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Lenin and the Russian Civil War
Lenin and the Russian Civil War In the months and years after the fall of Tsar Nicholas II’s government, Russia went through incredible, often violent changes. The society was transformed from a peasant society run by an absolute monarchy into a worker’s state run by an all- powerful group that came to be known as the Communist Party. A key to this transformation is Vladimir Lenin. Who Was Lenin? • Born into a wealthy middle-class family background. • Witnessed (when he was 17) the hanging of his brother Aleksandr for revolutionary activity. • Kicked out his university for participating in anti- Tsarist protests. • Took and passed his law exams and served in various law firms in St. Petersburg and elsewhere. • Arrested and sent to Siberia for 3 years for transporting and distributing revolutionary literature. • When WWI started, argued that it should become a revolution of the workers throughout Europe. • Released and lived mostly in exile (Switzerland) until 1917. • Adopted the name “Lenin” (he was born Vladimir Ilyich Ulyanov) in exile to hide his activities from the Tsar’s secret police. Lenin and the French Revolution Lenin admired the revolutionaries in France 100 years before his time, though he believed they didn’t go far enough – too much wealth was left in middle class hands. His Bolsheviks used the chaotic and incomplete nature of the French Revolution as a guide - they believed that in order for a communist revolution to succeed, it would need firm leadership from a small group of party leaders – a very different vision from Karl Marx. So, in some ways, Lenin was like Robin Hood – taking from the rich and giving to the poor. -
2 the Emperor's New Clothes 3 Setting the Scene • Who's Who? 4 What's the Story?
2014–15 Season Presented by Book by Kim Esop Wylie Music by Joe Dreyer, Lyrics by Sheila Schultz Directed by Kat Singleton contents 2 The Emperor's New Clothes 3 Setting the Scene • Who’s Who? 4 What’s the Story? 5 Words to the Wise 6 Information and Activities theatre company theatre company theatre company theatre company by Kim Esop Wylie Music by Joe Dreyer, Lyrics by Sheila Schultz Directed by Kat Singleton Musical Director Larry Pry Scenic Designer Scott Loebl Costume Designer Dorothy Marshall Englis Stage Manager Mike Dowdy* Director of Education Marsha Coplon Associate Director of Education Sarah Brandt Education Programs Manager April Strelinger Study Guide Writer Laura Schlereth The Company Jason Contini* EMPEROR Alan Knoll* MINISTER OF FINANCE, PRIME MINISTER, BOY Financial assistance for this theatre has been provided by the Laurie McConnell* URLEEN, NARCISSUS National Endowment for the Arts, a federal agency; the Missouri Arts Council, a state agency; the Arts and Education Council of Greater Kristen McGuire* PACHYSANDRA St. Louis; and the St. Louis Regional Arts Commission. *Member of Actors' Equity Association, the union of professional actors and stage managers in the United States. 2 Setting the Scene Welcome to the Emperor’s palace! You’re not catching him on one of his good days–though, to be honest, he hasn’t had many of those lately anyway. Today’s specific distress is mostly about how his precious pooch, Narcissus, can’t be found. It turns out she was actually just outside enjoying nature and the outdoors, a concept totally foreign to the Emperor who is mostly concerned with decorum, etiquette, reserved manners, and most importantly, style. -
UPA : Redesigning Animation
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously -
Introduction Land Reform in Post-Communist Europe
Cambridge University Press 978-0-521-87938-5 - The Post-Soviet Potemkin Village: Politics and Property Rights in the Black Earth Jessica Allina-Pisano Excerpt More information Introduction Land Reform in Post-Communist Europe In December 1991, as the flag of the Soviet Union flew its last days over the Kremlin, a small crowd armed with crutches and wheelchair wheels stormed the regional state administration building in an eastern Ukrainian city. The city, Kharkiv, lies fifty miles from the Russian border.1 The protesters were a group of senior citizens and disabled people from the Saltivka housing development in Moskovsky district, an area of the city named for its location on the road to the Soviet metropolis. The group had gathered to demand land for garden plots. The protesters had specific land in mind. The land lay at the eastern edge of the city, bordering the Saltivka housing development to the west and the fields of one of the most successful agricultural collectives in the region to the east. That farm, named Ukrainka, was among the biggest dairy producers in the area. Food supplies in city markets, however, had become unpredictable and expensive. Residents of Saltivka wanted land to grow produce for themselves and their families. In response, the Kharkiv district executive committee ordered that Ukrainka relinquish nearly 300 hectares of land for garden plots, in addition to 75 hectares already alienated for that purpose the previous spring. Members of the Ukrainka collective objected to the proposed plan, 1 This account is based on a series of newspaper articles about the incident in a Kharkiv regional paper: M. -
