DOCSLIB.ORG

Art and Power in the Reign of Catherine the Great: the State Portraits

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Art and Power in the Reign of Catherine the Great: The State Portraits Erin McBurney Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Erin McBurney !All rights reserved ABSTRACT Art and Power in the Reign of Catherine the Great: The State Portraits Erin McBurney 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 protean and adaptive, and it provided Catherine with a means to negotiate the anomaly of female rule and the ambiguity of her Petrine inheritance. In the reign of Catherine the Great, the state portraits functioned as an alternate form of political discourse. TABLE OF CONTENTS List of Illustrations…………………………………………………..ii-v Introduction………………………………………………………...1-33 I. Ennui and Solitude……………………………………………...34-105 II. Seizing the Stage of Power…………………………………….106-139 III. Minerva Ascendant……………………………………………..140-212 IV. “Victorieuse et Legislatrice”…………………………………...213-279 V. Picturing the Greek Project…………………………………...280-340 VI. The Judgment of History…………………………………....…341-393 Conclusion……………………………………………………….394-397 Bibliography……………………………………………………,..398-426 i McBurney Art and Power List of Illustrations Figure 1. Godfrey Kneller, Peter I of Russia, 1698 2. Anna Rosina Liciewska, Princess Sophia of Anhalt Zerbst, c. 1740-42 3. Antoine Pesne, Princess Sophia of Anhalt Zerbst, c. 1742 4. George Grooth, Princess Sophia of Anhalt Zerbst, c. 1745 5. Louis Caravaque, Grand Duchess Catherine Alekseevna, c. 1745 6. Louis Caravaque, Empress Anna Ioannovna, 1730 7. Louis Caravaque, Empress Elizabeth Petrovna, 1742 8. George Grooth, Grand Duke Peter Feodorov, 1743 9. George Grooth, Grand Duchess Catherine Alekseevna, 1745 10. George Grooth, Empress Elizabeth with Moor, 1745 11. George Grooth, Grand Duke Peter Astride, 1745 12. George Grooth, Grand Duchess Catherine Astride, 1745 13. George Grooth, Wedding portrait of Grand Duke Peter and Grand Duchess Catherine, c. 1745 14. Anna Rosina Lisiewska, Grand Duke Peter and Grand Duchess Catherine and a Kalmuk, 1756 15. Pietro Rotari, Grand Duchess Catherine, 1761 ii McBurney Art and Power List of Illustrations Figure 16. Vigilius Eriksen, Grand Duchess Catherine in Mourning Attire, 1762 17. Aleksei Antropov, Peter III (sketch), 1762 18. Aleksei Antropov, Peter III, 1762 19. Aleksei Antropov, Peter III (variant), 1762 20. Vigilius Eriksen, Catherine II Astride Brilliante, 1762 21. Sebastian Bourdon, Queen Christina of Sweden on Horseback, 1653 22. Pierre Mignard, Louis XIV Crowned by Victory, 1692 23. Franz Leopold Schmittner, Maria Theresa, “King of Hungary,” c. 1742 24. Throne Room at Peterhof 25. Vigilius Eriksen, Catherine II before a Mirror, c. 1762 26. Aleksei Antropov, Catherine II (sketch), 1762 27. Martin van Meytens, Double Portrait of Empress Maria Theresa and Archduke Joseph, 1744 28. Stefano Torelli, Coronation Portrait of Catherine II, c. 1766 29. Vigilius Eriksen, Catherine II in Coronation Attire, c. 1766 30. Vigilius Eriksen, Grand Duke Paul in his Study, c. 1765 iii McBurney Art and Power List of Illustrations Figure 31. Anton Mengs, Ferdinand IV, King of Naples, 1760 32. Stefano Torelli, Grand Duke Paul with Moor, 1766 33. Unknown, Miniature enamel on copper of Catherine with Nakaz, undated 34. Frontispiece engraving from the Polyglot Nakaz, 1770 35. Stefano Torelli, Catherine as Minerva, Patroness of the Arts, 1770 36. Louis Lagrenée, Empress Elizabeth as Patroness of the Arts, 1761 37. Stefano Torelli, Catherine as Minerva, Patroness of the Arts (sketch) 38. Stefano Torelli, Allegory of Victory over the Turks, 1772 39. Stefano Torelli, Allegory of Victory over the Turks, detail, 1772 40. Unknown, Portrait of Pugachev, c. 1773 41. Alexander Roslin, Catherine II, 1776 42. Alexander Roslin, Gustav III, 1777 43. Richard Brompton, Grand Dukes Alexander and Constantine, 1781 44. Richard Brompton, Catherine II, c. 1783 45. Dmitrii Levitskii, Catherine II as Legislatrix in the Temple of Justice, c. 1782-83 iv McBurney Art and Power List of Illustrations Figure 46. Dmitrii Levitskii, Catherine II as Legislatrix in the Temple of Justice, c. 1783 47. Mikhail Shibanov, Catherine the Great in Travelling Costume, 1787 48. Johann Baptist Lampi, Joseph II, c. 1786 49. Ferdinand de Mëys, Catherine II Voyageant dans ses Etats en 1787, c. 1788 50. Dmitrii Levitskii, Catherine II, c. 1787 51. Thomas Lawrence, Queen Charlotte, 1789-90 52. Johann Baptist Lampi, Austrian Chancellor Prince Wenzel Anton Kaunitz, 