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Journal articles on the topic 'Tobolʹsk (Russia) in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Yeremenko, Evgeniy D., and Zoya V. Proshkova. "Editor as a phenomenon of Soviet art culture." Vestnik of Saint Petersburg State University of Culture, no. 2 (47) (2021): 31–38. http://dx.doi.org/10.30725/2619-0303-2021-2-31-38.

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The article is devoted to understanding the image of the Soviet editor in Russian art (using examples of fiction and cinema). The author examines the personal qualities that contributed to the entry of a person into the profession («editorial character») and provides a chronological observation of the «editorial evolution» – in publishing and film production-throughout the Soviet period and the first years of Russia in the 1990s. An important aspect that has been updated since the early 1920s is the active inclusion of women in editorial work. The characteristics of editors of different Soviet periods are analyzed using examples from the prose of M. Bulgakov, V. Shishkov, L. Rakhmanov, A. Tobolyak, V. Astafyev. Portraits of Soviet film editors are considered in the works of J. Gausner, N. Bogoslovsky, V. Makanin, D. Rubina and M. Kuraev. Representatives of the editorial profession are also represented in the films of A. Tarkovsky, V. Zheregy, K. Shakhnazarov and A. Benckendorf. There are two main types in the artistic depiction of editors and their activities: satirical (in a pointed form ridiculing personal and professional shortcomings) and dramatic (reflecting the complexity of editorial characters in their inseparability with the influence of society, historical era). In the final part of the article, the vectors of professional diffusions in the film-editing corps are outlined with the end of the Soviet era and the need to adapt to the new, post-Soviet realities.

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2

Maskevich, Ekaterina D., and Boris N. Tikhomirov. "The Petrashevites After the Semyonovsky Parade Ground Events, Commandant Nabokov and Emperor Nicholas I (New Details in the Biography of Mikhail and Fedor Dostoevsky)." Неизвестный Достоевский 7, no. 2 (June 2020): 38–68. http://dx.doi.org/10.15393/j10.art.2020.4641.

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The publication is based on the documents discovered by the authors in the Russian State Historical Archive, which are preserved in the Repository of the Commandant’s Office of the St. Petersburg Fortress, in the case “Regarding the prisoners under investigation for malicious intent in 1849”. Most of the documents date back to the period between December 22, 1849 (the staging of the mock execution of the Petrashevites on the Semyonovsky parade ground) and January 9, 1850 (arrival of Dostoevsky, Durov and Yastrzhembsky in Tobolsk). The latest document is dated February 4, 1850. The article contains three parts, each of which sheds new light on the biography of the brothers Fedor M. and Mikhail M. Dostoevsky in the aforementioned period. The first section incorporates the documents that reveal the circumstances prior to the meeting of the brothers Dostoevsky on December 24, 1849, before Fedor was sent to Siberia, a meeting which was initially refused to them. Specifically, these documents are the request made by the Commandant of the Peter and Paul Fortress Nabokov and addressed to the War Minister, to allow relatives of the members of the Petrashevsky circle to meet with them before departure for the place of punishment, and the most gracious permission of Nicholas I on the matter, following the most humble report of the Minister. The second section introduces into scientific circulation the documents presenting the emperor's initiative to provide monetary assistance to the families of convicted Petrashevites, as well as to Petrashevites with families (including multi-child families), who were temporarily imprisoned in the fortress during the investigation. In the context of these documents, suspicions about the “immodest behavior” of M. M. Dostoevsky during the investigation that were previously expressed by certain researchers (Dolinin, Grossman), are removed. The third section introduces a receipt issued to “criminal Dostoevsky,” according to which 100 rubles of his money were appropriated during the prison transfer, and a document confirming the reception of this amount in the Tobolsk directive regarding convicts. The question of the origin and subsequent fate of this money is examined.

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3

Bolotyan, Ilmira. "About feminist art in Russia." nauka.me, no. 2 (2019): 0. http://dx.doi.org/10.18254/s241328880008079-0.

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4

Davydova, Olga. "“Dreaming of Russia”." Experiment 25, no. 1 (September 30, 2019): 189–206. http://dx.doi.org/10.1163/2211730x-12341338.

