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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. -
Beumers, Birgit (Ed.)
Beumers, Birgit (ed.). A Companion to Russian Cinema, The Wiley Blackwell Companions to National Cinemas, Wiley Blackwell, Chichester and Malden, MA, 2016. xvi + 656 pp. Illustrations. Notes. References. Appendix. Bibliography. Index. $195: £156 (hardback); $156.99: £140.99 (e-book). PART of The Wiley Blackwell Companions to National Cinemas series, the much anticipated A Companion to Russian Cinema is a rich and capacious volume. Edited by Birgit Beumers, one of the field’s most knowledgeable and indefatigable scholars, it comprises 25 newly commissioned chapters, written by leading experts and academics working in Russian cinema studies independently or at various American, British, Canadian, French, Hungarian and Russian institutions. In her helpful Introduction, which provides a concise survey of the state of the field and outlines the Companion’s scope and structure, Beumers acknowledges that attempting to provide a comprehensive account of the whole history of Russian cinema in the Companion would have been ‘ambitiously [to] aim at the impossible’ (p. 1). Instead, therefore, she elects to focus on the ‘task of “filling gaps”’ (p. 4), by including contributions that explore some of the significant films, periods, filmmakers and genres that have been ‘traditionally neglected in film histories and scholarship’ (p. 2). Divided into five thematically organized parts, the Companion thus seeks to provide ‘five alternative histories of Russian cinema’ (p. 16). Accordingly, within each part the chapters are arranged in a loosely chronological order, to convey a ‘sense of progression’ (p. 4). While each of the five parts does not cover the complete one-hundred-and-ten-year period since Russian feature filmmaking began, the Companion as a whole does broadly achieve this. -
Download Thesis
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Representations of the Holocaust in Soviet cinema Timoshkina, Alisa Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 25. Sep. 2021 REPRESENTATIONS OF THE HOLOCAUST IN SOVIET CINEMA Alissa Timoshkina PhD in Film Studies 1 ABSTRACT The aim of my doctoral project is to study how the Holocaust has been represented in Soviet cinema from the 1930s to the collapse of the Soviet Union in 1991. -
Aleksandra Khokhlova
Aleksandra Khokhlova Also Known As: Aleksandra Sergeevna Khokhlova, Aleksandra Botkina Lived: November 4, 1897 - August 22, 1985 Worked as: acting teacher, assistant director, co-director, directing teacher, director, film actress, writer Worked In: Russia by Ana Olenina Today Aleksandra Khokhlova is remembered as the star actress in films directed by Lev Kuleshov in the 1920s and 1930s. Indeed, at the peak of her career she was at the epicenter of the Soviet avant-garde, an icon of the experimental acting that matched the style of revolutionary montage cinema. Looking back at his life, Kuleshov wrote: “Nearly all that I have done in film directing, in teaching, and in life is connected to her [Khokhlova] in terms of ideas and art practice” (1946, 162). Yet, Khokhlova was much more than Kuleshov’s wife and muse as in her own right she was a talented author, actress, and film director, an artist in formation long before she met Kuleshov. Growing up in an affluent intellectual family, Aleksandra would have had many inspiring artistic encounters. Her maternal grandfather, the merchant Pavel Tretyakov, founder of the Tretyakov Gallery in Moscow, was a philanthropist and patron who purchased and exhibited masterpieces of Russian Romanticism, Realism, and Symbolism. Aleksandra’s parents’ St. Petersburg home was a prestigious art salon and significant painters, actors, and musicians were family friends. Portraits of Aleksandra as a young girl were painted by such eminent artists as Valentin Serov and Filipp Maliavin. Aleksandra’s father, the doctor Sergei Botkin, an art connoisseur and collector, cultivated ties to the World of Arts circle–the creators of the Ballets Russes. -
Detki V Kletke: the Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry
Detki v kletke: The Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Morse, Ainsley. 2016. Detki v kletke: The Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493521 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Detki v kletke: The Childlike Aesthetic in Soviet Children’s Literature and Unofficial Poetry A dissertation presented by Ainsley Elizabeth Morse to The Department of Slavic Languages and Literatures in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Slavic Languages and Literatures Harvard University Cambridge, Massachusetts April 2016 © 2016 – Ainsley Elizabeth Morse. All rights reserved. Dissertation Advisor: Professor Stephanie Sandler Ainsley Elizabeth Morse Detki v kletke: The Childlike Aesthetic in Soviet Children’s Literature and Unofficial Poetry Abstract Since its inception in 1918, Soviet children’s literature was acclaimed as innovative and exciting, often in contrast to other official Soviet literary production. Indeed, avant-garde artists worked in this genre for the entire Soviet period, although they had fallen out of official favor by the 1930s. This dissertation explores the relationship between the childlike aesthetic as expressed in Soviet children’s literature, the early Russian avant-garde and later post-war unofficial poetry. -
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. -
Art and Technology Between the Usa and the Ussr, 1926 to 1933
THE AMERIKA MACHINE: ART AND TECHNOLOGY BETWEEN THE USA AND THE USSR, 1926 TO 1933. BARNABY EMMETT HARAN PHD THESIS 2008 DEPARTMENT OF HISTORY OF ART UNIVERSITY COLLEGE LONDON SUPERVISOR: PROFESSOR ANDREW HEMINGWAY UMI Number: U591491 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U591491 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 I, Bamaby Emmett Haran, 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. 3 ABSTRACT This thesis concerns the meeting of art and technology in the cultural arena of the American avant-garde during the late 1920s and early 1930s. It assesses the impact of Russian technological Modernism, especially Constructivism, in the United States, chiefly in New York where it was disseminated, mimicked, and redefined. It is based on the paradox that Americans travelling to Europe and Russia on cultural pilgrimages to escape America were greeted with ‘Amerikanismus’ and ‘Amerikanizm’, where America represented the vanguard of technological modernity. -
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. -
'Kurt Schwitters in England', Baltic, No 4, Gateshea
1 KURT SCHWITTERS IN ENGLAND, Sarah Wilson, Courtauld Institute of Art, ‘Kurt Schwitters in England', Baltic, no 4, Gateshead, np, 1999 (unfootnoted version); ‘Kurt Schwitters en Inglaterra el "Anglismo" o la dialéctica del exilio’, Kurt Schwitters, IVAM Centre Julio González, Valencia, pp. 318-335, 1995 ‘Kurt Schwitters en Angleterre’, Kurt Schwitters, retrospective, Centre Georges Pompidou, Paris, pp. 296-309 `ANGLISM': THE DIALECTICS OF EXILE' Three orthodoxies have dictated previous accounts of the life of Kurt Schwitters in England: that England was simply `exile', a cultural desert, that he was lonely, unappreciated, that his late figurative work is too embarrassing to be displayed in any authoritative retrospective. Scholars ask `What if?' What if Schwitters had got a passport to United States and had joined other artists in exile? He would have continued making Merz with American material. He would have had no `need' to paint figuratively.1 Would he have fitted his past into an even more `modernist' mould like his friend Naum Gabo, to please the New Yorkers?2 Surely not. `Emigration is the best school of dialectics' declared Bertold Brecht.3 Schwitters' last period must be investigated not in terms of `exile' but the dialectics of exile: as a future which cuts off a past which lives on through it all the more intensely in memory, repetition, recreation. `Exile' moreover is a purely negative term, foreclosing all the inspirational possibilities of a new `genius loci', a spirit of place: England. The Germany Schwitters knew was disfigured, disintegrating, self-destructing. His longing was for place which was no more. His Merzbau was destroyed by Allied bombing in 1943; Helma died in 1944: `Hanover a heap of ruins, Berlin destroyed, and you're not allowed to say how you feel.'4 The English period was a both a death and a birth, a question of identity through time, of new and old languages. -
„Lef“ and the Left Front of the Arts