1786 53. Johann Baptist Lampi, Catherine II with Saturn and Clio, c. 1792 54. Johann Baptist Lampi, Catherine II, 1793 55. Johann Baptist Lampi, Catherine II, 1794 56. Johann Baptist Lampi, Grand Dukes Alexander and Constantine, 1795 v McBurney Art and Power Introduction In April 1796 Johann Baptist Lampi, an Austrian portrait painter on loan to the Russian court, wrote to Catherine II, Empress of Russia, to request a final sitting as he prepared to return to Vienna. In his short note, Lampi averred that after service to such an august sovereign he was no longer jealous of Apelles—the only artist permitted to paint Alexander the Great—such was the honor and artistic fulfillment of his position.1 Lampi’s comparison with the painter Apelles was a deliberate stratagem of praise that elevated both the artist and his sixty-seven year old patroness into the same firmament as the Macedonian ruler and his court painter. Moreover, Lampi was consciously equating his role at Catherine’s court with his recent artistic service to several Holy Roman Emperors, the brothers Joseph II and Leopold II, and their nephew Francis II. Their Habsburg ancestor, Charles V, gained eternal renown for hiring Titian as his exclusive court painter. In deliberate homage to Alexander the Great, Charles V dubbed Titian “this century’s Apelles” (huuis 1 Unpublished letter from Lampi to Catherine II of 22 April 1796 in Alessandro Casagrande, “Documenti inediti di Giambattista Lampi negli archivi russi,” Studi Trentini di Scienze Storiche,A.LXXV-LXXVII, Sezione II-1, Trento 1996-1998, 204. 1 McBurney Art and Power seculi Apelles) and would permit no other artist to portray him.2 Titian’s portraits of Charles V remain, in the words of Frances Yates, “one of the most striking presentations of Charles in his imperial role…the World Ruler on whose domains the sun never set.”3 More than two hundred years later, Russia’s longest ruling female monarch similarly exploited the aesthetics of portraiture to project gloire and articulate symbolic aspects of imperial power. Drawing on recent work in the fields of visual culture, art history, court studies, cultural history, gender and queenship, this study examines fifteen images of Catherine the Great painted between 1762 and 1796.4 I seek to reintegrate Catherine’s portrait imagery into the narrative of her reign and I interpret the state portraits as an important if 2 Hugh Trevor-Roper, Princes and Artists: Patronage and ideology at four Habsburg Courts, 1517- 1633 (London: Thames and Hudson, 1976), 29. Charles V also made Titian a Count of Palatine and a Knight of the Order of the Golden Spur, thereby ensuring hereditary nobility for his descendants and establishing an early modern precedent for lavish remuneration for talented court artists. Martin Gosman, “Princely Culture: Friendship or Patronage?” in Princes and Princely Culture, 1450-1650 (Boston and Leiden: Brill, 2003), 11. 3 Frances Yates, Astraea: The Imperial Theme in the Sixteenth Century (London: Taylor and Francis, 1975), 22. 4 The state portraits constitute but one part of an extensive visual archive that includes medals, mosaics, miniatures, coins, tapestries and sculpture that are beyond the scope of the present study. 2 McBurney Art and Power often overlooked aspect of her absolutist scenario. I argue that the evolution of Catherine’s visual image was a direct reflection of contemporary political culture both in Russia and abroad. Moreover, the inventive manner in which the Russian empress manipulated iconographic norms and experimented in the visual medium was on a scale without precedent and in a manner that was largely unknown among her contemporary heads of state. The state portraits constitute but one aspect of a symbolic “liturgy of state” constructed over the course of her thirty-four year reign; this dynamic representational scenario presented the image of the Empress as the embodiment of empire and as an exemplar of Russian sovereignty.5 * * * Figurative portraits of the tsars were not produced in Russia before the reign of Peter I. His famous portrait of 1698 by Godfrey Kneller, Peter I (figure 1), is widely considered the first secular state portrait of a Russian ruler and it is instructive that the picture was painted while the tsar was in London during his 5 “Liturgy of state” is a term coined by Roy Strong to describe the manner in which Queen Elizabeth I’s elaborate representative scenario appropriated aspects of Roman Catholic liturgical practice
Recommended publications
  • Suzanne Roslin L’Académie

