The Concept and Practice of Therapy in Russian Defectology, C. 1880–1936
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SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN the LINES by Olga Klimova Specialist Degree, Belarusian State University
SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES by Olga Klimova Specialist degree, Belarusian State University, 2001 Master of Arts, Brock University, 2005 Master of Arts, University of Pittsburgh, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Olga Klimova It was defended on May 06, 2013 and approved by David J. Birnbaum, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Lucy Fischer, Distinguished Professor, Department of English, University of Pittsburgh Vladimir Padunov, Associate Professor, Department of Slavic Languages and Literatures, University of Pittsburgh Aleksandr Prokhorov, Associate Professor, Department of Modern Languages and Literatures, College of William and Mary, Virginia Dissertation Advisor: Nancy Condee, Professor, Department of Slavic Languages and Literatures, University of Pittsburgh ii Copyright © by Olga Klimova 2013 iii SOVIET YOUTH FILMS UNDER BREZHNEV: WATCHING BETWEEN THE LINES Olga Klimova, PhD University of Pittsburgh, 2013 The central argument of my dissertation emerges from the idea that genre cinema, exemplified by youth films, became a safe outlet for Soviet filmmakers’ creative energy during the period of so-called “developed socialism.” A growing interest in youth culture and cinema at the time was ignited by a need to express dissatisfaction with the political and social order in the country under the condition of intensified censorship. I analyze different visual and narrative strategies developed by the directors of youth cinema during the Brezhnev period as mechanisms for circumventing ideological control over cultural production. -
Everyday Stalinism Ordinary Life in Extraordinary Times Soviet Russia in the 1930S Sheila Fitzpatrick
Everyday Stalinism Ordinary Life in Extraordinary Times Soviet Russia in the 1930s Sheila Fitzpatrick Sheila Fitzpatrick is an Australian-American historian. She is Honorary Professor at the University of Sydney with her primary speciality being the history of modern Russia. Her recent work has focused on Soviet social and cultural history in the Stalin period, particularly everyday practices and social identity. From the archives of the website The Master and Margarita http://www.masterandmargarita.eu Webmaster Jan Vanhellemont Klein Begijnhof 6 B-3000 Leuven +3216583866 +32475260793 Everyday Stalinism Ordinary Life in Extraordinary Times Soviet Russia in the 1930s Sheila Fitzpatrick Copyright © 1999 by Oxford University Press, Inc. First published by Oxford University Press, Inc., 1999 To My Students Table of Contents Contents Acknowledgments Introduction Milestones Stories A Note on Class 1. “The Party Is Always Right” Revolutionary Warriors Stalin’s Signals Bureaucrats and Bosses A Girl with Character 2. Hard Times Shortages Miseries of Urban Life Shopping as a Survival Skill Contacts and Connections 3. Palaces on Monday Building a New World Heroes The Remaking of Man Mastering Culture 4. The Magic Tablecloth Images of Abundance Privilege Marks of Status Patrons and Clients 5. Insulted and Injured Outcasts Deportation and Exile Renouncing the Past Wearing the Mask 6. Family Problems Absconding Husbands The Abortion Law The Wives’ Movement 7. Conversations and Listeners Listening In Writing to the Government Public Talk Talking Back 8. A Time of Troubles The Year 1937 Scapegoats and “The Usual Suspects” Spreading the Plague Living Through the Great Purges Conclusion Notes Bibliography Contents This book has been a long time in the making - almost twenty years, if one goes back to its first incarnation; ten years in its present form. -
1. Coversheet Thesis
