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Dissertations / Theses on the topic 'Tobolʹsk (Russia) in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Winskell, Samantha Kate. "Dada and Russia : Zurich and Berlin, 1915-1922." Thesis, Courtauld Institute of Art (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.294791.

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Sapwell, Mark Andrew. "Art of accumulation : the role of rock art palimpsests in Fennoscandia 4500-1200 BC." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648511.

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3

Rose, Katherine Mae. "Multivalent Russian Medievalism: Old Russia Through New Eyes." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493416.

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This thesis explores representations of medieval Russia in cultural and artistic works of the late nineteenth and early twentieth centuries, with an eye to the shifting perceptions of Russia’s cultural heritage demonstrated through these works. The thesis explores the history of medievalism as a field of study and interrogates the reasons that medievalism as a paradigm has not been applied to the field of Russian studies to date. The first chapter is an investigation of architectural monuments incorporating Old Russian motifs, following the trajectory of the “Russian Style” in church architect

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Bang, Rosaria E. "Russian Art Education: A Study on Post-Soviet Perspectives." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-07282006-130035/.

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Thesis (M.A.E.)--Georgia State University, 2006.<br>Title from title screen. Melody Milbrandt, committee chair; Mariama Ross, Teresa Bramlette Reeves, committee members. Electronic text (186 p. : col. ill.) : digital, PDF file. Deescription based on contents viewed May 10, 2007. Includes bibliographical references (p. 93-110).

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Vasilyeva, Oxana. "Independent art, politics and social change: A case study of Russia and Serbia." Thesis, Griffith University, 2022. http://hdl.handle.net/10072/417683.

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This PhD research examines independent art with a focus on the Russian Federation and the Republic of Serbia. Its aim is to analyse the state of independent art in Russia and Serbia in the twenty-first century. I argue that both countries pursue their political interests by supporting or forbidding certain art. Art that supports values opposite to the official political agenda is labelled as bad, blasphemous or untalented, and is often censored. Both states intervene in the cultural field through censorship and limiting free artistic expression. Against the background of a difficult political

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Diederich, Jill. "Trash to Treasure : Art between Contemporary and Conventional Ecological Practices in Arkhangelsk, Russia." Thesis, Uppsala universitet, Institutionen för kulturantropologi och etnologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-365195.

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Recycling and solid waste management are a serious problem in the Russian North. The necessary infrastructure, as well as the awareness of the citizens is missing to resolve this problem efficiently. Artists and environmental activists have therefore looked for a way to make people aware of the need for recycling and initiate social change in this regard. The medium that has been chosen by activists and artists alike is art. By involving people in creating an art object or by presenting art to them, the activists and artists hope to initiate awareness concerning our consumption patterns and, l

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7

Nadezda, Chamina <1977&gt. "La fortuna della scenografia italiana nella Russia Neoclassica. Il teatro di Pietro Gonzaga a Mosca." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3167/1/Chamina_Nadezda_La_fortuna_della_scenografia_italiana_nella_Russia_neoclassica_Il_teatro_di_Pietro_Gonzaga_a_Mosca.pdf.

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La tesi ha come oggetto lo studio dei legami culturali posti in essere tra la Russia e l’Italia nel Settecento effettuato a partire dall’analisi del teatro di Arkhangelskoe (nei pressi di Mosca), ideato da Pietro Gonzaga. Ciò ha consentito di inquadrare l’atmosfera culturale del periodo neoclassico a partire da un’angolazione insolita: il monumento in questione, a dispetto della scarsa considerazione di cui gode all’interno degli studi di storia dell’arte, racchiude diverse ed interessanti problematiche artistiche. Queste ultime sono state tenute in debito conto nel processo dell’organizzazion

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8

Nadezda, Chamina <1977&gt. "La fortuna della scenografia italiana nella Russia Neoclassica. Il teatro di Pietro Gonzaga a Mosca." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3167/.

