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Journal articles on the topic 'Soviet union, directories'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

Lisovskyi, S. A. "UKRAINE AS A DONOR OF THE ECONOMIC DEVELOPMENT OF RUSSIA AND THE USSR." Ukrainian geographical journal 2022, no. 2 (2022): 53–64. http://dx.doi.org/10.15407/ugz2022.02.053.

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The purpose of the research is to clarify the role of Ukraine as a donor in ensuring the development of russia and the former Soviet Union, proving of the constant negative for Ukraine movement of resources between Ukraine and the union center, identifying the consequences of such non-equivalent exchange for the population, economy, and nature of the country. The unique role of our country in the maintenance and development of Russia and the Soviet Union, in general, is confirmed on the basis of the analysis of statistical sources, many of which consist of encyclopedic publications, statistica

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Buckle, Ian G., and Ronald L. Mayes. "Seismic Isolation: History, Application, and Performance—A World View." Earthquake Spectra 6, no. 2 (1990): 161–201. http://dx.doi.org/10.1193/1.1585564.

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The concept of seismic or base isolation as a means of earthquake protection seems to be more than 100 years old. However, until very recently, few structures were built using this principle. Today the concept has matured into a practical reality and is taking its place as a viable alternate to conventional (fixed base) seismic resistant construction. This paper reviews some of the history of isolation and restates the basic elements of a modern isolation system. It then proceeds to review current activity, worldwide. Progress in the United States is discussed first followed by that in China,

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Terzi, Olga. "The Bulgarian and Gagauz population from the MSSR, in the collectivization period (1947–1949): historical-anthropological approaches." JOURNAL OF ETHNOLOGY AND CULTUROLOGY XXXV (November 2024): 121–27. https://doi.org/10.52603/rec.2024.35.17.

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One of the little-studied problems in the history of the Bulgarians and Gagauz of Budzhak is the process of forced collectivization associated with economic transformations in the region in the post-war period. The article, based on archival documents and published literature, examines the mechanism of decision-making on the socialist transformation of agriculture in the region, the stages of restriction, suppression, and then liquidation of the wealthy part of the peasantry of the Bulgarian and Gagauz villages of the Moldavian SSR in the period from 1947 to 1949. Also, it gives the qualitativ

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Drugova, E. V., and T. M. Ozerskaya. "VIR and Leningrad Quarantine Laboratory: 90 years of cooperation." Proceedings on applied botany, genetics and breeding 183, no. 4 (2022): 251–61. http://dx.doi.org/10.30901/2227-8834-2022-4-251-261.

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The history of Leningrad Quarantine Laboratory, a subdivision of the Soviet and Russian phytosanitary services, is discussed. Its interaction and cooperation with the All-Union Research Institute of Plant Industry (later: N.I. Vavilov All-Russian Institute of Plant Genetic Resources, VIR) are reviewed. The background of the need to organize such laboratory, its main activities, and the changes that followed are also explained.Leningrad Quarantine Laboratory has always closely collaborated with VIR. It has been accommodated within the Institute’s premises for 75 years. Such proximity has facili

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Ivanchenko, Lesya. "FROM THE DUBOVICHI LIFE: REPRESSIONS AGAINST THE CHURCH IN THE 1920-1930'S." Journal of Ukrainian History, no. 40 (2019): 129–35. http://dx.doi.org/10.17721/2522-4611.2019.40.16.

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In the article, the author reveals fragments of the study about repressions of the 1920s and 1930s against the churches, as an institution of society, against the clergy, church services, active parishioners of one of the settlements in Sumy Region(Dubovichi village). Self-identification and peaceful living under the laws of honor in the socialist regime led to the destruction of employed citizens and clergy who lived by vocation and by traditional moral principles. After all, it was they - conscious citizens, intellectuals, who "threaten" the terrorist plot of the Bolshevik authorities on the

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Radovic, Mina. "Magdana’s Donkey (1955)." Film Matters 11, no. 3 (2020): 169–71. http://dx.doi.org/10.1386/fm_00119_4.

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Kozlova, Anna. "Why pioneer camps survived the collapse of the Soviet Union." Journal of Modern European History 19, no. 3 (2021): 323–39. http://dx.doi.org/10.1177/16118944211018684.

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The article analyses the survival of the children’s centres, Artek and Orlyonok, during the post-socialist transformation. It is based on 50 interviews with employees who worked there starting in the late-Soviet era. Artek and Orlyonok were exemplary children’s camps, subordinated to the Central Committee of the Komsomol. Since the early 1960s, they have functioned as schools for distinguished teenagers who were considered ‘good examples’ for other children. In this article, I have made an ethnographic analysis of Artek and Orlyonok employees’ late-Soviet experiences. This analysis shows how t

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Lai, Bùi Như. "Contributions of directors trained by the (former) Soviet Union to Vietnamese drama." Voprosy kul'turologii (Issues of Cultural Studies), no. 10 (October 31, 2024): 920–33. http://dx.doi.org/10.33920/nik-01-2410-07.

