mythological discourses by post-Soviet Ukraine&rsquos political and intellectual elite preoccupied with the task of implementing their nation-building project in Ukraine. This thesis consists of six chapters. Following the introductory first chapter, the second chapter explores the concept of &ldquo
myth&rdquo
in nationalism studies. The third, fourth and fifth chapters discuss the nation-building process of post-Soviet Ukraine by examining cultural, political and social aspects. The concluding chapter discusses the main findings of the thesis.
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McCallum, Claire Elizabeth. "The fate of the new man : reconstructing and representing masculinity in Soviet visual culture, 1945-1965." Thesis, University of Sheffield, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543950.
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Godfrey, Nathan S. H. "Learn to Tread: Soviet and American Wartime Experience and its Effect on Armor Doctrine." Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou162757568110957.
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O'Mahony, Michael John. "Representing fizcultura : sport and Soviet culture from the first five year plan to the great patriotic war." Thesis, Courtauld Institute of Art (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265409.
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Midtgaard, Magdalena L. "Ballet, culture and elite in the Soviet Union : On Agrippina Vaganova´s Ideas, Teaching Methods, and Legacy." Thesis, Umeå universitet, Institutionen för idé- och samhällsstudier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-123163.
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Balettutbildning har varit auktoritär och elitistisk i århundraden. Med utgångspunkt i Agrippina Vaganova och hennes metodiska systematisering av balettundervisning diskuteras frågor om elit, lärande och tradition inom balettundervisning. Vaganova var en länk mellan tsartidens Ryssland och det nya Sovjet och bidrog aktivt till att balett som konstform, trots sin aristokratiska bakgrund, fördes vidare och blev en viktig kulturpolitiskt aktivitet i Sovjet. Med underlag i texter av Bourdieu och Said diskuteras elit, kulturellt kapital och elitutbildning för att förklara några av de politiska och samhällsmässiga mekanismer som bidragit till balettens unika position i Sovjet. För att placera Vaganova som pedagog i förhållande till balettundervisning och balett genom tiden, presenteras korta informativa kapitel om baletthistoria, och utveckling och spridning av Vaganovas metod, både i Sovjet/Ryssland och i andra länder.
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Alexander, Roman. "American Fast Food as Culture and Politics: The Introduction of Pepsi and McDonald's into the USSR." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/13299.
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This thesis explores how and why two capitalistic American corporations were granted access to the Soviet Union's internal market. For decades communist leadership railed against what they termed "cheap bourgeois consumption," yet in 1972 Pepsi-Cola became the first officially sanctioned American consumer product in the USSR. Eighteen years later, McDonald's would become the first American restaurant to open in the Soviet Union. Both companies became deeply involved in Cold War politics and diplomacy, with high-ranking officials from both sides taking part in the negotiations to bring these companies into the country. These two case studies shed light on a seldom-covered aspect of American-Soviet economic relations and cultural exchange.
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Burns, Ladonna Michelle, and Ladonna Michelle Burns. "A Hero in Our Time: Stories of the Fictionally Subversive Soviet Woman of the 1980s." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/620724.
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Citizens who lived in the Soviet Union in the early 1980s did so amid a changing political atmosphere. For their extreme patience, they were rewarded with new policies (after 1985) that promised less censorship and more openness from the government to the people. The Soviet woman received special attention and promises in the shape of new reforms in the social spheres of education and employment. As often happens with political change, there were unintended results. As the policy of glasnost' or "openness" attempted to create and provide new possibilities for women, the unforeseen byproduct of the change was that a non-idyllic and even subversive female emerged in literature and society. This thesis will explore the prevailing cultural attitudes surrounding women before glasnost', as well as glasnost' itself and its policies affected the cultural attitudes as they related to the traditional woman's role in society. The thesis will also examine how glasnost' enabled the literary debut of the subversive female character, and foster this previously forbidden type and other prohibited topics. Finally, the discussion will turn to the immediate aftermath of glasnost' with some observations about the stunted position of the Russian woman in literature, and in society, after the breakup of the Soviet Union.This thesis will include brief studies of published shorter works-all by contemporary female Soviet writers of the 1980s-and their fictional characters. As the gender specific deep-seated beliefs, proverbs, laws and anecdotes connected to the "suggested" ideal life of the virtuous Soviet females are analyzed, the thesis will show how these fictional characters' behaviors directly and indirectly allowed Russian contemporary female writers to challenge taboo subjects within Russia through a new literary category of alternative women's prose.
