Aleksandr Deyneka ­ Wikipedia, the Free Encyclopedia Aleksandr Deyneka from Wikipedia, the Free Encyclopedia

Total Page:16

File Type:pdf, Size:1020Kb

Aleksandr Deyneka ­ Wikipedia, the Free Encyclopedia Aleksandr Deyneka from Wikipedia, the Free Encyclopedia 7/8/2015 Aleksandr Deyneka ­ Wikipedia, the free encyclopedia Aleksandr Deyneka From Wikipedia, the free encyclopedia Aleksandr Aleksandrovich Deyneka (Russian: Алекса́ндр Алекса́ндрович Дейне́ка; May 20, 1899 – Aleksandr Alexandrovich Deyneka June 12, 1969) was a Soviet Russian painter, graphic artist and sculptor, regarded as one of the most important Russian modernist figurative painters of the first half of the 20th century. His Collective Farmer on a Bicycle (1935) has been described as exemplifying the Social Realist style.[1] Deyneka was born in Kursk[2] and studied at Kharkov Art College (pupil of Alexander Lubimov) and at VKhUTEMAS. He was a founding member of groups such as OST and Oktyabr, and his work gained wide exposure in major exhibitions. His paintings and drawings (the earliest are often monochrome due to the shortage of art supplies) depict genre scenes as well as labour and often sports. Deyneka later began painting monumental works, such as The Defence of Petrograd in Born 20 May 1899 1928, which remains his most iconic painting, and The Kursk, Imperial Russia Battle of Sevastopol in 1942, The Outskirts of Moscow. Died 12 June 1969 (aged 70) November 1941 and The Shot­Down Ace. His mosaics Moscow, USSR are a feature of Mayakovskaya metro station in Moscow. He is in the highest category "1A ­ a world famous artist" in "United Artists Rating". Deyneka is buried in the Novodevichy Cemetery in Moscow. Contents 1 Honours and awards 2 Selected works 3 See also 4 References 5 External links Honours and awards Hero of Socialist Labour (1969) People's Artist of the USSR (1963) Order of Lenin Order of the Red Banner of Labour https://en.wikipedia.org/wiki/Aleksandr_Deyneka 1/6 7/8/2015 Aleksandr Deyneka ­ Wikipedia, the free encyclopedia Selected works «Three Women's Figures» (http://www.deineka.info/work­tri_jenskie_figury.php), 1920s «The Cabaret» (http://www.deineka.info/work­ cabare.php), 1921 «Перед спуском в шахту» (http://www.deineka.info/work­ pered_spuskom_v_shahtu.php), 1924 «Football» (http://www.deineka.info/work­futbol.php), 1924 «After the Rain. Kursk» (http://www.deineka.ru/images/works/posle_dojdya.jpg), 1925 «Springtime» "The Defense of Petrograd", 1928 (http://www.deineka.ru/images/works/vesna.jpg), 1925 «The Skiers» (http://www.deineka.ru/images/works/lyjniki1926.jpg), 1926 «Tennis», 1926 «На стройке новых цехов» "The Defense of Sevastopol", 1942 "Hockey Players", mosaic, 1959 ­ 1960 (http://www.deineka.ru/images/works/na_stroike_novyh_tcehov.jpg), 1926 «Textile Workers» (http://pesto.art.pl/goscie/rozne/dejneka_hala.jpg), 1927 «The Ode to the Spring» (http://www.deineka.info/work­oda_vesne.php), 1927 «The Defense of Petrograd» (http://www.staratel.com/pictures/ruspaint/big/197­1.jpg), 1928, Central Museum of the Defense Forces of the USSR, Moscow «Механизируем Донбасс!» (http://faculty­web.at.northwestern.edu/art­ https://en.wikipedia.org/wiki/Aleksandr_Deyneka 2/6 7/8/2015 Aleksandr Deyneka ­ Wikipedia, the free encyclopedia history/werckmeister/April_8_1999/Deineka.jpg) (poster), 1930 «Китай на пути освобождения от империализма» (poster), 1930 «Надо стать самим специалистами» (poster), 1930 «Book Cover» (http://www.deineka.info/work­kuterma.php), 1931 «The Interventionists' Mercenary» (http://www.deineka.info/work­nayomnik_interventov.php), 1931 «On the Balcony» (http://vshapes.bip.ru/personals/deineka/onabalkony.jpg), 1931 «Crosscountry Race», 1931 «A Girl at the Window. Winter», 1931 «Mother» (http://membres.lycos.fr/russie/artrusse/deineka.jpg), 1932, ГТГ «Soccer Game» (http://maslovka.info/images/555/DEY­9.jpg), 1932 «The Sleeping Boy With Cornflowers» (http://demoscope.ru/weekly/2006/0241/img/deineka.jpg), 1932 «Noon» (http://www.deineka.info/work­polden.php), 1932 «The Football Player» (http://www.deineka.info/work­futbolist.php), 1932 «Кто кого?» (http://artclassic.edu.ru/attach.asp?a_no=6619), 1932 «In the Airs» (http://www.deineka.info/work­v_vozduhe.php), 1932 «The Night Landscape with Horses and Dry Grasses» (http://www.deineka.info/work­ nochnoy_peyzaj.php), 1933 «Girls Swimming» (http://www.deineka.info/work­kupaushiesya_devushki.php), 1933 «Dry Leaves» (http://www.deineka.info/work­suhie_listya.php), 1933 «Resting Children» (http://www.deineka.info/work­otdyhaushie_deti.php), 1933 «Communists at Interrogation» (http://www.deineka.info/work­kommunisty_na_doprose.php), 1933 «Физкультурница" / "Работать, строить и не ныть!» (poster), 1933 «Without Work in Berlin», 1933 «The Pier» (http://www.deineka.ru/images/works/pirs.jpg), 1933 «The Race», 1933 «Runners» (http://painting.artyx.ru/art_painting/painting/item/f00/s00/e0000866/pic/000000.jpg), 1934 «Skiers», 1934 «Landscape with a Herd» (http://www.deineka.info/work­peizaj_so_stadom.php), 1934 «Goalkeeper» (http://www.deineka.ru/images/works/vratar.jpg), 1934 «A Pioneer. Kursk» (http://printempsdesmusees.culture.fr/prg/img/europe/99007001.jpg), 1934 «Crimean Pioneers» (http://www.gallery.permonline.ru/exhibitions/pic/32/07.jpg), 1934 «A Parachuter above the Sea» (http://www.deineka.info/work­parashtist_nad_morem.php), 1934 «Quirinal Place, Rome», 1934 «Spanish Stairways», 1934 «A Street in Rome» (http://vshapes.bip.ru/personals/deineka/romastreet.jpg) «Monks» (http://foto.mail.ru/mail/kenga1/1/i­251.jpg), 1935 «An Italian motif» (http://www.deineka.info/work­italianski_motiv.php), 1935 «The Park» (http://www.deineka.info/work­park.php), 1935 «The Portrait of S.I.L. with the Straw Hat» (http://www.deineka.info/work­portret_sil.php), 1935 «Tuileries», 1935 «Quai de la Seine», 1935 «Paris. In a Café» (http://imagecache2.allposters.com/images/BEN/AB5869.jpg), 1935 «Une parisienne» (http://www.msi­mall.com/art/avantgarde/images/pictures/60.jpg), 1935 «Негритянский концерт», 1935 «The Night (detail)» (http://www.deineka.info/work­noch.php), 1935 «The Boredom» (http://www.deineka.info/work­skuka.php), 1935 «The Road to Mount­Vernon» (http://www.msi­mall.com/art/avantgarde/images/pictures/61.jpg), 1935 https://en.wikipedia.org/wiki/Aleksandr_Deyneka 3/6 7/8/2015 Aleksandr Deyneka ­ Wikipedia, the free encyclopedia «Collective Farmer on a Bicycle» (https://web.archive.org/web/20080624225615/http://www.guggenheim.org/artscurriculum/images/ru ssian_L8_l.jpg) at the Wayback Machine (archived June 24, 2008), 1935[1] «A Lunch Break in Donbass» (http://www.deineka.info/work­malchiki_vybegayushie_iz_vody.php), 1935 «Первая пятилетка», 1936 «The Model» (http://www.deineka.info/work­naturshitca.php), 1936 «The Future Pilots» (http://www.artdaily.com//Fotos/galerias/293/Deinekab.jpg), 1937 «The Stakhanovites» (http://www.rosizo.ru/life/exhibitions/projects/europalia/simvolizm/04.jpg), 1937 «Woman in Red» (http://www.deineka.info/work­jenshina_v_krasnom.php), 1939 «The Lilacs» (http://www.deineka.info/work­siren.php) «Nikitka – The First Russian Pilot» (http://maholet.aero.ru/files/w/image170.jpg), 1940 «The Left March» (http://www.deineka.info/work­levy_marsh.php), 1941 «The Outskirts of Moscow. November 1941» (http://www.sgu.ru/rus_hist/img/x1­Z5_130.jpg) «Sverdlov Place in December 1941» «Evening. The