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Abstract The National-Romantic trend in Russian Art Nouveau is characterized by a lyrical approach to the past, including imagery from folklore. This tendency is also identifiable within the global development of Art Nouveau, each country expressing its national identity in highly characteristic forms in design and architecture. Art Nouveau coincided with the zenith of Symbolism and, therefore, transmitted both its universal ideas and the unique creative psychology of the individual artist, who often based personal quest upon local traditions and innate cultural memory. This article analyzes the poetics of this style in Russia. The lyrical and mythological approach towards artistic images, influencing design, form, and meaning, is studied through an examination of the works of artists close to the Abramtsevo circle and the innovative experiments of the World of Art group (1898-1904).

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5

Board, Editorial. "Cover Art." Public Voices 1, no. 3 (April 11, 2017): 6. http://dx.doi.org/10.22140/pv.462.

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6

Shkurko, Alla. "Medallic Art in Russia XVIII c." Scientific and analytical journal Burganov House. The space of culture 16, no. 1 (March 10, 2020): 80–99. http://dx.doi.org/10.36340/2071-6818-2020-16-1-80-99.

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Summary: The article is dedicated to the history of medalic art of Russia since the time of its appearance at the boundary 17–18 cc. and its further developing as a definite kind of art in the course of the century. In 1701 a new Mint began its work in Moscow in Kadashev sloboda. For some period of time it was the main Mint issuing coins and medals. Among the engravers working there the first place belongs to Fedor Alekseev who was the leading medalist since 1701. Afterwards the leading initiative was given to foreign masters who had come to work for Russia. The first foreign medalists working on Russian services were Frenchman Solomon Gouin and Saxon G. Haupt. During the whole part of the first quarter of 18 c. Russian medalic works were signed by foreign craftsmen. The series of medals in memory of the North war performed by the German medalist Ph.G. Mueller and left a noticeable trace in the development of Russian medalic art. Medals of the first quarter of 18 c. reflected the successful events of Russia in the North war most fully but very few medals were devoted to the home life of the country. Medals of the first quarter of 18 c. served as the firm foundation for further development of the Russian medalic art. In 30–40s years the leading place at the Russian Mints was occupied by foreign medalists. Chief medalist was Dane Anton Shultz who was engaged not only in cutting dies but also taught Russian masters. The main service of I.G. Waechter rendered to the Russian medalic art consists in the further widening of artistic possibilities of medals. Virtuosity of ability to use technique, the accuracy in the gradation of the relief, fine feeling of light and shade allowed the artist to create such pictorial relief that is always connected with his name in the Russian medalic art. Together with the artists already spoken about, Russian masters work professionally too. The creative work of two medalists Tymophey Ivanov and Samoilo Yudin is very important. The circle of Russian medalists of 18 c. is completed by Karl Leberecht. By his creative work he realized the transition to a new period of medalic art – classicism. In the first half of the 18 c. medals immortalized a small number of important events and ruling monarchs, but in the second half of the century the medallic art began to aspire to reflect the events in many fields of historical life of Russia much wider. This tendency became stronger in the 19 c. when medals issue increased.

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7

이주은. "“World of Art” and Decadent Art of Late Czarist Russia." Journal of History of Modern Art ll, no. 28 (December 2010): 67–96. http://dx.doi.org/10.17057/kahoma.2010..28.003.

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8

Katz, Martin, and Theofanis George Stavrou. "Art and Culture in Nineteenth-Century Russia." American Historical Review 90, no. 3 (June 1985): 736. http://dx.doi.org/10.2307/1861077.

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9

Dienes, Laszlo, and Theofanis George Stavrou. "Art and Culture in Nineteenth-Century Russia." Russian Review 44, no. 4 (October 1985): 412. http://dx.doi.org/10.2307/129798.

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10

Churilina, L. N., and D. S. Buzhinskaya. "RUSSIA Art Concept as National Concept Variant." Nauchnyy dialog, no. 4 (2019): 114–26. http://dx.doi.org/10.24224/2227-1295-2019-4-114-126.

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11

Shamlikashvili, Tsisana. "State of the Art: Mediation in Russia." Alternatives to the High Cost of Litigation 33, no. 9 (October 2015): 136–38. http://dx.doi.org/10.1002/alt.21602.