Eleanor Rees The Kino-Khudozhnik and the Material Environment in Early Russian and Soviet Fiction Cinema, c. 1907-1930. January 2020 Submitted for the degree of Doctor of Philosophy School of Slavonic and East European Studies University College London Supervisors: Dr. Rachel Morley and Dr. Philip Cavendish !1 I, Eleanor Rees confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Word Count: 94,990 (including footnotes and references, but excluding contents, abstract, impact statement, acknowledgements, filmography and bibliography). ELEANOR REES 2 Contents Abstract 5 Impact Statement 6 Acknowledgments 8 Note on Transliteration and Translation 10 List of Illustrations 11 Introduction 17 I. Aims II. Literature Review III. Approach and Scope IV. Thesis Structure Chapter One: Early Russian and Soviet Kino-khudozhniki: 35 Professional Backgrounds and Working Practices I. The Artistic Training and Pre-cinema Affiliations of Kino-khudozhniki II. Kino-khudozhniki and the Russian and Soviet Studio System III. Collaborative Relationships IV. Roles and Responsibilities Chapter Two: The Rural Environment 74 I. Authenticity, the Russian Landscape and the Search for a Native Cinema II. Ethnographic and Psychological Realism III. Transforming the Rural Environment: The Enchantment of Infrastructure and Technology in Early-Soviet Fiction Films IV. Conclusion Chapter Three: The Domestic Interior 114 I. The House as Entrapment: The Domestic Interiors of Boris Mikhin and Evgenii Bauer II. The House as Ornament: Excess and Visual Expressivity III. The House as Shelter: Representations of Material and Psychological Comfort in 1920s Soviet Cinema IV. -
Growing up Soviet in the Periphery
Growing Up Soviet in the Periphery: Imagining, Experiencing and Remembering Childhood in Kazakhstan, 1928-1953 by Mehmet Volkan Kaşıkçı A Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Approved October 2020 by the Graduate Supervisory Committee: Laurie Manchester, Chair Agnes Kefeli Adrienne Edgar Anna Holian ARIZONA STATE UNIVERSITY December 2020 ABSTRACT This dissertation discusses children and childhood in Soviet Kazakhstan from 1928 to 1953. By exploring images of, and for, children, and by focusing on children’s fates during and after the famine of 1930-33, I argue that the regime’s success in making children socialist subjects and creating the new Soviet person was questionable throughout the 1930s. The reach of Soviet ideological and cultural policies was limited in a decade defined by all kinds of shortcomings in the periphery which was accompanied by massive violence and destruction. World War 2 mobilized Central Asians and integrated the masses into the Soviet social and political body. The war transformed state- society relations and the meaning of being Soviet fundamentally changed. In this way, larger segments of society embraced the framework for Soviet citizenship and Soviet patriotism largely thanks to the war experience. This approach invites us to reconsider the nature of Sovietization in Central Asia by questioning the central role of ideology and cultural revolution in the formation of Soviet identities. My dissertation brings together images of childhood, everyday experiences of children and memory of childhood. On the one hand, the focus on children provides me an opportunity to discuss Sovietization in Central Asia. -
9781501707209.Pdf