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La tesi ha come oggetto lo studio dei legami culturali posti in essere tra la Russia e l’Italia nel Settecento effettuato a partire dall’analisi del teatro di Arkhangelskoe (nei pressi di Mosca), ideato da Pietro Gonzaga. Ciò ha consentito di inquadrare l’atmosfera culturale del periodo neoclassico a partire da un’angolazione insolita: il monumento in questione, a dispetto della scarsa considerazione di cui gode all’interno degli studi di storia dell’arte, racchiude diverse ed interessanti problematiche artistiche. Queste ultime sono state tenute in debito conto nel processo dell’organizzazion

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9

Roy, Nina Tamara. "Harvest of memories : national identity and primitivism in French and Russian art, 1888-1909." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37827.

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This dissertation analyses the convergence of primitivism and nationalism in late-nineteenth and early-twentieth century French and Russian art. The discourse of primitivism has yielded a number of critical studies focusing on the artistic appropriation of aesthetics derived from "tribal" arts, Asian arts, medieval icons, outsider art, and peasant arts and crafts. Within that scholarship, modern European art that appropriates the aesthetics of folk arts and themes of the peasantry is frequently considered to be representative of national identity and myth. The artistic elucidation of the peasa

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10

Winstead, Caitlin Leigh. "ART, LIFE, AND COMMUNITY IN RUSSIA ABROAD: AN EXAMINATION OF THE EMIGRE MAGAZINE TEATR’ I ZHIZN’." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami150163074847434.

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11

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.<br>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 agains

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Wilson, Erin Elizabeth. "An Alternative Ancien Régime? Elisabeth Vigée-Lebrun in Russia." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6157.

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In the last few decades interest in the life and work of Elisabeth Vigée-Lebrun has increased significantly, with numerous publications and a retrospective exhibition dedicated to her oeuvre. Yet, while much new and valuable information has been introduced, very little of it deals specifically with the period from 1795-1800 when she lived as an émigré in Saint Petersburg, Russia. In this thesis I analyze two Russian portraits by Elisabeth Vigée-Lebrun, in relation to two earlier works she painted in Paris, the duchesse d’Orleans (1789) and Marie Antoinette, Queen of France (1783), elucidating

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13

Pac, Teresa. "Churches at the edge a comparative study of Christianization processes along the Baltic Sea in the Middle Ages: Gdańsk and Novgorod. /." Diss., Online access via UMI:, 2005.

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14

Maravic, Tihana <1976&gt. "Il folle in Cristo come performer. Teatralità e performatività nel fenomeno della sacra follia a Bisanzio (secc. IV-XIV) e in Russia (secc. XI-XVII)." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2008. http://amsdottorato.unibo.it/1118/1/Tesi_Maravic_Tihana.pdf.

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Maravic, Tihana <1976&gt. "Il folle in Cristo come performer. Teatralità e performatività nel fenomeno della sacra follia a Bisanzio (secc. IV-XIV) e in Russia (secc. XI-XVII)." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2008. http://amsdottorato.unibo.it/1118/.

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Giorio, Chiara <1995&gt. "LA RUSSIA AL CENTRE DI PARIGI. Una storia delle esposizioni di arti figurative russe e sovietiche organizzate dal Musée national d’art moderne al Centre Pompidou di Parigi." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/20125.

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La presente ricerca ha lo scopo di analizzare le esposizioni temporanee dedicate alle arti figurative russe e sovietiche, organizzate dal Musée national d’art moderne (Mnam) presso la sede del Centre Pompidou, ponendole -quando possibile e/o necessario- in relazione con le collezioni del museo. L’elaborato è introdotto da una ricostruzione delle tappe fondamentali che portarono il Musée des artistes vivants, fondato nel 1818, a cambiare più volte la propria sede e il proprio nome, fino a trovare la sua finale ubicazione presso Beaubourg, con la denominazione di Mnam. Seguendo un percorso cron

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Cezar, Luiz Alberto. "Cinquenta gotas de sangue: a estética conceitualista Dmitri Prigov." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-10012008-114027/.

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Este trabalho compreende a tradução diretamente do russo de textos poéticos do escritor pós-modernista Dimitri Prigov, reunidos na coletânea intitulada Cinqüenta Gotas de Sangue num Meio Absorvente, e uma exploração teórica de aspectos relevantes da estética a que se filia a obra: o conceitualismo russo. O papel de enfrentamento representado por essa estética com relação aos padrões canônicos da literatura e a natureza das inovações por ela introduzidas em matéria de estratégias lingüísticas - no ambiente de cultura que marcou o fim do regime soviético - são questões que transparecem do desenv

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BERTELE', Matteo. "La Russia all'Esposizione Internazionale d'Arte di Venezia (1895-1914). Per una storia della ricezione dell'arte russa in Italia." Doctoral thesis, Università Ca' Foscari Venezia, 2011. http://hdl.handle.net/10278/3660588.

