The International Bibliography of Communist Studies. Issue 2011
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Fergana Fergana (Uzbek: Fargʻona/Фарғона,ەناغرەف; Tajik: Фарғона
Fergana Tajik: Фарғона, Farğona/Farƣona; P ;فەرغانە,Fergana (Uzbek: Fargʻona/Фарғона Farġāna/Farqâna; Russian: Фергана́), or Ferghana, is the capital فرغانه :ersian of Fergana Region in eastern Uzbekistan. Fergana is about 420 km east of Tashkent, about 75 km west of Andijan, and less than 20 km from the Kyrgyzstan border. While the area has been populated for thousands of years, the modern city was founded in 1876. History The fertile Fergana Valley was an important conduit on the Silk Roads (more precisely the North Silk Road), which connected the ancient Chinese capital of Xi'an to the west over the Wushao Ling Mountain Pass to Wuwei and emerging in Kashgar before linking to ancient Parthia, or on to the north of the Aral and Caspian Seas to ports on the Black Sea. It used to be called ferghana, during the Kushan empire. The ancient kingdom referred to as Dayuan (大宛, "Great Yuan", literally "Great Ionians") in the Chinese chronicles is now generally accepted as being in the Ferghana Valley. It is sometimes, though less commonly, written as Dawan (大宛). Dayuan were Greeks, the descendants of the Greek colonists that were settled by Alexander the Great in Ferghana in 329 BCE, and prospered within the Hellenistic realm of the Seleucids and Greco-Bactrians, until they were isolated by the migrations of the Yuezhi around 160 BCE. It has been suggested that the name "Yuan" was simply a transliteration of the words “Yona”, or “Yavana”, used throughout antiquity in Asia to designate Greeks (“Ionians”). Their capital was Alexandria Eschate. The earliest Chinese visitor was the ambassador Zhang Qian, who passed through on his way to secure a military alliance with the Da Yuezhi or 'Great Yuezhi' against the Xiongnu, c. -
“Red Star Over the Third World” by Vijay Prashad
ALSO BY VIJAY PRASHAD FROM LEFTWORD BOOKS No Free Left: The Futures of Indian Communism 2015 The Poorer Nations: A Possible History of the Global South. 2013 Arab Spring, Libyan Winter. 2012 The Darker Nations: A Biography of the Short-Lived Third World. 2009 Namaste Sharon: Hindutva and Sharonism Under US Hegemony. 2003 War Against the Planet: The Fifth Afghan War, Imperialism and Other Assorted Fundamentalisms. 2002 Enron Blowout: Corporate Capitalism and Theft of the Global Commons, co-authored with Prabir Purkayastha. 2002 Dispatches from the Arab Spring: Understanding the New Middle East, co-edited with Paul Amar. 2013 Dispatches from Pakistan, co-edited with Madiha R. Tahir and Qalandar Bux Memon. 2012 Dispatches from Latin America: Experiments Against Neoliberalism, co-edited with Teo Balvé. 2006 OTHER TITLES BY VIJAY PRASHAD Uncle Swami: South Asians in America Today. 2012 Keeping Up with the Dow Joneses: Stocks, Jails, Welfare. 2003 The American Scheme: Three Essays. 2002 Everybody Was Kung Fu Fighting: Afro-Asian Connections and the Myth of Cultural Purity. 2002 Fat Cats and Running Dogs: The Enron Stage of Capitalism. 2002 The Karma of Brown Folk. 2000 Untouchable Freedom: A Social History of a Dalit Community. 1999 First published in November 2017 E-book published in December 2017 LeftWord Books 2254/2A Shadi Khampur New Ranjit Nagar New Delhi 110008 INDIA LeftWord Books is the publishing division of Naya Rasta Publishers Pvt. Ltd. leftword.com © Vijay Prashad, 2017 Front cover: Bolshevik Poster in Russian and Arabic Characters for the Peoples of the East: ‘Proletarians of All Countries, Unite!’, reproduced from Albert Rhys Williams, Through the Russian Revolution, New York: Boni and Liveright Publishers, 1921 Sources for images, as well as references for any part of this book are available upon request. -
Fonm Quarterly Newsletter No. 8