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The later directors who were trained in the former Soviet Union or studied in socialist countries such as Bulgaria and Romania had a solid foundation in theatrical theory and in the organization of performances according to the Stanislavsky system, a scientifi c theatrical theory system, an advanced and very valuable artistic method, of world stature. After having professional directors, the Vietnamese drama theater has undergone great changes. The directors have matured, and today's performances are much diff erent from the past. There is no longer a state of arbitrariness on theater, the act

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Tsikounas, Myriam. "La Mejrabpom-Rouss et "l'ailleurs"." Slovo 9, no. 1 (1988): 47–57. https://doi.org/10.3406/slovo.1988.983.

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The Mejrabpom-Rus and the portrayal of life "elsewhere" This analysis of four "foreign adventure" films produced by the Mejrabpom-Russ Studios has a two-fold aim : -To show the way in which post-revolutionary Soviet Russia depicted the old word that it had just overthrown, via an analysis of the images and cliches used to symbolise a society in decline. -To assess, via the career of Igor Illinski (a comic actor who borrowed the burlesque techniques of Chaplin, Langdon and Keaton to denounce the evils of life outside the Soviet Union), the influence exerted by the Western cinema on Soviet film

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Andrusyshyn, B. І. "Legal protection of the national identity of Ukrainians in the Russian Federation: history and modernity." Alʹmanah prava, no. 15 (September 1, 2024): 83–95. https://doi.org/10.33663/2524-017x-2024-15-83-95.

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The article analyzes the historical patterns of formation and development of the territories of the Russian Federation historically inhabited by Ukrainians. The process of formation of the ethnic territory of the Ukrainian people, the history of the establishment of the state border of Ukraine with Russia during the time of the Cossack state of Bohdan Khmelnytskyi, during the stormy times of the national liberation struggles of 1917–1921 (the Ukrainian People’s Republic under the Central Rada, the Ukrainian State under P. Skoropadskyi, the Ukrainian People’s Republic under Directories), Russia

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Cybulski, Marcin. "Czy w ZSRR kręcono thrillery?" Acta Polono-Ruthenica 1, no. XXIII (2018): 51–64. http://dx.doi.org/10.31648/apr.1508.

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This article is an attempt to answer the question whether, in the specific conditions in which the cinematography of the Soviet Union was created and developed, we can talk about the production of thrillers. The notion of the thriller is considered and attention is paid to the problem of the definition of the term itself and the fact that some researchers do not treat the thriller as a genre at all. The thriller, associated by the Soviet decision-makers with Western culture (and thus also American), was perceived as a bourgeois creation, which made it an undesirable genre in the Soviet Union.

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Bezruchko, Oleksandr. "Oleksandr Dovzhenko’s experiment in film pedagogy." Culture of Ukraine, no. 87 (January 22, 2025): 42–57. https://doi.org/10.31516/2410-5325.087.04.

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This article examines a little-known experiment in film pedagogy by Ukrainian director Oleksandr Dovzhenko. In the late 1930s and early 1940s, before the beginning of the German-Soviet war (1941–1945, called ‘Great Patriotic War’ in the Soviet Union), in addition to shooting his own films, Dovzhenko attempted to organise and conduct comprehensive training of film production personnel directly on site, at the Kyiv Film Factory (Kyiv Film Studio of Feature Films, now Oleksandr Dovzhenko National Film Studio of Feature Films). In the Soviet Union of the 1930s, the Party administrative apparatus s

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Hrenov, Nikolay. "PHILOSOPHY AND ART: TARKOVSKY AS THE FOUNDER OF A NEW DISCURSIVITY." Experience industries Socio-Cultural Research Technologies, no. 4 (2023): 49–86. http://dx.doi.org/10.34680/eiscrt-2023-4(5)-49-86.

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the article offered to the reader returns to the debate about the work of film director A. A. Tarkovsky, whose work in Russian cinema turns out to be a special case. Of course, at one time, after the release of his first film, "Ivan’s Childhood", the director was identified with the help of a new poetics that arose in cinema, and this poetics was designated as “poetic cinema”. It became an expression of the so-called “new wave” in Soviet cinema, and in general of what began to be called “auteur” cinema. However, the director’s belonging to this new style does not exhaust the meaning of the dir

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Олена Василівна Цимбалюк. "POLISH CINEMA AND ACTORS IN SOVIET REALITY." Intermarum history policy culture, no. 5 (January 1, 2018): 263–72. http://dx.doi.org/10.35433/history.111819.