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Clech, Arthur. "Des subjectivités homosexuelles à l’époque soviétique tardive : entre solidarités et culture du soupçon." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH120.
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Des femmes et des hommes ayant vécu un désir homosexuel à l’époque soviétique tardive (1960-1985) articulent un discours sur soi marqué par un ethos soviétique du secret. Sans être totale, l’atomisation stalinienne des sociétés soviétiques a empêché la formation d’identités et de communautés homosexuelles. Il est dès lors essentiel de prendre la mesure de la rareté du discours disponible sur l’(homo)sexualité pour saisir la singularité des rapports à soi que l'on peut entretenir lorsqu'on vit un désir homosexuel à l’époque soviétique tardive. Des subjectivités homosexuelles existent face à l’opprobre, mais elles n'intériorisent pas nécessairement de sentiment de honte. À un régime général de non-savoir inauguré par le stalinisme, répond un discours sur soi au sein duquel des femmes et des hommes se constituent comme sujet·te·s de leur désir homosexuel, s’affrontant à une pathologisation et une criminalisation communes dont ne rendait pas compte la déclinaison genrée induite par un discours médico-légal méconnu. Des textes de discours sur soi énonçant un « je » ou un « nous » homosexuel, des ego documents, le manifeste d’Evgueni Kharitonov, mais surtout des entretiens en Russie et en Géorgie attestent d’un commun, dans l’humour, le langage et les solidarités partagées, en butte à l’héritage stalinien d’une culture du soupçon, à une différenciation sociale accrue à cette période et à de fortes assignations genrées. Ces subjectivités puisent dans une identité supranationale soviétique pour se dire, tout en se positionnant vis-à-vis de modèles nationaux, autour par exemple de la question juiveThe concern here is with how women and men who lived and expressed their homosexual desire during the late Soviet period (1960-1985) articulated a discourse on self marked by a Soviet ethos of secrecy. The Stalinist atomization of Soviet societies, without being total, prevented the formation of homosexual communities and identities. If we are to grasp the singular character of relations to self which gave expression to homosexual desire and experience during the late Soviet period, we must therefore take full measure of the rarity of discourses available on (homo)sexuality. Homosexual subjectivities within the Soviet context existed in the face of opprobrium without necessarily internalizing the feeling of shame which such opprobrium might occasion. In response to a general regime of non-knowledge inaugurated by Stalinism, a discourse on self emerged through which women and men constituted themselves as subjects of their homosexual desire. They confronted a common pathologization and criminalization, a fact not registered by the gendered declination of subjectivities as the product of a legal-medical discourse which is itself poorly recognized. Texts expressing a discourse on self relating to a homosexual ‘I’ or ‘we’, ego documents, the manifesto of Evgueni Kharitonov and, above all, interviews conducted in Russia and Georgia attest to shared resources of humour, language and a background of solidarity formed in reaction to and against the Stalinist heritage of suspicion, the heightened social differentiation of the period and strong gender assignations. These subjectivities draw upon a supranational Soviet identity, while also positioning themselves in relation to national models, when addressing, for example, the ‘Jewish question’
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Shubladze, Shota. "Nature of Regional Nongovernmental Organizations During the Post-Soviet Transformation in Georgia." ScholarWorks, 2018. https://scholarworks.waldenu.edu/dissertations/5265.