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12

조규연. "Mayakovsky and Russian Futurism: Art of Revolution, Revolution of Art." Russian Language and Literature ll, no. 58 (August 2017): 7–36. http://dx.doi.org/10.24066/russia.2017..58.001.

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13

Nikolaeva, E. V. "«Private art collections of Russia»: virtual museum concept." Vestnik of Saint Petersburg State University of Culture, no. 2 (31) (June 2017): 112–15. http://dx.doi.org/10.30725/2619-0303-2017-2-112-115.

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Currently, researches dedicated to the subject of private art collectingtend to appear. Virtual museum «Private art collections of Russia» will help to accumulate such information and bring it to wider audience.

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14

Dmitrieva, T. A. "Modern Trends of Art Market Development in Russia." Siberian Journal of Anthropology 4, no. 3 (September 30, 2020): 85–91. http://dx.doi.org/10.31804/2542-1816-2020-4-3-85-91.

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15

Burke, Sarah P., Christina Burrus, Agnes Carbonell, Ros Schwartz, and Sue Rose. "Art Collectors of Russia: The Private Treasures Revealed." Slavic and East European Journal 39, no. 1 (1995): 140. http://dx.doi.org/10.2307/308707.

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16

Glade, Shirley A., and Rodney Grierson. "Gates of Mystery: The Art of Holy Russia." Russian Review 54, no. 4 (October 1995): 621. http://dx.doi.org/10.2307/131626.

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17

Bushnell, John, David King, and Cathy Porter. "Images of Revolution: Graphic Art from 1905 Russia." Russian Review 45, no. 1 (January 1986): 81. http://dx.doi.org/10.2307/129428.

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18

Zinchenko, Yu P. "Editorial. Psychology in Russia: State of the Art." Psychology in Russia: State of the Art 7, no. 1 (2014): 2–3. http://dx.doi.org/10.11621/pir.2014.0100.

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19

Zinchenko, Yu P. "Editorial. Psychology in Russia: State of the Art." Psychology in Russia: State of the Art 7, no. 2 (2014): 2–3. http://dx.doi.org/10.11621/pir.2014.0200.

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20

Zinchenko, Yu P. "Editorial. Psychology in Russia: State of the Art." Psychology in Russia: State of the Art 7, no. 3 (2014): 2–3. http://dx.doi.org/10.11621/pir.2014.0300.

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21

Zinchenko, Yu P. "Editorial. Psychology in Russia: State of the Art." Psychology in Russia: State of the Art 7, no. 4 (2014): 2–3. http://dx.doi.org/10.11621/pir.2014.0400.

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22

Tishkov, V. A. "Humanities Research in Russia: Status of the Art." Herald of the Russian Academy of Sciences 88, no. 5 (September 2018): 423–30. http://dx.doi.org/10.1134/s1019331618040081.

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23

Gilmore, A. "Russia: the lobbyist's art is alive and well." Tobacco Control 11, no. 4 (December 1, 2002): 293. http://dx.doi.org/10.1136/tc.11.4.293.

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24

Kudryavtseva, Tamara Viktorovna. "PERCEPTION HISTORY OF PAUL ERNST’S ART IN RUSSIA." Philological Class, no. 3 (2019): 134–42. http://dx.doi.org/10.26170/fk19-03-19.

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25

Zhou, Yi, and G. V. Abdullina. "The Art of Conducting in Russia: Historical Aspects." Университетский научный журнал, no. 59 (2020): 30–37. http://dx.doi.org/10.25807/pbh.22225064.2020.59.30.37.

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26

Brandtzæg, KariJ. "Lena Jonson: Art and Protest in Putin’s Russia." Nordisk Østforum 28, no. 04 (December 16, 2015): 419–21. http://dx.doi.org/10.18261/issn1891-1773-2015-04-05.

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27

Shopina, E., and M. Markova. "KASLI ART CASTING TECHNOLOGY." Technical Aesthetics and Design Research 2, no. 2 (December 16, 2020): 29–36. http://dx.doi.org/10.34031/2687-0878-2020-2-2-29-36.