    Suzanne Roslin L’Académie

    Neil Jeffares, Dictionary of pastellists before 1800 Online edition ROSLIN, Mme Alexander, née baron Scheffer, rigsgreve Adam Lewenhaupt, She was the model for her husband’s famous Blondel d’Azincourt (Roslin’s portrait of whom Dame à l’éventail. She was one of only a handful of Jeanne-Suzanne Giroust was in the salon in 1755), Watelet, Coustou, women admitted to the Académie before the Paris 9.III.1734–31.VIII.1772 Vien and his wife, as well as Pierre and his Revolution, agréée and reçue simultaneously in 1770 Suzanne Giroust was the daughter of mother. The bride was given away by her with her portrait of Pigalle, undoubtedly her Barthélemy Giroust ( –1742), joaillier de la grandmother Mme François-Étienne Jacques, masterpiece and particularly praised by the critics garde-robe du roi, and Marie-Suzanne Le Roy ( née Jeanne-Suzanne Le Sourt – a pastel of of the 1771 Salon. Even Horace Walpole, who –1745), his second wife. On the death of her whom may tentatively be attributed to her mostly disliked the Paris salons, acknowledged this father, tuteurs were appointed for Jeanne- charge. Mme Roslin’s grandmother evidently “fine portrait” (it was the only pastel he mentioned Suzanne (the future Mme Roslin, aged 8) and played a major role in raising the orphan, who from the four salons he attended). The pastel her sister Marie-Thérèse (aged 6); as well as for was still living with her at the time of the today remains one of the most striking works in their half-brothers Étienne-Barthélemy and marriage. Jeanne-Suzanne Le Sourt was the Louvre’s collection, much of its distinctiveness Pierre, also minors, the sons of Barthélemy’s previously married to François-Gabriel Le Roy, arising from the dramatic di sotto in sù composition first marriage, to Catherine Regnault.
  • Catherine the Great and the Development of a Modern Russian Sovereignty, 1762-1796

    Catherine the Great and the Development of a Modern Russian Sovereignty, 1762-1796

