The Soviet Influence on the Russian Educational System. James P
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Spatial Evolution of a Museum Building: a Case of the State Historical Museum
SPATIAL EVOLUTION OF A MUSEUM BUILDING: A CASE OF THE STATE HISTORICAL MUSEUM Thesis submitted for the degree of Doctor of Philosophy at the University of Leicester by Anna Mikhailova MA School of Museum Studies University of Leicester September 2017 Abstract Spatial Evolution of a Museum Building: A Case of the State Historical Museum in Moscow Anna Mikhailova This thesis contributes to the modern understanding of museum architecture, by exploring the relationship between a museum as an organisation and its physical form of the museum building. By choosing the spatial transformations at the State Historical Museum in Moscow as a case study, it introduces Russian museum practices into international museological context. The thesis analyses the planning and construction stages, as well as two major renovations that took place in significantly different political contexts: Imperial Russia, the Soviet Union and the modern democratic Federation. Applying a micro historical approach and a facility management lens offers an insight into the complexity of the processes that shape the physical space: its sensitivity to internal and external agencies and multiple contexts, such as the urban built environment; the political climate and the economy; museum trends; and the professional community. The building itself, once completed or at earlier stages, becomes another actor in the equation. An in-depth analysis of the events in question reveals the elaborate nature of the production of space, and demonstrates the importance of professional communication and interpersonal relationships that can impact the institution, both positively and adversely. The attitudes to the Museum, demonstrated by different governments over the years, offer an insight into how a central location can be viewed as a bigger asset than the institution itself and discourage it from independence, both organisationally and spatially. -
I Am Falling Behind the Happenings
The Diary of Anatoly S. Chernyaev 1985 Donated by A.S. Chernyaev to The National Security Archive Translated by Anna Melyakova Edited by Svetlana Savranskaya http://www.nsarchive.org Translation © The National Security Archive, 2006 The Diary of Anatoly S. Chernyaev, 1985 http://www.nsarchive.org January 4th, 1985. I am falling behind the events. And they are bustling. Before the New Year’s I was distressed for Ponomarev:1 Kosolapov asked for permission to print in Communist the conclusion we wrote for B.N. [Ponomarev] for the eight-volume International Labor Movement. In response, he received instructions from Zimyanin2 to remove the footnote that it was the conclusion—let it, he says, be just an article... This is how Zimyanin now gives orders to B.N., being lower in rank than him! But something else is the most important—he reflects the “opinion” that it is not necessary to establish the connection (for many decades into the future) between Ponomarev and this fundamental publication in an official Party organ... That is, they are preparing our B.N. for the hearse. I think he will not survive the XXYII Congress; in any case not as CC [Central Committee] Secretary. At work, almost every day brings evidence of his helplessness. His main concern right now is to vindicate at least something of his self-imagined “halo” of the creator of the third (1961) Party Program. In no way can he reconcile himself to the fact that life has torn “his creation” to pieces. He blames everything on the intrigues of either Gorbachev3 or Chernenko4; but mainly on “the curly one” (this is how he calls Chernenko’s assistant Pechenev); and also in part on Aleksandrov5 and Zagladin.6 He complains to me, seeking in me somebody to talk to, a sympathizer. -
Transition in Post-Soviet Art
Transition in Post-Soviet Art: “Collective Actions” Before and After 1989 by Octavian Eșanu Department of Art, Art History & Visual Studies Duke University Date:_______________________ Approved: ___________________________ Kristine Stiles, Supervisor ___________________________ Fredric Jameson ___________________________ Patricia Leighten ___________________________ Pamela Kachurin ___________________________ Valerie Hillings Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art, Art History & Visual Studies in the Graduate School of Duke University 2009 ABSTRACT Transition in Post-Soviet Art: “Collective Actions” Before and After 1989 by Octavian Eșanu Department of Art, Art History & Visual Studies Duke University Date:_______________________ Approved: ___________________________ Kristine Stiles, Supervisor ___________________________ Fredric Jameson ___________________________ Patricia Leighten ___________________________ Pamela Kachurin ___________________________ Valerie Hillings An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Philosophy in the Department of Art, Art History & Visual Studies in the Graduate School of Duke University 2009 Copyright by Octavian Eșanu 2009 ABSTRACT For more than three decades the Moscow-based conceptual artist group “Collective Actions” has been organizing actions. Each action, typically taking place at the outskirts of Moscow, is regarded as a trigger for a series of intellectual -