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The article considers the preconditions and distribution of Polish cinema in the Soviet Union in the second half of the 60’s – the first half of the 80’s of the XX century. The paper states that the Soviet authorities used cinema as a means of influencing the society, propagating the values and ideals of the Communist Party. It is noted that the spread of Polish cinema was facilitated by the state policy of cooperation with socialist Poland, but only within the limits set by the Soviet state censorship. The restrictions were imposed on the films presenting alternative interpretation of the his

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ZHURKOVA, DARIA A. "Reflecting on “Red Laughter”: English-Language Studies of Soviet Comedy." Art and Science of Television 18, no. 4 (2022): 13–40. http://dx.doi.org/10.30628/1994-9529-2022-18.4-13-40.

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In this article, I address foreign English-language works on Soviet film comedy, tracing the waves of researchers’ interest to it, and identifying the time periods as well as film directors attracting scholars most often. The first surge of interest in Soviet film comedy came in the first half of the 1990s and was largely associated with the fall of the Iron Curtain. The major subject of research during those years were Soviet avant-garde cinema of the 1920s, musical comedies of the 1930s, and films of the Perestroika period. The second wave came in the 2010s with the emigration of a large num

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Frey, Felix, and Anne Hasselmann. "Stones at War: The Chelyabinsk War Exhibition of 1946 and Soviet Environmental Thought." Environmental History 26, no. 3 (2021): 533–54. http://dx.doi.org/10.1093/envhis/emab021.

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Abstract One year after the German surrender in World War II, an exhibition about the “Great Patriotic War” opened its doors in the regional museum of Chelyabinsk. The curators presented the visitors with a geological take on the war events: the exhibition employed a geological time frame, which started with the genesis of planet Earth, and displayed a large introductory section on natural resources of the southern Urals, the museum’s home region. The exhibition makers reasoned that the Soviet war effort was inextricably linked to the region’s inanimate environment with its rich deposits of mi

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Nazarov, Maxim Alekseevich. "The image of the common enemy of the USSR and NATO in the English-language cinema of the Cold War period." Pan-Art 4, no. 2 (2024): 85–89. http://dx.doi.org/10.30853/pa20240012.

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The author extensively examines the plots of films from the Cold War period in English-language cinema, focusing on the representation of the “common enemy” and the Soviet side. The research aim is to identify how this theme evolved during periods of détente and escalation of the Cold War in the 1980s, exploring the images and plots used in films. The study analyzes a range of films and TV series as sources of this theme, including James Bond films, the series “The Man from U.N.C.L.E.” and “The A-Team”, as well as works by directors such as Stanley Kubrick, Don Siegel, and John Mackenzie. The

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Kazurova, Natalia V., and Ekaterina Yu Trushkina. "THE SPACE OF WOMEN’S FREEDOM IN AZERBAIJANI CINEMA OF THE 1920-1930S. BETWEEN ADAT AND SOVIET IDEOLOGY." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 2 (2024): 118–34. http://dx.doi.org/10.28995/2686-7249-2024-2-118-134.

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Azerbaijani cinema is considered in the article as a phenomenon of national Art in the transit period on the cross of avant-garde trends of the 1920s and the ‘great’ Stalinist style of the first half of the 1930s. That time film directors of the republic like many others in the Soviet Union were focused on ‘the women’s issue’. The local specifics combined with the cross-cultural and interregional dialogue in cinema formed the common thematic tasks that were all across the Soviet Union but the same time, local and national specific emerged on the screens. The article studies four films that exp

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Holmes, Larry E. "Part of History: The Oral Record and Moscow’s Model School No. 25, 1931-1937." Slavic Review 56, no. 2 (1997): 279–306. http://dx.doi.org/10.2307/2500786.

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All’s quiet now. Summer vacation has started, the halls and classrooms are deserted. Almost. It is 10 July 1992 and I am inside Moscow’s School No. 175 with Vladimir Dmitrievich Nikolaev, a pupil here from 1933 to 1941. Once this was School No. 25, hallowed ground, from 1931 to 1937 the most famous school in the Soviet Union, where a talented teaching corps instructed the children of Stalin and other representatives of the Soviet elite. The winner of many awards, School No. 25 was the object of my research for several years. It's a bit unnerving to imagine the sounds and images of the people w

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Liu, Daichao. "Discussion on Liu Zhenhuan’s Anti-Japanese Proposition and Anti-Japanese Activities after the “July 7th Incident”." Yixin Publisher 1, no. 1 (2023): 199–209. http://dx.doi.org/10.59825/jcs.2023.1.1.199.