Patriarch Ponds, 1941» «A Burned down Village» (http://www.deineka.info/work­sgorevshaya_derevnya.php), 1942 «Эвакуация колхозного скота» «Колхозницы роют противотанковые рвы на подступах к Москве» «Ремонт танков на прифронтовом заводе» «Танки идут на фронт» «Наступление началось» «The Defense of Sebastopol» (http://www.deineka.info/work­oborona_sevastopolya.php), 1942 «The Knocked down Ace» (http://limonka.nbp­info.ru/204/204_1_1.jpg), 1943 «Nude Woman Sitting» (http://www.deineka.info/work­sidashaya_obnajennaya.php), 1943 «Under Occupation», 1944 «Expanse» (http://www.asanov.net/kq/dejneka_razdolje.jpg), 1944 «Above the Devastated Berlin» (http://www.deineka.info/work­nad_poverjennym_berlinom.php), 1944 «Berlin. The Day of the Declaration», 1945 «A Stadium in Berlin», 1945 «Near Kursk. Tuskor' River», 1945 «Relay Race» (sculpture), 1945 «A Boxer» (sculpture), 1947 «100­meter Race» (sculpture), 1947 «The Relay Race on the Ring B» (http://neuegegenwart.de/images/tfk_deineka_staffellauf_1947.jpg), 1947 «Donbass» (http://photos.streamphoto.ru/f/6/5/w400_ebad80f245932610566d990a2df5856f.jpg), 1947 «The Studio Window» (http://www.deineka.info/work­okno_v_masterskoi.php), 1947 «In Sebastopol», 1947 «Self­portrait» (http://www.deineka.info/work­avtoportret.php), 1948 «The Space of Building Sites under Moscow», 1949 «The Skiers» (mosaic) (http://www.deineka.info/work­lyjniki1950.php), 1950 «Football Players» (sculpture), 1950 «Перед забегом» (sculpture), 1951 «A Nude Girl» (http://rah.ru/files/images2/Exhibition/Deyneka1b.jpg), 1951 «Дачный поселок Кратово», 1951 «In Sebastopol», 1947 https://en.wikipedia.org/wiki/Aleksandr_Deyneka 4/6 7/8/2015 Aleksandr Deyneka ­ Wikipedia, the free encyclopedia «On the Skating Rink in Kratovo» (http://www.deineka.info/work­dachny_poselok_kratovo.php), 1951 «The Snow Maiden» (http://www.deineka.info/work­snegurochka.php), 1954 «The Laying Woman with a Ball», 1954 «Still Life. Strawberries» (http://www.deineka.info/work­naturmort_klubnika.php), 1955 «A Nude Model» (http://www.deineka.info/work­obnajennyi_naturshik.php), 1955 «Football players» (sculpture), 1955 «The Tractor Driver» (http://www.deineka.info/work­traktorist.php), 1956 «In Sebastopol», 1956 «Near the Sea» (http://www.deineka.ru/images/works/u_morya.jpg), 1956–1957 «Putting the Shot» (sculpture), 1957 «Голова парашютиста» (mosaic), 1957 «A Nice Morning» (mosaic) (http://www.deineka.info/work­horoshee_utro.php), 1959–1960 «Hockey Players» (mosaic) (http://www.deineka.info/work­hokkeisty.php),
Recommended publications
  • Hermitage Magazine 27 En.Pdf
    VIENNA / ART DECO / REMBRANDT / THE LANGOBARDS / DYNASTIC RULE VIENNA ¶ ART DECO ¶ THE LEIDEN COLLECTION ¶ REMBRANDT ¶ issue № 27 (XXVII) THE LANGOBARDS ¶ FURNITURE ¶ BOOKS ¶ DYNASTIC RULE MAGAZINE HERMITAGE The advertising The WORLD . Fragment 6/7 CLOTHING TRUNKS OF THE MUSEUM WARDROBE 10/18 THE INTERNATIONAL ADVISORY BOARD OF THE STATE HERMITAGE Game of Bowls 20/29 EXHIBITIONS 30/34 OMAN IN THE HERMITAGE The State Hermitage Museum, St. Petersburg. Inv. № ГЭ 9154 The State Hermitage Museum, St. Petersburg. Inv. Henri Matisse. 27 (XXVII) Official partners of the magazine: DECEMBER 2018 HERMITAGE ISSUE № St. Petersburg State University MAGAZINE Tovstonogov Russian State Academic Bolshoi Drama Theatre The Hermitage Museum XXI Century Foundation would like to thank the project “New Holland: Cultural Urbanization”, Aleksandra Rytova (Stella Art Foundation, Moscow) for the attention and friendly support of the magazine. FOUNDER: THE STATE HERMITAGE MUSEUM Special thanks to Svetlana Adaksina, Marina Antipova, Elena Getmanskaya, Alexander Dydykin, Larisa Korabelnikova, Ekaterina Sirakonyan, Vyacheslav Fedorov, Maria Khaltunen, Marina Tsiguleva (The State Hermitage Museum); CHAIRMAN OF THE EDITORIAL BOARD Swetlana Datsenko (The Exhibition Centre “Hermitage Amsterdam”) Mikhail Piotrovsky The project is realized by the means of the grant of the city of St. Petersburg EDITORIAL: AUTHORS Editor-in-Chief Zorina Myskova Executive editor Vladislav Bachurov STAFF OF THE STATE HERMITAGE MUSEUM: Editor of the English version Simon Patterson Mikhail Piotrovsky