Gifts Proof.Pdf
The Gifts and ‘Contributions’: Friedrich Froebel and Russian Education (1850-1929) YORDANKA VALKANOVA Froebel College, Roehampton University, London, UK [email protected] and KEVIN J. BREHONY Froebel College, Roehampton University, London, UK [email protected] This article examines the contribution of the Russian Froebelian movement to educational theory and practice in Russia, in the context of the cultural transformation there from the second half of the nineteenth to the beginning of twentieth century. The Froebel movement had a strong influence not only on the formation of Russian early years educational practice but also child psychology. The analysis explores mainly, but not exclusively, the educational ideas of two followers of Froebel, Elizaveta Vodovosova (1844-1923), educator and writer, and Luiza Schleger (1862-1942), founder of the first public kindergarten in Moscow. Their lives and educational beliefs highlight the development of two different interpretations of Froebelians educational theory in two particular periods of Russian cultural development. In this article we argue that the specific accommodation of Froebelian pedagogy in pre- revolutionary Russia created the foundation for the presence of Frobelian ideas in the curriculum of Soviet Early Childhood Education. Introduction Although it is well recognised that Froebel‘s method was the most popular system for pre- school education in Russia 1 contemporary Russian research has been predominantly concerned with the history of the Froebelian movement in Russia but not on the contribution of Froebelian pedagogy to Russian pre-school education. Nor has much research been done on the influence of Froebelian ideas, during the Tsarist era, and its impact on the formation of the field of early years studies in Russia. -
Movie Theaters and Migrants
SETTLEMENT HOUSE SCENES: MIGRANTS AND THE PERFORMING ARTS IN TRANSATLANTIC PERSPECTIVE by YEVGENY GOLDIN DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at The University of Texas at Arlington May 2016 Arlington, Texas Supervising Committee: Kenyon Zimmer, Supervising Professor Robert Fairbanks David LaFevor ABSTRACT SETTLEMENT HOUSE SCENES: MIGRANTS AND THE PERFORMING ARTS IN TRANSATLANTIC PERSPECTIVE Yevgeny Goldin, Ph.D. The University of Texas at Arlington, 2016 Supervising Professor: Kenyon Zimmer This dissertation examines the transatlantic history of the settlement house movement in the late nineteenth and early twentieth centuries. It has two foci. The first is the origin of the settlement movement, in Britain; its spread to countries such as France, Germany, Russia, Japan, and, especially, the United States; and the connections — in the form of the movement of ideas and people — among the settlement movements in various countries. The second focus is on U.S. settlement houses as performance spaces, particularly in regards to migrants (immigrants). In that context, this dissertation examines in detail the kinds of activities that migrants engaged in while at settlement houses and interactions between migrants and settlement house workers (residents). This dissertation argues for settlement houses as places of cultural production, consumption, or both, in some ways similar to, but also distinct from, ethnic theater and cinema. - ii - Among the key issues discussed are the degree of control that migrants exerted in each type of venue and the cultural confrontations that took place in each type of venue between migrants and members of the native-born middle class, including residents and film censors. -
II. Tadeusz Peiper: Biographical and Intellectual Contexts 30
University of Alberta The Interrupted Narrative. Tadeusz Peiper and His Vision of Literature (1918-1939) by Piotr Grella-Mozejko © A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy Comparative Literature Edmonton, Alberta Fall 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-46324-6 Our file Notre reference ISBN: 978-0-494-46324-6 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. -
The Architecture of Psychoanalysis Spaces of Transition the Architecture of Psychoanalysis Spaces of Transition