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The “July 7th Incident” broke out, and the whole nation’s War of Resistance Against Japanese Aggression began. Liu Zhenhuan, who had been dormant for more than ten years due to the “Yang and Liu Rebellion” in 1925, devoted himself to the anti-Japanese movement based on the crisis of national survival and patriotic sentiments, and was influenced by the Anti-Japanese National United Front of the Communist Party of China. During this period, Liu Zhenhuan, on the one hand, through speeches, radio broadcasts, and published articles, promoted China’s victory in the War of Resistance Against Japanese

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Narskiy, I. V. "FICTION IN "AUTHENTICITY" SUBSTANTIATION: HOW THE SOVIET CHOREOGRAPHERS SUBSTANTIATED FOLK CHARACTER OF THEIR WORKS." UKRAINIAN CULTURAL STUDIES, no. 1 (4) (2019): 61–67. http://dx.doi.org/10.17721/ucs.2019.1(4).12.

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Over the decades, starting from the late 1930’s, soviet journalistic reportage about professional and mainly amateur folk dance groups from central European regions of the USSR and Siberia, Ukraine, Transcaucasia and other parts of the Soviet Union were full of reports about choreog- raphers’ "ethnographic expeditions" down the country and their desire to "learn from the people" dance technique. Why did "field collection" of the choreographic material hold a prominent place and deserve special mention in the stories about amateur folk dance arts? Weren’t numerous stories about folk trips the i

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Mocarz-Kleindienst, Maria. "Filmy Eldara Riazanowa w Polsce – z zagadnień recepcji." Acta Polono-Ruthenica 4, no. XXII (2018): 57–68. http://dx.doi.org/10.31648/apr.1238.

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Eldar Ryazanov directed films including The Irony of Fate, Station for Two, Carnival Night, Beware of the Car, and Office Romance. These films, regarded as cult classics in Russia (the former Soviet Union), are also known to Polish fans of Russian films. This paper takes account of two periods of reception of Ryazanov’s films in Poland: primary reception (1960s – 1980s) and secondary reception (beginning of 2000s). The reception analysis was conducted based on the following materials: press articles, collective monographs, Polish Television archival material and internet forums. Consequently,

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Balčus, Zane Balčus. "DISCUSSION: JURIS PODNIEKS AND THE CONSTELLATIONS OF TIMES." Culture Crossroads 18 (October 31, 2022): 75–88. http://dx.doi.org/10.55877/cc.vol18.84.

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The discussion Juris Podnieks and the Constellations of Times took place on 4 December 2020, in the framework of the research conference Culture Crossroads. Every year special thematic section of the conference focuses on cinema, and this time it was dedicated to Juris Podnieks (1950–1992), one of the most important documentary filmmakers of Latvian cinema who would have turned 70 on 5 December 2020. Juris Podnieks began working at the Riga Film Studio at the second half of the 1960s. In 1969, he entered the All-Union State Institute of Cinematography to become a documentary cinematographer. H

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Szakolczai, Arpad. "Introduction to the IPA Interview with A. Tarkovsky Jr." International Political Anthropology 15, no. 2 (2022): 135–39. https://doi.org/10.5281/zenodo.7494921.

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Andrei Tarkovsky is widely recognised as one of the most famous film directors of all times. However, this claim can, and arguably should, be extended in two directions. First, we would argue that Tarkovsky is not simply a famous filmmaker but is a unique giant of the cinema; in this genre he plays the same role as Shakespeare in theatre, Dickens in the novel, or Baudelaire in modern poetry: he simply has no equivalents – the closest competitors being Akira Kurosawa, Luis Buñuel, and Werner Herzog. Second, and even further, his work has special relevance for Political Anthropology

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Öhman, Mia. "Peili-elokuvan vastaanotto Suomessa." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 32, no. 1 (2019): 27–45. http://dx.doi.org/10.23994/lk.80165.

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Andrei Tarkovski (1932–1986) oli Neuvostoliiton tunnetuimpia elokuvaohjaajia ja yksi maailman arvostetuimmista taiteilijoista jo elinaikanaan. Hänen elokuvansa saivat kotimaassa ristiriitaisen vastaanoton, mutta palkittiin monilla kansainvälisillä festivaaleilla ja päästettiin länsimaiseen levitykseen. Vuonna 1974 valmistui Tarkovskin kolmas pitkä elokuva, vahvasti omaelämäkerrallinen Peili (Zerkalo).Peili hämmensi aikalaisyleisöä. Neuvostoliitossa suuri osa elokuvayleisöstä näki etupäässä kotimaan massatuotantoa. Eurooppalaisesta elokuvasta kyllä kirjoitettiin, mutta esimerkiksi Fellinin elok

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Rice, John, and Nigel Martin. "The formation of boards of directors as a contingent response to environmental uncertainty – Evidence from emerging economies." Corporate Board role duties and composition 4, no. 3 (2008): 23–33. http://dx.doi.org/10.22495/cbv4i3art3.