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19

Zeisler, Wilfried. "Les achats d’objets d’art français par la Cour de Russie, 1881-1917." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040109.

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La thèse Les achats d’objets d’art français par la Cour de Russie, 1881-1917, consacrée à un nouvel aspect des relations franco-russes, pose un regard bilatéral sur les arts décoratifs français et russes, dont elle étudie le goût au cœur d’interactions politiques, commerciales et artistiques. Le contexte favorable dans lequel s’effectuent ces achats sous les règnes d’Alexandre III et de Nicolas II repose sur l’ancienneté des relations franco-russes, reconnues pour leur richesse au XVIIIe siècle et au début du XIXe siècle. Il se manifeste par le développement des exportations des produits de l’

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PRATI, ELENA. "Serie tv Made in Russia. Percorsi produttivi di original e scripted format nell'economia televisiva della Federazione." Doctoral thesis, Università Cattolica del Sacro Cuore, 2021. http://hdl.handle.net/10280/97591.

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Negli ultimi dieci anni la Federazione Russa si è lanciata nel mercato globale della produzione di contenuti televisivi, migliorando la qualità dei propri prodotti e distinguendosi per i generi e le storie raccontate. Studiarne il sistema televisivo contemporaneo, con la peculiarità dei remake “made in Russia”, permette di comprenderne il funzionamento e l’evoluzione passata e futura, in un’ottica di economia globale. Capire come e perché sui palinsesti nazionali circolano ancora oggi prodotti che sono una copia di serie televisive originali occidentali (ben lontani dal concetto di scripted fo

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PRATI, ELENA. "Serie tv Made in Russia. Percorsi produttivi di original e scripted format nell'economia televisiva della Federazione." Doctoral thesis, Università Cattolica del Sacro Cuore, 2021. http://hdl.handle.net/10280/97591.

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Negli ultimi dieci anni la Federazione Russa si è lanciata nel mercato globale della produzione di contenuti televisivi, migliorando la qualità dei propri prodotti e distinguendosi per i generi e le storie raccontate. Studiarne il sistema televisivo contemporaneo, con la peculiarità dei remake “made in Russia”, permette di comprenderne il funzionamento e l’evoluzione passata e futura, in un’ottica di economia globale. Capire come e perché sui palinsesti nazionali circolano ancora oggi prodotti che sono una copia di serie televisive originali occidentali (ben lontani dal concetto di scripted fo

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Whiting, Jeanna Marie. "Tolstoy and the woman question." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001667.

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23

Kononova, Brown Vera. "From Tempera to Ink to Code: The Other Media of Orthodox Iconography." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/597.

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From Tempera to Ink to Code traces the remediation of Orthodox icons. It examines icons’ unexplored, other media: cheap print, the book and digital media. Its interdisciplinary, cross-medial approach draws upon the fields of media studies, art history, art practice, religious studies, history and bibliography to establish an alternative way of viewing and understanding the icon beyond its original medium. The study focuses on the Vladimir icon of the Mother of God as one of the most venerable Russian Orthodox icons. It traces the Vladimir icon’s process of remediation from tempera on wooden pa

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Brooks, Cassandra M. "Cultural Exchange: the Role of Stanislavsky and the Moscow Art Theatre’s 1923 and 1924 American Tours." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699929/.

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The following is a historical analysis on the Moscow Art Theatre’s (MAT) tours to the United States in 1923 and 1924, and the developments and changes that occurred in Russian and American theatre cultures as a result of those visits. Konstantin Stanislavsky, the MAT’s co-founder and director, developed the System as a new tool used to help train actors—it provided techniques employed to develop their craft and get into character. This would drastically change modern acting in Russia, the United States and throughout the world. The MAT’s first (January 2, 1923 – June 7, 1923) and second (Novem

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Weis, Christina Corinna. "Reproductive migrations : surrogacy workers and stratified reproduction in St Petersburg." Thesis, De Montfort University, 2017. http://hdl.handle.net/2086/15036.