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After the collapse of the Soviet Union, the post-Soviet transformation process influenced the establishment of democratic institutions in the country of Georgia. Scholars and analysts from international organizations have revealed a gap in the development of the central and regional civil society organizations in Georgia. Using Morgan's organizational metaphors framework as a guide, the purpose of this multiple case study was to explore the nature, culture, and structure of regional nongovernmental organizations (NGOs) in Georgia. Research questions focused on the influence of the post-Soviet transformation on the development of Georgia's regional NGO sector and its perceived capacity as a democratic institution. Data were gathered through interviews with 9 stakeholders from 3 regional NGOs, observations of the organizations' daily operations, and review of publicly available documents and organizational records. The data were analyzed thematically, using structural and pattern coding. The analysis revealed that regional NGOs in Georgia are strong leader-driven, family style organizations and limited in their financial and organizational capacities. The insufficient intersectoral collaboration with local government and businesses has kept regional NGOs fully dependent on small grants provided by international donor organizations and large NGOs from the capital city, Tbilisi. That dependence has restricted local NGOs' ability to initiate programs based on the identified needs and demands of the local communities. The results of this study increase the knowledge of civil society organizations outside Tbilisi and offer recommendations for enhancing the organizational capacity of regional NGOs, leading to rapid democratization processes and positive social change in Georgia.
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Ķešāne, Iveta. "Symbolic structure of the post-Soviet transformations in Latvia and emigration: avoiding shame and striving for hope and confidence." Diss., Kansas State University, 2016. http://hdl.handle.net/2097/32704.
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Doctor of PhilosophySociology, Anthropology, and Social Work
Lothar F. Weyher
This dissertation explores the case of emigration from Latvia towards the West after collapse of the Soviet Union. It takes the perspective of a particular cultural structure that came to dominate post-Soviet Latvia and adopts the vantage point of the state-society relationships this structure has cast. The central question of this study examines: what is the relationship between the cultural structure in post-Soviet Latvia and emigration towards the West? This study answers this question by contrasting Latvia’s civil discourse with emigrants’ and those who remain in Latvia personal narratives through the lens of cultural sociology that emphasizes the role of the symbolic realm, meaning making, and emotions. Research findings suggested that the post-Soviet cultural structure was dominated by "symbolic codes" (Alexander and Smith, 1993) or sharp divides such as West vs. East/Soviet, Right vs. Left, and Developed vs. Underdeveloped. Notably, symbolic codes of West, Right and Developed were constructed as “sacred” while their opposites were pushed out of "sacred" and ridiculed. These divides originated from such particular emotions as shame, confidence/pride and fear. Their meanings in the dominant transformation discourse and emotional origins were formative to the identity and modern state craft, and subjectivities in post-Soviet Latvia. These sharp divides between what is "sacred" in a community and what is not, came with "unintended consequences" (Weber, 2002). These divides and how they shaped the transformation discourse trumpeted misguided notion of the West, post-Soviet Latvia so eagerly wanted to resemble and belong to. Given this distorted notion of the West, the ruling elite fashioned environment where people not only lost hope for their better future in Latvia but began to lose their self-confidence - an important emotion for one’s "willingness to act" (Barbalet, 2004, p.83); and, as such, were more prone to emigration. Emigration for my respondents provided the space where West and Left were experienced as compatible despite their construction as incompatible in post-Soviet Latvia. Amidst confidence over their better future in their receiving countries, this gave to emigrants also a feeling of comfort, sense of self-confidence and empowerment.
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Uhl, Katharina Barbara. "Building communism : the Young Communist League during the Soviet thaw period, 1953-1964." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:485213b3-415d-4bc1-a896-ea53983c75f8.