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The Kasli art casting technology is characterized by its uniqueness; the products are distinguished by precision of execution and uniqueness of style. The Kasli Casting Plant occupies a well-deserved first place in Russia in terms of quality and quantity of products. The object of the research is the features of each of the stages when creating of Kasli castings, as well as the distinctive features of the art casting technology. As a result of the study, the conclusion was formulated that the historical role of Kasli art casting is its influence on the decorative and applied art of Russia. According to the authors, the Kasli plant influenced the further production of castings, producing high-quality products with careful study of details, ensuring a high level of quality for the foundry workers

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28

Milam, Jennifer. "“Art Girls”: Philanthropy, Corporate Sponsorship, and Private Art Museums in Post-Communist Russia." Curator: The Museum Journal 56, no. 4 (October 2013): 391–405. http://dx.doi.org/10.1111/cura.12040.

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29

Ikonnikov, A. I. "TOPICAL ISSUES OF ART PRACTICE TRAINING IN HIGHER ART EDUCATION INSTITUTIONS OF RUSSIA." Научное мнение, no. 5 (2019): 24–34. http://dx.doi.org/10.25807/pbh.22224378.2019.5.24.34.

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30

Dabrowski, Patrice M. "Hutsul Art or “Hutsul Art”?" Canadian-American Slavic Studies 50, no. 3 (2016): 313–31. http://dx.doi.org/10.1163/22102396-05003003.

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This article is concerned with the fate of the Hutsul kilim and, by extension, Polish-Ukrainian relations in the interwar period. This was a period when the Hutsul highlanders of the Eastern Carpathians (today citizens of modern Ukraine), the traditional weavers of these geometrically-patterned woolen rugs, found themselves within the newly established Second Polish Republic. Most commercial weaving was in Jewish hands at this time, and this production was far inferior to that done by Hutsuls themselves, primarily for their own domestic use. The decline of the Hutsul kilim was arrested by a Ukrainian émigré from Soviet Russia, whose “Hutsul Art” collective reinvigorated the form. This development brought the Hutsul kilim to the attention of those who would wish to appropriate it, or at a minimum consider it part and parcel of interwar Poland’s artistic production. The article demonstrates that, while Ukrainians were keen on integrating the Hutsul kilim into the Ukrainian kilim tradition, Poles preferred to keep the Hutsul kilim distinct, thus allowing it to be seen as part of the heritage of the multiethnic interwar Polish state.

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31

Korepanov, Valentine I. "STATE OF THE ART 0F LASER THERAPY IN RUSSIA:." LASER THERAPY 9, no. 1 (1997): 41–44. http://dx.doi.org/10.5978/islsm.9.41.

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32

Jonson, Lena. "Post-Pussy Riot: art and protest in Russia today." Nationalities Papers 44, no. 5 (September 2016): 657–72. http://dx.doi.org/10.1080/00905992.2016.1190327.

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This article shows that resistance and a critical discourse continue in the arts, especially in visual art, in Russia under the present political conditions when free speech has been seriously circumscribed. When in May 2012 Vladimir Putin was reinstalled as president with a new authoritarian conservative agenda, it was expected that the situation for culture would change. This article addresses the question of whether a critical discourse survived in the arts under the new conditions. It presents the new political context for the arts, and provides examples of various artistic strategies of resistance/protest in Russian contemporary art by applying Jacques Ranciere's concept of dissensus. The focus is on visual art, although references are also made to the world of theater. The first section presents the new official role given to culture and the new state cultural policy as components of a reactionary backlash against the reform policies under Mikhail Gorbachev and Boris Yeltsin, and describes conflicts around art and art productions that followed from the new state policy. A second section gives examples of dissensus in art today by presenting artworks by Piotr Pavlenskii, Arsenii Zhilyaev, Stas Shuripa, and Anna Titova.

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33

Grabar, Igor. "Some Thoughts on Contemporary Applied Art in Russia (1902)." Experiment 7, no. 1 (2001): 251–58. http://dx.doi.org/10.1163/2211730x-00701012.

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34

Blakesley, Rosalind P. "Art, Nationhood, and Display: Zinaida Volkonskaia and Russia's Quest for a National Museum of Art." Slavic Review 67, no. 4 (2008): 912–33. http://dx.doi.org/10.2307/27653031.

