Zeitschriftenartikel zum Thema „Soviet Union – Drama“
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Yeremenko, Evgenii Dmitrievich, und Zoya Vyacheslavovna Proshkova. „Редакторская практика в киносотрудничестве Советского Союза и Японии“. Vestnik of Saint Petersburg State University of Culture, Nr. 4 (53) (Dezember 2022): 18–23. http://dx.doi.org/10.30725/2619-0303-2022-4-18-23.
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The ideological and cultural context of Soviet-Japanese cinematographic contacts is determined by the activities of foreign film editors. The front of the work of representatives of this profession is selection, literary translation, dubbing, and in some cases – abbreviations, remounting of Japanese films for Soviet rental. Despite the «alien lifestyle», Japanese films were not just exotic «land of the rising sun», but also a kind of interpretation of European and American cultures in different genres: post-neorealist drama («Naked Island», «Red Beard»), sports film («The Genius of Judo»), film catastrophe («The Death of Japan», «The Legend of the Dinosaur»), children’s animation («Puss in Boots»). Joint film productions with Japan are especially noteworthy for the domestic cinema of the 1970s and 80s. The artistic space of these works is presented in the form of a historical drama («Dersu Uzala»), a melodrama («Moscow, my love», «Melodies of the White no-chi»), an animated fairy tale («The Adventures of the Penguin Lolo»). The Soviet Japanese co-production remains a historical example of a creative compromise between states with diverse types of social devices.
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Mastny, Vojtech. „The Soviet Union's Partnership with India“. Journal of Cold War Studies 12, Nr. 3 (Juli 2010): 50–90. http://dx.doi.org/10.1162/jcws_a_00006.
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The relationship between the Soviet Union and India was a hallmark of the Cold War. Over nearly forty years, Soviet-Indian relations passed through three distinct periods, coinciding with the ascendance of three extraordinary pairs of leaders, each extraordinary for different reasons—Jawaharlal Nehru and Nikita Khrushchev, Indira Gandhi and Leonid Brezhnev, and Rajiv Gandhi and Mikhail Gorbachev. The rise and decline of a political dynasty in India paralleled the trajectory seen in the Soviet Union. None of the periods ended well—the first in debacles with China, the second with Indira Gandhi's assassination, the third with the demise of the Soviet Union. The relationship in its heyday in the 1950s and 1960s was the product of a unique set of circumstances during the early Cold War. In the end, however, the relationship proved to be little more than a sideshow in the larger drama of the Cold War.
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Nicholson, Steve. „Censoring Revolution: the Lord Chamberlain and the Soviet Union“. New Theatre Quarterly 8, Nr. 32 (November 1992): 305–12. http://dx.doi.org/10.1017/s0266464x00007089.
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In two earlier articles, Steve Nicholson has explored ways in which the the right-wing theatre of the 1920s both shaped and reflected the prevailing opinions of the establishment – in NTQ29 (February 1992) looking at how the Russian Revolution was portrayed on the stage, and in NTQ30 (May 1992) at the ways in which domestic industrial conflicts were presented. He concludes the series with three case studies of the role of the Lord Chamberlain, on whose collection of unpublished manuscripts now housed in the British Library his researches have been based, in preventing more sympathetic – or even more objective – views of Soviet and related subjects from reaching the stage. His analysis is based on a study of the correspondence over the banning of Geo A. DeGray's The Russian Monk, Hubert Griffith's Red Sunday, and a play in translation by a Soviet dramatist, Sergei Tretiakov's Roar China. Steve Nicholson is currently Lecturer in Drama at the Workshop Theatre of the University of Leeds.
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Weygandt, Susanna. „The Structure of Plasticity: Resistance and Accommodation in Russian New Drama“. TDR/The Drama Review 60, Nr. 1 (März 2016): 116–31. http://dx.doi.org/10.1162/dram_a_00527.
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The history of the Russian stage traces the importance of objects in storytelling back to an earlier art: plastika, a stylized acting technique that “speaks” spatially with objects. In Russian New Drama, objects enter the stage as supplements to the hero, who survives the disintegration of the Soviet Union as a shell-of-the-self. As extensions of the hero, the hitherto lifeless things begin “to act” and tell their own story.
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Pajala, Mari. „‘Long live the friendship between the Soviet Union and Finland!’ Irony, nostalgia, and melodrama in Finnish historical television drama and documentary series“. European Journal of Cultural Studies 20, Nr. 3 (16.01.2017): 271–84. http://dx.doi.org/10.1177/1367549416682244.
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In critical studies on historical television programmes, the affective qualities of televisual memory have been discussed mainly in terms of nostalgia. This article argues that conceptualizing the affective modes of relating to the past in more varied ways can help us to better understand the politics of memory on television. As a case study, the article analyses Finnish Broadcasting Company Yleisradio’s historical drama and documentary series that deal with the relationship between Finland and the Soviet Union. The article identifies three affective modes in the programmes: irony, nostalgia and melodrama. Each of these modes offers different possibilities for critiquing, understanding and justifying the past. By studying televisual memories of the Soviet Union in a non-socialist country with important political, economic and cultural ties with the socialist bloc, the article moreover questions a clear East–West binary in studies on post-socialist memory.
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Vollgraff, Matthew. „The Reflex Republic: Physiologies of Art in the Early Soviet Union“. October, Nr. 188 (2024): 149–74. http://dx.doi.org/10.1162/octo_a_00519.
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Abstract In the immediate wake of the Russian Revolution, Pavlovian reflex conditioning was rapidly elevated to a universal materialist model for understanding and manipulating human behavior, including the production and reception of art. This article explores the little-known history of the “reflexology of art,” a movement that applied physiological concepts and techniques to drama, cinema, and literature with the aim of molding atomized individual subjectivities into a corporeal collective. This movement—which involved figures like Vsevolod Meyerhold, Sergei Eisenstein, and Sergei Tret'iakov—formed part of the highly politicized dialogue between science, politics and the arts in the 1920s. By reconstructing the critical discourse around the reflexology of art within the cultural production of the early Soviet state, the article sheds light on the contradictory impulses animating an avant-garde caught between deterministic visions of social engineering and the subversive passions of revolution.
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Gudkov, Maxim M. „“People of an Uncertain Existence”: The First Soviet Productions of William Saroyan’s Play My Heart’s in the Highlands“. Literature of the Americas, Nr. 9 (2020): 208–35. http://dx.doi.org/10.22455/2541-7894-2020-9-208-235.
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Several plays by William Saroyan written in the mid-1930s reached the Soviet stage only during the Khrushchev Thaw, in the early 1960s. The paper focuses on the first Soviet productions of Saroyan’s play My Heart’s in the Highlands, premiered in Armenian (Yerevan) in 1961, and in 1962 staged in Russian by the Mayakovsky Moscow Theatre. The paper analyses the reasons for such a late appearance of Saroyan’s dramas on the Russian stage, traces how Saroyan’s trip to the USSR in 1960 prompted the staging of his work in Armenia’s capital, which thereon paved the way for its Moscow production. The theatrical history of Saroyan’s work in the USSR is viewed in a wide social, political and cultural Soviet-American macro-context during the Cold War. The paper based on the rare materials from the museum of the Mayakovsky Moscow Theatre, focuses on the reception of the play and its production in the Soviet Union. The director Ya.S. Tsitsinovski strove to transmit the elevated, poetic spirit of Saroyan’s work and find a vivid expressive form, which was not typical for the Mayakovsky Theatre of N.P. Okhlopkov’s time. Its appearance on the Moscow stage in 1962 marked the beginning of the scene history of the American author’s drama in our country. The paper is aimed at reconstructing the theatrical history of Saroyan’s plays in the USSR.
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Nicholson, Steve. „Responses to Revolution: the Soviet Union Portrayed in the British Theatre, 1917–29“. New Theatre Quarterly 8, Nr. 29 (Februar 1992): 62–69. http://dx.doi.org/10.1017/s0266464x00006321.
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In theatrical parlance, ‘political’ is often taken to be synonymous with ‘left-wing’, and research into political theatre movements of the first half of this century has perpetuated the assumption that the right has generally avoided taking politics as subject matter. This article, the first of two about British political theatre in the 1920s, concentrates on plays about Communism and the Soviet Union during the decade following the Russian Revolution, and offers some contrasting conclusions. Steve Nicholson, Lecturer in Drama at the Workshop Theatre of the University of Leeds, argues that, whether such plays shaped or merely reflected conventional views, they were used by the establishment for the most blatant and explicit propaganda, at a time when it felt itself under threat from the Left. The article has been researched largely through unpublished manuscripts in the Lord Chamberlain's collection of plays, housed in the British Library, and derives from a broader study of the portrayal of Communism in the British theatre from 1917 to 1945.
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Vdovina, Elena A. „Nikolai Volkonsky – the director of radio drama“. ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, Nr. 4 (2022): 105–18. http://dx.doi.org/10.35852/2588-0144-2022-4-105-118.
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The article deals with the creative biography of Nikolay Volkonsky and his influence on development of the radio theatre directing school in Soviet Union. Main stages of Volkonsky formation as a radio director are outlined. At the very early productions by Nikolai Volkonsky, some techniques are outlined, which soon become canon for the radio theatre. In these first national radio performances Evening with Maria Volkonskaya and Lulli the Musician, Volkonsky uses new sound directing methods that were innovative for broadcasting of that time. They at transforming the time and space of the stage action, presenting the characters through their speech pecularities. Under the leadership of Nikolai Volkonsky, Osip Abdulov and Erast Garin start their work at the radio. They subsequently will be known as the masters of the microphone. There are numerous productions by Nikolai Volkonsky on the radio. The author of the article has selected three performances that can help to create the most complete picture of the creative individuality of the director. These are the radio play The Plant based on the novel by Camille Lemonnier, the radio composition Journey through Japan based on the essays by Gregory Gausner and the monumental pathetic oratorio The Nine Hundred and Fifth Yearbased on the poem by Boris Pasternak. The early years of the soviet radio drama are revealing the common processes in developing of art radio programs when this new unexplored field of creative representation of reality has stood at the forefront of the cultural process. The pioneers of the radio theatre innovatively solved creative tasks by their own experience, gradually asserting the main principles of radio performance. Thus it soon became an independent art direction, important in the process of theatre transformation in the twentieth century and in the genre evolution of national art broadcasting.
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Schelchkov, Andrey. „1973 — the dramatic collapse of the Chilean revolution. Viewed by the materials of the archive of the Central Committee of the CPSU“. Latinskaia Amerika, Nr. 9 (2023): 29. http://dx.doi.org/10.31857/s0044748x0027279-5.
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The Chilean Revolution is one of the most important events in the Latin American history of the XXth century. Its defeat, its dramatic circumstances, and the brutality of the military regime's repression turned it into a symbolic event that marked the collapse of the illusions of a peaceful, democratic transition to socialism. The course of the revolution itself, the "Chilean path to socialism", the actions of various actors have been studied in numerous historical studies. In addition to Chilean actors, parties, politicians, and representatives of society, external political forces took part in this drama, indirectly and directly. One of these was the Soviet Union, which closely observed and analyzed the Chilean events. With the opening of the Soviet archives, documents became available that reveal many little-known or hidden subjects of the short but intense history of Unidad Popular in Chile. In this text, the author relies on the documents of the Central Committee of the CPSU, reflecting the vision of the Soviet authorities of the events of the Chilean revolution in the most dramatic period of its development, in the last year of the government of Salvador Allende, in 1973.
