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Academic literature on the topic 'Pioneers Palace'

Author: Grafiati
Published: 27 July 2024
Last updated: 29 July 2024

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Journal articles on the topic "Pioneers Palace"

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Davydenko, Mihail. "LITERARY AND CREATIVE COMPETITION MATERIALS FROM THE 1950S AND 1970S FROM THE NOVOSIBIRSK CITY ARCHIVES." Children's Readings: Studies in Children's Literature 23 (2023): 415–29. http://dx.doi.org/10.31860/2304-5817-2023-23-1-415-429.

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This article publishes the work of schoolgirl Lyudmila Muravyova who won the first prize in the literary contest of the Palace of Pioneers in Novosibirsk in 1962. The children’s literary competition was an important part of the mass work of the Department of Art Education of the Novosibirsk Palace of Pioneers in 1950s-1970s. Its work is thoroughly documented in the annual formal reports of the Palace of Pioneers, which are stored in the Novosibirsk City Archives (NSA) in fund 143 of the Municipal educational institution of additional education for children of Novosibirsk “Palace of creativity of children and students of youth ‘Junior’”. Based on the documents from the archives, the article presents the organizational structure of the competition, the compositions of participants, organizers, the sequence of the competition, instructions for creative contests. The article contains biographies of the contest participants and their future fates in the field of literature and journalism, as well as biographies of the contest organizers and jurors. The appendix contains an essay Statuetka (“Statuette”) by Lyudmila Muravyova and a conclusion-feedback from writer Nikolai Osinin, a member of the contest jury, based on the results of the 1962–1963 academic year.
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Kartashova, N. P., and V. V. Kruglyak. "Landscaping of cultural and public amenities objects." Forestry Bulletin 26, no. 5 (October 2022): 71–82. http://dx.doi.org/10.18698/2542-1468-2022-5-71-82.

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The historical scheme of the Moscow Palace of Pioneers is analyzed. The features of the reconstruction of the territory of the Moscow Palace of Pioneers are revealed. The master plan of the territory of the palace of creativity for children and youth of the city of Voronezh is shown. The distribution of trees by state categories and life forms is given. The location of flower beds on the territory of the Palace of Creativity for Children and Youth of the city of Voronezh is presented. The range of recommended plants, their exactingness to soil moisture and types of plantings for the object of landscape organization of the territory is characterized. It has been established that planting of tapeworms, landscape groups, row plantings and hedges is recommended on the territory of the design object. The structure of the master plan of the literary park on the territory of the palace of creativity for children and youth of the city of Voronezh is determined. The place of the design object on the panorama with a view of the Voronezh reservoir is indicated.
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Dormidontova, V. V., and K. I. Kuznetsova. "Architectural landscape ensemble of Pioneer palace on Vorobyovy gory. History and modernity." FORESTRY BULLETIN 24, no. 5 (October 2020): 12–19. http://dx.doi.org/10.18698/2542-1468-2020-5-12-19.

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This article deals with the problem of the significance of the Soviet period in the development of landscape architecture in our country and abroad. The object of research is the architectural and landscape ensemble of the Palace of pioneers on the Vorobyovy gory. To determine the origins and compositional value of this object, the stages in the development of Soviet landscape architecture are traced. The first stage is characterized — the period of constructivism in 1920–1930, which formed typologically new objects of landscape architecture — parks of culture and recreation, and had a decisive influence on the development of modernism throughout the world. The study of the works of Soviet landscape architects L.A. Ilyin, M.P. Korzhev, V.I. Dolganov, and M.I. Prokhorova revealed the techniques of architectural and landscape organization of objects of this period: functionality, conciseness, dynamics, asymmetry and scale. It is shown that the Palace of pioneers on the Vorob’ovy gory is one of the striking examples of the second stage, which came after the great Patriotic war, inheriting the techniques of constructivism and bearing the civilizational signs of the Soviet era in Russia. A comparative compositional analysis of its architectural and landscape composition in the past and present is carried out. The techniques by which the Palace of pioneers on the Vorobуovy gory had the quality of an ensemble are highlighted.
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Letin, Vyacheslav A. "Historical discourse of Mikhailovsky castle's artistic universe: aspects of power." World of Russian-speaking countries 1, no. 11 (2022): 112–33. http://dx.doi.org/10.20323/2658-7866-2022-1-11-112-133.