    [Show full text]
  • Fulbright Scholars Directory
    FULBRIG HT SCHOLAR PROGRAM 2002-2003 Visiting Scholar Directory Directory of Visiting Fulbright Scholars and Occasional Lecturers V i s i t i n g F u l b r i g h t S c h o l a r P r o g r a m S t a f f To obtain U.S. contact information fo r a scholar listed in this directory, pleaseC IE S speaks ta ff member with the responsible fo r the scholar s home country. A fr ic a (S ub -S aharan ) T he M id d le E ast, N orth A frica and S outh A sia Debra Egan,Assistant Director Tracy Morrison,Senior Program Coordinator 202.686.6230 [email protected] 202.686.4013 [email protected] M ichelle Grant,Senior Program Coordinator Amy Rustic,Program Associate 202.686.4029 [email protected] 202.686.4022 [email protected] W estern H emisphere E ast A sia and the P acific Carol Robles,Senior Program Officer Susan McPeek,Senior Program Coordinator 202.686.6238 [email protected] 202.686.4020 [email protected] U.S.-Korea International Education Administrators ProgramMichelle Grant,Senior Program Coordinator 202.686.4029 [email protected] Am elia Saunders,Senior Program Associate 202.686.6233 [email protected] S pecial P rograms E urope and the N ew I ndependent S tates Micaela S. Iovine,Senior Program Officer 202.686.6253 [email protected] Sone Loh,Senior Program Coordinator New Century Scholars Program 202.686.4011 [email protected] Dana Hamilton,Senior Program Associate Erika Schmierer,Program Associate 202.686.6252 [email protected] 202.686.6255 [email protected] New Century Scholars
    [Show full text]
  • The Astronaut's Legal Status
    The Astronaut’s Legal Status Yuri Baturin1 Doctor of Law, Corresponding Member of Russian Academy of Sciences, Pilot-cosmonaut of Russia, Chief researcher, S.I. Vavilov Institute for the History of Science and Technology of RAS (Moscow, Russia) E-mail: [email protected] https://orcid.org/0000-0003-1481-5369 Baturin, Yuri (2020) The Astronaut’s Legal Status. Advanced Space Law, Volume 5, 4-13. https://doi.org/10.29202/asl/2020/5/1 The article proposes to define the concept of “astronaut” through the four elements — specialty “astronaut,” astronaut’s qualification, profession “astronaut” and “astronaut” as the occupation. In this case, it is possible to define the concept of “astronaut” through the labor function of the astronaut. The legal status of an astronaut is considered as a generalization of practical activities in the field of manned astronautics. On the basis of spaceflights experience, additional rules concerning the rights and duties of the astronauts are proposed. A significant list of problems of the astronaut’s legal status, which are still pending, is given. It is also proposed to introduce an international component into the astronaut’s legal status, and not only to use the full range of rights and privileges of astronauts, which are provided for by international law, but also to empower the cosmonaut with the authority of a state representative at a foreign or international manned space object. Keywords: astronaut, astronaut’s labor function, professional activities of an astronaut, astronaut’s rights and obligations, astronaut’s legal status, contract for undertaking of a space mission, space law. Received: March 01, 2020; accepted: April 07, 2020 Introduction Now that the International Space Station is up and running and multilateral cooperation has become the norm, we sometimes forget how long and hard was the road to smooth cooperation in this strategic area affecting the interests of many countries.