Quarterly Newsletter No. 11 February, 2010 1. This Newsletter is devoted almost entirely to a during Marinika’s planned visit in October, 2010. major new event in the life of the Nukus Museum— Dates and venues will be announced in due course. the long-awaited and much anticipated completion of the film “The Desert of Forbidden Art” directed by 3. Synopsis1. How does art survive in a time of FoNM member Amanda Pope and Tchavdar Georgiev oppression? During the Soviet era, artists who stay (cf. Quarterly Newsletter No. 9). This is the first, full true to their vision are sent to mental hospitals, labour length (80 minutes), professionally made documentary camps, even executed. Their plight inspires Igor about the life of Igor Savitsky and the history of the Savitsky. He pretends to buy state-approved art, but Museum. It was filmed on location in Russia and instead bravely rescues 40,000 works of forbidden Uzbekistan and includes rarely seen images from fellow artists and creates a museum in the desert of Russian film and stills archives, interviews with art Uzbekistan—far from the watchful eyes of the KGB. historians, artists, contemporaries and friends of Though an impecunious artist himself, he cajoles the Savitsky, especially with Marinika cash to pay for the art from the same Babanazarova, and beautiful shots of authorities who are banning it, and selected paintings from the amasses an eclectic mix of Russian Collection―all in stunning high avant-garde art. But his greatest definition (HD). The film was formally discovery is a hitherto little known premièred at the 25th Santa Barbara school of artists who settle in Uzbekistan (California) International Film Festival after the Russian Revolution of 1917, earlier this month—and has so far been encountering a unique Islamic culture as accepted at upcoming film festivals in exotic to them as Tahiti was for Gauguin. -
Something Borrowed, Something Red –Textiles in Colonial and Soviet Central Asia
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2004 Something Borrowed, Something Red –Textiles in Colonial and Soviet Central Asia Kate Fitz- Gibbon Anahita Gallery, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Fitz- Gibbon, Kate, "Something Borrowed, Something Red –Textiles in Colonial and Soviet Central Asia" (2004). Textile Society of America Symposium Proceedings. 442. https://digitalcommons.unl.edu/tsaconf/442 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Something Borrowed, Something Red –Textiles in Colonial and Soviet Central Asia Kate Fitz Gibbon Anahita Gallery Santa Fe, NM [email protected] We should like, of course, to send the paranji and chachvon to hell, but we cannot always get everything we want by issuing decrees. Nadezhda Krupskaia1 Introduction This paper traces the appropriation and manipulation of traditional textiles and textile designs for political purposes from the Russian colonial period to the present in Central Asia. It is less focused on identifying specific borrowings back and forth between the dominant Russian and dependent Central Asian geographical spheres, and more on incidents that illustrate the use of textiles and the manipulation of textile design in ways that furthered this political paradigm. Within these back and forth equations, the most important textile by far (although also the least interesting in terms of aesthetics, invention or multiplicity of use) is the chachvon, the horsehair veil, but other textiles and textile designs functioned as symbolically representative of Central Asian identity or as symbolizing a change taking place in society. -
THE LIMITS of CULTURAL POLICIES:THE CASE of ART in UZBEKISTAN by Kaven Baker-Voakes a Thesis Submitted to the Faculty of Graduat
THE LIMITS OF CULTURAL POLICIES:THE CASE OF ART IN UZBEKISTAN by Kaven Baker-Voakes A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in European, Russian and Eurasian Studies Carleton University Ottawa, Ontario © 2011 Kaven Baker-Voakes Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-83132-8 Our file Notre reference ISBN: 978-0-494-83132-8 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduce, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, 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 this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Written, Produced and Directed By