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This article examines the historical discourse of Emperor Paul's representational program of power and personality in the context of the artistic universe of his St. Petersburg residence, the Mikhailovsky Castle. This large-scale project, Paul I embodied not only advanced building and decoration technologies of contemporary palace construction, but also the traditions of the sovereign's power and personality representation inherent in the palace discourse. The Mikhailovsky Castle of Emperor Paul I was both the most “expensive” object of palace construction and the most “conceptual”. His symbolic program absorbed the principles of power representation implemented in the residences of his predecessors. However, at the same time, it was formed personally by the royal customer. Examining the correspondence between the compositional axes of the building to the earthly (south-north) and spiritual (west-east) aspects of existence, the author of the publication reveals the symbolic, gender and historical principles in the composition of the grand enfilades of Paul I (southern and eastern parts of the palace) and Maria Feodorovna (northern and western parts of the palace). The researcher focuses on interpreting the history of Russia and the Sovereign's persona in the setting of the palace's exterior and interiors of the palace. The detailed semiotic analysis of the historical paintings created by J. Atkinson and G. I. Ugryumov on the initiative of Emperor Paul I for the Resurrection Hall of the Palace reveals the concept of power, based on the principles of masculinity, patriotism and sacredness. The gallery of hero rulers (the first of their kind), created by the artists, presented Paul I as one of the royal pioneers – the first ruler to unite not only secular and spiritual power, but also the Eastern and Western Christian churches. The dualism of secular and sacred principles is the leitmotif of the historical discourse of the palace decor, which, in turn, corresponds to the idee fixe of its sovereign master.
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Kulig, Anna. "About historic stonework in Kraków." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 13, no. 3 (January 12, 2018): 7–13. http://dx.doi.org/10.35784/teka.1709.

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Massive fragments of portals, mouldings, and columns which are stored in stone collections and museum storage rooms are today of no particular interest. They spur the visitors’ imagination only slightly; there, just a piece of stone, carved, yet incomplete, broken. Can this legacy, difficult in perception, be shown in a different way and made memorable? Can it be made close to the audience? The concepts of the pioneers of conservation of historical objects are worth referencing. Realized concepts testify for an attitude of respect towards the legacy and traditions. Gothic architectural details that were abandoned during demolitions of historical structures in the 19th century, have survived elsewhere, “incrusted” in other structures. It happened in the walls of Collegium Maius, The Bishop Erazm Ciołek Palace, Pusłowscy Palace, Lubomirscy Palace, Tadeusz Stryjeński Palace. They were often treated as native relics. Saved from destruction and from being forgotten they adorn facades, interiors and gardens. Perhaps the idea and the examples of stone collections will spur a reflection and inspiration in designers today.
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Malafeev, M. "DOCUMENTS OF THE PERSONAL FUND OF THE ACTOR O.O. MARKOV AS A HISTORICAL SOURCE ON THE HISTORY OF CREATIVE INTELLIGENTSIA OF SAMARA IN THE SOVIET PERIOD." PERSONAL FUNDS OF STATE ARCHIVES AS A SCIENTIFIC AND INFORMATION RESOURCE, no. 2 (2023): 330–37. http://dx.doi.org/10.18287/978-5-6049622-0-6-2023-41.

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The article considers the biography of O.O. Markov (1889-1972), actor of the Kuibyshev Drama Theater, teacher, head of the drama studio of the Kuibyshev Palace of Pioneers, the personal fund of O.O. Markov in the Central State Archive of the Samara region is analyzed, the historical and informational potential of the foundation's documents for concrete historical research on the history of the creative intelligentsia of Samara in the Soviet period is determined.
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DINU, Ștefania. "BIBLIOTECA REGELUI FERDINAND DE LA PALATUL COTROCENI." Revista Bibliotecii Academiei Române 8, no. 16 (March 15, 2024): 41–54. http://dx.doi.org/10.59277/rbar.2023.16.03.