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In 1831, the journal Teleskop published Princess Zinaida Volkonskaia's proposal for a national art museum in Moscow. Volkonskaia's project was progressive to a degree (Russia had no such museum at the time), yet the model she proposed was highly traditional. She excluded Russian art entirely, despite her support of modern Russian artists. Instead, Volkonskaia privileged classical and more recent western European art, underlining the deference to western practice that influenced cultural politics even as Russia moved toward a stronger national sense of self. Volkonskaia's project marks an important juncture in Russia's cultural history: the intersection of aristocratic female patronage and the institutionalization of academic procedure. It also provides a platform from which to consider Russia's self-image vis-à-vis Europe in the aftermath of the Napoleonic campaigns. By tracing an intricate dialogue in which national pride developed alongside continuing admiration for neoclassical ideals, Rosalind P. Blakesley addresses the paradoxes of Volkonskaia's project, and the difficulties of conceptualizing a “national” space of artistic display. Volkonskaia's project poses significant interpretive problems and her exclusion of Russian art prefigures the segregation of Russian and western art in Russian museums today, which has marginalized Russian art even within Russia itself. Volkonskaia's project thus has wide resonance, for the question of whether and how museums encapsulate national cultural identities remains an issue of great intellectual concern.

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35

Gnyusova, Irina F. "Books About Yermak in the Library of Gavriil Tyumentsev as an Indicator of the Siberian Reader’s Cultural Self-Identification (Based on Materials from the Research Library of Tomsk State University)." Tekst. Kniga. Knigoizdanie, no. 24 (2020): 68–95. http://dx.doi.org/10.17223/23062061/24/4.

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Yermak Timofeevich, the conqueror of Siberia, is a key figure of the Siberian frontier and a special “myth” about Siberia in Russian culture. The aim of the article is to find out the idea of Yermak that Siberian intellectual readers formed at the turn of the 20th century. The library of the eminent Tomsk teacher Gavriil Tyumentsev is a representative material for this study. During his life, Tyumentsev collected books and various materials about Siberia. The corpus of publications on Yermak belongs to the period from 1832 to 1897. The books are mainly issued by the capital’s publishing houses and include works of various genres, both fiction (historical story, novel, tragedy) and non-fiction (historical essay, research paper, materials of anniversary readings). Two fictionalized biographies of Yermak stand apart. Folklore is an important component of many works. Readers of the publications are heterogeneous, although most of the books are intended for the mass educated reader. The degree of preservation of the books, few notes, and a number of external signs—all this made it possible to assess what turned out to be the most interesting for the reader. Fictional works about Yermak are in the lead, especially the voluminous historical novel Yermak, or the Conquest of Siberia (1834) by P. Svinyin and the love story From Chopping Block to Honor (1890) by E. Nikolaeva. However, popular science publications, primarily fictionalized biographies of the hero, aroused no less interest. In both cases, the fascination of the narrative turns out to be no less important than the quality of the text: for example, the publication of the short story of the populist N. Polushin, which is much more inferior to the work of the famous journalist and publisher A.S. Suvorin, has been preserved worse, and the book with E. Nikolaeva’s woman’s novel falls to pieces as a result of repeated reading. However, a remarkable historical essay by the Petersburg teacher A.N. Ovsyannikov, in which the author gave the most balanced assessment of the conqueror of Siberia, also attracted the reader’s attention. The collection of reports of the “literary morning” in Tobolsk (1883) is a vivid example of how the Siberian intelligentsia understands the events of the 16th century. Against the background of the same type of interpretation of Yermak’s personality by the metropolitan authors, Tobolsk teachers freely express their assessment of the activities of the ataman and his army, and also criticize their presentation in literature, which is far from the historical truth. The significant number of books about Yermak in the Tyumentsev library testifies to the fact that the heroic plot, associated not only with the capture, but also with the domestication of Siberia, was in demand among Siberian readers. And the “diversity” of Yermak in the collection of the Tomsk teacher is the best proof of the breadth of views of the Siberian intelligentsia at the turn of the 20th century, the desire of the local reader to follow all the trends of both the literary process and the historical thought of Russia and form their own idea of the origins of the Siberian “transboundedness”.