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The present study focuses on the activity of the Young Communist League (Komsomol) to promote the communist project during the so-called Thaw period in the Soviet Union (1953-1964). The term ‘communist project’ describes the complex temporal triangle in which the relevance of the present was rooted in its relationship to the heroic past and the bright future. Young people were supposed to emulate the heroism of previous generations while fighting remnants of the undesired past. This was presented as a precondition for achieving the communist future. The structure of this study reflects the chronology of the communist project. It analyzes the rhetoric used by the Young Communist League to promote the communist project and explores the strategies used to mobilize youth for building communism. The first chapter focuses on the organizational structure of the Komsomol and assesses its readiness for this task. Despite attempts to strengthen horizontal communication and control, streamline administration and reorganize its structure, the Komsomol remained hierarchal and bureaucratic. The second chapter explores the promotion of past heroism in rituals, social practices and the use of public space. The third chapter is also concerned with the past; it describes the Komsomol’s fight against ‘remnants of the past’, primarily religion and deviant behaviour such as hooliganism, heavy drinking and laziness. The final chapter focuses on the Komsomol’s attempts during the Thaw to bring about the future: its efforts in the economy, moral, political and cultural education, and the realm of leisure.
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Garber, Stephen J. "Birds of a Feather? How Politics and Culture Affected the Designs of the U.S. Space Shuttle and the Soviet Buran." Thesis, Virginia Tech, 2002. http://hdl.handle.net/10919/31052.
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What can we learn from comparing similar technologies that were designed and built in different countries or cultures? Technical products depend upon both technical and non-technical goals as socio-cultural factors determine which projects get funded and how they are conceived, designed, and built. These qualitative socio-cultural factors mean that there is almost always more than one possible design solution for a particular problem. By comparing how two major space projects were conceptualized and designed in the United States and Soviet Union, this case study aims to illuminate more broadly how political and cultural factors can influence the selection of technical designs, as well as the general conduct of engineering and science, in the space sector.Master of Science
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Rasulova, Saltanat Temirbekovna. "Child agency and economic circumstances : how does family economic status affect child agency in Kyrgyzstan's post-Soviet culture of transition?" Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:5d7f49f3-c990-414a-b846-cca3f826998f.
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This thesis explores how children’s experiences of childhood in Kyrgyzstan transformed after the collapse of the Soviet Union (1991) and the consequent transition to market economy. In particular it studies the interrelations of culture and economic circumstances and their effects on child agency in times of economic, social, cultural and political change which were not given enough attention in the relevant literature. I sampled 40 children (aged 12 and 16) from a state school in an underprivileged area and a prestigious private school (used as economic dividers) to study the complexity of child agency and structure in their daily lives. An ‘agency’ concept was applied as a theoretical framework conceptualised through the four components as action, freedom, purposiveness and outcome and was formulated as the setting-based ability of children to act in response to cultural and economic structures and relationships at home, school and the neighbourhood. The effects of low and high income on child agency are not straightforward due to the changing traditional culture in the Kyrgyz society, which makes agency not only a social and cultural construct, but one affected by economic conditions. The study demonstrated the nuances of child agency as freedom in high income, its conflicting purposes in low income and differentiated outcomes of short and long term wellbeing between the two groups. Economic circumstances do not only influence the dynamics of agency across settings, age and gender but challenge the very notion of the classic Western concept of agency as an independent ability to act. The findings elaborate on the concepts of the new sociology of childhood (Prout and James, 1997) and the cultural politics of childhood (James and James, 2004), as these theoretical frameworks do not account sufficiently for economic dis/advantages as a structural factor of agency, which emerges as a socially shared process of acting whose nature depends on material circumstances.
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Cook, Lara. ""Inside Lenin's Government : Party-State Relations, Practical Functionina and Political Culture in the Soviet Central Administrative Apparatus, October 1917-April 1923"." Thesis, University of Newcastle upon Tyne, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.525052.
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Seljamaa, Elo-Hanna. "A Home for 121 Nationalities or Less: Nationalism, Ethnicity, and Integration in Post-Soviet Estonia." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345545678.
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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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Demers, Alanna. "They Kill Horses, Don't They? Peasant Resistance and the Decline of the Horse Population in Soviet Russia." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1459521486.