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Kaidi, Wang. „CULTURAL CONTACTS BETWEEN RUSSIA AND CHINA IN THE FIELD OF MUSIC AND DRAMA THEATER (50s of the XXth century)“. Arts education and science 1, Nr. 2 (2021): 99–106. http://dx.doi.org/10.36871/hon.202102012.
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The article is devoted to the cultural cooperation between the USSR and the People's Republic of China in the field of musical theater. The Treaty of Friendship, Alliance and Mutual Assistance between these two countries, signed in Moscow on February 14, 1950, became a starting point in the development of cultural contacts. The most productive period was from 1949 to early 1960s. An important marker of the development of Soviet-Chinese cultural relations was the tour of theater troupes from both countries to the Soviet Union and the Celestial Empire. The Stanislavsky and Nemirovich-Danchenko Moscow Musical Theater team visited China in 1954, and later the artists of the Shaoxing Opera and the Shanghai Theater of Beijing Musical Drama demonstrated their art in Russian cities. The two countries' directors showed mutual interest in the classical opera art of their counterparts: in Beijing and Tianjin P. I. Tchaikovsky's "Eugene Onegin" and "The Queen of Spades" were performed by Chinese singers, while in Russian cities the traditional Chinese theatre plays "The Spilled Cup" and "The Grey-Haired Girl" were staged by Russian artists.
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Lyubinin, Aleksandr В. „POST-SOVIET DRAMA OF INTERNATIONAL RELATIONS (IN CONNECTION WITH THE 99TH ANNIVERSARY OF THE FORMATION OF THE USSR AND THE 30TH ANNIVERSARY OF ITS ABOLISHMENT)“. Russian Economic Journal, Nr. 5 (25.11.2021): 62–75. http://dx.doi.org/10.33983/0130-9757-2021-5-62-75.
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The article was prepared in connection with the 99th anniversary of the formation of the USSR and the 30th anniversary of the termination of its existence. The article reveals the relationship between the norms of the Constitution of the USSR of 1924 (and subsequent versions of the document) on the self-determination of nations and their right to secede from the Union with the real process of destruction of a single state. It is shown that the disintegration of the Union was carried out not in connection with the constitutional right of the union republics to self-determination, not with the observance of the appropriate procedures for leaving the single state, but, on the contrary, on an anti-constitutional basis. The author reveals the artificial and politically motivated nature of the arguments regarding the «mines» laid down in their time by the Bolsheviks under the national state structure of the USSR. This device turned out to be productive both for repelling military aggression and for peaceful construction, because it was formed taking into account the totality of the binding circumstances of its time, on the principles of equality and voluntary self-determination. It has been proven that the absence of the right to secede from parts of a single state does not provide any guarantees against the collapse of this state, an example of which is the European monarchies that ended their journey at the beginning of the 20th century, as well as the events in the USSR and around the Chechen Republic. The fundamental difference between constitutional multinational formations, one of which was the Soviet Union, and formations built on a contractual basis following the example of the Gorbachev SSG, the Belovezhskaya agreement on the creation of the CIS and the Union State of Russia and Belarus, is revealed.
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Pettifer, James. „Dimitri Obolensky after the Cold War: Reflections on Saint Vladimir and Orthodoxy“. Vestnik of Saint Petersburg University. History 65, Nr. 4 (2020): 1231–44. http://dx.doi.org/10.21638/11701/spbu02.2020.413.
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The article is devoted to Sir Dmitri Dmitrievich Obolensky, Professor of Russian and Balkan history at Oxford University, who is known for his study of the “Byzantine Commonwealth” and its influence on the Eastern European Slavic peoples: Bulgarians, Serbs and Russians. As a well-known British scholarly historian and philologist and the son of a noble emigrant from Russian Empire, Prince Dimitri Alexandrovich Obolensky, Obolensky tried to remain in close intellectual contact with the Russian science throughout the entire period of the Cold War and until his death in 2001. Obolensky, as a very religious person, was interested not only in the processes of transformation of the Russian society after the end of the Cold War, but also in the Russian spiritual revival that took place in the country after the collapse of the Soviet Union. The article analyzes the changes in the academic and journalistic works by Obolensky in the context of both global processes — perestroika, the end of the Cold War, the collapse of the Soviet Union, democratization, the growing influence of the Orthodox Church in Russia — and local issues — family drama, a decline in study of both Russian language and history in universities in Great Britain and in Europe. The personality of Dmitri Obolensky, his spiritual and his intellectual heritage as well as the results of his philosophical studies and forecasts for the development of the Russian society expressed during the last decade of his life are of undoubted interest to the Russian reader.
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Malaiko, Serhii. „MANIPULATION OF TRANSLATOR: UNCONSCIOUS TRANSLATION CENSORSHIP OF IDEOLOGICAL PHENOMENA (ON THE BASIS OF ENGLISH TRANSLATIONS OF VALERIAN PIDMOHYLNYI’S NOVELS)“. Inozenma Philologia, Nr. 135 (15.12.2022): 89–99. http://dx.doi.org/10.30970/fpl.2022.135.3809.
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The problem of censorship is essential for all forms of social activity. Every society strives to disrupt the ideas that it sees as detrimental to its existence in the fi eld of translation. This article presents an insight into unique cases of censorship regarding the ideological phenomena of the Soviet Union striving to unveil the all-pervasive nature of the occurrence. Two translated novels which became a subject of analysis, “The City” (“Місто”) and “A Little Touch of Drama” (“Невеличка драма”), belong to Valerian Pidmohylnyi and were translated by Prof. Maxim Tarnawsky and George and Moira Luckyj, respectively. The analysis indicates that translation censorship in these texts was, in many ways, unconscious as they involve either the preservation of censorship decisions made by other people or the acceptance of social stereotypes about a certain period. Key words: Pidmohylnyi, censorship, translation, unconscious, socialism, social.
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Huttenbach, Henry R. „In Memoriam: Donald W. Treadgold (1922–1994): Teacher, Scholar, Humanist“. Nationalities Papers 23, Nr. 2 (Juni 1995): 259–60. http://dx.doi.org/10.1080/00905999508408376.
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Don—by which name I knew him since I became his graduate student in 1956—belonged to a rare breed of academicians: he was a devout man for whom the personal adventure of life and human history in its totality had a moral dimension; in his quest for understanding himself and others, there was always an underlying moral drama; there was not just the realm of the true and the false but also a fundamental layer of the right and the wrong. For Don, there was always the issue of good and evil. In the end, men and women, the lofty, such as Stolypin (about whom he wrote insightfully), and the humble, such as the Russian peasants in Siberia (to whom he also gave considerable scholarly attention), all were accountable for their individual and collective actions. We are all free moral agents, he observed, including Lenin (about whose early political struggles he wrote brilliantly). It is a perspective Don never abandoned as the Soviet Union dissolved into the amorphous and morally complex post-Soviet era, a characteristic which qualified Don as a persistent humanist. The individual human person endowed with the capacity to sustain immutable moral values was Don's ultimate interest as an historian and teacher.
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Vaughan, Patrick. „“AMERIKA”: The Story Behind the American Television Series that Once Divided a Nation“. Zeszyty Prasoznawcze 64, Nr. 4 (248) (2021): 105–16. http://dx.doi.org/10.4467/22996362pz.21.023.14291.
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This paper will examine the history of the television series “Amerika”. Upon its airing in 1987, the television project was regarded as one of the most controversial projects in American television history. Made in response to the television spectacular “The Day After” the series “Amerika” portrayed a fictional American town living under a Soviet occupation a decade after a nuclear war forced the American government to sue for peace. The emotional plotline follows the drama of a small Nebraska farming town attempting to survive under the boot of a despotic military occupation. The aim of this paper is to examine “Amerika” within the larger historical context of how the Soviet Union was portrayed in the American mass media and Hollywood television and film productions. This will involve a historical narrative that will challenge the notion of a perpetual “Red Scare” in Hollywood while providing a more subtle alternative view that in terms of cultural and entertainment it can be reasonably argued that the Soviet Union was perhaps given a more sympathetic portrayal than the unvarnished objective historical facts merited at the time. STRESZCZENIE „Amerika”: Historia amerykańskiego serialu, który kiedyś podzielił naród Artykuł dotyczy historii serialu telewizyjnego „Amerika”. Po premierze w 1987 r. był on uważany za jeden z najbardziej kontrowersyjnych projektów w historii telewizji amerykańskiej. Stworzony w odpowiedzi na telewizyjną superprodukcję „Dzień po” serial „Amerika” przedstawiał fikcyjne amerykańskie miasteczko pod radziecką okupacją, dekadę po tym, jak wojna nuklearna zmusiła rząd amerykański do kapitulacji. Celem artykułu jest ukazanie serialu „Amerika” w szerszym historycznym kontekście tego, jak Związek Radziecki był przedstawiany w amerykańskich mediach masowych oraz hollywoodzkich produkcjach telewizyjnych i filmowych. Obejmuje to narrację historyczną podważającą tezę o nieustannej „czerwonej panice” w Hollywood, przy jednoczesnym wskazaniu bardziej zniuansowanego poglądu, że jeżeli chodzi o kulturę i rozrywkę, można zasadnie argumentować, że Związek Radziecki był przedstawiany w bardziej pozytywnych barwach, niż wynikało to z nieupiększonych faktów historycznych w tym okresie.
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Sporton, Gregory. „The Ballet Called ‘Siegfried’: the Enigmatic Prince of Swan Lake“. New Theatre Quarterly 24, Nr. 3 (August 2008): 281–93. http://dx.doi.org/10.1017/s0266464x0800033x.
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Swan Lake has a central place in the ballet repertoire. Generally seen as the ballerina's ballet, one of the greatest difficulties in presenting Swan Lake as a credible drama has been the historically marginal role played by Siegfried, the Prince. As choreographer-producers have struggled in the challenge to make the ballet work dramatically, his character has been transformed from onlooker to major influence in a series of reinterpretations of this classic work. In this article Gregory Sporton raises questions about what motivates Siegfried and why that is important for our understanding of the ballet, offering an alternative view of Siegfried's character. Gregory Sporton is Director of the Visualisation Research Unit in the Department of Art at Birmingham Institute of Art and Design. His interest in Swan Lake emerges from his background as a dancer and long periods of research in the former Soviet Union during 2004–2006, when he was able to see at first hand most of the Russian productions referenced in this article. His other published work includes ethnographic accounts of dance and its place in the flow of culture.
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Barris, Roann. „Exhibiting Russia“. Experiment 23, Nr. 1 (11.10.2017): 142–57. http://dx.doi.org/10.1163/2211730x-12341307.