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The Cotroceni Palace was the permanent residence of the princely and then royal family Ferdinand and Marie. From the beginning of construction, the library was furnished in the French Henry IInd style and paneled in elm wood. Over time, the interior aspect of the library has not changed radically, housing a rich collection of books, as can be seen from the inventories made within this royal residence in the years 1930, 1938 and 1948. Prince and later King Ferdinand was anaccomplished book lover, passionate about botany, which he dealt with with the skill of a specialist, spending a lot of the free time he had at his disposal, in the library, to arrange his herbariumconstitutedas a result of his travels through the mountains, to Sinaia, on the Danube or after walks through the parks of the royal residences. After the death of King Ferdinand, the library continued to be used by Queen Marie, and later, after her death (1938) and then after the forced abdication of King Mihai and the establishment of the communist regime, the Cotroceni Palace suffered great destruction and the alienation of the heritage, including books from the royal library. The transformation of the Cotroceni Palace into the Palace of the Pioneers caused the interventions to change the interior appearance of the sumptuous royal halls, the library retaining its appearance from the royal period, but becoming a space for the political-ideological training of students and young people. After the restoration of the palace and the establishment of the Cotroceni National Museum, the library became part of the permanent exhibition, a space of spirituality, which exudes an atmosphere of sobriety that can only be found in the offices of great researchers and lovers of science.
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Qi, Xueyuan. "Analysis on the Marketing Strategies of Cultural and Creative Products Based on Case Study of Beijing's Palace Museum." Advances in Economics, Management and Political Sciences 26, no. 1 (September 13, 2023): 33–40. http://dx.doi.org/10.54254/2754-1169/26/20230537.

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With the improvement of people's spiritual and cultural needs, cultural and creative industries are rising all over the world. Museums are pioneers and important carriers of cultural and creative industries. A good industrial strategy should be consumer-centric. The Palace Museum has played a leading role in the domestic cultural and creative industry and has successfully attracted many consumers with its excellent marketing concept. However, there are still some shortcomings in the commercialization of museums' creative cultural products. This article takes the Palace Museum as an example to explore the commercialization strategy of the cultural and creative industries. Through literature analysis, this study analyzes the development and industrial strategy of cultural and creative industries and puts forward suggestions to improve the development status of cultural and creative industries. Cultural and creative industries can optimize the product mix from the perspective of customers and design practical products with innovative thinking. The culture and creative industry should deliver third-party services and improve the logistics system. This paper also suggests to use of new media propaganda channels and to pay attention to intelligent propaganda.
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DRĂGULIN, Ioana. "Cotroceni Palace Symbol of the Propaganda of the Communist Regime From Romania in the Years 1948 - 1977." Anuarul Universitatii Petre Andrei din Iasi. Fascicula Drept, stiinte economice, stiinte politice 26 (2020): 76–110. http://dx.doi.org/10.18662/upalaw/50.

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World War II produced a major shift in global power relations and led to the emergence of bipolarism. The agreements reached by the Allies in Yalta in February 1945 sanctioned the USSR's rule over Eastern Europe. In this context, the takeover of political power and the changes imposed in the economy by the communists in Romania, with the direct help of the USSR was a logical consequence. All the events that took place in Romania between August 23, 1944 and December 31, 1947 were part of the logic of communizing the Romanian society and state on the Soviet model. The communization of Romania followed a path that provided for the invalidation of the liberal, democratic, bourgeois, capitalist model of society and the imposition of another communist, undemocratic, egalitarian, totalitarian model. In order to achieve this goal, measures had been brutally applied to restrict citizens' rights, both politically and in terms of expression or property. In this context, the change of the historical role of the Royal Palace from Cotroceni to the Palace of the Pioneers was part of the propagandistic activity of a totalitarian regime which, in the absence of popular legitimacy, by vote, had to "fabricate" a history to legitimize it in front of the Romanian people.
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Murovana, Irina. "REFORMING OF CHILDREN'S CHOREOGRAPHIC EDUCATION IN KIROVOHRAD REGION IN THE 80-s OF THE XX CENTURY." Aesthetics and Ethics of Pedagogical Action, no. 15 (March 9, 2017): 97–107. http://dx.doi.org/10.33989/2226-4051.2017.15.175891.