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Surrogacy is an arrangement whereby a woman conceives in order to give birth to child or children for another individual or couple to raise. This thesis explores how commercial gestational surrogacy is culturally framed and socially organised in Russia and investigates the roles of the key actors. In particular it explores the experiences of surrogacy workers, including those who migrate or commute long distances within and to Russia for surrogacy work and the significance of their origin, citizenship, ethnicity and religion in shaping their experience. Ethnographic fieldwork was carried out i

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Sokolova, Iana. "Pittura veneta a San Pietroburgo sotto i regni di Elisabetta e Caterina II (1741-1796)." Doctoral thesis, Università degli studi di Padova, 2019. http://hdl.handle.net/11577/3423318.

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Il presente lavoro pone la lente d’ingrandimento sui rapporti artistici e culturali intercorsi tra la Repubblica di Venezia e l’Impero Russo nel XVIII secolo, dando rilievo alla presenza della pittura veneta a San Pietroburgo. Il consolidamento dei legami con Venezia, avviato nell’epoca di Pietro il Grande, aveva permesso alla pittura veneta di ‘espandersi’ fino alle sponde della città sul fiume Neva. Negli anni venti del Settecento il primo pittore veneto ad arrivare in Russia è Bartolomeo Tarsia, mentre bisogna aspettare il regno di Elisabetta Petrovna, figlia dello zar Pietro, per vedere al

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Strugnell, James Paul. "Paintings by numbers : applications of bivariate correlation and descriptive statistics to Russian avant-garde artwork." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/10722.

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In this thesis artwork is defined, through analogy with quantum mechanics, as the conjoining of the nonsimultaneously measurable momentum (waves) of artwork-text (words within the primary sources and exhibition catalogues) with the position (particles) of artwork-objects (artist- productivity/exhibition-quantities). Such a proposition allows for the changes within the artwork of the Russian avant-garde to be charted, as such artwork-objects are juxtaposed with different artwork-texts from 1902 to 2009. The artwork of an initial period from 1902 to 1934 is examined using primary-source artwork-

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Laurent, Nicolas. "La sculpture russe, du naturalisme à l'art nouveau : une approche géopolitique des pratiques artistiques." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100104/document.

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Le présent travail intègre une dimension internationale dans son sujet : La sculpture russe du naturalisme à l’Art Nouveau : géopolitique des pratiques artistiques. Il a pour fondement l’étude de ceux des sculpteurs russes qui, d’une manière ou d’une autre, ont voyagé ou séjourné à l’étranger entre 1870 et 1914. En faisant converger les approches de la nouvelle « macro-histoire de l’art », soutenue par les méthodes statistiques de l’histoire de l’art quantitative, avec l’émergence d’une problématique non pas « bilatérale » mais « multilatérale », à même de rendre compte de manière complète de

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Neiß, (Neiss) Michael, B. Sholts Sabrina, and Sebastian K. T. S. Wärmländer. "3D laser scanning as a tool for Viking Age studies." Uppsala universitet, Institutionen för arkeologi och antik historia, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-180568.

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Three-dimensional (3D) laser scanners are becoming increasingly more affordable and user-friendly, making 3D-modeling tools more widely available to researchers in various countries and disciplines. In archaeology, 3D-modeling has the particular advantages of facilitating the documentation and analysis of objects that are fragile, rare, and often difficult to access. We have previously shown that 3D-modeling is a highly useful tool for shape analysis of archaeological bone material, due to the high measurement accuracy inherent in the latest generation of 3D laser scanners (Sholts et al. 2010;

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Arns, Inke. "Objects in the mirror may be closer than they appear." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2004. http://dx.doi.org/10.18452/15154.