    Catherine the Great and the Development of a Modern Russian Sovereignty, 1762-1796 By Thomas Lucius Lowish A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Victoria Frede-Montemayor, Chair Professor Jonathan Sheehan Professor Kinch Hoekstra Spring 2021 Abstract Catherine the Great and the Development of a Modern Russian Sovereignty, 1762-1796 by Thomas Lucius Lowish Doctor of Philosophy in History University of California, Berkeley Professor Victoria Frede-Montemayor, Chair Historians of Russian monarchy have avoided the concept of sovereignty, choosing instead to describe how monarchs sought power, authority, or legitimacy. This dissertation, which centers on Catherine the Great, the empress of Russia between 1762 and 1796, takes on the concept of sovereignty as the exercise of supreme and untrammeled power, considered legitimate, and shows why sovereignty was itself the major desideratum. Sovereignty expressed parity with Western rulers, but it would allow Russian monarchs to bring order to their vast domain and to meaningfully govern the lives of their multitudinous subjects. This dissertation argues that Catherine the Great was a crucial figure in this process. Perceiving the confusion and disorder in how her predecessors exercised power, she recognized that sovereignty required both strong and consistent procedures as well as substantial collaboration with the broadest possible number of stakeholders. This was a modern conception of sovereignty, designed to regulate the swelling mechanisms of the Russian state. Catherine established her system through careful management of both her own activities and the institutions and servitors that she saw as integral to the system.
  • Jahrbuch Stiftung Preußische Schlösser Und Gärten Berlin-Brandenburg

    Jahrbuch Stiftung Preußische Schlösser Und Gärten Berlin-Brandenburg

    Jahrbuch Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg Band 2 1997/1998 Copyright Das Digitalisat wird Ihnen von perspectivia.net, der Online- Publikationsplattform der Stiftung Deutsche Geisteswissenschaftliche Institute im Ausland (DGIA), zur Verfügung gestellt. Bitte beachten Sie, dass das Digitalisat urheberrechtlich geschützt ist. Erlaubt ist aber das Lesen, das Ausdrucken des Textes, das Herunterladen, das Speichern der Daten auf einem eigenen Datenträger soweit die vorgenannten Handlungen ausschließlich zu privaten und nicht-kommerziellen Zwecken erfolgen. Eine darüber hinausgehende unerlaubte Verwendung, Reproduktion oder Weitergabe einzelner Inhalte oder Bilder können sowohl zivil- als auch strafrechtlich verfolgt werden. Berichte Generaldirektion Schwerpunkte in der öffentlich wirksamen Arbeit der Generaldirektion, zu der das Büro des Generaldirektors, der persönliche Referent, das Pressereferat, das Referat für Publikationen und der Stiftungskonservator gehören, waren neben der Koordination und Planung der Publikationstätigkeit der Stiftung wiederum die Organisation protokollarischer Veranstaltungen sowie die Presse- und Öffentlichkeitsarbeit. In den Berichtsjahren wurden insgesamt 40 (1997: 18; 1998: 22) Pressetermine durchgeführt. Dazu gehörten Pressekonferenzen beziehungsweise Pressevorbesichtigungen, Fototermine und Hintergrundgespräche. Außerdem gab die Pressestelle insgesamt 104 (1997: 46; 1998: 58) Presseinformationen heraus. Über die regelmäßigen Berichte und Reportagen in den regionalen Tageszeitungen
  • 11. Heine and Shakespeare

    11. Heine and Shakespeare

    https://www.openbookpublishers.com © 2021 Roger Paulin 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 text; to adapt the text and to make commercial use of the text 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: Roger Paulin, From Goethe to Gundolf: Essays on German Literature and Culture. Cambridge, UK: Open Book Publishers, 2021, https://doi.org/10.11647/OBP.0258 Copyright and permissions for the reuse of many of the images included in this publication differ from the above. Copyright and permissions information for images is provided separately in the List of Illustrations. In order to access detailed and updated information on the license, please visit, https://doi.org/10.11647/OBP.0258#copyright Further details about CC-BY licenses are available at, https://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 Updated digital material and resources associated with this volume are available at https://doi.org/10.11647/OBP.0258#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. ISBN Paperback: 9781800642126 ISBN Hardback: 9781800642133 ISBN Digital (PDF): 9781800642140 ISBN Digital ebook (epub): 9781800642157 ISBN Digital ebook (mobi): 9781800642164 ISBN Digital (XML): 9781800642171 DOI: 10.11647/OBP.0258 Cover photo and design by Andrew Corbett, CC-BY 4.0.
  • Swedish Royal Ancestry Book 4 1751-Present