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This paper provides some strong support for existing literature in an under-researched context (the emerging economies of the former Soviet Union and Central and Eastern Europe). We develop and apply a model linking Board formation and environmental uncertainty, finding some partial support for our anticipated relationships in the area of Board establishment and perceived financial sector uncertainly, although no support for our anticipated relationship between governmental sector uncertainty and Board formation. research is supportive of the broad assertion that strategy in emerging economies

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Kaidi, Wang. "CULTURAL CONTACTS BETWEEN RUSSIA AND CHINA IN THE FIELD OF MUSIC AND DRAMA THEATER (50s of the XXth century)." Arts education and science 1, no. 2 (2021): 99–106. http://dx.doi.org/10.36871/hon.202102012.

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The article is devoted to the cultural cooperation between the USSR and the People's Republic of China in the field of musical theater. The Treaty of Friendship, Alliance and Mutual Assistance between these two countries, signed in Moscow on February 14, 1950, became a starting point in the development of cultural contacts. The most productive period was from 1949 to early 1960s. An important marker of the development of Soviet-Chinese cultural relations was the tour of theater troupes from both countries to the Soviet Union and the Celestial Empire. The Stanislavsky and Nemirovich-Danchenko M

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BOHANȚOV, Alexandru. "National values and eternal-human landmarks in the television production of the theater director Ion Ungureanu." Arta XXVIII, no. 2 (2019): 90–96. https://doi.org/10.5281/zenodo.3597289.

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One of the first specialized volumes devoted to the “new muse” of audiovisual production, published in the former Soviet Union, was entitled Television is an Art (1962). Hence, the multitude of cultural programs, the generous financing of the television films and the emergence of the “Soviet School of TV theatre” - a field that has achieved many remarkable results in its prize list. It is enough just to mention the names of the directors Anatoly Efros, Piotr Fomenko, Iuri Fokin, Mark Zaharov, Mihail Kozakov, Roman Viktiuk, etc., and of our famous theater director Ion Un

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Akhmadullin, Vyacheslav Abdulovich. "THE RELATIONS BETWEEN THE STATE AND MUSLIMS IN THE USSR AND FOREIGNERS’ CONCLUSIONS ABOUT THE SOVIET STATE: ANALYSIS OF DOCUMENTS DISCOVERED IN 2022." LOMONOSOV HISTORY JOURNAL 64, no. 2023, №2 (2023): 118–28. http://dx.doi.org/10.55959/msu0130-0083-8-2023-64-2-118-128.

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Recent years have seen the possibility of introducing into scientific circulation declassified documents of the highest state and political bodies, public organizations, and the spiritual directorates of Muslims, which until now were unknown in wide circles. They allow us to examine the forms and methods of activity of the Soviet state in building relationships with Muslims and to identify the directions, principles, and features of the work of state and public organizations in this sphere. A characteristic feature of religious policy in the late 1960s, one of the main conductors of which was

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Donath, C., E. Gräßel, D. Baier, S. Bleich, and T. Hillemacher. "Alcohol use and Binge Drinking in adolescents living in Germany: A representative study - variation of consumption patterns according to migration background." European Psychiatry 26, S2 (2011): 31. http://dx.doi.org/10.1016/s0924-9338(11)71742-4.

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IntroductionBinge Drinking is a constant problem behaviour in adolescents across Europe. However, epidemiological data on alcohol consumption of adolescents with different migration backgrounds are rare.Objective/aimsCreate insight on alcohol consumption patterns in adolescents with different migration backgrounds living in Germany.MethodsIn the years 2007/2008, a representative written survey of N = 44,610 students in the 9th grade of different school types in Germany was carried out (net sample). The return rate of questionnaires was 88% regarding all students whose teachers respectively sch

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Burmatov, Alexander А. "Requests to Statistical Directorates: Potential for Historical and Demographic Research (1950–70)." Herald of an archivist, no. 2 (2023): 565–75. http://dx.doi.org/10.28995/2073-0101-2023-2-565-575.

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The article considers the possibility of using official requests of scientists to territorial state agencies for statistics in Western Siberia to study the demographic history of the region. The history of the population of the Soviet Union remains poorly studied, despite huge number of works devoted to the topic. During the Soviet period, entire eras were not covered in statistics and science. The authorities hid negative consequences of the modernization and huge losses following wars, famine, and repression. In addition to direct concealment of statistical information, data falsification wa

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Kós, Anna. "The Post-Colonial Phenomenon in Central and Eastern European Film Production – the Special Case of Hungarian Filmmakers in Romania." Symbolon 24, no. 2(45) (2023): 41–46. http://dx.doi.org/10.46522/s.2023.02.6.