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Hohe, Meredith K. "American Dreams and Red Nightmares: Popular Media and the Framing of a Cold War Enemy, 1949-1962." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1283266257.
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Alspaugh, Amy. "'So let's drink to the hope that our desires always coincide with our opportunities' the integration of folk culture and Bolshevik ideals in Soviet visual propaganda /." Diss., Connect to the thesis, 2007. http://hdl.handle.net/10066/984.
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Story, Isabel. "When the Soviets came to stay : Soviet influence on Cuban cultural institutions, 1961-1987." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/46468/.
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Cuba’s post-1960 political and economic relationship with the USSR has long been debated, especially the extent to which the connection shaped the Cuban Revolution. Consequently, readings of the occasionally conflictive relationship between Cuba’s state authorities and its cultural world have often relied on stereotypes inherited from Western interpretations of the USSR or the 1948-89 Socialist Bloc; such readings assuming that cultural policy was clearly defined and enforced by Soviet-style apparatchiks or Castro. While perhaps understandable for 1971-6, when the National Cultural Council (CNC) was led by ex-members of the pre-1959 communist party, recent research suggests that we look beyond the surface to see that ‘policy’ was often empirically formed and constantly challenged. Yet, perhaps due to those common assumptions, little has been written about real Soviet influence on Cuban culture, and different sub-periods during the 30-year Cuban-Soviet alliance have largely been ignored. This thesis seeks to address this oversight in the scholarship of Cuba and the USSR by examining the Soviet influence on Cuban culture, specifically the theatre and the visual arts, between 1961 and 1986. It interrogates the ways in which culture was linked to the political priorities and nation building goals of the revolutionary leadership and how these differed from, or coincided with, the aims of the Soviet government. In doing so, it analyses the way in which culture and cultural interactions between the two countries were organised. Using evidence from materials (magazines, pamphlets, work plans, declarations) gathered from archival work in Havana and Moscow, and supported by interviews with Cuban artists and intellectuals, this study establishes that culture acted as a discursive space in which deliberations about the nature of the Cuban Revolution could take place in a way that they could not in other spheres. It also concludes that, throughout the period studied, the USSR occupied a conflicting position, acting as both a model to be learned from but also a force to be resisted. Furthermore, this thesis makes two important contributions to existing knowledge of the Cuban-Soviet relationship. First, that the 1970s, and the period known as the quiquenio gris in particular, were not ‘Soviet’ but rather nationalist and macho. Second, that the most ‘Soviet’ period in terms of structure, organisation and demands placed on artists was the 1980s when the component roles of art were separated as part of the revolutionary government’s ongoing fight for independence.
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Tezic, Mustafa Can. "The Russian Population In The Kazakh Steppes." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/3/12608060/index.pdf.
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This thesis aims to understand the formation of the Russian identity in the Kazakh Steppes by examining the migration flows of Russians and the affects of state policies and pattern of inter-ethnic relations between the Russians and the Kazakhs during different historical periods. Constructionist theoryhas guided the analysis of the research. The Russian identity formation in the Kazakh Steppes is examined within the contextof three consequtive historical periods that correspond to fundamental social, political and administartive re-structuring. Firstis the period of the Russiam Empire, during which the resettlement policy of the Empire shattered the traditional social structures of the native Kazakhs and entailed extensive inter-ethnic contact between the Russians and the Kazakhs. Second period corresponds to the period of the Soviet Union, which experianced the intensification of Russian settelments in the Kazakh Steppes. The soviet policy, while encouraging Russianness as a component of soviet identity, atthe same time, granted autonomy todiverse ethnic entites. The third period, which correspondes to the current era starting with the disintegration of the Soviet Union, witnessed the emergance of Kazakh State. A large portion of the Russian population in the Kazakh Steppes remained in the independent republic of Kazakhstan and face a new challenges in tearms of identity formation due to the Kazakh nation building policies.
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Kanzler, Katja. "Kansas, Oz, and the Magic Land." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-163001.