    Swedish Royal Ancestry Book 4 1751-Present

    GRANHOLM GENEALOGY SWEDISH ANCESTRY Recent Royalty (1751 - Present) INTRODUCTION Our Swedish ancestry is quite comprehensive as it covers a broad range of the history. For simplicity the information has been presented in four different books. Book 1 – Mythical to Viking Era (? – 1250) Book 2 – Folkunga Dynasty (1250 – 1523) Book 3 – Vasa Dynasty (1523 – 1751) Book 4 – Recent Royalty (1751 – Present) Book 4 covers the most recent history including the wars with Russia that eventually led to the loss of Finland to Russia and the emergence of Finland as an independent nation as well as the history of Sweden during World Wars I and II. A list is included showing our relationship with the royal family according to the lineage from Nils Kettilsson Vasa. The relationship with the spouses is also shown although these are from different ancestral lineages. Text is included for those which are highlighted in the list. Lars Granholm, November 2009 Recent Swedish Royalty Relationship to Lars Erik Granholm 1 Adolf Frederick King of Sweden b. 14 May 1710 Gottorp d. 1771 Stockholm (9th cousin, 10 times removed) m . Louisa Ulrika Queen of Sweden b. 24 July 1720 Berlin d. 16 July 1782 Swartsjö ( 2 2 n d c o u s i n , 1 1 times removed) 2 Frederick Adolf Prince of Sweden b. 1750 d. 1803 (10th cousin, 9 times removed) 2 . Sofia Albertina Princess of Sweden b, 1753 d. 1829 (10th cousin, 9 times removed) 2 . Charles XIII King of Sweden b. 1748 d. 1818 (10th cousin, 9 times removed) 2 Gustav III King of Sweden b.
  • Nineteenth-Century French Challenges to the Liberal Image of Russia

    Nineteenth-Century French Challenges to the Liberal Image of Russia

    Ezequiel Adamovsky Russia as a Space of Hope: Nineteenth-century French Challenges to the Liberal Image of Russia Introduction Beginning with Montesquieu’s De l’esprit des lois, a particular perception of Russia emerged in France. To the traditional nega- tive image of Russia as a space of brutality and backwardness, Montesquieu now added a new insight into her ‘sociological’ otherness. In De l’esprit des lois Russia was characterized as a space marked by an absence. The missing element in Russian society was the independent intermediate corps that in other parts of Europe were the guardians of freedom. Thus, Russia’s back- wardness was explained by the lack of the very element that made Western Europe’s superiority. A similar conceptual frame was to become predominant in the French liberal tradition’s perception of Russia. After the disillusion in the progressive role of enlight- ened despotism — one must remember here Voltaire and the myth of Peter the Great and Catherine II — the French liberals went back to ‘sociological’ explanations of Russia’s backward- ness. However, for later liberals such as Diderot, Volney, Mably, Levesque or Louis-Philippe de Ségur the missing element was not so much the intermediate corps as the ‘third estate’.1 In the turn of liberalism from noble to bourgeois, the third estate — and later the ‘middle class’ — was thought to be the ‘yeast of freedom’ and the origin of progress and civilization. In the nineteenth century this liberal-bourgeois dichotomy of barbarian Russia (lacking a middle class) vs civilized Western Europe (the home of the middle class) became hegemonic in the mental map of French thought.2 European History Quarterly Copyright © 2003 SAGE Publications, London, Thousand Oaks, CA and New Delhi, Vol.
  • The Tsar's New Year's Eve Ball

    The Tsar's New Year's Eve Ball

    The Tsar’s New Year’s Eve Ball A small, intimate group tour through St. Petersburg and Moscow The social season in Imperial St. Petersburg began in autumn and ended with the coming of Lent in March. If you know your Tolstoy then you will remember that it was a blinding social whirl, but one in which some occasions could not be missed – a new opera at the Mariinsky, a ball at which absolutely everybody who was anybody would attend, and a concert at the Philharmonic. Well, you can put your book down, come with us and live for a little while the lives of the Stroganovs, and the Yusupovs, because although the fashions have changed and the carriages are now in the museums, the season in St. Petersburg still very much exists. The Basics 7 nights in extraordinary, deluxe hotels in the center of each city Expertly planned small group touring with top local guides Entrance Fees to all the sites mentioned in the program 24-hour, English-speaking local assistance in case of emergency or changes Highlights of Exeter’s Tsar’s Ball Tour View the snow-covered gardens of Pavlovsk Palace from your private troika sled (weather permitting) Walk the uncrowded halls of the Hermitage with an expert guide Attend the event of the season – the Tsar’s Gala Ball at Catherine Palace Experience privately guided tours of the Diamond Vaults and the Armory Museum at the Kremlin Easy to Combine with: Copenhagen or Stockholm Berlin or Munich Vienna, Prague or Budapest Day 1 December 28 Wednesday St.
  • The Inextricable Link Between Literature and Music in 19Th