The Architecture of Psychoanalysis Spaces of Transition The Architecture of Psychoanalysis Spaces of Transition Jane Rendell For David p. 1 p. 97 May Morn May Mourn p. 17 p. 113 The Lost Object The Setting p. 33 p. 129 The Narkomfin Communal House, The Alton Estate, Roehampton, London Moscow (1928–9)/2012–15 (1954–8)/2012–15 p. 49 p. 145 Longing for the Lightness of Spring Moss Green p. 65 p. 161 The Transitional Object Afterwardsness p. 81 p. 177 Unité d’Habitation, Marseilles The Children’s Home Laboratory, (1947–52)/2012–15 Moscow (1921–5)/2012–15 p. 193 Afterwords p. 209 Figurations p. 225 Forwards p. 241 Acknowledgements p. 243 Notes p. 275 Bibliography p. 287 Image Credits p. 291 Index May Morn 2 The house is beautiful – a one-storey building, with a square plan – born at the birth of modernism in the aftermath of World War I. It embodies the values of early English modernism, of the Arts and Crafts movement: ‘truth to materials’ and honest craftsmanship. 3 4 looks the a little it road From unloved, in care need some of and attention. 5 6 close is clearlyUp it derelict, almost in ruins. 7 8 We enter a room with windows at each end. Curtains are falling away from the runners. The fabric has been soaked overnight and is drying in the spring afternoon sunshine. 9 10 On the window sill and spilling over onto the floor are piles of old magazines. The pages are stuck together and disintegrate if you try to pull them apart. -
Tracing Authoritarian Learning in Belarus, Moldova, Russia And
Tracing Authoritarian Learning in Belarus, Moldova, Russia and Ukraine By Stephen Hall SSEES UCL PhD Thesis Word Count: 99,492 I, Stephen Hall 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. 1 Abstract The thesis addresses how authoritarian regimes remain in power, and the processes of learning they engage in, using the case studies of Belarus, Moldova, Russia and Ukraine. I investigate six propositions, arguing that firstly, authoritarian learning differs from democratic learning because authoritarian regimes are concerned principally with survival and so learn best practices to ensure that they possess a full palette of survival practices. Secondly, there is a flattened learning hierarchy or network between authoritarian regimes. Thirdly, internal networks are important for learning among authoritarian regimes. Fourthly, success and failure are equally important for authoritarian learning. Fifthly, internal examples are as relevant to authoritarian learning as external examples. Sixthly, authoritarian regimes use a full palette of survival practices than just relying on repression. Therefore, authoritarian regimes are more likely to be concerned than democratic regimes about survivial, and so they develop a full palette of survival practices. The thesis argues that learning hierarchies are flattened. Success and failure are as important to authoritarian learning as each other, with authoritarian regimes drawing on both successful and failed examples. Similarly, internal sources of learning are as relevant to understanding authoritarian learning as external examples. Lastly, authoritarian regimes have a full palette of survival strategies than just relying on repression. -
Фильм Открытия Фестиваля Opening Film
ДУХ ОГНЯ / НАЙ АНГКИ / SPIRIT OF FIRE / 2010 ДУХ ОГНЯ SPIRIT OF FIRE МЕЖДУНАРОДНЫЙ INTERNATIONAL ФЕСТИВАЛЬ DEBUT КИНЕМАТОГРАФИЧЕСКИХ FILM FESTIVAL ДЕБЮТОВ ХантыМансийск, Россия KhantyMansiysk, Russia Tel.: +7 499 7834420 (Moscow) Tel.: +7 34673 93706 (KhantyMansiysk) Fax: +7 34673 33402 (KhantyMansiysk) Email: [email protected] www.spiritoffire.ru Россия Сибирь Russia Siberia ДУХ ОГНЯ / НАЙ АНГКИ / SPIRIT OF FIRE / 2010 CONTENTS JURY................................................9 OPENINGFILM ......................................14 CLOSINGFILM ......................................16 INTERNATIONAL COMPETITION . .18 COMPETITION RUSSIANDEBUTS2009 ...............................38 YOUR CINEMA Children and youth cinema club . .58 SPECIALSCREENING .................................80 FILMSFORALL ......................................87 EUPHORIA.THEBEST.................................92 FILMSOFTHELASTWAR ............................100 TO THE 65TH ANNIVERSARY OF THE VICTORY IN THE GREAT PATRIOTIC WAR . .109 XXI CENTURY FILMS ABOUT THE GREAT PATRIOTIC WAR . .117 TO THE 70TH ANNIVERSARY OF DIRECTOR OF PHOTOGRAPHY PAVEL LEBESHEV . .128 TO THE 150TH ANNIVERSARY OF ANTON CHEKHOV . .133 INDEXOFFILMS....................................138 INDEXOFDIRECTORS ...............................140 SPECIALTHANKS ...................................142 MANAGEMENT OF THE FESTIVAL . .144 2 ДУХ ОГНЯ / НАЙ АНГКИ / SPIRIT OF FIRE / 2010 СОДЕРЖАНИЕ ЖЮРИ ..............................................9 ФИЛЬМ ОТКРЫТИЯ ФЕСТИВАЛЯ . .14 ФИЛЬМ ЗАКРЫТИЯ ФЕСТИВАЛЯ .