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The following essay addresses Alexandr Volko's adaption and appropriation of L. Frank Baum's "The Wizard of Oz". Exceedingly popular throughthout the Easern bloc, Volkov's novels have endeared a magical setting and cast of characters to readers who rarely knew of their American origins. I discuss the Wizard's 'travels' throught the Iron Curtain as an incidence of cultural exchange at once motivated by and subverting Cold War cultural politics. I suggest that it is not so much the changes to which Baum's narrative universe has been subjected on its way from West to East that makes this case study remarkable but the ways in wich the two Wizards have been interpreted to fit contestable notions of 'American' and 'Soviet' culture.
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Impara, Christine Louise. "To Love is Human: Leonid Zorin's A Warsaw Melody Considering Concepts Love and Fate in Russian Culture Reflected in its Theatre Tradition." Oberlin College Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1589579622867398.
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Quénu, Benjamin. "Culture et politique dans l’Ouzbékistan soviétique de la Grande Terreur au Dégel (1937-1956) : l’Union des Écrivains de la RSS d’Ouzbékistan, une expérience de cogestion du pouvoir et de construction des imaginaires politiques." Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100034.
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La présente thèse explore les relations entre culture et politique à travers l’histoire de l’Union des Écrivains de la RSS d’Ouzbékistan et des destinées des écrivains qui l’ont composée, durant le second stalinisme. Placée sous l’angle d’une cogestion du pouvoir, elle s’efforce de restituer les conditions de production de la littérature, les rapports de pouvoir entre institutions et le rôle public de l’écrivain au lendemain de la Grande Terreur de 1937-38, qui voit la décimation des élites intellectuelles, et plus spécifiquement des réformistes musulmans. Ainsi, elle montre comment les écrivains survivants tentent de restaurer une continuité en littérature, y compris dans leurs productions de propagande. Elle met ensuite en lumière le rôle du second conflit mondial dans le renforcement du pouvoir de l’Union des Écrivains de la RSS alors que Tachkent devient un centre culturel et industriel majeur à la faveur de l’évacuation. Les écrivains peuvent dès lors nationaliser et resémantiser les imaginaires politiques, au point de donner naissance à une culture hybride qui dépasse le projet stalinien de « culture nationale par sa forme, soviétique par son contenu ». Enfin, elle s’attache à caractériser le stalinisme finissant au travers des réinterprétations locales des grandes politiques de répression et d’ingérence du champ politique dans le culturel de 1945 à 1953. Par l’analyse des conflits entre les différents acteurs et des jeux de faction, elle restitue le caractère très singulier de cette période, entre nationalisation accrue des imaginaires et reprise en main par le centre d’un territoire et d’institutions trop autonomes, alors que s’affirme à l’échelle soviétique le primat de la culture russe. L’étude se clôt par la résolution de ces tensions dans l’usage de la terreur et la suspension temporaire de la nationalisation du champ culturel, rapidement restaurée avec le DégelThe present dissertation explores the interactions between culture and politics by focusing on the history of the Soviet Writer’s Union of the Uzbek SSR and the fate of the writers who ruled this institution during the second Stalinism. Analysing these relationships as a form of co-ruling, the study sheds light on the conditions of production of the literature, on the changing ratio of power between the institutions, and on the public role of the writer after the Great Terror of 38-39, which leads to the decimation of the cultural elites, ans especially of the Muslim reformists. Surviving writers have to use new strategies to re-stablish a continuity in literature, like using propaganda productions to rehabilitate literary genres. During the world war two, the evacuation of industries and intellectuals reinforce the power of the Soviet Writer’s Union, as Tashkent is becoming a prime cultural centre. The writers nationalise and give a new meaning to the political imaginary of the Soviet Union, giving birth to an hybrid culture, which go far beyond the Stalinist project of “national in form, proletarian in content”. Finally, the study analyses the late Stalinism at the light of the local reinterpretations of the repressive Soviet literary politics from 1945 to 1953. Shedding light on the conflicts between institutions and factions, the study shows the singular character of this period, as the nationalisation of imaginaries and language is reinforced whilst the centre aims to regain power on this territory and wants to establish the primacy of Russian culture. The study ends with the resolution of this tension in a new episode of terror. The nationalisation of the culture is then suspended until the Thaw
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Kanzler, Katja. "Kansas, Oz, and the Magic Land: A wizard's travels through the Iron Curtain." Universitätsverlag Winter, 2008. https://tud.qucosa.de/id/qucosa%3A28584.