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The author attempts to explore the process of the reforming of children's choreographic education in Kirovohrad region in the 80-s of the twentieth century in this article. Choreographic education in the mentioned period was getting the features of continuous education. Starting from pre-school educational establishments, which had become the basis for harmonious development of a child, choreographic education was directed towards aesthetic upbringing of young people as well as universal values at all stages of learning. Thanks to public support functioning artistic groups worked effectively and new dance groups on the basis of secondary schools, palaces of pioneers and schoolchildren, enterprises, rural, urban and district houses of culture were created. Significant shifts occurred in the system of out-of-school education. Teachers-researchers focused their attention on the developing of new methods of cultural and educational work in out-of-school establishments, the events which were aimed at the improving of physical and psychological health of children, formation of the interest to the training in dance groups were especially important. Creation of creative children's associations, clubs, groups of the choreographic direction on the basis of the Kirovohrad regional Palace of Pioneers and Schoolchildren was not an exception in the system of art and aesthetic education of schoolchildren.The development of choreographic education in Kirovohrad region is demonstrated in the creation of new children's dance groups. The participation of children in the work of choreographic groups was directed at the goals gaining, namely: aesthetic education by means of choreographic art, expanding of the worldview and formation of moral qualities of a personality (collectivism, responsibility, friendship, sociability etc.). Despite the situation in the country, choreographic collectives, groups and ensembles of Kirovohrad region continued to popularize Ukrainian traditions, culture, and history of its people by means of choreographic art, to store and pass on the Ukrainian national heritage to the younger generation. The concept of «mentoring» emerged and consolidated in Kirovohrad region. In the 1980-s experienced managers of the best and most successful choreographic collectives shared their experience with young colleagues, provided consulting, gave creative tips.
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Books on the topic "Pioneers Palace"

1

Burke, John M. From prairie to palace: The lost biography of Buffalo Bill. Spokane, WA: Marquette Books, 2005.

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Chris, Dixon, ed. Buffalo Bill from prairie to palace. Lincoln: University of Nebraska Press, 2012.

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Reid, Susan Emily. Khrushchev in wonderland: The Pioneer Palace in Moscow's Lenin Hills, 1962. Pittsburgh, PA: Center for Russian and East European Studies, University of Pittsburgh, 2002.

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Reid, Susan E. Khrushchev in wonderland: The Pioneer Palace in Moscow's Lenin Hills, 1962. Pittsburgh, PA: Center for Russian and East European Studies, University of Pittsburgh, 2002.

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1963-, Campos Candido Malta, and Simões Júnior José Geraldo, eds. Palacete Santa Helena: Um pioneiro da modernidade em São Paulo. São Paulo, SP: Editora SENAC São Paulo, 2006.

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Burglehaus, Maria T. Stop singing, people might hear you: My cleft book. Calgary: M.T. Burglehaus, 2002.

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Law, Gordon. Palace Pioneers: How the First Crystal Palace FC Helped Create the Modern Game. Independently Published, 2021.

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Law, Gordon. Palace Pioneers: How the First Crystal Palace FC Helped Create the Modern Game. Independently Published, 2021.

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Burke, John M., and Chris Dixon. Buffalo Bill from Prairie to Palace. University of Nebraska Press, 2012.

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Hain, Kathryn A. Epilogue. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190622183.003.0017.