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In the last decade the phenomenon of post-colonialism, transnationalism and trans-culturalism in film production have become increasingly prominent areas of research; this is a logical consequence of globalization in general, amplified at the same time by the spread of co-production budgets increasingly common in arts that require a large financial outlay involving several countries. In my study I focus on the productions of Hungarian filmmakers in Transylvania: directors here have never been the favorites of film financing bodies (from the Soviet Union at the beginning, from the EU countries

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Sputnitskaya, Nina Yu. "Soviet Puppet Cinema of the 1930s: from Avant-Garde to Mainstream." Journal of Flm Arts and Film Studies 8, no. 3 (2016): 8–18. http://dx.doi.org/10.17816/vgik838-18.

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Evaluation of Russian animated cartoons of the 1930s wasnt positive for a long time; historians of cinema, directors, artists marked this period as the era of hard times, as formalism and imitation Disney's esthetics. However the films considered in the article have played a significant role in development of world cinema. Particularly they have influenced upon moulding of the Czech, Polish and Ukrainian stop motion animation of the post-war years. Unfortunately, some works released in the Union of puppet animation at Mosfilm studios under the leadership of A.L. Ptushko have been lost, and now

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Sabău, Nicolae. "American and Jewish Art Historians in Correspondence With Prof. C. Petranu (1893-1945)." Studia Universitatis Babeș-Bolyai Historia Artium 66, no. 1 (2021): 69–114. http://dx.doi.org/10.24193/subbhistart.2021.04.

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"American and Jewish Art Historians in Correspondence with Prof. C. Petranu (1893-1945). This article is part of the correspondence Prof. C. Petranu, founder of the education and scientific research in the field of art history in Transylvania and at King Ferdinand University of Cluj, conducted with prestigious American fellow specialists, professors, researchers, museographers, directors of publishing houses and magazines in this field. Among Prof. Petranu’s most frequent correspondents we can mention fellow specialists and researchers residing in the United States of America, as well as in ma

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Davydov, A. Yu, and E. A. Kirillova. "Soviet Administrator N. I. Ivanov: Tragedy of the Economic Leader of the 1920s — 1930s." Modern History of Russia 12, no. 3 (2022): 672–86. http://dx.doi.org/10.21638/11701/spbu24.2022.309.

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Using previously unpublished archival documents, this article provides one of the first studies on the biography of prominent Leningrad political and economic figure N. I. Ivanov. During War Communism and NEP he served as labor commissar for the Union of Communes of the Northern Region, headed the Department of municipal economy of the Executive Committee of the Petrograd/Leningrad Soviet, was was the second deputy chairman of the Еxecutive Сommittee of the Leningrad City Soviet. In the conditions of NEP he had to make compromises with businessmen and specialists from “former people”. In the “

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DeVry Riordan, Jack. "Intergenerational Conflict in Contemporary Cuba: Rivalry within Las Congas Santiagueras." Perspectivas Afro 4, no. 1 (2024): 136–44. http://dx.doi.org/10.32997/pa-2024-4910.

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The current article reflects on the topic of intergenerational conflict between those Cubans who lived closer to the beginning of the Castro-led Revolution of 1959, and those who were born closer to the beginning of the 1990s, during the fall of the Soviet Union, now referred to as the Special Period in the Time of Peace. In the documentary Lázaro and the Shark: Cuba under the Surface (2022), Cuban exile director William Sabourin O'Reilly showcases this national conflict. Through the screen, O’Reilly highlights the beauty of the Afro-influence combined with the intimate and lively rivalry betw

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37

Hung, Chang-Tai. "Mao's Parades: State Spectacles in China in the 1950s." China Quarterly 190 (June 2007): 411–31. http://dx.doi.org/10.1017/s0305741007001269.

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AbstractPolitical parades in the People's Republic of China are a rich and complex cultural text from which historians can gain a deeper understanding of the nature and policies of the Chinese Communist Party (CCP). The CCP's state spectacles, primarily the parades during the May Day and National Day (1 October) celebrations held in Tiananmen Square in the 1950s, were a well-organized political ritual with multiple purposes: festivals of iconoclasm, demolishing the old order and embracing the new era of socialism; a legitimation of the CCP's authority; a display of myriad achievements under co

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Barris, Roann. "Exhibiting Russia." Experiment 23, no. 1 (2017): 142–57. http://dx.doi.org/10.1163/2211730x-12341307.