    The Inextricable Link Between Literature and Music in 19Th

    COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment Of the Requirements for the Degree Master of Music Ashley Shank December 2010 COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA Ashley Shank Thesis Approved: Accepted: _______________________________ _______________________________ Advisor Interim Dean of the College Dr. Brooks Toliver Dr. Dudley Turner _______________________________ _______________________________ Faculty Reader Dean of the Graduate School Mr. George Pope Dr. George R. Newkome _______________________________ _______________________________ School Director Date Dr. William Guegold ii TABLE OF CONTENTS Page CHAPTER I. OVERVIEW OF THE DEVELOPMENT OF SECULAR ART MUSIC IN RUSSIA……..………………………………………………..……………….1 Introduction……………………..…………………………………………………1 The Introduction of Secular High Art………………………………………..……3 Nicholas I and the Rise of the Noble Dilettantes…………………..………….....10 The Rise of the Russian School and Musical Professionalism……..……………19 Nationalism…………………………..………………………………………..…23 Arts Policies and Censorship………………………..…………………………...25 II. MUSIC AND LITERATURE AS A CULTURAL DUET………………..…32 Cross-Pollination……………………………………………………………...…32 The Russian Soul in Literature and Music………………..……………………...38 Music in Poetry: Sound and Form…………………………..……………...……44 III. STORIES IN MUSIC…………………………………………………… ….51 iii Opera……………………………………………………………………………..57
  • St Petersburg 8

    St Petersburg 8

    Plan Your Trip 12 ©Lonely Planet Publications Pty Ltd St Petersburg “All you’ve got to do is decide to go and the hardest part is over. So go!” TONY WHEELER, COFOUNDER – LONELY PLANET Regis St Louis, Simon Richmond Contents PlanPlan Your Your Trip Trip page 1 4 Welcome to Top Itineraries ���������������20 Travelling to Moscow ����36 St Petersburg ������������������ 4 If You Like� ����������������������22 Museums St Petersburg’s Month by Month ������������24 & Galleries �������������������37 Top 10 ������������������������������� 6 With Kids ������������������������26 Eating ���������������������������39 What’s New �������������������� 13 Money-Saving Tips �������28 Drinking Need to Know �����������������14 & Nightlife ������������������ 43 Visas �������������������������������29 First Time Entertainment ������������ 46 St Petersburg �����������������16 Tours & Activities �����������31 Shopping ��������������������� 48 Getting Around �������������� 18 Visiting on a Cruise �������34 Explore St Petersburg 50 Historic Heart ����������������54 Vasilyevsky Island ������� 143 Day Trips from Sennaya & Kolomna ���104 Petrograd & St Petersburg ������������ 173 Vyborg Sides ��������������� 154 Smolny & Sleeping ���������������������186 Vosstaniya ��������������������121 Understand St Petersburg 197 St Petersburg History ������������������������� 200 Arts �������������������������������226 Today ���������������������������� 198 Architecture ����������������� 219 Literature ���������������������236 Survival Guide 241 Transport ���������������������242
  • On the Question of the Main Concepts and Theories of the Origin of the State