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Abstract Although we have some first-hand accounts of visits by American drama critics and theater directors to the Soviet Union in the 1920s and 1930s, with one or two exceptions we do not know much about how American visual artists gained first-hand knowledge of the works of the Russian avant-garde at this time. Tracing the surprisingly rich history of American exhibitions of Russian art in the first half of the twentieth century, this paper examines the influence of Berlin and Vienna in shaping American exhibitions and also shows how curatorial decisions often determined which artists were associated with which movements, even when these associations would later be contradicted by historical facts. Indeed, style may be said to have played a subservient role as curators strove to associate the avant-garde with spirituality or to gain public support for starving Russian artists. Nevertheless, these exhibitions did bring significant works to the attention of American artists and the American public, revealing the significance of certain artists as well as collectors and curators in shaping the American understanding of the Russian avant-garde.
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Ivantsov, Igor' G. „Re-registration of the members of the All-Union Communist Party of Bolsheviks (VKP(b)) as a form of checking their loyalty to the Soviet power on the examples of the Krasnodar region. 1943-1944“. Herald of an archivist, Nr. 2 (2024): 620–30. http://dx.doi.org/10.28995/2073-0101-2024-2-620-630.
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The article is devoted to the disclosure of the activities of party organizations of the All-Union Communist Party of Bolsheviks in Kuban during the Great Patriotic War, mainly after the liberation of the Krasnodar region from the German invaders from January to autumn 1943. One of the tasks was to resume after the occupation the structure of party organizations of cities and districts. District committees of the All-Union Communist Party of Bolsheviks (b), party organizations at district executive committees, cells in organizations, institutions, enterprises, collective farms, village councils, primary party organizations in district departments of the NKGB and NKVD were being formed. The source base of the article was unpublished archival documents of 1943 - early 1944, stored in the Center for Documentation of Contemporary History of Krasnodar Region (CDCHKR) and representing a top-secret correspondence between the secretaries of the district party committees and the regional committee of the All-Union Communist Party of Bolsheviks (b). The main contents of the correspondence are materials of inspections of communists who, at the end of July and beginning of August 1942, when the unexpected and rapid attack of German troops on the cities and districts of the Kuban began, did not evacuate to the Soviet rear for various reasons. The stay of the Communists in the occupied territory became for them (as well as for the entire population, of which they were a part) a severe ordeal. Many were forced to conceal their affiliation with the All-Union Communist Party of Bolsheviks (Bolsheviks) and destroyed their party cards. Others took jobs in enterprises controlled by the German administration, and some took the path of cooperation with the Germans. Already after the expulsion of the Nazi troops, their allies and collaborators, they were re-registered in the party and were obliged to undergo humiliating inspection procedures. All of them, without exception, wrote explanatory statements about their stay in the occupation and their occupation in the enemy-occupied territory, were massively expelled from the Party for cowardice and loss or deliberate destruction of their Party card. As a rule, most of them had no real guilt. The article uses a micro-historical approach, where the object of study is local historical events, allowing a deeper understanding of the depth of drama in the lives of people of this difficult period, accused undeservedly of collaboration when the Soviet authorities were restoring the former order. In the course of checks on loyalty to the All-Union Communist Party of Bolsheviks (Bolsheviks) and the country, criminal acts of some Communists, which were not subject to forgiveness, also surfaced.
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Henderson, Jane. „Making a Drama out of a Crisis: The Russian Constitutional Court and the Case of the Communist Party of the Soviet Union“. King's Law Journal 19, Nr. 3 (Januar 2008): 489–506. http://dx.doi.org/10.1080/09615768.2008.11427704.
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Kotin, Igor Yu, Nina G. Krasnodembskaya und Elena S. Soboleva. „India of 1920s as Seen by Soviet Playwright, Consulting Indologists, Theater Critics“. RUDN Journal of Russian History 20, Nr. 1 (15.12.2021): 125–44. http://dx.doi.org/10.22363/2312-8674-2021-20-1-125-144.
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The authors of this contribution analyze the circumstances and the history of a popular play that was staged in the Soviet Union in 1927-1928. Titled Jumah Masjid, this play was devoted to the anti-colonial movement in India. A manuscript of the play, not indicating its title and the name of its author, was found in the St. Petersburg Branch of the Archive of the Russian Academy of Sciences among the papers related to A.M. and L.A. Meerwarth, members of the First Russian Expedition to Ceylon and India (1914-1918). Later on, two copies of this play under the title The Jumah Masjid were found in the Russian Archive of Literature and Art and in the Museum of the Tovstonogov Grand Drama Theatre. The authors of this article use archival and published sources to analyze the reasons for writing and staging the play. They consider the image of India as portrayed by a Soviet playwright in conjunction with Indologists that served as consultants, and as seen by theater critics and by the audience (according to what the press reflected). Arguably, the celebration of the 10th anniversary of the October Revolution in Russia in 1927 and the VI Congress of the Communist International (Comintern) in 1928 encouraged writing and staging the play. The detailed picture of the anti-colonial struggle in India that the play offered suggests that professional Indologists were consulted. At the same time the play is critical of the non-violent opposition encouraged by Mahatma Gandhi as well as the Indian National Congress and its political wing known as the Swaraj Party. The research demonstrates that the author of the play was G.S. Venetsianov, and his Indologist consultants were Alexander and Liudmila Meerwarth.
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Diamond, Catherine. „The Pandora's Box of ‘Doi Moi’: the Open-Door Policy and Contemporary Theatre in Vietnam“. New Theatre Quarterly 13, Nr. 52 (November 1997): 372–85. http://dx.doi.org/10.1017/s0266464x00011532.
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In the 1990s, Vietnamese traditional theatre has seen its popular base eroded by foreign videos, television imports, and the films that have poured into the country since the advent of the ‘open door’ policy, or doi moi. As that policy is primarily economic in purpose, the advantages offered to the national culture have been questionable. The traditional forms here discussed by Catherine Diamond – tuong, hat boi, and cheo – have lost much of their status in the urban areas, though still popular in the countryside. However, the forms which address contemporary issues – ‘renovated theatre’ (cai luong), spoken theatre (kich noi), and, most recently, ‘mini-theatre’ (san khau nho) – play to significant numbers in Saigon and Hanoi, often employing a distinctive vein of satirical humour. Though trained in the academies of the Soviet Union and Eastern Europe, Vietnamese dramatists have now broken away from the socialist realist ideal and are looking towards the West and China for new artistic developments. The author of this survey, Catherine Diamond, is a dancer and drama professor in Taiwan. She has recently published Sringara Tales, a collection of short stories about the traditional dancers in Southeast Asia.
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Ulberte, Līga. „THE UNKNOWN HISTORY : BERNHARD REICH ’ S MANUSCRIPT ABOUT VALMIERA THEATRE“. Culture Crossroads 19 (11.10.2022): 68–77. http://dx.doi.org/10.55877/cc.vol19.41.
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Latvian theatre director Anna (Asja) Lācis and her life partner, German theatre director and theoretician Bernhard Reich, began their professional careers in Latvia and Germany in the 1920s during the period of European modernism. During the second half of the 20th century, the paths of both their private and professional relationships lead them to the Soviet Union – a place whose ideological system and theatre they remained intertwined with for the rest of their lives. Both artists were then directly affected by Stalinist repressions. In 1948, Anna Lācis returned to Latvia and began working at Valmiera Drama Theatre. In 1951, Bernhard Reich also moved to Latvia, which remained his place of residence until his death. Both internationally recognized artists were buried at the Rainis Cemetery in Riga. This article provides insight into Bernhard Reich’s unpublished manuscript titled Valmieras teātris (Valmiera Theatre), which reveals the left-leaning western artist’s perspective of the history of Valmiera Theatre in the 1950s and the 1960s as well as the art of Socialist Realism that was both surprising and, at the time, unheard of in the history of Latvian theatre.
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Hakman, Serghei. „Măsurile pregătitoare politico-diplomatice și militar-propagandistice ale U.R.S.S. pentru anexarea Basarabiei și a nordului Bucovinei (II)“. Analele Bucovinei 58, Nr. 1 (01.09.2022): 117–24. http://dx.doi.org/10.56308/ab.2022.1.08.
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"A significant turning point in relations between the Soviet Union and Romania was associated with the incorporation of Bessarabia and northern part of Bukovina into the USSR, which took place in the context of Soviet-German rapprochement. To this end, the Soviet leadership developed a set of preparatory political-diplomatic and military-propaganda measures. Soviet political and diplomatic actions were based on fundamental military preparations. In order to prepare and further joining Bessarabia and the northern part of Bukovina to the USSR, the Southern Front was created on the basis of the Kyiv Special and Odessa military districts. Army General Georgy Zhukov was appointed as a commander. The General Staff of the Red Army developed two variants of actions by Soviet troops. The first one provided for measures in case the Romanian government would not agree to the peaceful transfer of Bessarabia and Bukovina to the USSR. The second variant was an action plan in case of a voluntary retreat of Romanian troops west of the Prut. The first option was taken as the base. As early as June 26, 1940, on the border with Romania, the Soviet command concentrated 32 infantry, 2 motorized infantry, 6 cavalry divisions, 11 tank, 3 airborne brigades, 16 artillery regiments of the commander-in-chief’s reserve, 14 corps artillery regiments and 4 separate artillery divisions. In the main areas of the offensive, more than a triple advantage in manpower and means was provided. At the same time, for the purpose of ideological support, a huge propaganda apparatus was prepared to work with the population. In accordance with the Directive of the Main Political Directorate of the Red Army № 0140 (June 21, 1940), a large number of political workers were sent to the disposal of the Southern Front. One month before the start of the military operation, all employees of party and Soviet organizations were considered as mobilized. After appropriate training, they were ready for further activities as editorial staff, propagandists and agitators. Concert brigades and drama theatre groups were organized for the cultural service of the population. There were selected mobile library, gramophone records, and films. Book-mobile was arranged; everything necessary for the publication in Romanian newspaper was completed and provided with everything necessary. Due to the diligence of all these preparatory acts, the territories of Bessarabia and the northern part of Bukovina were occupied by the Red Army according to all the rules of military art (all elements of military operation were used: military force, local military pressure, military intelligence and counterintelligence, agitation and propaganda), thanks to which the USSR could reach its purpose. "
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Porshnev, Ivan D. „The General Intonation in the Performance of “Boris Godunov” of Vsevolod Meyerhold — Sergei Prokofiev“. ICONI, Nr. 2 (2019): 36–48. http://dx.doi.org/10.33779/2658-4824.2019.2.036-048.
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The article dwells upon the process of the artistic cooperation between Vsevolod Meyerhold and Sergei Prokofiev by the example of their collaborative work on Alexander Pushkin’s play “Boris Godunov.” The preparation for the actualization of the conception had started long before the main rehearsing period — in 1934, after the issuance of the edict of the Politburo of the Central Committee of the VKP(b) (Communist Party) “Concerning the Foundation of the All-Union Pushkin Committee in connection with the centennial anniversary of the death of Alexander Sergeyevich Pushkin.” The performance was supposed to have become the appropriate response to the festivities of the Pushkin jubilee, but it never got round to being performed at that time. The peculiarities of the interpretation of the drama in the dialogue of the two Masters are examined on the basis of the materials connected with the history of the creation of the performance and the music to it. Analysis is made of the semantic content of the musical numbers (“The Song of the Lonely Wanderer” and the “Songs of Loneliness”), which carry out the function of the through leit-motifs and indirectly characterize Boris Godunov and the Pretender, and also play an important role in the formation of the “general intonation” of the performance. The conclusion is arrived at that the “politically saturated” production of Vsevolod Meyerhold and Sergei Prokofiev touched upon the prohibited “territory of meanings”: the denoted implication unwittingly projected itself on the personal fate of the ruler of the Soviet state.