Slavistische Beiträge ∙ Band 142 (eBook - Digi20-Retro) Halina Stephan „Lef“ and the Left Front of the Arts Verlag Otto Sagner München ∙ Berlin ∙ Washington D.C. Digitalisiert im Rahmen der Kooperation mit dem DFG-Projekt „Digi20“ der Bayerischen Staatsbibliothek, München. OCR-Bearbeitung und Erstellung des eBooks durch den Verlag Otto Sagner: http://verlag.kubon-sagner.de © bei Verlag Otto Sagner. Eine Verwertung oder Weitergabe der Texte und Abbildungen, insbesondere durch Vervielfältigung, ist ohne vorherige schriftliche Genehmigung des Verlages unzulässig. «Verlag Otto Sagner» ist ein Imprint der Kubon & Sagner GmbH. Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access S la v istich e B eiträge BEGRÜNDET VON ALOIS SCHMAUS HERAUSGEGEBEN VON JOHANNES HOLTHUSEN • HEINRICH KUNSTMANN PETER REHDER JOSEF SCHRENK REDAKTION PETER REHDER Band 142 VERLAG OTTO SAGNER MÜNCHEN Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 HALINA STEPHAN LEF” AND THE LEFT FRONT OF THE ARTS״ « VERLAG OTTO SAGNER ■ MÜNCHEN 1981 Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access Bayerische Staatsbibliothek München ISBN 3-87690-186-3 Copyright by Verlag Otto Sagner, München 1981 Abteilung der Firma Kubon & Sagner, München Druck: Alexander Grossmann Fäustlestr. 1, D -8000 München 2 Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 To Axel Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 CONTENTS Introduction ................................................................................................ -
Translating Communism for Children: Fables and Posters of the Revolution
boundary 2 Translating Communism for Children: Fables and Posters of the Revolution Serguei Alex. Oushakine The bourgeoisie knew all too well the importance of children’s litera- ture as a useful tool for strengthening its own dominance. The bourgeoisie did all it could to make sure that our children began as early as possible to absorb the ideas that later would turn them into slaves. We should not forget that the same tools, the same weapons, can be used for the opposite goal. —L. Kormchii, Zabytoe oruzhie: O detskoi knige (Forgotten Weapon: On Children’s Books [1918]) I am grateful to Nergis Ertürk and Özge Serin for the invitation to join this project, and for their insightful comments and suggestions. I also want to thank Marina Balina, David Bellos, Alexei Golubev, Bradley Gorski, Yuri Leving, Maria Litovskaia, Katherine M. H. Reischl, and Kim Lane Scheppele, who read and commented on earlier drafts of this article. My special thanks to Helena Goscilo, without whom this text would look quite different. I am indebted to Thomas F. Keenan, Ilona Kiss, Mikhail Karasik, and Anna Loginova for their help with obtaining visual materials, and I am thankful to the follow- ing institutions for their permission to use images: the Russian Digital Children’s Library (http://arch.rgdb.ru); the Cotsen Children’s Library, Department of Rare Books and Spe- cial Collections, Princeton University Library; and Ne Boltai: A Collection of Twentieth- Century Propaganda (http://www.neboltai.org). All translations of Russian sources are mine, unless otherwise noted. boundary 2 43:3 (2016) DOI 10.1215/01903659- 3572478 © 2016 by Duke University Press Published by Duke University Press boundary 2 160 boundary 2 / August 2016 We will create a fascinating world of “cultural adventures,” inven- tions, struggles, and victories. -
Constructivism (Art) 1 Constructivism (Art)
Constructivism (art) 1 Constructivism (art) Constructivism was an artistic and architectural philosophy that originated in Russia beginning 1919, which was a rejection of the idea of autonomous art in favour of art as a practice for social purposes. Constructivism as an active philosophy lasted until about 1934, greatly effecting the art of the Weimar Republic and elsewhere, before being replaced by Socialist Realism. Some of its motifs have been reused sporadically since. Beginnings The term Construction Art was first used as a derisive term by Kazimir Malevich to describe the work of Alexander Rodchenko during 1917. Constructivism first appears as a positive term in Naum Gabo's Realistic Manifesto of 1920. Alexei Gan used the word as the title of his book Constructivism, which was printed during 1922.[1] Constructivism was a post-World War I development of Russian Futurism, and particularly of the 'corner-counter reliefs' of Vladimir Tatlin, which had been exhibited during 1915. The term itself would be invented by the sculptors Antoine Pevsner and Naum Photograph of the first Constructivist Exhibition, 1921 Gabo, who developed an industrial, angular style of work, while its geometric abstraction owed something to the Suprematism of Kasimir Malevich. The teaching basis for the new ohilosophy was established by The Commissariat of Enlightenment (or Narkompros) the Bolshevik government's cultural and educational ministry directed by Anatoliy Vasilievich Lunacharsky who suppressed the old Petrograd Academy of Fine Arts and the Moscow School of Painting, Sculpture and Architecture during 1918. IZO, the Commissariat's artistic bureau, was managed during the Russian Civil War mainly by Futurists, who published the journal Art of the Commune.