RIVOlUTIONARY ACTS RIVOlUTIONARY Amateur Theater and the Soviet State, CORNELL UNIVERSITY PRESS Ithaca and London Copyright © 2000 by Cornell University All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850, or visit our website at www.cornellpress.cornell.edu. First published 2000 by Cornell University Press. First printing, Cornell Paperbacks, 2016. Library of Congress Cataloging-in-Publication Data Mally, Lynn. Revolutionary acts : amateur theater and the Soviet state, 1917–1938 / Lynn Mally. p. cm. Includes bibliographical references. ISBN 978-0-8014-3769-4 (cloth : alk. paper) ISBN 978-1-5017-0720-9 (pbk. : alk. paper) 1. Amateur theater—Soviet Union—History—20th century. I. Title. PN3169.S65 M27 2000 792'.0222'094709041—dc21 00-009282 The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/ For Bob and Nora Contents Preface ix Introduction 1 1 The Revolution Loves the Theater 17 2 Small Forms on Small Stages 47 3 From "Club Plays" to the Classics 81 4 TRAM: The Vanguard of Amateur Art 109 5 Shock Workers on the Cultural Front 146 6 Amateurs in the Spectacle State 181 Conclusion 213 Glossary 223 Bibliography 225 Index 243 Preface THI S B 0 0 K began as a study of the Leningrad Theater of Working-Class Youth, known by its acronym TRAM. -
Contributors Auteurs
CONTRIBUTORS AUTEURS ELENA V. BARABAN is Associate Professor of Russian and co-ordinator of the Central and East European Studies Programme at the University of Manitoba. Dr. Baraban is an expert on Russian twentieth-century literature and popular culture. She is currently working on a monograph about representations of World War II in Soviet films of the Stalin era. Her research is informed by theory of trauma, structuralism, and gender studies. Her recent publications include a co-edited volume Fighting Words and Images: Representing War Across the Disciplines (together with Stephan Jaeger and Adam Muller for University of Toronto Press, 2012) as well as a number of articles on Soviet and post-Soviet popular culture in Canadian Slavonic Papers/Revue canadienne des slavistes, Slavic and East European Studies Journal, Ab Imperio, Aspasia, and other journals. LARYSA BRIUKHOVETS'KA is a leading Ukrainian film critic and film historian. The editor-in-chief of the country’s only continuing cinema journal, Kino-teatr, she also teaches in the Department of Cultural Studies at the National University of Kyiv-Mohyla Academy. She is the author and editor of numerous books on Ukrainian cinema, including, most recently, an edited collection on Oleksandr Dovzhenko, Kinorezhyser svitovoi slavy (Logos, 2013) and a monograph on the film director Leonid Bykov, Svoie/ridne kino (Zadruha, 2010). VITALY CHERNETSKY is Associate Professor of Slavic Languages and Literatures at the University of Kansas. He is the author of the monograph Mapping Postcommunist Cultures: Russia and Ukraine in the Context of Globalization (McGill-Queen’s University Press, 2007) and of numerous articles and essays on Russian and Ukrainian literature and film, as well as translation studies. -
On Behalf of the Federal Agency of Culture and Cinematography I
ƒÓÓ„Ë ‰ÛÁ¸ˇ! Dear friends! ŒÚ ËÏÂÌË ÃËÌËÒÚÂÒÚ‚‡ ÍÛθÚÛ˚ Ë Ï‡ÒÒÓ‚˚ı On behalf of the Ministry of Culture and Mass ÍÓÏÏÛÌË͇ˆËÈ –ÓÒÒËÈÒÍÓÈ ‘‰‡ˆËË Communications of the Russian Federation I ÔË‚ÂÚÒÚ‚Û˛ ‚ÒÂı Û˜‡ÒÚÌËÍÓ‚ Ë „ÓÒÚÂÈ XVIII welcome all participants and visitors of the 18th ŒÚÍ˚ÚÓ„Ó ÓÒÒËÈÒÍÓ„Ó ÍËÌÓÙÂÒÚË‚‡Îˇ Open Russian Film Festival ´Kinotavrª! ´üËÌÓÚ‡‚ª! This annual event is an integral part of our ≈„Ó ÂÊ„ӉÌÓ Ôӂ‰ÂÌË ˇ‚ΡÂÚÒˇ ÌÂÓÚ˙ÂÏÎÂÏÓÈ State policy on the support of the national ˜‡ÒÚ¸˛ „ÓÒÛ‰‡ÒÚ‚ÂÌÌÓÈ ÔÓÎËÚËÍË ÔÓ ÔÓ‰‰ÂÊÍ cinema. ´Kinotavrª can, without exaggeration, ÓÚ˜ÂÒÚ‚ÂÌÌÓ„Ó ÍËÌÂχÚÓ„‡Ù‡. ´üËÌÓÚ‡‚ª be called the most anticipated event in the ÏÓÊÌÓ ·ÂÁ ÔÂÛ‚Â΢ÂÌˡ ̇Á‚‡Ú¸ Ò‡Ï˚Ï Russian film-season. For the 17 years of its ÓÊˉ‡ÂÏ˚Ï ÒÓ·˚ÚËÂÏ ÓÒÒËÈÒÍÓ„Ó ÍËÌÓÒÂÁÓ̇. «‡ existence this main national cinema event has ÒÂÏ̇‰ˆ‡Ú¸ ÎÂÚ Ò‚ÓÂ„Ó ÒÛ˘ÂÒÚ‚Ó‚‡Ìˡ „·‚Ì˚È gained a strong position, both in the Russian ̇ˆËÓ̇θÌ˚È ÍËÌÓÒÏÓÚ Á‡‚Ó‚‡Î ÔÓ˜Ì˚È film world and abroad. ‡‚ÚÓËÚÂÚ, Í‡Í ‚ ÓÒÒËÈÒÍÓÈ The festival is developing fast, becoming more ÍËÌÂχÚÓ„‡Ù˘ÂÒÍÓÈ Ò‰Â, Ú‡Í Ë ‚ Á‡Û·ÂÊÌÓÈ. dynamic and alive, saturated and informative. ‘ÂÒÚË‚‡Î¸ ÒÚÂÏËÚÂθÌÓ ‡Á‚Ë‚‡ÂÚÒˇ, ÒÚ‡ÌÓ‚ˇÒ¸ The success of festival films among Russian ·ÓΠ‰Ë̇Ï˘Ì˚Ï Ë ÊË‚˚Ï, ̇Ò˚˘ÂÌÌ˚Ï Ë audiences once again confirms that there is a ËÌÙÓχÚË‚Ì˚Ï. -
Mediaobrazovanie) Media Education (M Ediaobrazovanie