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Pietrych, Piotr. „Wat w Polsce powojennej. Tezy“. Colloquia Litteraria 12, Nr. 1 (18.11.2012): 35. http://dx.doi.org/10.21697/cl.2012.1.3.
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Wat in postwar Poland. Theses A postwar period (1946–1953) in Wat’s literary output is usually omitted by the critics (exceptions are Venclova and Ritz). Difficulties in making comments on this period perhaps stem from that which does not usually fit what critics write about Wat (for instance, that fact that since his arrival from Kazakhstan he was a confirmed anticommunist) and what he published then. A puzzling is the presence in Wat’s works (e.g. in Antyzoil) unanimous declarations of the support for the postwar political order. However, when Wat followed some voice of disagreement, it sounded silent, unconvincing (criticism of the project of realism in literature). A positive involvement in Polish reality at that time was certainly connected with Wat’s personal experiences who, having arrived from his wandering from the Soviet Union to Poland, felt it as “paradise” (this is the name he referred to Poland in Mój wiek [My Century]), seemed not to perceive that it was only a “sham” of paradise. Besides, Wat wanted to participate in Polish cultural life, especially because in postwar years he started to feel literary unfulfilment and a strong need to return to writing. A particularly meaningful example in this context is Wat’s unsuccessful drama of Kobiety z Monte Olivetto [Women from Monte Olivetto] – the writing of which was for the poet the act of desperation and it created a paradox: wanting to participate in postwar literary life in Poland, Wat decided to “collaborate with Social Realism” (Zdzisław Łapiński’s definition), in order to achieve his goal.
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Kostrykina, N. V. „CREATIVITY OF THE KRASNOYARSK DOCUMENTARY FILMMAKER I. ZAITSEVA AS A PHENOMENON OF REGIONAL AND NATIONAL CULTURE“. Northern Archives and Expeditions 5, Nr. 2 (30.06.2021): 103–12. http://dx.doi.org/10.31806/2542-1158-2021-5-2-103-112.
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The article describes the work of Irina Borisovna Zaitseva, a world-famous Krasnoyarsk documentary film director, a member of the Board of the Union of Cinematographers and the Association of Documentary Films of the Russian Federation, whose film productions have not yet been the subject of film studies. Her films have won numerous prizes at prestigious All-Russian and international film festivals ("Russia", "Golden Knight", "Living Water", "Flahertiana", "Stalker", "Saratov Suffering", "Mediawave", "Documenta Madrid", "Docupolis", etc.). A number of documentary films reflect the history of not only the Krasnoyarsk Territory, but also Russia. Some films have a parable discourse and carry a moral and philosophical context. The director repeatedly addresses the topic of "fathers and children". I. Zaitseva makes high demands on the profession of a film director, relying in her work on the director's code of honor, so as not to harm the heroes of her documentaries. As a result of the analysis of the film "Martyrs and Confessors" and a brief review of other films directed by I. Zaitseva, a wide range of artistic techniques was identified: subjective video camera, vertical and parallel editing, historical reconstruction, "story within a story", changing focalizations and temporality, allegory, and others. All the author's means of the film language work for a strong drama, which distinguishes the films of the documentarian. In her work, there is a hybrid-a combination of factuality and artistry, which does not mean devaluing the principle of documentality. The Krasnoyarsk documentary filmmaker was one of the first in Russia to make a film about the tragic fate of the clergy who died at the hands of representatives of the Soviet government in the period 1918–1938. I. Zaitseva's filmography is a phenomenon of regional and national culture.
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Budnyk, A., Yu Marchenko und M. Selivatchov. „Kharkiv Art School in the History of One Family’ Three Generations“. Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, Nr. 02 (Oktober 2021): 107–22. http://dx.doi.org/10.33625/visnik2021.02.107.
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The present article covers the materials about studies and teaching in Kharkiv educational institutions – the predecessors of the Kharkiv State Academy of Design and Arts (KSADA), participation in the educational process during the 1920s–1950s and the creative achievements of the architect Georgy Ikonnikov (1896–1981), his stepson, printing artist Roman Selivachev (1914–1995), as well as G. Ikonnikov’s granddaughter, Yelena Ganenko (born in 1945). The oldest of our characters studied in the 1910s at the Central School of Technical Drawing (now the Saint Petersburg Stieglitz State Academy of Art and Design) in the 1910s, then participated in the Civil War and in WWI. During the 1920s and 1930s he designed about thirty Kharkiv buildings in collaboration with A. Molokin, P. Krupko, V. Bogomolov. Among his works there are such landmark objects as “Lopan Stairs”, student dormitory “Giant”, National University of Construction and Architecture (former building of the State Insurance), Research Institute of Experimental Veterinary, A. Pushkin Drama Theater, M. Skrypnyk House of Culture, etc. G. Ikonnikov taught in the art schools, headed the architectural and construction department of Kharkiv research institute for industrial projects, which created a number of important enterprises for India, China, Syria and other countries. R. Selivatchov studied at Kharkiv Art Institute (1929–1932), designed the expositions of the Svyatogorsk Museum, and later the “Kyiv-Pechersk Lavra” Reserve, and worked in printing. In 1941 the student of the Kyiv Civil Engineering Institute was drafted into the army. After the war he graduated from Moscow Polygraph Institute. The first and subsequent editions of Ukrainian Soviet Encyclopedias, branch encyclopedic reference books, “History of Ukrainian Art” in six volumes, “Dictionary of Artists of Ukraine”, “Shevchenko Dictionary”, other projects of national importance were designed under his leadership. A lot of them were awarded by the diplomas of International, All-Union and republican book competitions. Among R. Selivatchov’s followers there are graduates of Art and Architectural universities in Leningrad, Kharkiv and Kyiv, members of the National Artists’ Union of Ukraine. However, the desire to be an artist is not always realized. Encouraged by her grandfather, O. Ganenko from childhood posed for his students and dreamed of becoming an artist. One of her portraits decorated the lobby of Kharkiv Art Institute for many years. Finally, she preferred mathematics, taught at Kharkiv University, but remembers unforgettable moments related to Kharkiv Art school.
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Kirillova, Natalia B. „Screen Metamorphoses of Ivan Pyryev“. Journal of Flm Arts and Film Studies 10, Nr. 2 (15.06.2018): 38–48. http://dx.doi.org/10.17816/vgik10238-48.
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Ivan Aleksandrovich Pyryev passed away fifty years ago. However, for all these years he did not become a purely historical figure, his films have not gone into nothingness, disputes about his personality and creation have not ceased. The director, screenwriter, organizer of film production, he left a rich creative heritage. Having not received a special education and actually a dilettante in art, Pyryev, nevertheless, for half a century of work in the cinema has reached the highest professionalism, having traveled from the actor and the assistant to the screenwriter, helmer, director of Mosfilm, initiator and the first head of the Union of Filmmakers of the USSR. Ivan Pyryev's creation is known to many millions of viewers of different generations for those lyrical, musical comedies with which the heyday of Soviet cinema of the socialist realism period is identified: The Country Bride, Tractor Drivers, They Met in Moscow, Symphony of Life, Cossacks of the Kuban. Analyzing the era of the Stalin Renaissance, it should be noted that Pyryev filmed, in fact, always in demand, a movie about the struggle between good and evil, about the desire of heroes to go through any obstacles to reach happiness. And this means that I.A. Pyryev created genuinely national films in the 1930s and 1940s. These same tendencies became the basis of the pictures set by him during the Great Patriotic War, the heroic drama Secretary of the Communist Party District Committee and the lyrical comedy Six O'Clock in the Evening After the War, each of which inspired the audience with faith in victory and gave hope for happiness. The appeal of Pyryev in the late 1950s to the adaptation of F.M. Dostoevsky was unexpected and paradoxical. The explanation here is one: the turbulent, reeking talent of the artist pushed him to new creative searches in order to escape from stereotypes of the Soviet theme. His best screen interpretations of Dostoevsky's novels are the films Idiot and The Brothers Karamazov. Not all succeeded Pyryevs screen reading of the most complicated works of Russian literature was not absolutely efficient. However, he did a lot to passionately, persuasively and passionately told about the tragic fate not only of Dostoevsky's heroes, but of Russia itself. He created films about love, its immense power, condemning nihilism, cynicism and lack of spirituality. That is why the phenomenon of Pyryev, as a unique phenomenon of domestic cinema, remains an object of close attention and research of modern film studies.
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Lēvalde, Vēsma. „Atskaņotājmākslas attīstība Liepājā un Otrā pasaules kara ietekme uz mūziķu likteņiem“. Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, Nr. 26/1 (01.03.2021): 338–51. http://dx.doi.org/10.37384/aplkp.2021.26-1.338.
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The article is a cultural-historical study and a part of the project Uniting History, which aims to discover the multicultural aspect of performing art in pre-war Liepaja and summarize key facts about the history of the Liepāja Symphony Orchestra. The study also seeks to identify the performing artists whose life was associated with Liepāja and who were repressed between 1941 and 1945, because of aggression by both the Soviet Union and National Socialist Germany. Until now, the cultural life of this period in Liepāja has been studied in a fragmentary way, and materials are scattered in various archives. There are inaccurate and even contradictory testimonies of events of that time. The study marks both the cultural and historical situation of the 1920s and the 1930s in Liepāja and tracks the fates of several artists in the period between 1939 and 1945. On the eve of World War II, Liepāja has an active cultural life, especially in theatre and music. Liepāja City Drama and Opera is in operation staging both dramatic performances, operas, and ballet, employing an orchestra. The symphony orchestra also operated at the Liepāja Philharmonic, where musicians were recruited every season according to the principles of contemporary festival orchestras. Liepāja Folk Conservatory (music school) had also formed an orchestra of students and teachers. Guest concerts were held regularly. A characteristic feature of performing arts in Liepaja was its multicultural character – musicians of different nationalities with experience from different schools of the world were encountered there. World War II not only disrupted the balance in society, but it also had a very concrete and tragic impact on the fates of the people, including the performing artists. Many were killed, many repressed and placed in prisons and camps, and many went to exile to the West. Others were forced to either co-operate with the occupation forces or give up their identity and, consequently, their career as an artist. Nevertheless, some artists risked their lives to save others.
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Anisimov, Alexander V. „The New Theatrical Buildings of Moscow in XXI Century (on the Hidden Theatres)“. Scientific journal “ACADEMIA. ARCHITECTURE AND CONSTRUCTION”, Nr. 3 (27.09.2018): 55–65. http://dx.doi.org/10.22337/2077-9038-2018-3-55-65.