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36

Barris, Roann. "Exhibiting Russia." Experiment 23, no. 1 (October 11, 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 associated with which movements, even when these associations would later be contradicted by historical facts. Indeed, style may be said to have played a subservient role as curators strove to associate the avant-garde with spirituality or to gain public support for starving Russian artists. Nevertheless, these exhibitions did bring significant works to the attention of American artists and the American public, revealing the significance of certain artists as well as collectors and curators in shaping the American understanding of the Russian avant-garde.

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37

Markovsky, Alexander Vladimirovich. ""Preserving valuable natural areas in Northwest Russia"." Principles of the Ecology 1, no. 1 (March 2012): 74–75. http://dx.doi.org/10.15393/j1.art.2012.661.

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38

Sherajzina, Roza M., and Zinaida B. Eflova. "RURAL SCHOOL OF MODERN RUSSIA AND ABROAD." Lifelong Education: the XXI century 33, no. 1 (March 2021): 31–42. http://dx.doi.org/10.15393/j5.art.2021.6685.

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39

Dаtsenko, E. A., and V. V. Petukhov. "55th anniversary of the Eastern Treasury of Russia." Iskusstvo Evrazii [The Art of Eurasia], no. 3(18) (September 30, 2020): 37–40. http://dx.doi.org/10.46748/arteuras.2020.03.003.

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Primorye State Picture Gallery — the only art museum of Primorsky Krai with the richest collection of Russian, Soviet and Western European art - will soon celebrate 55 years. The article provides an overview of the gallery's history and collection. Приморская государственная картинная галерея — единственный художественный музей Приморского края с богатейшей коллекцией русского, советского и западноевропейского искусства — вскоре отпразднует 55 лет. Статья представляет краткий обзор истории и коллекции галереи.

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40

Fedotova, Anastasiya Alekseevna. "Sociocultural functions of art museums of Russia, 1960-1980’s." Vestnik of Saint Petersburg State University of Culture 2 (June 2018): 124–29. http://dx.doi.org/10.30725/2619-0303-2018-2-124-129.

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41

Monas, Sidney, and Lauren G. Leighton. "Two Worlds, One Art: Literary Translation in Russia and America." Russian Review 52, no. 3 (July 1993): 423. http://dx.doi.org/10.2307/130747.

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42

Pursglove, Michael, and Lauren G. Leighton. "Two Worlds, One Art: Literary Translation in Russia and America." Modern Language Review 88, no. 4 (October 1993): 1055. http://dx.doi.org/10.2307/3734535.

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43

Anderson, J. "Rocks, Art, and Sex: The "Culture Wars" Come to Russia?" Journal of Church and State 55, no. 2 (October 17, 2012): 307–34. http://dx.doi.org/10.1093/jcs/css085.

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44

Zinchenko, Yury P. "Editorial. Psychology in Russia: State of the Art, 8(2)." Psychology in Russia: State of the Art 8, no. 2 (2015): 2–3. http://dx.doi.org/10.11621/pir.2015.0200.

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45

Zinchenko, Yury P. "Editorial. Psychology in Russia: State of the Art, 10(4)." Psychology in Russia: State of the Art 10, no. 4 (2017): 2–4. http://dx.doi.org/10.11621/pir.2017.0400.

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46

Cole, Michael. "Editorial. Psychology in Russia: State of the Art, 11 (2)." Psychology of Russia: State of Art 11, no. 2 (2018): 2–6. http://dx.doi.org/10.11621/pir.2018.0200.

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47

Schulte, Rainer, and Lauren G. Leighton. "Two Worlds, One Art: Literary Translation in Russia and America." World Literature Today 66, no. 3 (1992): 589. http://dx.doi.org/10.2307/40148591.

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Leland de la Durantaye. "Imagining Nabokov: Russia Between Art and Politics (review)." Modernism/modernity 17, no. 2 (2010): 457–58. http://dx.doi.org/10.1353/mod.0.0190.

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Makarychev, Andrey, and Sergey Medvedev. "Biopolitical art and the struggle for Sovereignty in Putin’s Russia." Journal of Contemporary Central and Eastern Europe 26, no. 2-3 (September 2, 2018): 165–79. http://dx.doi.org/10.1080/25739638.2018.1526487.

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Gleason, Abbott. "Art and Culture in Nineteenth-Century Russia. Theofanis George Stavrou." Journal of Modern History 59, no. 2 (June 1987): 411–13. http://dx.doi.org/10.1086/243222.

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