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Abstract Although we have some first-hand accounts of visits by American drama critics and theater directors to the Soviet Union in the 1920s and 1930s, with one or two exceptions we do not know much about how American visual artists gained first-hand knowledge of the works of the Russian avant-garde at this time. Tracing the surprisingly rich history of American exhibitions of Russian art in the first half of the twentieth century, this paper examines the influence of Berlin and Vienna in shaping American exhibitions and also shows how curatorial decisions often determined which artists were

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Melovatskaya, Anna. "The reconstruction of the “Naughty Couplets” ballet of the choreographer G. Malkhasyants." PHILHARMONICA. International Music Journal, no. 6 (June 2020): 67–74. http://dx.doi.org/10.7256/2453-613x.2020.6.34274.

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The research subject is the period of the 1960s - the 1970s - the period of flourishing of the Soviet ballet theatre. During this period, in many theatres of the Soviet Union,&nbsp; choreographers-pioneers were working whose creativity was based on the commitment to traditions and readiness to propose their own vision of the development of ballet theatre. The article considers the early period of work of one of &ldquo;the men of the sixties&rdquo; - a choreographer Gennady Malkhasyants (1937 - 2008). The author of the article reconstructs one of his earliest plays - the ballet &amp

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Saro, Anneli. "Nõukogude tsensuuri mehhanismid, stateegiad ja tabuteemad Eesti teatris [Abstract: Mechanisms, strategies and taboo topics of Soviet censorship in Estonian theatre]." Ajalooline Ajakiri. The Estonian Historical Journal, no. 4 (September 9, 2019): 283–304. http://dx.doi.org/10.12697/aa.2018.4.02.

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Abstract: Mechanisms, strategies and taboo topics of Soviet censorship in Estonian theatre Since theatre in the Soviet Union had to be first of all a propaganda and educational institution, the activity, repertoire and every single production of the theatre was subject to certain ideological and artistic prescriptions. Theatre artists were not subject to any official regulations regarding forbidden topics or ways of representation, thus the nature of censorship manifested itself to them in practice. Lists of forbidden authors and works greatly affected politics related to repertoire unti

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41

Shay, Anthony. "Staging the Folk: Choreographic Issues of National Representation." Dance Research 39, no. 2 (2021): 222–46. http://dx.doi.org/10.3366/drs.2021.0344.

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This article looks at the multiple ways that folk dance has been staged in both the nineteenth century when character or national (the two terms were used interchangeably) dance was widely used in classical ballet, and the twentieth in which Igor Moiseyev created a new genre of dance related to it. The ballet masters that created character dance for ballet often created ballroom dances based on folk origin, but that would be suitable for the urban population. This popularity of national dance was the result of the burgeoning of romantic nationalism that swept Europe after the French Revolution

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42

Sharov, Konstantin S. "The Neoimperial Motif in Russian Historical Movies of the 2000s-2010s and the Phenomenon of Orthodox Cinematographic Sermon." Imagologiya i komparativistika, no. 16 (2021): 269–91. http://dx.doi.org/10.17223/24099554/16/16.

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During the last two decades, the topic of imperial consciousness and the ideological construction of a neo-imperial approach to contemporary Russian history within the narrative of post-Soviet “neo-imperialism” has been increasingly revived in Russian cinema. It has not much about developing the idea of Great Russia with a highest world mission. There are hardly more Slavophile motives here than Westernisers’ ones. The new historical movies shot mainly by the Russian state or Church request construct a parable about a great supranational historical empire, which unites all ethnic groups, peopl

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43

Kusyi, Lesia. "Volodymyr Doroshenko about the development of the Shevchenko Scien¬tific Society Library under Soviet rule: illusions and realities (1940–1941)." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 13(29) (2021): 248–63. http://dx.doi.org/10.37222/2524-0315-2021-13(29)-15.

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The library of the Shevchenko Scientific Society in Lviv was founded in 1894 by the Shevchenko Scientific Society. This is the first and for a long¬time the only scientific collection of Ukrainian studies in Ukraine. Its leaders I. Krevetsky and V. Doroshenko were prominent librarians and bibliographers. The library collected all the most important Ukrainian and foreign publica¬tions about Ukraine, conducted an intensive international book exchange. In 1939, the library had 72,828 titles of books in 207,923 volumes and issues, 1,485 manuscripts and 2,449 maps. In addition, there were about 50,

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Pērkone, Inga. "War and Women in Jānis Streičs’ Films." Baltic Screen Media Review 6, no. 1 (2018): 56–70. http://dx.doi.org/10.2478/bsmr-2018-0004.

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Abstract This article is devoted to the theme of women and war in the films of Jānis Streičs, possibly the most influential Latvian film director. In the course of his career, which spanned nearly 50 years, Streičs made films that were popular in Latvia, as well as throughout the Soviet Union. He is one of the few Latvian film directors who managed to continue a comparatively stable career in the newly reindependent Republic of Latvia. Streičs skilfully used the canonised means of expression of classical cinema and superficially fulfilled the demands of socialist realism to provide appealing a

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Yelchyk, Oksana. "Film Adaptations of the Theatrical Performances in Ukrainian Cinematography during the USSR Period." Folk art and ethnology, no. 1 (March 30, 2025): 81–87. https://doi.org/10.15407/nte2025.01.081.