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Die Dissertation untersucht einen Paradigmenwechsel in der Rezeption der historischen Avantgarde in (medien-)künstlerischen Projekten der 1980er und 1990er Jahre in Ex-Jugoslawien und Russland. Dieser Paradigmenwechsel liegt im veränderten Verhältnis zum Begriff der (politischen wie künstlerischen) Utopie begründet. In den 1980er Jahren zeichnet sich die Rezeption sowohl im sogenannten sowjetischen Postutopismus (Il’ja Kabakov, Ėrik Bulatov, Oleg Vasil’ev, Komar & Melamid, Kollektive Aktionen) als auch in der jugoslawischen Retroavantgarde (NSK, Mladen Stilinović, Malevič aus Belgrad etc.) dur

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Feuillebois, Victoire. "Nuits d'encre : cycles de fictions nocturnes à l'époque romantique (Allemagne, Russie, France)." Thesis, Poitiers, 2012. http://www.theses.fr/2012POIT5013.

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La thèse isole un corpus particulièrement large dans l'Europe romantique, constitué de fictions à récit-cadre oral nocturne organisées en « veillées », « nuits » ou « soirées ». Ce constat bibliographique fait apparaître un paradoxe : la littérature de l'époque romantique rêve-t-elle encore de pratiques orales alors que s'inaugurent au même moment le fonctionnement moderne de l'ordre des livres et sa régulation par des techniques commerciales ? Comment conjuguer l'idée du sacre de l'écrivain et la nostalgie apparente pour le récit de vive voix ? Le cycle de fictions nocturnes semble d'abord un

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Johansson, Daniel. "Illusionisten Putin : Strategisk överraskning genom vilseledning - en fallstudie av rysk krigföring på Krim 2014." Thesis, Försvarshögskolan, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:fhs:diva-9301.

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I efterbörden av Rysslands annektering av Krim 2014 uppstod diskussioner kring rysk krigskonst och hybridkrigföring. Bland tvetydigheterna som uppstod identifieras bland annat vilka strategier som det samtida Ryssland har för att uppnå strategisk överraskning. Denna studie har syftat till att undersöka rysk militär vilseledning i samband med Rysslands strategiska överraskningsanfall på Krim 2014. Studien har genomförts som en teoriprövande fallstudie varvid såväl västerländska som sovjetiska/ryska vilseledningsteorier prövats på det ryska agerande under annekteringen av Krim 2014. Sammantaget

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Ehle, Kate. "Corporeal canvas: art, protest, and power in contemporary Russia." Thesis, 2017. https://dspace.library.uvic.ca//handle/1828/8928.

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This thesis examines the recent emergence of corporeal protest art in Russia. Through analyses of cultural, social, and economic shifts in the post-Soviet Era, I observe how this corporeal turn reflects a significant cultural transition away from the literary text, which has traditionally held a role of major importance in Russian culture. Detailed analysis of the contemporary performances of Pussy Riot and Petr Pavlensky are conducted in order to elucidate the social and political causes and implications of such a shift. Manifestation of oppositional discourse on the site of the human body is

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Bryzgel, Amy. "New avant-gardes in Eastern Europe and Russia, 1987-1999." 2008. http://hdl.rutgers.edu/1782.2/rucore10001600001.ETD.17283.

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GRIGOREVA, EVELINA. "LA SCULTURA CONTEMPORANEA NELLA RUSSIA POST-SOVIETICA." Doctoral thesis, 2019. http://hdl.handle.net/11573/1241026.

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Nel presente progetto di ricerca, l’attenzione è rivolta alle nuove tendenze della scultura contemporanea russa postcomunista, e privilegia l’analisi di come sia cambiato il rapporto tra la scultura, il pubblico e la politica dagli ultimi anni di vita dell’Unione Sovietica fino ai giorni nostri. In particolare, l'indagine è rivolta ai condizionamenti del sistema di potere sovietico sull’arte, ai problemi della libertà dell’artista nei riguardi della scelta dello stile e, in conclusione, al nuovo pensiero e alle nuove idee legate all’espressione artistica, subentrate negli scultori alla caduta

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Orlov, Alina. "Natan Altman and the problem of Jewish art in Russia in the 1910s /." 2003. http://wwwlib.umi.com/dissertations/fullcit/3103954.

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Helprin, Alexandra Morris. "The Sheremetevs and the Argunovs: Art, Serfdom, and Enlightenment in Eighteenth-Century Russia." Thesis, 2017. https://doi.org/10.7916/D8P84Q40.