    On the Question of the Main Concepts and Theories of the Origin of the State

    Law/1. Theory of State and Law Zhadan V. N. PhD in Law, Associate Professor Kazan Federal University, Elabuga Institute, Russia ON THE QUESTION OF THE MAIN CONCEPTS AND THEORIES OF THE ORIGIN OF THE STATE Abstract. The article is devoted to the discussion of the main concepts and theories of the origin of the state based on the analysis of General theoretical provisions of legal science, scientific approaches and author's understanding. Key words: question, basic, concept, theory, origin, state, analysis, General theoretical provisions, approaches. In the science of state and law (and especially the theory of state and law), there are many scientific materials that consider the laws of the origin, development and functioning of the state and law, historical types, forms, functions and other aspects that characterize the state and law [1-2]. Many scientists specializing in the theory of state and law (and in other areas of scientific research) offer their views on the theoretical characteristics of the state and law, their features, state-political forms and functions, and many other aspects, which does not deprive the author to Express his opinion on some issues related to the discussion of the origin of the state. The subject of this review will be questions about the main concepts and theories of the origin of the state. Based on the research subject of interest the following questions: what is a theory of the origin of the state; what the right science is called basic theory of the origin of the state; what are the terms "concept" and "theory"; which is accepted to highlight the concepts and theories of the origin of the state; how key concepts and theories explain the emergence of the state? The author shares the scientific approach that the study of theories of the origin of the state (and law) is not only cognitive (theoretical), but also political and practical in nature [3, p.
  • The Concept of Constitution in the History of Political Thought

    The Concept of Constitution in the History of Political Thought

    Arkadiusz Górnisiewicz and Bogdan Szlachta (Eds.) The Concept of Constitution in the History of Political Thought Arkadiusz Górnisiewicz and Bogdan Szlachta (Eds.) The Concept of Constitution in the History of Political Thought Managing Editor: Katarzyna Michalak Associate Editor: Arkadiusz Górnisiewicz Language Editor: Mark C. Anderson ISBN 978-3-11-058191-1 e-ISBN 978-3-11-058192-8 This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 License. For details go to http://creativecommons.org/licenses/by-nc-nd/3.0/. © 2017 Arkadiusz Górnisiewicz, Bogdan Szlachta and chapter`s contributors. Published by De Gruyter Open Ltd, Warsaw/Berlin Part of Walter de Gruyter GmbH, Berlin/Boston The book is published with open access at www.degruyter.com. Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Managing Editor: Katarzyna Michalak Associate Editor: Arkadiusz Górnisiewicz Language Editor: Mark C. Anderson www.degruyteropen.com Cover illustration: © 2017 4FR, gettyimages Complimentary copy, not for sale. Contents Editors’ Note and Acknowledgments IX Bogdan Szlachta 1 The Ambiguity of Constitutionalism 1 Bibliography 12 Paweł Kaczorowski 2 Epistemology of Constitution 14 2.1 Part One 14 2.2 Part Two 19 2.3 Conclusion 28 Bibliography 29 Alvydas Jokubaitis 3 Can the Constitution Do Away with Nation State? 32 3.1 The Phenomenon of Central and Eastern Europe 33 3.2 The Nature of the Nation State 36 3.3 The Conflict between Nation and
  • In the Lands of the Romanovs: an Annotated Bibliography of First-Hand English-Language Accounts of the Russian Empire

    In the Lands of the Romanovs: an Annotated Bibliography of First-Hand English-Language Accounts of the Russian Empire

    ANTHONY CROSS In the Lands of the Romanovs An Annotated Bibliography of First-hand English-language Accounts of The Russian Empire (1613-1917) OpenBook Publishers 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/268 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. In the Lands of the Romanovs An Annotated Bibliography of First-hand English-language Accounts of the Russian Empire (1613-1917) Anthony Cross http://www.openbookpublishers.com © 2014 Anthony Cross The text of this book 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 text; to adapt it and to make commercial use of it providing that attribution is made to the author (but not in any way that suggests that he endorses you or your use of the work). Attribution should include the following information: Cross, Anthony, In the Land of the Romanovs: An Annotated Bibliography of First-hand English-language Accounts of the Russian Empire (1613-1917), Cambridge, UK: Open Book Publishers, 2014. http://dx.doi.org/10.11647/ OBP.0042 Please see the list of illustrations for attribution relating to individual images. Every effort has been made to identify and contact copyright holders and any omissions or errors will be corrected if notification is made to the publisher. As for the rights of the images from Wikimedia Commons, please refer to the Wikimedia website (for each image, the link to the relevant page can be found in the list of illustrations).