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The article is focused on the processes of film adaptation of theatrical performances in Ukrainian cinema during the period of the Union of Soviet Socialist Republics; their impact on the development of the film industry and national identity is analyzed; the key trends and achievements in this direction are highlighted. The film adaptations of theatrical performances are of a great significance in the development of Ukrainian national cinematography. Studying the history of film adaptation in the USSR (Ukrainian SSR) in the light of the peculiarities of Ukraine’s development enables better un

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Mankov, Andrei V. "MOBILIZATION OF THE SOVIET CULTURE DURING THE Great PATRIOTIC WAR: On Evacuation of Leningrad Artists to the Kirov REGION and THEIR WORK IN WARTIME CONDITIONS (1941–1944)." Vestnik Chuvashskogo universiteta, no. 1 (March 28, 2025): 66–84. https://doi.org/10.47026/1810-1909-2025-1-66-84.

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The article analyzes the activities of Leningrad State Academic Chapel on the eve and during the Great Patriotic War. The relevance of the study is due to the approaching 80th anniversary of the Victory of the Soviet Union and its people in the confrontation with Germany. The Nazi invasion caught the band of the chapel on a tour by the cities of the European part of the country. And what is known about its work during the war? What was the specific nature of the repertoire? The purpose of the work is to study the changes associated with the beginning and the course of the war (1941–1944) in th

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Almaev, Rustam Z. "The Fate of Educators in the Bashkir Autonomous Soviet Socialist Republic During the Struggle Against “Bourgeois Nationalism” (1937-1938)." RUDN Journal of Russian History 19, no. 1 (2020): 95–118. http://dx.doi.org/10.22363/2312-8674-2020-19-1-95-118.

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This article discusses the political repressions of 1937-1938 in the fi eld of public education, with the Bashkir Autonomous Soviet Socialist Republic as its case study. The author assembles new archival documents, mass media materials and memoirs of contemporaries to illuminate the regional specifi cs of repression in the broader context of the Stalinist era. Particular attention is paid to how “enemies of the people” were identifi ed. The author argues that the Bashkir Regional Party Committee, the media, and the party committees of educational institutions, as well as the organs of the NKVD

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48

Saro, Anneli. "Mobility and Theatre: Theatre Makers as Nomadic Subjects." Nordic Theatre Studies 27, no. 1 (2015): 90. http://dx.doi.org/10.7146/nts.v27i1.24242.

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This article discusses the pros and cons of theatrical mobility, investigating situ- ations where theatre is breaking its traditional practices of being local and urban by becoming mobile, international and rural. The main features in this context are guest performances at home and abroad, the importation of guest directors, performers, designers et cetera, and finally, site-specific and open-air productions. The structure of the analysis is based on these features, partly derived from the historical development of theatre but partly also from the aim of contrary thinking, insisting that contr

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49

Raudsepp, Anu. "Vaimse vastupanu püüded okupatsioonivõimudele Hugo Raudsepa 1940. aastate komöödiates." Ajalooline Ajakiri. The Estonian Historical Journal 172, no. 2 (2020): 117–40. http://dx.doi.org/10.12697/aa.2020.2.02.

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In the 1940s, the totalitarian occupying regimes of Nazi Germany and the Soviet Union implemented the strictest control and ideological guidance of intellectual and spiritual life of all time in Estonia. Essentially, the mechanisms and results of control are known. Cultural life was subjected to strict pre-censorship and post-publication censorship, and in the Soviet era also to thematic dictation. The intellectual and spiritual resistance of Estonians in those years, in other words their refusal to accept the ruling ideology, has been studied very little. The most widespread way of putt

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50

Kostrykina, N. V. "CREATIVITY OF THE KRASNOYARSK DOCUMENTARY FILMMAKER I. ZAITSEVA AS A PHENOMENON OF REGIONAL AND NATIONAL CULTURE." Northern Archives and Expeditions 5, no. 2 (2021): 103–12. http://dx.doi.org/10.31806/2542-1158-2021-5-2-103-112.

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The article describes the work of Irina Borisovna Zaitseva, a world-famous Krasnoyarsk documentary film director, a member of the Board of the Union of Cinematographers and the Association of Documentary Films of the Russian Federation, whose film productions have not yet been the subject of film studies. Her films have won numerous prizes at prestigious All-Russian and international film festivals ("Russia", "Golden Knight", "Living Water", "Flahertiana", "Stalker", "Saratov Suffering", "Mediawave", "Documenta Madrid", "Docupolis", etc.). A number of documentary films reflect the history of n

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