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The following essay addresses Alexandr Volko's adaption and appropriation of L. Frank Baum's "The Wizard of Oz". Exceedingly popular throughthout the Easern bloc, Volkov's novels have endeared a magical setting and cast of characters to readers who rarely knew of their American origins. I discuss the Wizard's 'travels' throught the Iron Curtain as an incidence of cultural exchange at once motivated by and subverting Cold War cultural politics. I suggest that it is not so much the changes to which Baum's narrative universe has been subjected on its way from West to East that makes this case study remarkable but the ways in wich the two Wizards have been interpreted to fit contestable notions of 'American' and 'Soviet' culture.
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Gorovykh, Trembasiewicz Yelena. "Le rôle des politiques culturelles au Kazakhstan et au Kirghizstan de 1991 à nos jours : du multiculturalisme au "développement culturel durable"." Thesis, Paris, INALCO, 2020. http://www.theses.fr/2020INAL0010.
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La culture joue un rôle très important pour le développement des pays. Dans ce contexte nous ne parlons pas seulement du développement économique, mais aussi du développement général de la société, de sa cohésion, de l’équilibre environnemental qui tous ensemble contribuent à une croissance socio-économique durable. C’est dans ce cadre que se pose notre problématique de recherche au travers d’une région qui a vécu de grands changements au niveau politique, économique et social. Dans une démarche comparative, nous nous appuierons sur l’étude des évolutions de la politique culturelle, aux travers des dimensions culturelles et des projets culturels ayant des effets sur ce secteur, dans ces deux pays d’Asie Centrale, le Kazakhstan et le Kirghizstan. La thèse se compose de deux parties principales en couvrant la période de 1991 à 2016. Tout d’abord dans la première partie, nous reviendrons un peu dans le temps afin d’étudier les racines historiques pour mieux comprendre les bases sur lesquelles cette nouvelle page d’histoire des pays indépendants a été écrite. Ensuite, toujours dans la première partie, on verra si l'héritage soviétique de ces pays après leur indépendance est devenu le facteur déterminant dans la réalisation des nouvelles politiques culturels. Enfin, dans la deuxième partie, on démontrera l'évolution du rôle de la culture au Kazakhstan et au Kirghizstan pour voir s’il y a des liaisons entre la culture et la croissance économique et développement sociale. Notre thèse a un grand intérêt car le développement durable à travers le secteur culturel reste peu exploité en Asie CentraleCulture plays a very important role for the development of countries. In this context, we are talking not only about economic development, but also about the general development of society, its cohesion, and the environmental balance that all together contribute to sustainable socio-economic growth. It is in this context that our research problem arises through a region that has undergone major changes at the political, economic and social levels. In a comparative approach, we will rely on the study of the evolution of the cultural policy, through cultural dimensions and cultural projects having effects on this sector, in the two countries of Central Asia: Kazakhstan and Kyrgyzstan. The thesis consists of two main parts covering the period from 1991 to 2016. In the first part, we will come back in time to study the historical roots in order to better understand the bases on which this new page history of independent countries was written. Then, still in the first part, we will see whether the Soviet heritage of these countries after their independence has become the determining factor in the realization of new cultural policies. Finally, in the second part, we will demonstrate the changing role of culture in Kazakhstan and Kyrgyzstan to see if there are links between culture and economic growth and social development. Our thesis is of great interest because sustainable development through the cultural sector remains not so much exploited in Central Asia