Written, Produced and Directed by Amanda Pope and Tchavdar Georgiev 80 minutes/ HD CAM/ 1:77/Unrated/English & Russian with English Subtitles Stills available at: http://desertofforbiddenart.com/about Opens in New York at Cinema Village March 11 In Los Angeles at Laemmle Music Hall March 18 Winner Cine Golden Eagle Award Best Doc Palm Beach Int’l Film Fest Audience Award Beijing Int’l Film Fest Official Selection PBS Independent Lens 2011 Season Publicity Contact: Sasha Berman Shotwell Media 2721 2nd St. # 205 Santa Monica, CA 90405 Tel. 310 450 5571 Fax 310 450 5577 Email: [email protected] www.DesertofForbiddenArt.com SYNOPSIS The incredible story of how a treasure trove of banned Soviet art worth millions of dollars is stashed in a far-off desert of Uzbekistan develops into a larger exploration of how art survives in times of oppression. During the Soviet regime, a small group of artists remain true to their vision despite threats of torture, imprisonment and death. Their plight inspires a frustrated young painter Igor Savitsky. Pretending to buy State-approved art, Savitsky instead daringly rescues 40,000 forbidden fellow artist's works and creates a museum in the desert of Uzbekistan, far from the watchful eyes of the KGB. Though a penniless artist himself, he cajoles the cash to pay for the art from the same authorities who are banning it. He amasses an eclectic mix of Russian Avant-Garde art. But his greatest discovery is an unknown school of artists who settle in Uzbekistan after the Russian revolution of 1917, encountering a unique Islamic culture, as exotic to them as Tahiti was for Gauguin. -
Univerza V Ljubljani Filozofska Fakulteta Oddelek Za Bibliotekarstvo, Informacijsko Znanost in Knjigarstvo
UNIVERZA V LJUBLJANI FILOZOFSKA FAKULTETA ODDELEK ZA BIBLIOTEKARSTVO, INFORMACIJSKO ZNANOST IN KNJIGARSTVO Primerjava Encyclopædie Britannice in Wikipedie glede pokritosti vsebinskega področja X Mogul (Mughal) dinasty in India Profesor: doc. dr. Jure Dimec Študentka: Anja Jerše Ljubljana, december 2009 Izvleček: V seminarski nalogi je predstavljena primerjava med dvema spletnima enciklopedijama: Wikipedijo ter Encyclopædijo Britannico. Najprej je primerjava izvedena opisno – s primerjanjem njunih nemerljivih lastnosti, nato pa s pomočjo štetja tematik (ki jih predstavljajo hiperpovezave). Kot osnova sta bila izbrana dva nivoja spletnih strani tematike Mughal dynasty. Ugotovljeno je bilo, da imata obe enciklopediji pozitivne in negativne lastnosti. Wikipedija vsebuje veliko več hiperpovezav, ki pa so uporabljene precej nedosledno. Veliko pojmov je napačno zapisanih, povezave so nedelujoče ipd. Encyclopædija Britannica vsebuje hiperpovezave, ki so v veliki meri povezane z izbrano tematiko ter se od nje pretirano ne oddaljujejo. Povezave so ustvarjene dosledno, so delujoče ter pravilno zapisane, tematiko predstavi z vseh vidikov, Wikipedija pa pretirava s hiperpovezavami, ki bralca prehitro odvrnejo od osnovne tematike. Ključne besede: Wikipedia, Encyclopædia Britannica, hiperpovezave 2 KAZALO 1. Uvod............................................................................................................................... 4 2. Prednosti in slabosti ....................................................................................................... -
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THE INTERNATIONAL NEWSLETTER OF COMMUNIST STUDIES ONLINE FEATURING: THE INTERNATIONAL BIBLIOGRAPHY OF COMMUNIST STUDIES Der Internationale Newsletter der Kommunismusforschung La newsletter internationale des recherches sur le communisme Международный бюллетень исторических исследований коммунизма La Newsletter Internacional de Estudios sobre el Comunismo A Newsletter Internacional de Estudos sobre o Comunismo Edited by Bernhard H. Bayerlein and Gleb J. Albert XVIII (2012) NO 25 Published by The European Workshop of Communist Studies With Support of the Centre of Contemporary History Potsdam (ZZF), Germany http://newsletter.icsap.eu ISSN 1862-698X Shortened Print Edition, Published in Jahrbuch für historische Kommunismusforschung: ISSN Y503-1060 The International Newsletter of Communist Studies XVIII (2012), no. 25 2 Executive Editor Bernhard H. Bayerlein, Potsdam/Cologne [email protected] Junior Editor Gleb J. Albert, Bielefeld [email protected] Board of Correspondents Lars Björlin (Stockholm) Kevin