Пулеметная тачанка, запряженная русской тройкой: модернизация и архаизация в массовом художественном производстве СССР в 1930-1950-х годах
The article elucidates diverse forms of visual representation of medieval and early modern court festivals.
All artistic groups of non-propagandist writers (so called poputchiks) were forcedly dissolved in USSR in the early 1930s. First Soviet Writers’ Congress held in Moscow in 1934proclaimed the socialist realism as an only permissible method for the Soviet Literature. It is commonly accepted among the historians that this ideological directivewas more or less carried into effect and Soviet literature in the mid30s became rather uniform — with the exception of only the uncensored and unpublished writers such as Daniil Kharms, Alexander Vvedenskii or Jan Satunovskii. However, discussing the history of loyal — and censored — poetry, we could see that its picture was also much more complicated: soviet poetry was consisting of a few polemizing movements. This paper is a part of a handbook chapter presenting the sketch of these movements: “sentimental populism”, post-Constructivism (group of “usual” Constructivists was dissolved in 1930), “neo-Romanticism” and historical poetry. Here the descriptions of “sentimental populism” and historical poetry are presented.
In diesem Band werden Architektur und Organisation von Hof und Residenz in der Zeit von 1200 bis 1650 zum ersten Mal nach funktionalen Gesichtspunkten systematisch erfaßt und eingehend dargestellt. Die Begriffe sind drei funktionalen Aspekten zugeordnet: A. Versorgung und Administration; B. Repräsentation und Legitimation; C. Integration und Kommunikation. 60 Artikel mit zahlreichen Literaturangaben und Querverweisen sowie über 400 Abbildungen bilden den Stand der Forschung ab und geben zuverlässige Informationen über Struktur und Funktion von Höfen und Residenzen im späten Mittelalter und in der Frühen Neuzeit.
The interrelations between culture and economic development cause noticeable interest in the academic community in recent years, however a set of questions still remain open. In particular, there isn’t a lot of works about the interdependence of visual culture and economic practices. The paper shows the interdependence of accounting practices that ensure transparency in society, with the evolution of visual culture for the last one thousand years. Accounting history for this period is presented as a consequence of the stages which provide the increasing of transparency in economic units (or availability of information) to the actorsinterested in their activity – from owners to society in general. Visual culture is considered as set of objects suggesting their visual perception, and the technologies supporting them. Synchronism is shown between accounting revolutions and significant changes in visual culture and technologies: these are cultural innovations of the beginning of the 2nd millennium, period of the Renaissance, second half of XIX and end of the XX centuries. Joint periodization is offered for the accounting practices and visual culture, on the basis of changes in the mechanisms of transparency in society, i.e. technologies and instruments of information perception and cultural practices’ reproduction. It is shown that visual aspects and innovative technologies supporting them had the greatest impact on development of accounting from all aspects of culture, and this impact can be traced only in the context of the European culture.