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Over the past three decades, the number of theater groups in Moscow has increased several times compared to the Soviet era. In the past, the theaters were only state and strictly divided into all-union, republican, Moscow and departmental. And now they are born and die, but still multiply, their number is even difficult to determine - it's about two hundred. The quantitative boom is accompanied by an active search for new forms of performing art, for which halls of a new type with unprecedented stage equipment are needed. Prosperous theaters tend to have their own new houses with original architecture and modern sophisticated technology. Far from everyone succeed at this. The financial problem occurs everywhere, and there are also difficulties in finding a suitable site on the territory of the capital. Many talented teams are forced to look for original ways of financing for construction or at least finishing their interiors and acquiring stage equipment. The situation is saved by cooperation with sponsors and investors, who include theaters in their large facilities under certain conditions, which are dictated by the city's authorities for the allocation of a favorable site. The article discusses three new theatrical objects that appeared in Moscow over thelast decade. Two of them (drama theaters) are built as parts oflarge multifunctional complexes. They arelocated on thelargest highway - the Garden Ring (Malaya Sukharevskaya Square) opposite each other. The third - the Helikon Opera house in the very center of the capital - uses the historic restored rooms of the old city manor and the newly created hall on the site of the former courtyard with the preservation of the old architecture elements. All three theaters have an original architectural appearance of their interiors, modern technological equipment of different levels and variously transformable scenes and halls. The author's search for original design and constructive solutions of the main premises is of great interest. Famous Moscow architects participated in the development of the buildings.
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Hoyer, Dirk. „The Mortgaged Miracle Social Stratification in Contemporary Estonian Cinema“. Baltic Screen Media Review 10, Nr. 1 (01.04.2022): 180–92. http://dx.doi.org/10.2478/bsmr-2022-0012.
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Abstract According to recent OECD statistics, Estonia is the European Union country with the highest income inequalities. Among all the ex-Warsaw bloc states, the Baltic country also has the highest household debt. Despite these dire socio-economic indicators, Estonia’s path to economic development, the adaptation of the purest forms of neoliberalism to be found in Europe, is often hailed among economists. Former prime minister Mart Laar, one of the key architects of what was dubbed by some the Estonian Economic Miracle, admitted that his guideline for the post-Soviet economic reform (and the only book he read on economics) was Milton Friedman’s Free to Choose. How does inequality, social exclusion and growing social stratification manifest itself in Estonian contemporary cinema? The debut films of three directors, Vallo Toomla, Mihkel Ulk and Toomas Hussar, which all have a contemporary setting, address the neoliberal transformation process to various degrees. All three debut films are genre films: Mushrooming (Hussar, 2012) is a comedy, Zero Point (Ulk, 2014) a high-school drama and The Pretenders (Toomla, 2016) a thriller. None of the films directly addresses the social stratification of Estonian society. The films engage the subject with a low level of politicization, yet each of the films is a chronotope of the engagement of the film medium with society. Especially the question of individual responsibility to society, accountability for social exclusion and possible alternatives to neoliberalism are either addressed in an apprehensive way or, through their absence, deemed irrelevant. How did Friedman’s claim that economic freedom equals political freedom, that the market is the only effective tool and that self-interest is the only acceptable driving force in society affect the Estonian cinemascape? This article argues that the chronotope of contemporary cinema in the small Baltic country is an outopia, a no-place, in which alternatives to the status quo have no more reference points. The outopian outlook on society is manifested either by an absence in the belief of the integrity of politics and media (Mushrooming), by an implicit acceptance of social exclusion (Zero Point) or by the acknowledgement that faking material wealth is the only tool for maintaining social relationships (The Pretenders).
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Perucci, Tony. „The Red Mask of Sanity: Paul Robeson, HUAC, and the Sound of Cold War Performance“. TDR/The Drama Review 53, Nr. 4 (November 2009): 18–48. http://dx.doi.org/10.1162/dram.2009.53.4.18.
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In 1949, after Paul Robeson—athlete, actor, singer, and anti-racist Leftist—stated that it would be “unthinkable” for blacks to fight a war against the Soviet Union, he was threatened by mobs, deprived of his US passport, denied work, hounded by the FBI, and made to testify before the House Un-American Activities Committee.
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Lerman, Zafra Margolin. „Education, Human Rights, and Peace – Contributions to the Progress of Humanity“. Pure and Applied Chemistry 91, Nr. 2 (25.02.2019): 351–60. http://dx.doi.org/10.1515/pac-2018-0712.
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Abstract I started my chemistry adventure while in high school, where I was the only female in a science and mathematics-oriented class. During our Junior year of high school, we were sent to the desert, close to the Red Sea in Israel to build roads. In the summers, we were in a Kibbutz on the border to help with the work needed. After work, we had time to discuss our future. Upon graduating from high school, I was drafted into the army, and in the evenings, started my college education and majored in chemistry. After finishing my term in the army, I continued my undergraduate studies in chemistry while raising my son. As I was conducting research on isotope effects, I realized that I wanted to make chemistry accessible to all. My tenet in life is that equal access to Science Education is a human right. I developed a method of teaching chemistry using art, music, dance, drama, and cultural backgrounds which attracted students at all educational levels to chemistry. I felt that as chemists, we have obligations to make the planet a better place for humankind. At this point, I became very active in working towards Scientific Freedom and Human Rights; helping chemists in the Soviet Union, China, Chile, Guatemala, and many other countries. The American Chemical Society established the Subcommittee on Scientific Freedom and Human Rights in 1986 and I chaired this committee for 26 years. At great risk to my personal safety, we succeeded in preventing executions, releasing prisoners of conscience from jail and bringing dissidents to freedom. This work led me to use chemistry as a bridge to peace in the Middle East by organizing Conferences which bring together chemists from 15 Middle East Countries with five Nobel Laureates. The Conferences allow the participants to collaborate on solutions to problems facing the Middle East and the World. The issues are; Air and Water Quality, Alternative Energy Sources, and Science Education at all Levels. Eight conferences were held and the ninth is scheduled for 2019. More than 600 Middle East scientists already participated in these conferences. Considering that most of the participants are professors or directors of science institutions who have access to thousands of students, the number of people in the network is in the thousands. Between the conferences, the cross-border collaborations are ongoing despite the grave situation in the Middle East. In these conferences, the participants succeed in overcoming the chasms of distrust and intolerance. They do not just form collaborations, but form friendships. Hopefully, we will manage to form a critical mass of scientists who will be able to start the chain reaction for peace in the Middle East. Commitment, perseverance, and many times, bravery, helped me to overcome the obstacles I encountered.
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Yurganov, Andrei L'. „On the original version of the play "Fear" by Stalinist playwright Alexander Afinogenov. 1930s“. Herald of an archivist, Nr. 2 (2024): 480–94. http://dx.doi.org/10.28995/2073-0101-2024-2-480-494.
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The article examines the work of Stalinist playwright Alexander Nikolaevich Afinogenov (1904-1941) through the prism of his complicity in the ideological campaigns of the Bolshevik Party. The study of the impact of party-state ideology on the broad masses of people during the Stalinist era is a priority direction of historical science. However, this direction needs further thematic and problematic expansion. The ideological campaigns of the Bolshevik Party in the 1930s found their artistic expression on the theatrical stage, in the plays of the most famous playwrights. This interaction between propaganda and theater art has not been studied sufficiently. There are practically no generalizing works. This is partly due to the fact that sufficient empirical material has not yet been accumulated. Almost every play by A. N. Afinogenov corresponded to one or another vector of the ideological struggle of the All-Union Communist Party of Bolsheviks. The play "Fear" (1931), which became a full-scale artistic expression of one of the most powerful ideological campaigns conducted by the Bolshevik Party until the time of the "Great Terror" - the campaign to "purge" state and party organs, is of particular interest. The original manuscript of this play, found in the Moscow Art Theatre Museum, significantly expands the understanding of how the play was understood by contemporaries. The initiator of the changes in the text of the play was K. S. Stanislavsky, who persuaded A. N. Afinogenov to introduce the figure of the "investigator" into the play. A. N. Afinogenov significantly remade the main pictures of the play - the eighth and ninth, in fact, they were rewritten anew. The play "Fear" was staged in two theaters - in the State Drama Theater (Leningrad) and in the Moscow Art Theater (Moscow). In Leningrad, where the performances began earlier than in Moscow, they used the original text of the play (at least until the end of 1931), and in Moscow used the revised version. This in no way contradicted A. N. Afinogenov, the playwright, who saw his work as a continuation of the ideological struggle in the artistic images of Soviet dramaturgy. In the found original version of the play and in the revised version there are different accents in the characterization of the characters of the play (in the eighth and ninth pictures, the final ones). But it was not the artistic side of the theatrical work that mattered, but the ideological basis, the meaning of which in both editions was reduced to the most important postulate of totalitarianism - to recognize the class basis of morality, to renounce oneself, one's views, one's "own" science, to erase one's former life in order to enter the "objective" state of collective unanimity without one's own personality.
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German, Dmitry A., und Ihsan Ali Al-Shehbaz. „Typification of miscellaneous Brassicaceae (Cruciferae) from Central and Middle Asia“. Phytotaxa 221, Nr. 1 (28.07.2015): 57. http://dx.doi.org/10.11646/phytotaxa.221.1.5.
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The present paper deals with the typification of 25 names (11 species, 13 varieties, and one form) in the Brassicaceae, of which the majority (19 names) is in Draba. In addition, Arabis tibetica var. bucharica, A. tibetica var. pinnatifida, Eutrema potaninii, Pseudobraya kizyl-arti, Sisymbrium mollissimum f. pamiricum, and Winklera patrinoides, which are currently treated as synonyms in the genera Crucihimalaya (3 names), Draba, Eutrema, and Lepidium (one name each), are also typified. Most of the original material was collected from the five Middle Asian republics of the Former Soviet Union (especially Kyrgyzstan and Tajikistan), and some other was from China, with a few syntypes of three Draba taxa originating from Asian Russia, Mongolia, Kashmir, and Sikkim.
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Shchukina, Yu P. „Features of Volodymyr Morskoy’s theatrе criticism (1920–1940 years)“. Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, Nr. 51 (03.10.2018): 70–83. http://dx.doi.org/10.34064/khnum1-51.03.
