Matching Items (4)
Filtering by

Clear all filters

137815-Thumbnail Image.png
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

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
137846-Thumbnail Image.png
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

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
135514-Thumbnail Image.png
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

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
147962-Thumbnail Image.png
Description

As the world becomes increasingly globally connected, more people than ever live away from their birth country. This means that more and more people will need to learn to adapt and integrate with new cultures and experiences. This can be a difficult process, because in their efforts to adapt, they

As the world becomes increasingly globally connected, more people than ever live away from their birth country. This means that more and more people will need to learn to adapt and integrate with new cultures and experiences. This can be a difficult process, because in their efforts to adapt, they might try to forget or abandon their previous culture in order to better assimilate to their new home. In this Creative Project, I examine my own transnational journey as a Russian living in America. I wanted to see how my identity as a person linked by two very different places has shaped who I am and what I want to be. Now that I am finishing college, how will my Russianness shape my possibilities in the future? In order to start this reflective process, I read 10 transitional novels to gain a sense of how other Russians processed their lives in America. I then used the insights I gained from these texts to design a set of questions that I asked myself and two other people, both with backgrounds that were similar to my own. Based on these discussions, I gained a greater appreciation for how my Russianness could be a real strength as I chart my future path in life.

ContributorsNovokreshchenov, Viacheslav (Author) / Popova, Laura (Thesis director) / Levin, Irina (Committee member) / Dean, W.P. Carey School of Business (Contributor, Contributor) / Department of Supply Chain Management (Contributor) / Department of Information Systems (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05