Media Education (Mediaobrazovanie) Has been issued since 2005. ISSN 1994–4160. E–ISSN 1994–4195 2020, 60(1). Issued 4 times a year EDITORIAL BOARD Alexander Fedorov (Editor in Chief ), Prof., Ed.D., Rostov State University of Economics (Russia) Imre Szíjártó (Deputy Editor– in– Chief), PhD., Prof., Eszterházy Károly Fõiskola, Department of Film and Media Studies. Eger (Hungary) Ben Bachmair, Ph.D., Prof. i.r. Kassel University (Germany), Honorary Prof. of University of London (UK) Oleg Baranov, Ph.D., Prof., former Prof. of Tver State University Elena Bondarenko, Ph.D., docent of Russian Institute of Cinematography (VGIK), Moscow (Russia) David Buckingham, Ph.D., Prof., Loughborough University (United Kingdom) Emma Camarero, Ph.D., Department of Communication Studies, Universidad Loyola Andalucía (Spain) Irina Chelysheva, Ph.D., Assoc. Prof., Anton Chekhov Taganrog Institute (Russia) Alexei Demidov, head of ICO “Information for All”, Moscow (Russia) Svetlana Gudilina, Ph.D., Russian Academy of Education, Moscow (Russia) Tessa Jolls, President and CEO, Center for Media Literacy (USA) Nikolai Khilko, Ph.D., Omsk State University (Russia) Natalia Kirillova, Ph.D., Prof., Ural State University, Yekaterinburg (Russia) Sergei Korkonosenko, Ph.D., Prof., faculty of journalism, St– Petersburg State University (Russia) Alexander Korochensky, Ph.D., Prof., faculty of journalism, Belgorod State University (Russia) W. James Potter, Ph.D., Prof., University of California at Santa Barbara (USA) Robyn Quin, Ph.D., Prof., Curtin University, Bentley, WA (Australia) Alexander Sharikov, Ph.D., Prof. The Higher School of Economics, Moscow (Russia) Vladimir Sobkin, Acad., Ph.D., Prof., Head of Sociology Research Center, Moscow (Russia) Kathleen Tyner, Assoc. Prof., Department of Radio– Television– Film, The University of Texas at Austin (USA) Svetlana Urazova, PhD., Assoc. -
Durham E-Theses
Durham E-Theses Shklovsky in the Cinema, 1926-1932 BAKER, ROSEMARI,ELIZABETH How to cite: BAKER, ROSEMARI,ELIZABETH (2010) Shklovsky in the Cinema, 1926-1932, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/378/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Contents Contents 1 Illustrations 2 Statement of Copyright 4 Notes on Translation, Transliteration, and Dates 5 Acknowledgements 6 Introduction 7 Chapter 1: Criminal Law and the Pursuit of Justice 20 Courts Without Law 20 Legalised Lawlessness 29 Negotiating Responsibility 37 Improvised Justice 45 Chapter 2: Realistic Discontent and Utopian Desire 57 Justice as Social Daydream 57 God, the State, and Self 64 (Dys/U)topian Dreams of Rebellion 70 Active Deeds 70 Passive Fantasies 81 Chapter 3: Myths of Domestic Life and Social Responsibility 97 At Home in the City 97 Private House, Public Home 114 Chapter 4: Metatextual Modes of Judicial Expression 136 Self-Reflexive Performance and Genre Hybridity 136 Art Beyond Representation 153 Entertainment and/or Enlightenment 161 Intertextual and Intercultural Authorial Strategies 168 Conclusion 181 Bibliography 186 Filmography 208 1 Illustrations Fig. -
Amateur Theater and the Soviet State, 1917–1938 / Lynn Mally
RIVOlUTIONARY ACTS RIVOlUTIONARY Amateur Theater and the Soviet State, CORNELL UNIVERSITY PRESS Ithaca and London Copyright © 2000 by Cornell University All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850, or visit our website at www.cornellpress.cornell.edu. First published 2000 by Cornell University Press. First printing, Cornell Paperbacks, 2016. Library of Congress Cataloging-in-Publication Data Mally, Lynn. Revolutionary acts : amateur theater and the Soviet state, 1917–1938 / Lynn Mally. p. cm. Includes bibliographical references. ISBN 978-0-8014-3769-4 (cloth : alk. paper) ISBN 978-1-5017-0720-9 (pbk. : alk. paper) 1. Amateur theater—Soviet Union—History—20th century. I. Title. PN3169.S65 M27 2000 792'.0222'094709041—dc21 00-009282 The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/ For Bob and Nora Contents Preface ix Introduction 1 1 The Revolution Loves the Theater 17 2 Small Forms on Small Stages 47 3 From "Club Plays" to the Classics 81 4 TRAM: The Vanguard of Amateur Art 109 5 Shock Workers on the Cultural Front 146 6 Amateurs in the Spectacle State 181 Conclusion 213 Glossary 223 Bibliography 225 Index 243 Preface THI S B 0 0 K began as a study of the Leningrad Theater of Working-Class Youth, known by its acronym TRAM. -
