Основные направления создания музея-заповедника Даргомыжского в Вяземском районе Смоленской области
This article offers a survey of the key tendencies observable in the museumification of the Soviet past in contemporary Russia, based on fieldwork and interviews with museum curators and other staff. The key focus is on aspects of the commodification of and nostalgia for the Soviet era. The article begins by examining repression and the Gulag as objects of museumification in Russia. Special attention is paid to the controversial situation when it comes to museumification of Stalin’s repressions in the Russian context. The next part discusses museumification of the “Thaw” era and the growth in the number of exhibitions devoted to the late 1950s–early 1960s in Russian museums and art galleries, especially in 2016–2017. The Thaw era has begun to be re-imagined as an era defined primarily by upbeat interior design, optimism, “Soviet hipsters,” and a generally positive mood. Nostalgia for the late Soviet period more broadly is becoming a noteworthy phenomenon in modern Russia. The last thirty years of the existence of the USSR are a key preoccupation unifying and driving the “folk museum” movement. This movement is non-expert in nature. Ordinary people are establishing thematic folk museums, and virtual nostalgic communities are devoted to the material world of the late Soviet period. The article goes on to examine patriotic trends in museumification. Museums and exhibitions played a significant role in military-patriotic education in the Soviet period.
The history of the development of cultural (initially socio-cultural) geography in the USSR is the main topic of the article. It has appeared in 1930-1940s without any regard to both the Russian school of anthropogeography and the emerging C. Sauer tradition in cultural landscape studies. The attempts to establish cultural geography within Soviet geography in 1940-1980s are described. The main reasons of establishment, conceptual framework and unique features of ‘humanitarian geography’, newly established in Post-Soviet Russia, are revealed. The comparison of this original Russian school and the leading Western concepts like geosophy, geographical epistemology, new cultural geography, humanistic geography is executed.
The research targets the interrelations between new monuments construction process and Post-Soviet society’s cultural and historical memory creation. More specifically the goal of the project is to evaluate the last Russian Emperor Nicolas II’s statues and memorials in contemporary Russia (1990s – 2010s). The period in question is marked with evoking of conscious interest to the national past. However, the image of Nicolas II is extremely contradictory and keeps provoking debate.
The article presents statistical data (date, place, initiative groups that commissioned the erection of the monuments) arranged by decades (1990s, 2000s, 2010s) as well as its comparative evaluation and demonstrates how throughout the Post-Soviet period there occurred a shift in social views on this historical personality