    [Show full text]
  • Russian Museums Visit More Than 80 Million Visitors, 1/3 of Who Are Visitors Under 18
    Moscow 4 There are more than 3000 museums (and about 72 000 museum workers) in Russian Moscow region 92 Federation, not including school and company museums. Every year Russian museums visit more than 80 million visitors, 1/3 of who are visitors under 18 There are about 650 individual and institutional members in ICOM Russia. During two last St. Petersburg 117 years ICOM Russia membership was rapidly increasing more than 20% (or about 100 new members) a year Northwestern region 160 You will find the information aboutICOM Russia members in this book. All members (individual and institutional) are divided in two big groups – Museums which are institutional members of ICOM or are represented by individual members and Organizations. All the museums in this book are distributed by regional principle. Organizations are structured in profile groups Central region 192 Volga river region 224 Many thanks to all the museums who offered their help and assistance in the making of this collection South of Russia 258 Special thanks to Urals 270 Museum creation and consulting Culture heritage security in Russia with 3M(tm)Novec(tm)1230 Siberia and Far East 284 © ICOM Russia, 2012 Organizations 322 © K. Novokhatko, A. Gnedovsky, N. Kazantseva, O. Guzewska – compiling, translation, editing, 2012 [email protected] www.icom.org.ru © Leo Tolstoy museum-estate “Yasnaya Polyana”, design, 2012 Moscow MOSCOW A. N. SCRiAbiN MEMORiAl Capital of Russia. Major political, economic, cultural, scientific, religious, financial, educational, and transportation center of Russia and the continent MUSEUM Highlights: First reference to Moscow dates from 1147 when Moscow was already a pretty big town.
    [Show full text]
  • Nivkhi on the Social Organization of the Gilyak, 1995 B Y Bruce Grant
    AF T E RW O R D: AF T E R L I V E S A N D AF T E RW O R L D S Nivkhi on The Social Organization of the Gilyak, 1995 B Y Bruce Grant B Y T H E A D V E N T of World War II, the lives of most Gilyaks had changed dramati- cally. The Soviet government officially recognized the use of their self-designation, “Nivkh,” and in the Soviet drive to create proletarians from primitives, the idea of “Gilyak” came to take on pejorative connotations of all things past. That the gov- er nment embraced the name “Nivkh” as a hallmark of native self-determination, but simultaneously forbade Nivkhi to speak the Nivkh language, was only one of many contradictions between tradition and modernity that their belonging in the new Sovi- et Union had set before them.1 For the new Nivkh society, one of the greatest legacies of the post-World War II period was the widespread integration of women into the workforce. Before the war, efforts to recruit women into Sovietized native institutions such as clan councils foundered on the reluctance of Nivkh men and women alike. With the conscription of Nivkh and Russian men to the war front, women all over Sakhalin and the Amur had to take the work of the fishing collectives into their own hands. During my own fieldwork on Sakhalin in 1990, one woman explained to me, I was 10 when the war started. I had only been in school a year but our mother had no money, so I started working on the kolkhoz.