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Background. Today, analyzing the Ukrainian theatrical movement of the first half of XX century, we can’t bypass V. Morskoy’s critical legacy. Volodimir Saveliyovich Morskoy (the real name – Vulf Mordkovich) is one of the providing Ukrainian theatrical and film critics of the first half of the XX century. He left us his always argumentative, but sometimes contradictious evaluations of dramatic art masters: the directors of Kharkiv Ukrainian drama theatre “Berezil” (from 1935 it named after T. Shevchenko) L. Kurbas, B. Tyagno, L. Dubovik, Yu. Bortnik, V. Inkizhinov, M. Krushelnitsky, M. Osherovsky; the producers of Kharkiv Russian drama theatre named after A. Pushkin – O. Kramov, V. Aristov, V. Nelli-Vlad and many others. Due to the critic’s persecution by the repressive machine of USSR, his evaluations of theatrical process were not quoted in soviet time researches. They still were not entered to the professional usage, were not published and commented in the whole capacity. Methods and novelty of the research. The research methodology joints the historical, typological, comparative, textual, biographical methods. The first researcher, who made up incomplete description of the bibliography of dramatic criticism by V. Morskoy, became Kharkiv’s bibliographer Tetyana Bakhmet. She gave maximally full list of critic articles (more than eighty positions) for the 1924, 1926–1929, 1937, 1948–1949 years. Kharkiv’s theater scientist Ya. Partola [16] in the first encyclopedic edition, that contains the article about V. Morskiy, gave the description of the only publication by critic known for today, in Moscow newspaper “Izvestiya”. Forty six critical articles, half of which didn’t note in bibliographies of both scientists, were collected and analyzed in periodical funds of Kharkiv V. Korolenko Central Scientific Library by the author of this article. Objectives. V. Morskoy was writing the reviews about the new films; the programs of popular and philharmonic performers; was researching the musical theater. This article has the purpose to characterize the features of V. Morskoy’ critical reviews on the dramatic theater performances. Results. It was managed to find out the articles by V. Morskoy hidden for the cryptonym “Vl. M.”, which dedicated to the performances of the “Berezil” theater of the second half of 1920th: “Jacquery”, “Yoot”, “Sedi“. The critic wrote about the setting “Jacquery ” by director V. Tyahno : “Berezil in setting of ‘Jacquery’ emphases it’s ideology, approaching ‘Jacquery’ to nowadays viewer” [2]. Perceiving critically some objective features of avant-garde stylistic, such as cinema techniques, V. Morskoy remarks: “The pictures are discrete, too short, some of them are lasting for 2–3 minutes, they made cinematographically” [2]. In the same time, the young critic already demonstrates the feeling and flair to the understanding of acting art. So, he accurately pointed out the first magnitude actors from the “Berezil” ensemble: A. Buchma, Yo. Ghirnyak, M. Krushelnitsky, B. Balaban [2]. V. Morskoy connected his view to “Jacquery” with the tendency of the second half of the 1920th: “For recently the left theaters became notably more right, and the right one – more left”[2], that reveals his theatrical experience. His contemporaries due to the author’s sense of humor easily recognized the style of V. Morsky’s reviews. Critical irony passes through the his essay about the setting by director V. Sukhodolskiy “Ustim Karmelyuk” in the Working Youth Theatre: “Focusing attention to Karmelyuk, V. Sukhodolskiy left the peoples in shade. Often they keep silence – and not in the Pushkin sense “[14]. Despite on the “alive” style, one of the features of V. Morskoy journalism was adherence to principles. His human courage deserves a high evaluation. In 1940, after the three years after the exile of Les Kurbas, the leader director of “Berezil” Theater, to Solovki, the critic published in the professional magazine the creative portrait of this disgraced director’s wife – the actress Valentina Chistyakova [15]. V. Morskoy arguments on the relationship between the modern works and the tradition of prominent predecessors has always been ably dissolved in an analysis of a performance. Each time V. Morskoy was paying attention to the distinctions of principals of playwriting, stage direction and even creative schools, in the second half of 1930th – 1940th, when the words “stage direction”, “currents”, in condition of predomination the so-called “social realism” method, in the soviet newspapers practically were not mentioning. For example, the critic saw of realistically-psychological directions in the O. Kramov’s performance “Year 1919”[9]. In 1940, V. Morskoy made a review of the performance of the then Zaporizhhya theater named after M. Zankovetska “In the steppes of Ukraine”, insisting on the continuity of the comedies of O. Korniychuk in relation to the works of Gogol and others of playwrights-coryphaeuses: “The play of O. Korniychuk is characterized by profound national form...” [7]. However, in the fact that in the Soviet Union at that time reigned as the doctrine the methodology of the “socialist realism”, the tragedy of honest criticism comprised. In controversy with the critic O. Harkivianin, V. Morskoy expressed the credo about the ethics and fighting qualities of the reviewer: “Apparently, Ol. Kharkivianin belongs to the category of peoples, who see the task of critic in order to give only the positive assessments. The vulgar sociological approach to the phenomena of art could be remaining the personal mistake of Ol. Kharkivianin. But when he presents him as the most important argument, everyone becomes uncomfortable”[8]. In 1949, the political regime fabricated the case of a “bourgeois cosmopolitan” against the honest theatrical critic and accused him in betraying of public interests adjudged V. Morskoy to untimed death at a concentration camp (Ivdellag, 1952). However, the time arbitrated this long discussion in favor of V. Morskoy. Conclusions. For the objective analysis of theater life of the city and the country as a whole, it is imperative to draw from the historical facts contained in the reviews of V. Morskoy, and the methodology of the review while investigating studies of theatrical art and theatrical thought of 1920–1940th. Thus, the gathering of the full kit of the critical observations of the famous Kharkov theater expert of the first half of the XX century is the important task for further researchers.
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Hösle, Vittorio. „On Some Specific Traits of Russian Culture“. Zeitschrift für Medien- und Kulturforschung 8, Nr. 1 (2017): 61–78. http://dx.doi.org/10.28937/1000107622.
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"The essay discusses the question in which sense there are continuities between the pre-Soviet, the Soviet, and the post-Soviet phase of Russian culture. It discovers in the rejection of the bourgeois value system an important constant factor. Even if originally rooted in the specific orthodox Christian sensibility, it helped prepare the Soviet revolution and survived even after 1991. From the Song of Igor’s Campaign to Tolstoy’s dramas, Eisenstein’s films and his film theory, and Maxim Kantor’s iconic interpretations of the late Soviet Union and its aftermath the essay tries to unveil crucial features of Russian culture. Der Aufsatz diskutiert die Frage, in welchem Sinne es Kontinuitäten zwischen der vor-sowjetischen, der sowjetischen und der post-sowjetischen Phase der russischen Kultur gibt, und entdeckt in der Ablehnung des bürgerlichen Wertesystems einen wichtigen konstanten Faktor. Auch wenn sie ursprünglich in der spezifischen orthodoxen christlichen Sensibilität verwurzelt war, half sie, die sowjetische Revolution vorzubereiten, und überlebte auch noch nach 1991. Von dem Igorlied bis hin zu Tolstois Dramen, Eisensteins Filmen und Filmtheorie sowie Maxim Kantors ikonischen Interpretationen der späten Sowjetunion und ihren Nachwirkungen enthüllt der Aufsatz entscheidende Merkmale der russischen Kultur. "
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Heinrich, Carola. „Humor and Memory“. East Central Europe 43, Nr. 3 (03.12.2016): 257–77. http://dx.doi.org/10.1163/18763308-04303001.
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With the Revolution in December 1989, Romania not only rejected the communist system but also Soviet authority and orientated itself towards the West. This paper explores what is remembered of Russia and the Soviet Union after 1989 and how Romanian dramas and films represent these memories. The paper studies three examples of staging “the Russian”: the radio theatre presentation of Petru by Vlad Zografi, the theatre piece Istoria comunismului povestită pentru bolnavii mintal by Matei Vişniec, and the movie Nunta mută by Horaţiu Mălăele. Memory is understood here as a process of cultural translation and the analysis aims to track the particularities of these representations that contribute to the negotiation of collective memory. The analyzed works seem to reinforce prevalent stereotypes, but these are inverted through comic devices. Humor is therefore identified as one of the main strategies for dealing with a violent past.
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Borkowska, Emilia. „„Russkij malczik” – bohater współczesnej literatury rosyjskiej“. Adeptus, Nr. 2 (15.12.2013): 44–52. http://dx.doi.org/10.11649/a.2013.011.
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‘Russkiy malchik’ – the hero of contemporary Russian literatureThe aim of this article is to present certain processes in contemporary Russian literature and the new hero of this literature. Russia literature after the collapse of the Soviet Union changed its position in the post-soviet culture. This was the result of cultural changes in this area. Some Russian critics noticed that a crisis in Russian literature had started at the beginning of the 90’s. Although Russian literature moved from the centre to the periphery of culture, this is, however, not crisis literature. It is literature that exists in times of crisis and with a new point of view describing the surrounding world. ‘Russkiy malchik’ – the new hero of Russian literature searches for his identity in a world that has changed unpredictably. He appears in the novels and dramas of present day Russian writers: postmodernist Victor Pelevin, realist Zahkar Prilepin and sentimentalist Evgeniy Grishkovec. These writers present different styles, generations and literary genres but their heroes are prone to the same problem: How to exist in a reality that they do not understand or accept.
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Lunacharsky, Anatoly. „‘The Last Great Bourgeois’: on the Plays of Henrik Ibsen“. New Theatre Quarterly 10, Nr. 39 (August 1994): 223–41. http://dx.doi.org/10.1017/s0266464x00000531.
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The death of Ibsen in 1906 prompted a number of appraisals of the dramatist by Marxist critics, notably Clara Zetkin, Henrietta Roland-Holst, and George Plekhanov. The most extended of these was Anatoly Lunacharsky's article, ‘Ibsen and the Petty Bourgeoisie’, published in three parts in Obrazovanie, St. Petersburg, Nos. 5–7 (June-August 1907). The central section, ‘Ibsen's Dramas’, is printed below. Born in the Ukraine in 1875, Lunacharsky became a Marxist in his teens and joined the Moscow Social Democrat group in 1899. Arrested for his political activities, he was exiled to Northern Russia, where he wrote his first theoretical treatise, An Essay in Positive Aesthetics. In 1903 he joined the Bolsheviks, but broke with Lenin after 1905, having identified himself with the so-called ‘God-seeking’ tendency. Following the fall of Tsarism in 1917 Lunacharsky rejoined the Bolsheviks, and after the October Revolution he was appointed to Lenin's first ‘Cabinet’ as Commissar for Enlightenment, a post embracing the arts and education. Exceptionally, he retained this position up until 1930, when he became one of the Soviet Union's two representatives to the League of Nations. He died in 1933, shortly before he was due to become Soviet ambassador to Spain. Lunacharsky's published output runs to some 1,500 articles, embracing philosophy, aesthetics, and theoretical and critical writings on all the arts. He also wrote a number of plays, including Faust and the City (1918) and Oliver Cromwell (1920). He was an intellectual of wide erudition and acute critical perception, balancing respect for the old and the traditional with encouragement for the new and the inconoclastic. As Commissar for Enlightenment, he did much to defend the early avant garde's freedom to experiment, making the Soviet Union a power-house of artistic innovation.
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Borbuchalova, Baktygul. „KYRGYZ SATIRE: ISSUES OF ORIGIN, TYPE, GENRE“. Alatoo Academic Studies 23, Nr. 3 (30.09.2023): 225–35. http://dx.doi.org/10.17015/aas.2023.233.24.
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It can be said that after the October Revolution, namely in the 20s of the twentieth century, a period of great success, controversy and heated discussions began for the former Soviet literature. These materials alone would give grounds for considering them as objects of special scientific research. After all, at that time, the literature of the Union republics was making a new step in professional terms, and with the publication of the first samples of written literature, its theoretical and practical issues were put on the agenda and aroused considerable interest. New concepts for the literature of the 1920s often arose within the framework of the Russian literature of that time, and with great difficulty they reached the remote mountainous regions, especially those like us, whose literature lived and developed in oral form. Its objective reasons are also known to us. Nevertheless, in 1924 the first Kyrgyz national newspaper Erkin Too was published on November 7 and served as a source of our literature. Starting from the first issues of the aforementioned Erkin Toon, some genres of Kyrgyz written literature appeared. Kyrgyz professional satire is also created on the pages of this newspaper. In a satirical work, laughter is necessarily critical and sarcastic. He pokes fun at petty flaws in people's behavior, work, and character with mild humour. Humor can be found in all genres of fiction - novels, short stories, essays, short stories, dramas, feuilletons, fables and others.