PTD Template
INHERITED DISCOURSE: STALINIST TROPES IN THAW CULTURE by Alexander Prokhorov BA, Moscow State University, 1987 MA, University of Pittsburgh , 1994 Submitted to the Graduate Faculty of The Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2002 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Alexander Prokhorov It was defended on April 26, 2002 and approved by Lucy Fischer Mark Altshuller Nancy Condee Vladimir Padunov Helena Goscilo Dissertation Director © Copyright by Alexander Prokhorov 2002 All Rights Reserved iii INHERITED DISCOURSE: STALINIST TROPES IN THAW CULTURE Alexander Prokhorov, PhD University of Pittsburgh, 2002 My dissertation argues that while Thaw cultural producers believed that they had abandoned Stalinist cultural practices, their works continued to generate, in revised form, the major tropes of Stalinist culture: the positive hero, and family and war tropes. Although the cultural Thaw of the 1950s and 60s embraced new values, it merely reworked Stalinist artistic practices. On the basis of literary and cinematic texts, I examine how these two media reinstantiated the fundamental tropes of Russo-Soviet culture. In the first two chapters, I discuss approaches to Thaw literature and film in Western and Soviet scholarship, and my methodology, which is best defined as cultural semiotics. Chapter Three discusses the instantiations of the positive hero in Thaw literature and film. As case studies I adduce Boris Pasternak's Doctor Zhivago (1957) and Grigorii Kozintsev's film adaptation of Hamlet (1964). Though both texts are considered “beyond” classical socialist realist aesthetics, I contend that they feed on major Stalinist tropes and dialogize and elaborate the Stalinist canon. -
Dottorato Di Ricerca in Arti Visive, Performative E Mediali Soviet Cinema in Italy in the Post-War Period
Alma Mater Studiorum – Università di Bologna DOTTORATO DI RICERCA IN ARTI VISIVE, PERFORMATIVE E MEDIALI Ciclo XXIX Settore Concorsuale di afferenza: 10/C1 Settore Scientifico disciplinare: L-ART/06 SOVIET CINEMA IN ITALY IN THE POST-WAR PERIOD (1950-1970) Presentata da: Liubov Dyshlyuk Coordinatore Dottorato Relatore Daniele Benati Michele Fadda Esame finale anno 2017 Contents Introduction ............................................................................................................. 4 Chapter One The USSR and Europe after World War II 1.1 Foreign policy of the USSR and main European partners: Cold War ............ 16 1.2 France in the Cold War and Franco-Soviet cultural relations ......................... 21 1.3 Britain in the Cold War and British-Soviet cultural collaboration ................. 30 1.4 Italy in the Cold War ....................................................................................... 35 Chapter Two Bilateral USSR-Italy relations after World War II 2.1 PCI and CPSU: the cultural-political developments ....................................... 38 2.2 Communist parties and culture: Association Italia-URSS and its activities ... 45 2.3 Communists and cinema in both Italy and the USSR ..................................... 59 Chapter Three Soviet cinema in Italy 3.1 Previous studies, researches and critique in Italy of the Soviet cinema.......... 72 3.2 Forms of cinematographic collaboration between Italy and the USSR .......... 76 Chapter Four Distribution of Soviet films in Italy 4.2 Soviet cinema through