    [Show full text]
  • Features Named After 07/15/2015) and the 2018 IAU GA (Features Named Before 01/24/2018)
    The following is a list of names of features that were approved between the 2015 Report to the IAU GA (features named after 07/15/2015) and the 2018 IAU GA (features named before 01/24/2018). Mercury (31) Craters (20) Akutagawa Ryunosuke; Japanese writer (1892-1927). Anguissola SofonisBa; Italian painter (1532-1625) Anyte Anyte of Tegea, Greek poet (early 3rd centrury BC). Bagryana Elisaveta; Bulgarian poet (1893-1991). Baranauskas Antanas; Lithuanian poet (1835-1902). Boznańska Olga; Polish painter (1865-1940). Brooks Gwendolyn; American poet and novelist (1917-2000). Burke Mary William EthelBert Appleton “Billieâ€; American performing artist (1884- 1970). Castiglione Giuseppe; Italian painter in the court of the Emperor of China (1688-1766). Driscoll Clara; American stained glass artist (1861-1944). Du Fu Tu Fu; Chinese poet (712-770). Heaney Seamus Justin; Irish poet and playwright (1939 - 2013). JoBim Antonio Carlos; Brazilian composer and musician (1927-1994). Kerouac Jack, American poet and author (1922-1969). Namatjira Albert; Australian Aboriginal artist, pioneer of contemporary Indigenous Australian art (1902-1959). Plath Sylvia; American poet (1932-1963). Sapkota Mahananda; Nepalese poet (1896-1977). Villa-LoBos Heitor; Brazilian composer (1887-1959). Vonnegut Kurt; American writer (1922-2007). Yamada Kosaku; Japanese composer and conductor (1886-1965). Planitiae (9) Apārangi Planitia Māori word for the planet Mercury. Lugus Planitia Gaulish equivalent of the Roman god Mercury. Mearcair Planitia Irish word for the planet Mercury. Otaared Planitia Arabic word for the planet Mercury. Papsukkal Planitia Akkadian messenger god. Sihtu Planitia Babylonian word for the planet Mercury. StilBon Planitia Ancient Greek word for the planet Mercury.
    [Show full text]
  • Journal of International Scientific: Educational Alternatives, Volume 10
    JOURNALOF InternationalScientificPublications: EducationalAlternatives,Volume10,Partͳ Peer-ReviewedOpenAccessJournal Publishedat: http://www.scientific-publications.net PublishedbyInfoInvestLtd www.sciencebg.net ISSN1313-2571,2012,EuropeanUnion JournalofInternationalScientificPublications: EducationalAlternativesǡVolume10,Partͳ ISSN1313-2571,Publishedat:http://www.scientific-publications.net AdvisoryEditor IgorKyukanov,USA Co-EditorinChief KrystynaNajder-Stefaniak,Poland NkasiobiSilasOguzor,Nigeria EditorialBoard AlirezaValipour,Iran DimitriyBaryshnikov,Russia ElenaMurugova,Russia FlorinLungu,Romania GalinaSinekopova,USA JunichiSuzuki,Japan IrinaSidorcuka,Latvia NezihaMusaoglu,Turkey OliveraGajic,Serbia SimonaStanisiu,Romania SofiaAgapova,Russia SibelTuran,Turkey VladimirZhdanov,Japan ElzbietaPosluszna,Poland MiroslawKowalski,Poland PublishingbyInfoInvest,Bulgaria,www.sciencebg.net 2 JournalofInternationalScientificPublications: EducationalAlternativesǡVolume10,Partͳ ISSN1313-2571,Publishedat:http://www.scientific-publications.net PublishedinAssociationwithScienceƬEducationFoundation. AnypapersubmittedtotheJournalofInternationalScientificPublications: EducationalAlternatives-shouldNOTbeunderconsiderationforpublicationat anotherjournal.Allsubmittedpapersmustalsorepresentoriginalwork,and shouldfullyreferenceanddescribeallpriorworkonthesamesubjectand comparethesubmittedpapertothatwork. Allresearcharticlesinthisjournalhaveundergonerigorouspeerreview,based oninitialeditorscreeningandanonymizedrefereeingbyatleasttworeferees. Recommendingthearticlesforpublishing,thereviewersconfirmthatintheir
    [Show full text]