McDermott (Sheffield) Kasper Braskén (Åbo) Brendan McGeever (Glasgow) Cosroe Chaqueri (Paris) Kevin Morgan (Manchester) Sonia Combe (Paris) Timur Mukhamatulin (Moscow) Mathieu Denis (Montréal) Manfred Mugrauer (Wien) Jean-François Fayet (Geneva) José Pacheco Pereira (Lisbon) Jan Foitzik (Berlin) Fredrik Petersson (Åbo/Stockholm) José Gotovitch (Bruxelles) Aleksandr Reznik (St Petersburg) Sobhanlal Datta Gupta (Calcutta) Tauno Saarela (Helsinki) Gabriella Hauch (Linz) Wolfgang Schlott (Bremen) John Haynes (Washington) Uwe Sonnenberg (Potsdam) Victor Heifets (St. Petersburg) Daniela Spenser (México DF) Gerd-Rainer Horn (Coventry) Jérémie Tamiatto (Paris) Jesper Jørgensen (Copenhagen) Carola Tischler (Berlin) Dainis Karepovs (São Paulo) Reiner Tosstorff (Mainz) Kostis Karpozilos (Athens) Berthold Unfried (Vienna) Fritz Keller (Vienna) Raquel Varela (Lisbon) Todor Kuljic (Belgrade) Gerrit Voerman (Groningen) Norman LaPorte (Pontypridd) Frank Wolff (Osnabrück) Ottokar Luban (Berlin) Rolf Wörsdörfer (Darmstadt) Advisory Board: Prof. -
The Soviet “Invasion” of Central Asian Applied Arts: How Artisans Incorporated Communist Political Messages and Symbols
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 9-2012 The Soviet “Invasion” of Central Asian Applied Arts: How Artisans Incorporated Communist Political Messages and Symbols Irina Bogoslovskaya Uzbekistan, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Bogoslovskaya, Irina, "The Soviet “Invasion” of Central Asian Applied Arts: How Artisans Incorporated Communist Political Messages and Symbols" (2012). Textile Society of America Symposium Proceedings. 660. https://digitalcommons.unl.edu/tsaconf/660 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. The Soviet “Invasion” of Central Asian Applied Arts: How Artisans Incorporated Communist Political Messages and Symbols Irina Bogslovskay [email protected] The highest purpose of art is to rise to the struggle for the victory of Communism. Z. Apresyan.1 The experience of art under the Soviet Union was something unique in historical, political and cultural terms – an experience which will never be repeated, insofar as the Communist experiment will never be revived on such a grand and all-encompassing scale. Obligatory guidelines and approved forms of artistic expression were dictated by the Soviet government in the service of politics. The purpose was to spread and fix key messages of state ideology in the minds of the Soviet people through art. The importance of controlling art for political ends was a central tenet of Bolshevik rule from the very beginning. -
MAX PENSON (1893-1959) Photographs of Uzbekistan
MAX PENSON (1893-1959) Photographs of Uzbekistan Exhibition organised by the Museum Moscow House of Photography within the framework of the festival “ ACT 2006 : New Russian Arts in London” Gilbert Collection Somerset House Strand, London WC2R 1LA 29 November 2006 to 11 February 2007 This project was made possible with the support of Roman Abramovich For many years the name of Max Penson remained practically unknown in the world, but in reality his works deserve to be mentioned alongside those of Alexander Rodchenko and other great Soviet Photographers of the 1920s and 1930s. Max Penson was born in 1893 in Velizh near Vitebsk, the latter city being the birth-place of Marc Chagall. After learning to read and write completely on his own, in 1907 he entered the Velizh Town School which he finished in 1911. He later studied at the College of Art and Industry of the Antokolski Society in Vilno (now Vilnius, Lithuania). In 1915 the outbreak of World War I and the rising wave of Jewish pogroms forced the young artist to move to Middle Asia, to the town of Kokand. In Uzbekistan Max Penson worked for some time as an accountant and taught drawing at local schools. In 1921 Max Penson was presented with a camera. This event changed his life. He almost entirely ceased to paint and draw, and tried to master the technique of photography. Military Parade, c Max Penson, 1935, courtesy of Russian ACT In 1923 Max Penson moved to Tashkent, where he would spent a lot of time with local professional photographers, who had their own studios.