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This dissertation studies a case of Enlightenment art created in feudal conditions of servitude. The Sheremetevs, one of the richest and most powerful families in eighteenth-century Russia, had some of their hundreds of thousands of serfs trained as painters, architects, opera singers, and musicians. Two of these serfs, Ivan and Nikolai Argunov, became successful portraitists who painted a range of sitters from Empresses to fellow serfs. Tensions between social rank and individuality, already a preoccupation for eighteenth-century portrait painters, became particularly pronounced in this situa

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Johnston, Rebecca Adeline. "Culture in the crucible : Pussy Riot and the politics of art in contemporary Russia." 2013. http://hdl.handle.net/2152/21294.

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There is a consistent thread throughout Russian history of governmental management of culture. Tsars and Communist bureaucrats alike have sought to variously promote, censor, or exploit writers, filmmakers, and musicians to control and define the country's cultural content. Often, these measures were intended not necessarily to cultivate Russia's aesthetic spirit, but to accomplish specific policy goals. The promotion of a State ideology and other efforts to stave of social unrest were chief among them. With the fall of Soviet power and the loss of an official ideology promoted by the state, t

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Svishchenko, Kseniia. "The influence of Russian folk Art on Avant-Garde artists." Master's thesis, 2016. http://hdl.handle.net/10362/20382.

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In this internship report, I will describe my experience at the Collection of the Russian Museum in Malaga, Spain. It is the first European branch of the State Russian Museum in Saint Petersburg. The aim of this internship report is to comment on my experience at the Education Department of the museum in question as well as to study several works of the Russian avant-garde artists exhibited at the museum during my internship.

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Yang, Wei-An, and 楊惟安. "Learn from Russia: Discussion on Chinese Communist Party’s Literary and Art Propaganda during the Sino-Japanese War from Sin Xua Rhbao." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/98499528690789584889.

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碩士<br>輔仁大學<br>歷史研究所<br>96<br>On January 11th of 1938, Sin Xua Rhbao was published in Wuhan and moved to Chongqing in October. Sin Xua Rhbao was the first newspaper published to the public by Communist Party of China. Communist Party of China used Sin Xua Rhbao to publish its political activities, ideal of culture and cultural activities because Wuhan and Chongqing had become Kuomintang region’s center of politic, economic and culture. From 1938 to 1942, the literature propaganda of Communist Party of China, such as images, education, masses movement and anti fascists’ activities was learned fr

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McBurney, Erin. "Art and Power in the Reign of Catherine the Great: The State Portraits." Thesis, 2014. https://doi.org/10.7916/D8CC0XT5.

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This dissertation examines the relationship between art and power in the reign of Catherine II of Russia (1762-1796). It considers Catherine's state portraits as historical texts that revealed symbolic manifestations of autocratic power, underscoring the close relationship between aesthetics and politics during the reign of Russia's longest serving female ruler. The Russian empress actively exploited the portrait medium in order to transcend the limitations of her gender, assert legitimacy and display herself as an exemplar of absolute monarchy. The resulting symbolic representation was protea

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Desgagnés, Alexis. "La Russie souterraine : l'émergence de l'iconographie révolutionnaire russe (1855-1917)." Thèse, 2009. http://hdl.handle.net/1866/4156.

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La présente thèse étudie la production et la consommation d’images par les révolutionnaires russes avant 1917. L’auteur soutient que l’iconographie révolutionnaire russe émane d’un long processus au cours duquel les révolutionnaires se sont appropriés et ont subverti certaines images et stratégies visuelles, ainsi que leurs moyens de production, déjà disponibles au sein de la culture qu’ils avaient entrepris de transformer. Cette appropriation est comprise comme une tentative d'insuffler une cohérence idéologique à un mouvement révolutionnaire en émergence et, ce faisant, en proie à une relati

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JINDRÁKOVÁ, Edita. "Filosofická interpretace děl Marca Chagalla." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-172627.

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This thesis covers the interpretation of life and work of Marc Chagall, jewish painter of 20th century. Goal of the thesis is to highlight symbolic motives of his work, and later on interpret those on selected pieces. The thesis is divided into four parts. First part is devoted to the life of the painter and his jewish origin, which had a significant influence on the character of his work. Second part covers the meaning of symbols in art and religon in general. Third tries to compare Chagall's conveyance with two jewish philosophers of the dialog: E. Lévinas and F. Rosenzweig. Fourth then inte

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