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Österberg, Ira. „Musiikki ja kerronnan tasot Kirill Serebrennikovin elokuvassa Kesä“. Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 32, Nr. 2 (01.07.2019): 8–26. http://dx.doi.org/10.23994/lk.83447.
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Venäläisen ohjaajan Kirill Serebrennikovin elokuva Kesä (Leto, Venäjä 2018) on tositapahtumiin perustuva, mutta silti voimakkaan fiktiivinen kuvaus Neuvostoliiton underground-rockin noususta valtavirtaan 1980-luvun alkupuolella, päähenkilöinä kaksi neuvostorockin tosielämän suurnimeä Majk Naumenko (1955–1991) ja Viktor Tsoi (1962–1990). Elokuvassa kuullaan luonnollisesti paljon musiikkia: venäläisiä ja länsimaisia 1980-luvun alun rock-hittejä sekä alkuperäisinä että uusina tulkintoina, mutta myös elokuvaa varten sävellettyä originaalimusiikkia. Kesä voitti parhaan soundtrackin palkinnon Cannesissa 2018, mutta sai Venäjällä ristiriitaisen vastaanoton.Artikkelissa keskitytään tarkastelemaan Kesän musiikinkäyttöä formalistisen lähiluvun ja rakenneanalyysin keinoin. Tarkastelun keskiössä on erityisesti elokuvamusiikin narratologia ja Claudia Gorbmanin (1987), Rick Altmanin (1987) ja Guido Heldtin (2013) määritelmät diegeettisyydestä, ei-diegeettisyydestä, supradiegeettisyydestä sekä ekstrafiktiivisyydestä. Tutkimuskysymyksenä on se, miten Kesä-elokuva käyttää neuvostoajan rockia elokuvamusiikkina ja miten tämä musiikinkäyttö ankkuroituu neuvostoelokuvien rock-musiikkikonventioihin.Kesän musiikkistrategiassa muodostuu selkeä vastakkainasettelu kotimaisen ja ulkomaisen, elävän ja nauhoitetun, sekä alkuperäisen ja uudelleentulkitun musiikin välille. Eri musiikkityylien ja kerronnan tasojen välille muodostuu elokuvassa tietynlainen säännönmukaisuus ja tehtävänjako. Se miltä kerronnan tasolta musiikin katsotaan milloinkin tulevan vaikuttaa vahvasti siihen, miten realistisena minkäkin kohtauksen voi lukea, ja tämä puolestaan sitoo elokuvan eri genreperinteisiin: realistisempi, diegeettinen musiikkiesitys ankkuroi elokuvan elämäkertaelokuvien genreen, kun taas täysin epärealistiset, supradiegeettiset musiikkiesitykset viittaavat enemmän musikaaliperinteeseen.
Music and Levels of Narration in Kirill Serebrennikov’s film LetoRussian director Kirill Serebrennikov’s Leto is a film about the rise of the underground rock scene into the mainstream in early 1980s Soviet Union. The film is based on a true story and the lives of two rock legends Majk Naumenko (1955–1991) and Viktor Tsoi (1962–1990), even though it also contains plenty of highly fictitious elements. The music track features Russian and Western rock songs of the era both as original performances as well as cover versions, additionally there are also excerpts of original score. Leto won the best soundtrack award in Cannes in 2018, but it received mixed reviews in Russia.This article analyses the use of music in Leto through formalist close reading and structural analysis. The analysis relies heavily on film music narratology and in particular on Claudia Gorbman’s (1987), Rick Altman’s (1987), and Guido Heldt’s (2013) definitions of diegeticity, non-diegeticity, supradiegeticity, and extrafictivity. The research question concerns how is Soviet era rock used as film music in Leto, and how does this use relate to the rock music conventions in Soviet cinema.In the musical strategy of Leto, there arises a juxtaposition between domestic and foreign music, as well as live and recorded, and original and re-interpreted music. Furthermore, there is a structure and logic in the way the different types of music relate to the levels of narration throughout the film. The narrative level that the music is anchored to has an effect on the interpretation of individual scenes and events as realistic or unrealistic. This also anchors the film in different film genres or traditions: a more realistic, diegetic music performance is connected with traditional biopic dramas, whereas the unrealistic, supradiegetic musical performances are more closely connected with the tradition of Hollywood musicals.
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Jo, Sunggu. „Soft Power in Northeast Asia, Using AI in Information Warfare“. J-INSTITUTE 8 (31.08.2023): 23–36. http://dx.doi.org/10.22471/ai.2023.8.23.
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Purpose: Conflicts between Korea, the United States, Japan, North Korea, China, and Russia continue along with the competition for supremacy between the United States and China, and conflicts between South and North Korea and between China and Taiwan continue as the Korean Peninsula is an area with a high possibility of military conflict. However, even in North Korea, China, and Russia, which are closed countries, the influence of the soft power of cultural content such as dramas through the Internet is bringing about changes in collective sentiment even in closed countries. Due to these phenomena, Northeast Asia, which has been confronted with military power, is facing a new phase, and we wanted to discuss the use of AI technology in information warfare by the soft power of the Intelligence Agency.
Method: For the expansion of AI use and research on information warfare, the historical cases of Northeast Asia were analyzed, and the evolution of literature and media was reviewed to understand the phenomenon of artificial intelligence (AI) after the 4th industrial revolution, and the themes were selected. In addition, related data were collected and reviewed, and an attempt was made to theoretically establish the research results academically.
Results: 1. Northeast Asia is undergoing a transition from order based on hard power through military power to soft power based on cultural content. Just as the spread of culture has expanded faster and deeper the more it is controlled by the state, many researchers in Northeast Asia sympathize with the collapse of the system when asked how long such surveillance and control by dictatorships such as China and North Korea will be possible. According to this phenomenon, the influence of the power of culture on society was analyzed. 2. Artificial intelligence (AI) learning information will adversely affect sound soft power due to manipulated information and biased algorithm learning data. Due to this loophole, the Intelligence Agency will launch an information war using artificial intelligence (AI) technology that suits its own interests. In addition, the Internet will accelerate the propagation speed of distorted soft power and penetrate deeply into human life. Therefore, the Intelligence Agency is expected to analyze the influence of this distorted soft power on its country and start blocking and defending against attacks.
Conclusion: 1. The legal system before the advent of AI is expected to be modified or supplemented by more than 50% after the advent of AI. In accordance with this paradigm shift, the authority of the Intelligence Agency in the information warfare of AI was divided into the right to investigate, the right to investigate, and the right to operate. 2. In response to the threat of using artificial intelligence (AI) in information warfare, the government of the country not only expanded the size of the Intelligence Agency but also proposed a hybrid structure of cooperation with the private sector, that is, a model of ‘hybrid defense’. Lastly, in 1983, when tensions between the US and the Soviet Union were in the Cold War, the state-of-the-art scientific equipment, a satellite for detecting nuclear missiles, recognized the US ICBM launch warning. In response, Lieutenant Colonel Stanislav Petrov, commander of the Watch Command of the Soviet Air Defense Force, determined through human intuition that this was a computer error. It reexamined the case of preventing World War III by judging computer errors through human intuition, not judgment of scientific equipment, and suggested ethical issues in information warfare.
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Ivanova, Yuliia. „Children’s choir in MarkKarminskyi’s creativity“. Aspects of Historical Musicology 19, Nr. 19 (07.02.2020): 29–43. http://dx.doi.org/10.34064/khnum2-19.02.
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Background. The article deals with the choral creativity by the famous Ukrainian composer Mark Karminskyi. The weight of M. Karminskyi’s choral works in the legacy of the composer and in choral art in general stimulates research interest in this area of his activity. However, there are relatively few scientific studies that examine the composer’s choral work; most of them are aimed at reconstructing his general creative portrait or at examining other pages of his heritage. The scientific novelty of this research is determined by the comprehensive coverage of children’s choral creativity by M. Karminskyi and the consideration of his unpublished choral works. The research methodology, synthesizing analytical and generalizing approaches, is based on the traditions of national musicology and is determined by the specifics of vocal and choral genres, first of all, by the inextricable link between musical drama and text. The purpose of the article is to recreate the most complete picture of M. Karminsky’s choral work for children and to determine its role in contemporary choral performing. The results of the research. The composer’s early works were distinguished by meaningfulness, optimism, brightness of musical images, which was embodied in easy, convenient and accessible tunes. Many Soviet-era songs created for children of different school age were included in the “Songs for Students” collections as a new program material for choral singing of Ukrainian secondary schools students in music lessons. Several works of the author became known throughout the country and published in the leading music publishers in Kiev and Moscow: “What Boys Are Made Of” (lyrics by R. Burns translated by S. Marshak), “Quicker to the Gathering” (by L. Galkin), “Balloons” (lyrics by Ya. Akim). The songs about Victory in the Second World War are popular: “Victory is celebrated by the people” (S. Orlova), “The soldier has forgotten nothing” (E. Berstein), “Red Poppies” (poems by G. Pozhenyan). The composer combines his songs into vocal-symphonic suites. One of the main genre of choral creativity of the author has become a miniature that is able to absorb a variety of musical expressive means to expand and deepen the content of the work in a small area of the form. The works by M. Karminskyi revealed such features of choral miniature as philosophicity, attentive attitude to the word, its emotional and semantic meaning, which is reflected in the detailed development of the thematic material. Most of the composer’s choral works are written for a cappella choir. The collections of “Choral Notebooks” (1988) and “Road to the Temple” (1995) have reflected the artist’s thoughts for several decades. The figurative content of “Choir Notebooks” includes the lyrical states caused by contemplation of pictures of nature; the collection “Road to the Temple” represents philosophical reflections not only of a personal nature, but also thoughts about the universal problems of today. The cycles reveal the principles of the composer’s thinking and are one of the pinnacles of his creative heritage. The article looks at one of the best works of the cycle “Road to the Temple”, the choir “Remembering Drobitsky Yar” (lyrics by E. Yevtushenko) for children’s choir, soloist (tenor) and piano. Also, the article deals with unpublished choral works by M. Karminskyi “Paraphrases on the Sonata of Mozart” and “Guitar” on F. G. Lorka’s poems. In the work “Guitar” on Lorca’s poem (translated by M. Tsvetayeva), the composer uses signs of Spanish color: imitation of techniques of playing the guitar, rhythmic copyism of the castanets playing and other. The poetic text “decorated” by flexible, broad, expressive melody that gives words greater emotion. The piece is full of sharp changes of genre signs of melodic structures (vocal without text, dance, austinous repetitions) revealing the semantic implication of the poem. The basis of the “Paraphrase on the theme of Mozart’s Sonatine” was the fourth part (Allegro) of Sonatina No. 1 in C Major from the Six Vienna Sonatas by W. A. Mozart. M. Karminskyi noticed the vocal nature of many parts of this cycle and skillfully made a “translation” of one of them for the children’s choir. Unlike many of his contemporaries, he wrote music that does not fundamentally claim to be innovative. As a true professional, he pays attention to the integrity of the compositions elaborating the smallest details. He strives for the laconism of expression and, at the same time, is able to saturate the choral texture with modern expressive means, if the artistic image of the work requires it. Natural expressive intonation, intonation as emotional content of vocal language distinguishes choral music by M. Karminskyi. A special role in intonation is played by breathing, it is inextricably linked with melodic movement and energy. The breath of the melodies of the author is enriched by the lively intonations of the language, which reveal her “soul”, give a feeling of warmth, strength, caress, greatness, truthfulness. Musical form of the composer’s works is determined by the intonation of the music. Based on linguistic-vocal intonations, most of the author’s works have strophic forms that follow from the semantic aspect of the literary text. Karminskyi is a master of choral unison. This mean of expressiveness, which is not often used by composers, in Karminsky’s works is a carrier of expressive melodism and suppose the performance with a great inner feeling. Features of declamation always find a place in his choirs, they reproduce the living human language, the spiritual experiences of a man. Conclusion. The works for the children’s choir have a special purity and cordiality that is so subtly perceived by children. Mark Karminsky’s music is capable of drawing children’s attention to musical values that purify the soul and nurture personality. His music makes you think and feel! M. Karminsky’s creativity has forever entered the concert practice of children’s choirs of Ukraine.