  • ^ Press Release the Los Angeles County Museum of Art (LACMA
    ^ Press release The Los Angeles County Museum of Art (LACMA) Supports the Launch of Tavares Strachan’s ENOCH to Space (Los Angeles—November 13, 2018) The Los Angeles County Museum of Art (LACMA) is pleased to announce that LACMA Art + Technology Lab grant recipient Tavares Strachan will soon be launching his project ENOCH into space. The anticipated launch date is November 19, 2018. Created in collaboration with LACMA, Strachan’s ENOCH is centered around the development and launch of a 3U satellite that brings to light the forgotten story of Robert Henry Lawrence Jr., the first African American astronaut selected for any national space program. In this new body of work, Strachan combines hidden histories, traditions of ancient Egypt, Shinto rituals and beliefs, and the history of exploration. Lawrence died in 1967 while training a junior pilot in landing techniques at Edwards Air Force Base, and his aspirations to go to space were never realized. He was an accomplished Air Force pilot, the first doctorate-holding aerospace researcher to be selected as an astronaut, and the developer of the “flare” technique, now a critical maneuver of space shuttle landing Despite his belated recognition in 2017, in which NASA leaders honored his many contributions on the 50th anniversary of his death, Lawrence remains virtually invisible amid the commemorative culture of space exploration. To honor the astronaut’s legacy, Strachan created a 24-karat gold canopic jar with a bust of Lawrence. The canopic jar nods to a practice employed by the ancient Egyptians to protect and preserve organs of the deceased for use in the afterlife.
    [Show full text]
  • Cognitive Mechanisms of Communicative Behaviour of Representatives of Various Linguistic Cultures of the East
    International Journal of Criminology and Sociology, 2020, 9, 2791-2803 2791 Cognitive Mechanisms of Communicative Behaviour of Representatives of Various Linguistic Cultures of the East Oksana V. Asadchykh1,*, Olena V. Mazepova2, Alla M. Moskalenko3, Liubov M. Poinar1 and Tetiana S. Pereloma1 1Department of Languages and Literature of the Far East and Southeast Asia, Taras Shevchenko National University of Kyiv, Kyiv, Ukraine 2Department of Languages and Literature of the Middle East, Taras Shevchenko National University of Kyiv, Kyiv, Ukraine 3Department of Pedagogy, Taras Shevchenko National University of Kyiv, Kyiv, Ukraine Abstract: Communicative behaviour is primarily based on the understanding of the ways a person interacts with other members of society and how much this reflects the cultural component of the communication process. This also includes the structure of discourse, which affects the communicative content of communication. The relevance of studying the specifics of organising discourse by representatives of oriental linguistic cultures is conditioned by the need to understand the deep cognitive mechanisms of their communicative behaviour in the context of the ever-increasing globalisation of the modern world. The novelty of the study is that it analyses some key factors that have a direct impact on the formation of communicative behaviour of carriers of the eastern mentality. The paper presents some deep aspects of the formation of a communicative culture in the traditions of the East, the study of which is of particular interest in the context of the growing need for successful intercultural communication. Communicative behaviour is analysed in the context of the correlation of language and culture, language and national mentality, language and consciousness.