Federal Research Division Country Profile: Tajikistan, January 2007
Library of Congress – Federal Research Division Country Profile: Tajikistan, January 2007 COUNTRY PROFILE: TAJIKISTAN January 2007 COUNTRY Formal Name: Republic of Tajikistan (Jumhurii Tojikiston). Short Form: Tajikistan. Term for Citizen(s): Tajikistani(s). Capital: Dushanbe. Other Major Cities: Istravshan, Khujand, Kulob, and Qurghonteppa. Independence: The official date of independence is September 9, 1991, the date on which Tajikistan withdrew from the Soviet Union. Public Holidays: New Year’s Day (January 1), International Women’s Day (March 8), Navruz (Persian New Year, March 20, 21, or 22), International Labor Day (May 1), Victory Day (May 9), Independence Day (September 9), Constitution Day (November 6), and National Reconciliation Day (November 9). Flag: The flag features three horizontal stripes: a wide middle white stripe with narrower red (top) and green stripes. Centered in the white stripe is a golden crown topped by seven gold, five-pointed stars. The red is taken from the flag of the Soviet Union; the green represents agriculture and the white, cotton. The crown and stars represent the Click to Enlarge Image country’s sovereignty and the friendship of nationalities. HISTORICAL BACKGROUND Early History: Iranian peoples such as the Soghdians and the Bactrians are the ethnic forbears of the modern Tajiks. They have inhabited parts of Central Asia for at least 2,500 years, assimilating with Turkic and Mongol groups. Between the sixth and fourth centuries B.C., present-day Tajikistan was part of the Persian Achaemenian Empire, which was conquered by Alexander the Great in the fourth century B.C. After that conquest, Tajikistan was part of the Greco-Bactrian Kingdom, a successor state to Alexander’s empire. -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
378-01 Jones
Spring 2017 History 378-01 (IGS) 2:00-3:15 TR MHRA 1214 Russian History Since 1900 (www.uncg.edu/~jwjones/russia) Instructor: Jeff Jones [email protected] Office: 2139 MHRA Phone: 334-4068 Office Hours: M 10:00-11; T 10-10:50; W 2:00-3:15 and by appointment Course Description This introductory history course, which carries an International and Global Studies (IGS) marker, examines Russian and Soviet history in the 20th century in two parts. Part I: “From Traditional Russia to the Civil War” looks at traditional Russian society and culture; developments in the late 19th century; and the upheavals in Russian society from the late tsarist period through World War I, the revolutions of 1917, and the civil war. Part II: “From the Rise of Joseph Stalin to post-Soviet Russia” emphasizes the impact of the Stalin Revolution, the purges, and WWII; the reformist course of de-Stalinization pursued by Nikita Khrushchev; neo-Stalinism under Leonid Brezhnev; the Soviet-Afghan War and Mikhail Gorbachev’s dramatic reforms in the 1980s; and the collapse of the USSR and post-Soviet Russia with an emphasis on the conflict in Chechnya. The course explores several themes: Russia’s relationship with the West; revolution and the role of the individual in history; the role of gender and class in Russian and Soviet society; and the role of ideology and socialism in theory and practice. Student Learning Outcomes: Upon successful completion of this course students will be able to … Use a historical approach to analyze and contextualize primary and secondary sources representing divergent perspectives. -
Andersen's Fairy Tales
HTTPS://THEVIRTUALLIBRARY.ORG ANDERSEN’S FAIRY TALES H. C. Andersen Table of Contents 1. The Emperor’s New Clothes 2. The Swineherd 3. The Real Princess 4. The Shoes of Fortune 1. I. A Beginning 2. II. What Happened to the Councillor 3. III. The Watchman’s Adventure 4. IV. A Moment of Head Importance—an Evening’s “Dramatic Readings”—a Most Strange Journey 5. V. Metamorphosis of the Copying-clerk 6. VI. The Best That the Galoshes Gave 5. The Fir Tree 6. The Snow Queen 7. Second Story. a Little Boy and a Little Girl 8. Third Story. of the Flower-garden at the Old Woman’s Who Understood Witchcraft 9. Fourth Story. the Prince and Princess 10. Fifth Story. the Little Robber Maiden 11. Sixth Story. the Lapland Woman and the Finland Woman 12. Seventh Story. What Took Place in the Palace of the Snow Queen, and What Happened Afterward. 13. The Leap-frog 14. The Elderbush 15. The Bell 16. The Old House 17. The Happy Family 18. The Story of a Mother 19. The False Collar 20. The Shadow 21. The Little Match Girl 22. The Dream of Little Tuk 23. The Naughty Boy 24. The Red Shoes THE EMPEROR’S NEW CLOTHES Many years ago, there was an Emperor, who was so excessively fond of new clothes, that he spent all his money in dress. He did not trouble himself in the least about his soldiers; nor did he care to go either to the theatre or the chase, except for the opportunities then afforded him for displaying his new clothes. -
Constructions and Instrumentalization of the Past: a Comparative Study on Memory Management in the Region