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KHAYZURAN’S MANIPULATION of three generations of Abbasid caliphs and courtiers make her probably the best known concubine of the Abbasid court, a place and time still famous as the backdrop for the stories of The Arabian Nights. As the mother of al-Hadi (r. 785–786) and Harun al-Rashid (r. 786–809), she provides us an early example of the social mobility and wealth that an enslaved woman could attain in Islamic society. Nabia Abbott, a pioneer scholar in English on early Muslim women, wrote a biography of Khayzuran. According to her work in the Arabic sources, slavers in Yemen kidnapped this lithe girl, named her Khayzuran (“Slender Reed”), and put her through musical training in Mecca to increase her value before selling her to the caliph on the Hajj. After Khayzuran secured power in the palace, she sent royal envoys to Yemen to search for her family. They found her father to be no more than a roughly dressed freedman working in the fields. This slave concubine who became queen mother influenced royal appointments and dominated the courtiers, her spouse, and her sons, enabling her to funnel incredible wealth to her own treasury. At the time of her death, it was recorded that her yearly income consumed half the land taxes of the empire. Her estate included a huge palace with over 1,000 slaves to serve her, gold, jewels, and 18,000 silk brocade dresses. Not bad for a skinny farm kid from Yemen....
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Book chapters on the topic "Pioneers Palace"

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Portinari, Stefania. "‘Dissidenti’ e invitati alle mostre del 1920." In Storie dell’arte contemporanea. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-199-7/009.

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1920 is a watershed: a year that marks a break and a detachment in exhibitions held at Ca’ Pesaro palace. If in 1919 there was a ‘resurrection’ of the annual group show, after World War I, then a rift emerges that will never heal. A split between ‘dissident’ artists (actually the most interesting ones and pioneers of those so famous exhibits) and who was then in charge on the venue took place. Therefore some verifications about real reasons are reaffirmed through research on press and statements. Is there actually a unity of poetic between those ‘rebels’? Or it just happened due to a spirit of uncompromising revolt? Maybe it has more to deal with meeting again between soul mates.
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Reid, Susan E. "The Pioneer Palace in the Lenin Hills." In Picturing Russia, 218–23. Yale University Press, 2008. http://dx.doi.org/10.2307/j.ctt5vm1n6.47.

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Cottrell, Anna. "Going to the Cinema." In London Writing of the 1930s, 129–63. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474425643.003.0005.

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Going to the cinema was the single most important pastime in 1930s Britain. Cinemas boasted ‘some eighteen to nineteen million attendances every week’, with ‘nine hundred and three million cinema tickets . . . sold in 1934’. ‘From flea-pits to fairy-palaces’, cinemas were everywhere. The picture-palaces were styled as Grecian temples, Spanish villas, baroque mansions and art deco ocean liners. One patron described the Astoria in Finsbury Park as a Moorish paradise: ‘the air was faintly perfumed . . . overhead one could see what appeared to be a night sky with stars twinkling’. Going to the cinema, then, was not just about seeing films. In recent decades a number of studies have explored the multi-sensory nature of the movie-going experience, especially its tactile, olfactory and aural dimensions. Jeffrey Richards pioneered the empirical, case-based approach to writing the cultural history of interwar cinema-going in his monumental The Age of the Dream Palace (1984), which not only discussed the significance of the films themselves to the 1930s generation, but also drew on his own personal sensory memories of cinemas.
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Glinsky, Albert. "A Palace Revolution." In Switched On, 221—C18.P60. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197642078.003.0018.

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Abstract “The beast” still held an influential position in recordings; it was even the signature of a new genre, “krautrock.” But all signs pointed to its displacement by a portable instrument. Bob saw this at the MENC Convention, where a new competitor’s synth, the VCS3 (produced by Peter Zinovieff) was shown. Zinovieff, along with Suzanne Ciani and Joel Chadabe, pioneered automated electronic music. Bob got the message. He and the staff scrambled to ready the Minimoog C for an unveiling at the Fall AES meeting. But there was a swarm of competitors at AES, too: EML, the VCS3, and another newcomer, Alan R. Pearlman’s ARP. To save the company, Moog engineers disobeyed Bob’s orders and put the Minimoog into production. The “Minimoog D” was essentially the same as the Mini C, but with modulation wheels, a design that would set the standard for most portable electronic keyboards in the future.
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Cather, Willa. "XII." In O Pioneers!, edited by Marilee Lindemann. Oxford University Press, 2009. http://dx.doi.org/10.1093/owc/9780199552320.003.0020.