    [Show full text]
  • Bruxelles, 2014 Art and Literature Scientific and Analytical Journal
    Art and Literature Scientific and Analytical Journal Texts 3.2014 Bruxelles, 2014 EDITORIAL BOARD Chief editor Burganova M. A. Bowlt John Ellis (USA) — Doctor of Science, Professor of Slavic Languages and Literatures in University of Southern California; Burganov A. N. (Russia) — Doctor of Science, Professor of Stroganoff Moscow State Art Industrial University, Full-member of Russia Academy of Arts, National Artist of Russia, member of the Dissertation Council of Stroganoff Moscow State Art Industrial University; Burganova M. A. (Russia) — Doctor of Science, Professor of Stroganoff Moscow State Art Industrial University, Full-member of Russia Academy of Arts, Honored Artist of Russia, member of the Dissertation Council of Stroganoff Moscow State Art Industrial University, editor-in-chief; Glanc Tomáš (Germany) — Doctor of Science of The Research Institute of East European University of Bremen (Germany), and assistant professor of The Charles University (Czech Republic); Kazarian Armen (Russia) — Architectural historian, Doctor of Fine Arts in The State Institute of Art History, Advisor in Academy of Architecture and Construction Sciences; Kravetsky A. G. (Russia) — Candidate of Sciences, research associate of Russian Language Institute of the Russian Academy of Sciences; Lavrentyev Alexander N. (Russia) — Doctor of Arts, Professor of Stroganoff Moscow State Art Industrial University and Moscow State University of Printing Arts; Alessandro De Magistris (Italy) — PhD, Full-Professor of History of Architecture Politecnico di Milano Department of Architecture and Urban Studies; Misler Nicoletta (Italy) Professor of Modern East European Art at the Istituto Universitario Orientale, NaplesPavlova I. B. — Candidate of Sciences, Senior Researcher of Institute of World Literature of the Russian Academy of Sciences; ISSN 2294-8902 © TEXTS, 2014 Pletneva A.
    [Show full text]
  • Modernism and the Spiritual in Russian Art New Perspectives
    Modernism and the Spiritual in Russian Art New Perspectives EDITED BY LOUISE HARDIMAN AND NICOLA KOZICHAROW To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/609 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Modernism and the Spiritual in Russian Art New Perspectives Edited by Louise Hardiman and Nicola Kozicharow https://www.openbookpublishers.com © 2017 Louise Hardiman and Nicola Kozicharow. Copyright of each chapter is maintained by the author. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Louise Hardiman and Nicola Kozicharow, Modernism and the Spiritual in Russian Art: New Perspectives. Cambridge, UK: Open Book Publishers, 2017, https://doi.org/10.11647/OBP.0115 In order to access detailed and updated information on the license, please visit https://www.openbookpublishers.com/product/609#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/609#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher.
    [Show full text]
  • Structure of the Gramophone Company and Its Output
    STRUCTURE OF THE GRAMOPHONE COMPANY AND ITS OUTPUT HMV and ZONOPHONE 1898 to 1954 ANALYSIS OF PAPERS AND COMPUTER FILES Produced by ALAN KELLY September, 2000. (File: C:\CD\General Introduction.doc) (Revised July, 2002) (Revised December, 2002) (Revised November, 2009) CONTENTS. General Introduction. page 3 The Gramophone Company Catalogue: Introduction 4 Structure of the Catalogue 5 The Head Office (English) Catalogue 00000 7 The Orient Catalogue 10000 8 The Russian Catalogue 20000 9 The French Catalogue 30000 11 The German Catalogue 40000 11 The Italian Catalogue 50000 11 The Spanish (Iberian) Catalogue 60000 12 The Czech-Hungarian Catalogue 70000 12 The Scandinavian Catalogue 80000 12 The Dutch (& Belgian) Catalogue 90000 13 Other Catalogues 13 The Gramophone Company Recording Books (Matrix Lists): Phase 1 (sufix), 1898 to 1921 14 Phase 2 (prefix type 1), 1921 to 1930 17 Phase 3 (prefix type 2), 1931 to 1934 18 Phase 4 (prefix type 3), 1934 to 1954 19 The Gramophone Company Coupling Series. 21 3. General Introduction. Having spent more years than I care to remember working on papers from the EMI Music Archive, I would not like to think that after my death or incapacity all this work would simply be discarded as worthless rubbish. It therefore seems reasonable for me to prepare an outline which will explain the structure underlying both the relevant part of the holdings in the Archive and hence my own collection of papers so that anyone who in the future may acquire them will be able to understand what it is that he possesses and to what uses it may be put.
    [Show full text]