Matching Items (4)
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- All Subjects: Russian
- All Subjects: Soviet
- Creators: Hoogenboom, Hilde
Description
Children's literature is a comparatively new concept that has changed as the view of children and childhood has changed. The idea that books written for children are more than just amusement and that these books instill values and pride in one's culture has been approached very differently in the United States and Russia. While there are universal morals and common themes in children's literature, there are just as many culturally-dependent ideals that make children's literature and its translation an enlightening way to study the culture of a people or nation and ease the tensions between emerging global and traditional national lessons in children's literature.
ContributorsZubiate, Rachel (Author) / Moldabekova, Saule (Thesis director) / Hoogenboom, Hilde (Committee member) / Hogue, Cynthia (Committee member) / Barrett, The Honors College (Contributor) / College of Liberal Arts and Sciences (Contributor)
Created2012-12
Description
Civil society, when taken as a whole, is a complex phenomenon that incorporates several movements and can be accompanied with international support. For instance in 1987, 40 NGOs (non-governmental organizations) were registered by the government, and within 25 years, the number has increased to 300,000 in the present day Russian Federation. These numbers only include registered organizations, and do not count unregistered organizations, as approved under article 3 "Public organizations...can function without state registration and acquiring of the rights of registered legal body," or organizations that have been refused registration, such as the "Marriage Equality Russia" NGO that was denied registration in 2010. Thus the total amount of NGOs is significantly higher than 300,000. Every one of these NGOs "contribute to Russia‘s economic, political and social life in numerous ways and provide opportunities for citizens to help create better communities and elevate their voices" ("USAID in Russia"). With hundreds of thousands of organizations attempting to make a better society, they are creating a Russian civil society, one that could use the experience of countries with already well-established civil societies (Walzer). Walzer, however, notes the importance for civil society of political engagement with the state (317). In this thesis, I argue that the LGBT movement in Russia today has set an important example for other groups in civil society through its willingness to take on the Russian state through demonstrations and to use the state through the EU Court of Human Rights in Strasbourg.
ContributorsMark, Daniel (Author) / Hoogenboom, Hilde (Thesis director) / Hagen, V. Mark (Committee member) / Siroky, David (Committee member) / Barrett, The Honors College (Contributor) / College of Liberal Arts and Sciences (Contributor)
Created2012-12
Description
What makes a Russian dancer Russian? In 1909 Sergei Diaghilev essentially created a tradition of "Russian ballet" through his Ballets Russes, which brought the stars of the imperial Petersburg theater to Paris and other Western capitals. By commissioning new and innovative works, such as Igor Stravinsky's Rite of Spring and Firebird, Diaghilev revolutionized the standard repertoire of dance ensembles around the world. Ballet dancers such as Vaslav Nijinsky, Anna Pavlova, Mathilde Kschessinska, Dame Alicia Markova, all worked closely with Diaghilev. Post-Diaghilev, Rudolf Nureyev (an ethnic Tatar) and Mikhail Baryshnikov were both born in the Russian-dominated Soviet Union, and later escaped to live and dance in the West. All of these artists, despite their varied origins, considered themselves to be Russian dancers. Why? What, in their view, made them Russian? Careful and original analysis of their memoirs and other writings suggests that Russian identity is highly complex and composed of many different elements. Some dancers inherited their Russian identity from their parents. Others acquired their Russian identity through language, religious conversion to Orthodox Christianity, a common tradition of ballet training, participation in distinctly Russian dance companies, or culture. In general, these dancers do not regard "Russianness" as innate; instead, Russian identity is created and achieved through cultural practices. By participating in the educational tradition of the Imperial ballet, these dancers become Russian.
ContributorsClay, Joy Neylufer (Author) / Hoogenboom, Hilde (Thesis director) / Roses-Thema, Cynthia (Committee member) / Moldabekova, Saule (Committee member) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
The Constructivists were a prominent group of Avant Garde artists that began to work in the years preceding the Bolshevik revolution and continued to work prominently until Stalin came to power. As other Avant Garde movements became prevalent throughout Europe, Constructivism became the Modernist movement that encapsulated Russia’s Socialist future. Constructivist artist-workers embraced the idea that objects of art must be useful in the daily life of a Soviet worker as well as representative of the future for which communists were working. As such, they aligned with the new national ideals aesthetically by illustrating national and political goals in a functional way. Constructivists wanted to create objects that would signify and enable future Soviet life through their usefulness and their ideological intensity. This thesis argues that Constructivist objects served a third purpose as productive agents of community.
Each chapter of this thesis closely studies a different object of a different medium to trace relationships between Constructivist objects and Soviet community. El Lissitzky’s PROUN Manifesto illuminates the creation of an artistic community. Alexander Rodchenko’s print Propaganda communicates between a state and its people. Varvara Stepanova’s Sportswear designs facilitate a society of workers. Alexandra Exter’s Marionettes combine common everyday objects and children’s theater. Vladimir Tatlin’s Monument to the Third International, envisions the ideal Soviet society as place in which socialists could convene. And Liubov Popova’s Painterly Architectonics relates the functional and aesthetic goals of Constructivism from Russia to the international art world. Benedict Anderson’s Imagined Communities, Bruno Latour’s Reassembling the Social, and Pierre Bourdieu’s Distinction each provide the framework for discussing the intersections of art objects and community. Anderson explores nationhood through the lens of language and print media, Latour studies how social interaction on an individual basis might rely upon the physical objects around them, whereas Bourdieu addresses hierarchies in distinguishing objects of art in class-based societies by outlining the conflicts between cultural capital and tastemaking in the analysis of objects.
Through the exploration of each Constructivist object, this thesis explores individual, national, and international communities while considering their changing political, social contexts.
Each chapter of this thesis closely studies a different object of a different medium to trace relationships between Constructivist objects and Soviet community. El Lissitzky’s PROUN Manifesto illuminates the creation of an artistic community. Alexander Rodchenko’s print Propaganda communicates between a state and its people. Varvara Stepanova’s Sportswear designs facilitate a society of workers. Alexandra Exter’s Marionettes combine common everyday objects and children’s theater. Vladimir Tatlin’s Monument to the Third International, envisions the ideal Soviet society as place in which socialists could convene. And Liubov Popova’s Painterly Architectonics relates the functional and aesthetic goals of Constructivism from Russia to the international art world. Benedict Anderson’s Imagined Communities, Bruno Latour’s Reassembling the Social, and Pierre Bourdieu’s Distinction each provide the framework for discussing the intersections of art objects and community. Anderson explores nationhood through the lens of language and print media, Latour studies how social interaction on an individual basis might rely upon the physical objects around them, whereas Bourdieu addresses hierarchies in distinguishing objects of art in class-based societies by outlining the conflicts between cultural capital and tastemaking in the analysis of objects.
Through the exploration of each Constructivist object, this thesis explores individual, national, and international communities while considering their changing political, social contexts.
ContributorsBrown, Theodora Circe (Author) / Hoogenboom, Hilde (Thesis director) / Hedberg Olenina, Ana (Committee member) / School of International Letters and Cultures (Contributor) / School of Art (Contributor) / School of Politics and Global Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05