CBEES State of the Region Report 2020 Constructions and Instrumentalization of the Past A Comparative Study on Memory Management in the Region Published with support from the Foundation for Baltic and East European Studies (Östersjstiftelsen) Constructions and Instrumentalization of the Past A Comparative Study on Memory Management in the Region December 2020 Publisher Centre for Baltic and East European Studies, CBEES, Sdertrn University © CBEES, Sdertrn University and the authors Editor Ninna Mrner Editorial Board Joakim Ekman, Florence Frhlig, David Gaunt, Tora Lane, Per Anders Rudling, Irina Sandomirskaja Layout Lena Fredriksson, Serpentin Media Proofreading Bridget Schaefer, Semantix Print Elanders Sverige AB ISBN 978-91-85139-12-5 4 Contents 7 Preface. A New Annual CBEES Publication, Ulla Manns and Joakim Ekman 9 Introduction. Constructions and Instrumentalization of the Past, David Gaunt and Tora Lane 15 Background. Eastern and Central Europe as a Region of Memory. Some Common Traits, Barbara Trnquist-Plewa ESSAYS 23 Victimhood and Building Identities on Past Suffering, Florence Frhlig 29 Image, Afterimage, Counter-Image: Communist Visuality without Communism, Irina Sandomirskaja 37 The Toxic Memory Politics in the Post-Soviet Caucasus, Thomas de Waal 45 The Flag Revolution. Understanding the Political Symbols of Belarus, Andrej Kotljarchuk 55 Institutes of Trauma Re-production in a Borderland: Poland, Ukraine, and Lithuania, Per Anders Rudling COUNTRY BY COUNTRY 69 Germany. The Multi-Level Governance of Memory as a Policy Field, Jenny Wstenberg 80 Lithuania. Fractured and Contested Memory Regimes, Violeta Davoliūtė 87 Belarus. The Politics of Memory in Belarus: Narratives and Institutions, Aliaksei Lastouski 94 Ukraine. Memory Nodes Loaded with Potential to Mobilize People, Yuliya Yurchuk 106 Czech Republic. -
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. -
“The Oera Linda Book” and “The Snow Queen”: Two Destinies of One Myth
Journal of Siberian Federal University. Humanities & Social Sciences 1 (2015 8) 149-174 ~ ~ ~ УДК 304.444 “The Oera Linda Book” and “The Snow Queen”: Two Destinies of One Myth Ksenia V. Reznikova* Siberian Federal University 79 Svobodny, Krasnoyarsk, 660041, Russia Received 12.08.2014, received in revised form 04.11.2014, accepted 11.12.2014 This article features globalization in its two forms: natural globalization and artificial globalization. The need of natural globalization becomes more obvious taking into account the growth of challenge to the humankind. Artificial globalization nowadays is provided by westernization. Influence of globalization is more obvious at the mental than at the physical level, construction of the historical past and its mythologization played major roles in the course of globalization. Different relations between ideology and myth can be traced on the example of the destinies of two works, in which almost the same idea of the world order is represented. These are “The Oera Linda Book” and “The Snow Queen”. As a part of the study, seven invariants of the fairy tale by H.C. Andersen were analyzed. The carried-out analysis is based on a hypothesis that artificial globalization influences mythology of certain cultures, distorting it for own needs, resorting to different methods for different forms of the myth representation. So, myths in their pure form, demanded by the adult representatives of culture, are subjected to criticism, they are charged of falsification. The ultimate goal of such an influence is to bury the myth in oblivion as false. The myth that is represented in the reduced art form for children’s audience has the changed plot basis and in this new form it is subjected to maximum replication to substitute the original version in a period of time. -
World Premiere of Christopher Hampson's the Snow Queen
PRESS RELEASE FOR IMMEDIATE RELEASE scottishballet.co.uk World premiere of Christopher Hampson’s The Snow Queen brings Scottish Ballet’s 50th anniversary year to a spectacular close this winter In a year of celebrations for Scotland’s national dance company, Scottish Ballet’s 50th anniversary comes to a spectacular close with the world premiere of CEO / Artistic Director Christopher Hampson’s The Snow Queen. Inspired by Hans Christian Andersen’s much-loved tale, which was also the basis for Disney’s hit film Frozen, this glittering new production opens at Edinburgh’s Festival Theatre on Saturday 7 December, before touring to Glasgow, Aberdeen, Inverness and Newcastle. Scottish Ballet’s The Snow Queen is a story of love and friendship that will delight audiences of all ages. The action is driven by three central female characters: the brave young Gerda on a quest to rescue her true love, the enigmatic pickpocket Lexi at her side, and the powerful Snow Queen at the centre of it all. Created in collaboration with multi-award-winning designer Lez Brotherston, The Snow Queen will take audiences from a bustling winter’s market, through a fairytale forest, and into the icy realms of the Snow Queen’s palace. The production will include a colourful cast of characters dressed in a total of 111 custom- made costumes, from a circus ringmaster and his troupe to dancing snowflakes and, of course, the dazzling Snow Queen herself. Set to the music of Russian composer Nicolai Rimsky-Korsakov, the specially adapted score by Richard Honner will be performed live by the full Scottish Ballet Orchestra.