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Kim, Alexander, Mariia Surzhik und Aleksei Mamychev. „To the Question of Economic and Material Data during the 1st Year of Deportation 1937 in Kazakhstan and It Affected Korean Material Life“. Central Asian Affairs, 21.12.2023, 1–17. http://dx.doi.org/10.30965/22142290-bja10048.
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Abstract According to the opinion of many scholars in Soviet Union and Russia, period of the end of 1920s. to the 1930s. was the most contradictory and tragic in the history of Soviet State. A great place in it takes process, named after repressions, which were held for different reasons and had different slogans. The most tragic of them is persecution based on nationality, which, in its essence, went completely against the claims of Soviet authorities regarding equality among nations. Repercussions of that drama have reached to present day, and besides, still have an influence on politics and ethnic questions in modern Russia.
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Lapidus, Rina. „The “Erotic” Tractor in the Soviet Cinema“. Quaestio Rossica 8, Nr. 2 (23.06.2020). http://dx.doi.org/10.15826/qr.2020.2.478.
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Between the 1930s and the 1960s, much emphasis was put in the Soviet Union on the technological development of the country. One of the latest wonders of technology was the tractor, which harvested crops efficiently and rapidly. This article is concerned with the Soviet cinematic representation of work with tractors as the most erotic characteristic of a man. A man attractive to women in Soviet cinema is not handsome but rather is someone proficient in operating a tractor. On the other hand, a man who does not know how to operate a tractor is represented as impotent and is ridiculed by female characters. Several romantic films were produced in which the relationship between the protagonists developed against a background of the use of a tractor. These films became iconic and classic: everyone saw them many times and knew their scripts by heart. Most of the films depict a young Soviet man and his path to the heart of his girlfriend, and some show the maturation of the young character and his transformation into a real man. These goals are achieved through his work as a tractor driver. Examples of this are films like The Rich Bride (romantic comedy, 1937), Tractor Drivers (romantic drama, 1939), Cossacks of the Kuban (romantic comedy, 1949), It Happened in Penkovo (romantic drama, 1957), and Knight’s Move (comedy, 1962). In all these films, work with tractors is represented as an integral part of the “machismo” of the Soviet man.
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Paavolainen, Pentti. „Karjala kulttuurisena traumana Suomen teatterissa“. Viipurin Suomalaisen Kirjallisuusseuran toimitteita 23, Nr. 23 (31.03.2021). http://dx.doi.org/10.47564/vskst.113646.
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Karelia as a cultural trauma in Finnish theatre
This article asks how Finnish-language theatre and plays have depicted ceded Karelia and reflected the feelings of the Karelian diaspora. The theatrical art- form is understood as a dialogue between narratives intended for the commu- nity and the reception they receive from them. The article examines the ways in which theatre participated in dealing with the cultural trauma of the diaspora. The changing political climate in Finland and Russia, as well as the ambivalent relationships of the post-war Karelian generations with the traumatic narrative of the older generation, allows three periods to be distinguished: 1. The stage of harmony, longing and nostalgic drama (1940–1965), when the focus was mainly on lost era; 2. The phase of conflicting Karelian orientations (1965–1990), when the influence of the Soviet Union on public debate and interpretations of history was at its strongest; and 3. The stage of consolidation of the Karelian narrative (1990–2020), when epic theatre covering all the war years was performed in Fin- land dealing with forced departure and adaptation, now from the perspective of the evacuees’ own experience and Finnish interpretation of history.
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„Author's genre definition as a comprehension of the new reality (based on the drama of Ukrainian emigration writers in the middle of the twentieth century)“. Journal of V. N. Karazin Kharkiv National University, Series "Philology", Nr. 81 (2019). http://dx.doi.org/10.26565/2227-1864-2019-81-18.
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This article is devoted to the study of author's genre definitions as a way to grasp the new reality in which the Ukrainian emigration playwrights appeared in the middle of the twentieth century. It is found out that the originality of author's nominations was caused by the need for a philosophical rethinking of time, definition of moral and ethical priorities. The original genre marking of plays reflects social, political, psychological changes in the life of both society and the individual, drawing attention to the actual problems of that time. The author's definition of plays is often subjective. It points to the artist's experience, focusing mainly on the emigration processes of the mid-twentieth century. It was proved that the practice of author subtitles, in addition to attempts to indicate a historical and cultural paradigm, indicated the complexity of the communicative ability of emigration writers in the foreign-language space. Also, genre definitions indicated the thirst for self-expression, which in the Soviet Union was impossible, and in the new conditions is an indispensable attribute of self-affirmation, a kind of evidence of the existence of each individual. The fact of creation of new genre nominations, consonant with creative searches of artists due to the thought of the crisis of the theater of the twentieth century reigning in the contemporary world cultural space, is important. The activation of the personality and author's component in the subheadings marks of a departure from the canonical genres, which should be assumed, could not adequately realize the ideological idea of emigration artists. In this way, playwrights not only expanded the structural and semantic capacity of the genre, but also confirmed their right to interpret their own works.
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Näripea, Eva. „“Viimne reliikvia” ja “Kolme katku vahel”: ruumist eesti ajalookirjanduse ekraniseeringutes / The Last Relic and Between Three Plagues: On Space in Film Adaptations of Estonian Historical Fiction“. Methis. Studia humaniora Estonica 12, Nr. 15 (10.01.2017). http://dx.doi.org/10.7592/methis.v12i15.12118.
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Teesid: Artikkel keskendub kahele ajalooromaani ekraniseeringule Nõukogude Eesti filmikunstis: „Viimne reliikvia“ (1969, rež Grigori Kromanov, Tallinnfilm), mis põhineb Eduard Bornhöhe romaanil „Vürst Gabriel ehk Pirita kloostri viimsed päevad“ (1893), ning „Kolme katku vahel“ (1970, rež Virve Aruoja, Eesti Telefilm), mille seosed oma kirjandusliku allikaga (Jaan Krossi samanimelise romaaniga) on oluliselt keerulisemad. Ekraniseeringuid käsitletakse ruumirepresentatsioonide perspektiivist, uurides, missuguseid strateegiaid kasutati filmiruumide loomisel, kuidas suhestuti kirjandusliku (lähte)materjaliga ning millised ajaloonarratiivi ja rahvusliku identiteedi vahekorrad neis kangastuvad.SU M M A R YThis article examines two Soviet Estonian screen adaptations of historical novels: The Last Relic (Viimne reliikvia, Tallinnfilm, 1969, directed by Grigori Kromanov), based on Eduard Bornhöhe’s novel Prince Gabriel or The Last Days of Pirita Monastery (1893), which became a box-office hit throughout the Soviet Union and even beyond; and Between Three Plagues (Kolme katku vahel, Eesti Telefilm, 1970, directed by Virve Aruoja) which reached much more limited TV-audiences; the connections between this film and its literary „source“ (a novel of the same name by Jaan Kross) are much more complicated. These screen adaptations are considered from the perspective of spatial representations. I examine which strategies and devices the scriptwriters, directors and production designers drew upon when constructing these cinematic spaces and how they related to their literary hypotexts. As generally for adaptations of historical novels to other media, both The Last Relic and Between Three Plagues speak (perhaps even primarily) about their time of production, about the present rather than the past. In this regard, it is important to recall the role of Tallinn’s Old Town as a locus of resistance in Soviet Estonian culture. Arguably, while the narrative of subversion of The Last Relic has predominantly been connected with the film’s soundtrack (in particular, with the lyrics), the ideologically ambiguous sub-currents of the film’s spatial representations have received much less attention. In addition, the generic difference of The Last Relic (a historical adventure film) and Between Three Plagues (a psychological drama, according to Jaan Kross, the scriptwriter of the film and the author of the novel), allows tracing their varying attitudes towards historical urban space and its representation. My analysis of these screen adaptations draws on the view according to which a novel and its cinematic adaptation are not involved in a hierarchical relationship of an „original“ and a „copy“; rather, they should be perceived as artworks of equal standing that are associated by links of intertextuality.The Last Relic, defined by its authors as a historical adventure film, is centred on a complicated love story from the 16th century, presented against the background of the conspiracies and plots of church and nobility, and the revolt of Estonian peasants against these institutions. The approach to the urban space of the Old Town is romantic-rustic, showing the dirty grey colouring of patina on limestone building blocks and demonstrating the heaviness of squared timber. Regarding the relations between the good and the bad, and also the spatial representation of these relations, this is almost in every respect a true-to-the-regime film, which has all the prerequisites for belonging to the subject-dulling repressive entertainment mechanism of the society of spectacle. Despite this, the film managed to acquire clearly distinguishable connotations of national resistance, especially through its music, but also through subtle shifts in spatial representations. By means of its lyrics, but also due to its ambiguous attitudes towards the main settings of its story – the monastery and the Old Town– the film performed a brief intervention into the discursive space of the dominating power, creating a vacuum where, for a moment, the Other reigned.Between Three Plagues intentionally opposes the formulas of mass entertainment. The scenography and cinematography of the film are characterised by the „immobility of medieval engraving“ (Tobro 1970), suggesting a reflective mood instead of the dynamic spectacularity and false optimism of socialist realism. Stylistically the film resembles the works of Scandinavian authors like Carl Theodor Dreyer (esp. Day of Wrath, 1943) and Ingmar Bergman (esp. The Seventh Seal, 1957). The goal of contradicting easy entertainment was already embedded in the original version of Jaan Kross’ screenplay, which prohibited the „exhibition of old architecture and museum pieces“, and asked instead to emphasise „the material texture of the backgrounds and larger props…: cobblestone pavement, the grain of timber, rough textiles and especially, limestone walls“ (Kross 1965: 2). Nevertheless, the film’s architectural setting does not form noticeable metaphors. Still, the avoidance of the romanticism and the lack of domineering popular music instantly locates this film outside the repressive desire-creating machine and the illusions that (re)produce wishful reality. But as far as the sense of national resistance is concerned, although the film indeed presents a number of elements that are ideologically problematic in the context of Soviet society, e.g., the question about the permissibility of speaking the truth and the censorship; the struggle between the authority and the arts, it remains firmly within the overall limits set by the Soviet system.