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Carl came into the sitting-room while Alexandra was lighting the lamp. She looked up at him as she adjusted the shade. His sharp shoulders stooped as if he were very tired, his face was pale, and there were bluish shadows under his dark eyes....
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Reid, Susan E. "43 The Pioneer Palace in the Lenin Hills." In Picturing Russia, 218–23. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300145175-045.

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Graças, Victor Bruno Andrade das, João Pedro Nascimento de Abreu Oliveira, and Nivaldo Farias Vieira. "Distanásia, eutanásia e mistanásia: um debate do século XXI." In CONFLITOS ÉTICOS E DEONTOLOGIA MÉDICA, 385–93. Editora ArtNer Comunicação, 2023. http://dx.doi.org/10.29327/5318786.1-45.

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Para entendermos sobre a distanásia, a eutanásia e a mistanásia, devemos primeiro realizar uma revisão sobre o que é bioética e sua importância para a ciência e a dignidade humana e estudar os princípios bioéticos e como eles influenciam no tratamento e na vida dos pacientes (TEN HAVE, 2016). O termo bioética foi cunhado em 1927 pelo teólogo alemão Paul Max Fritz Jahr. Essa palavra é formada, etimologicamente, pelas palavras gregas bio e ethos, que podem ser entendidos, respectivamente, como “vida” e “ética”, dessa forma, bioética seria o estudo ético da vida. O termo teve uma grande difusão após a Segunda Guerra Mundial, quando as atrocidades cometidas na guerra começaram a ser mais amplamente discutidas, tendo como palco principal as discussões em Nuremberg, local onde vários crimes de guerra foram julgados e de onde se originou o Código de Nuremberg. Hoje, esse código é um dos mais conhecidos e pioneiro em apresentar regras para reger a pesquisa científica com seres humanos. Em 1967, foi criada a Declaração de Helsinque pela Associação Médica Mundial, que é considerada o documento mais importante na história da ética em pesquisa. Essa declaração já foi atualizada sete vezes, a última feita em 2013, durante assembleia da Associação Médica Mundial em Fortaleza, no Ceará. Essa declaração estabelece parâmetros para e pesquisa em humanos e é muito importante para o desenvolvimento de legislações ao redor do globo (TEN HAVE, 2016).
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Conference papers on the topic "Pioneers Palace"

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Feliz, Nerea. "Sutro’s Glass Palace: The Encapsulation of Public Space." In 2018 ACSA International Conference. ACSA Press, 2018. http://dx.doi.org/10.35483/acsa.intl.2018.18.

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This paper looks at the Sutro Baths (1894-96) in San Francisco as an early example of the interiorization of public space, as a pioneer “Fun Palace” and a stage of consumption. The Sutro Baths were an encapsulated microcosms, the delirious dream of an ambitious millionaire, engineer, and later major of San Francisco. Sutro, a German immigrant and entrepreneur managed to encapsulate the ocean inside a spectacular glass palace. The history of these baths is also a reflection of the problems of social inclusion and exclusion derived from the privatization of public space. Besides being the largest interior space for bathers in the world at the time, the Sutro Baths are considered to be the first water park: a strange amalgam of pools, burgers, a taxidermy collection, a wax museum and a winter garden aspiring to the hanging gardens of Babylon. The climatized atmosphere and the ocean were sheltered, altered, domesticated and commodified: “Always as balmy and summery as mid-June…Here’s is the spot to loaf in tropic comfort like a Fiji Islander. No nudist and practically no missionaries, but everything else is Number One Triple A Tropical Style!”1 Sutro inaugurated a new typology, the lineage of which portrays a history of attempts to construct autonomous spaces for immersion within altered physics that are internalized and that offer a new type of socio-natural form. Inside these hedonistic bubbles, public life is reduced to a collective leisure experience.
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