Suchergebnisse

In the first half of the 20th century, a new genre developed in the Chinese visual arts, which is called the revolutionary historical painting. For more than 70 years, this trend in art has been supported by the state and has been in demand in the society. The early works of the revolutionary historical genre were mainly devoted to the opposition of the proletariat to imperialism, feudalism and bureaucratic capitalism during the new democratic revolution in China with the CCP playing the leading role in this struggle. Currently, Chinese artists working in the genre of revolutionary historical painting create works aimed at fostering the patriotic spirit and glorifying the greatness of China. The subjects of such works include not only heroic episodes of the revolutionary past, but also important events of our time.

Research problems The influence exerted by the totalitarian ideology of the Soviet Union on the Ukrainian artistic environment in the period 1932-1991. What caused the changes in the artistic and social environment of totalitarian ideology and what are the consequences of totalitarian ideology. Motives for the study 1 I am interested in how the transoformation from totalitarian art to the modern takes place on the example of a post-totalitarian state Ukraine And on the example of myself, as an object of research, how a person who grew up and learned and formed in posttotalitarian ideology in Ukraine falls into the European Union, studies the artistic environment of Europe, then what does it lead to transformations.

Research problems The influence exerted by the totalitarian ideology of the Soviet Union on the Ukrainian artistic environment in the period 1932-1991. What caused the changes in the artistic and social environment of totalitarian ideology and what are the consequences of totalitarian ideology. Motives for the study 1 I am interested in how the transoformation from totalitarian art to the modern takes place on the example of a post-totalitarian state Ukraine And on the example of myself, as an object of research, how a person who grew up and learned and formed in posttotalitarian ideology in Ukraine falls into the European Union, studies the artistic environment of Europe, then what does it lead to transformations.

Research problems The influence exerted by the totalitarian ideology of the Soviet Union on the Ukrainian artistic environment in the period 1932-1991. What caused the changes in the artistic and social environment of totalitarian ideology and what are the consequences of totalitarian ideology. Motives for the study 1 I am interested in how the transoformation from totalitarian art to the modern takes place on the example of a post-totalitarian state Ukraine And on the example of myself, as an object of research, how a person who grew up and learned and formed in posttotalitarian ideology in Ukraine falls into the European Union, studies the artistic environment of Europe, then what does it lead to transformations.

The article discusses the coverage of the subject of the Holocaust in contemporary Russian textbooks on history of Russia and world history in accordance with certain substantive and methodological lines.

Lomonosov Moscow State University Faculty of Economics was founded in 1941. Five years
later, in 1946, the university started to publish scientific journal «Mocow University Economics, Philosophy and Law Bulletin». Since 1966 economists have their own journal «Moscow University Economics Bulletin». This paper reviews the most cited publications and the main directions of research in the modern history of the journal, from 1991. During last 25 years, the journal was changing with the development of the faculty, the university and the Russian economic science. However it always remains o ne of the most influential scientific journals in the field of economics and management.

The article examines a new type of conflict in the form of public protests against contemporary art that appeared at the end of the 20th — beginning of the 21st century. Typical signs of contemporary conflicts are highlighted: the discourse of the offense is central, the protests are usually organized and collective, accusations are brought against art institutions, and collective affective reactions and symbolic violence often become forms of conflict interaction. In the article, protests against contemporary art are examined through the prism of the analysis of the public as an actor in the conflict, transformations of the public sphere and relations in it as an autonomous field of art (the "art world") and the fields of influence of other social forces. Relations between the art world and the public go beyond the framework of the educational paradigm, which was dominated by asymmetry and passive influence of consumers on the dynamics of the artistic field. The activization of a part of the public, for which the consumption of contemporary art is not a cultural norm, indicates that the origins of the conflict cannot be explained by the rules of artistic communication that has developed in modern society. Contemporary art spaces are turning into noticeable and important places for the manifestation of social tension and political struggle. Art in the public sphere is becoming the space of vulnerability (J. Butler). It is substantiated that one of the factors in the activation of public conflicts was a change in the structure of the side of the conflict which we call the "public" as opposed to the "audience of art". In the framework of the concept of the public sphere as an agonistic space (Ch. Mouffe), the need for a review of the value orientations of art institutions and strategies for their interaction with the public is constituted. © 2021 Saint Petersburg State University. All rights reserved.

In Ukrainian modern social sphere there is a trend of development towards democracy. This trend , as well as any change in the world , is reflected in art. Europe could be a good example for both. But transition from one value system in to another can not occure immediately, as transformation of society and its values is required. Art, in this case, acts as a catalyst for such process. Transformation in the works of modern Ukrainian artists is research object of this work.

Discusses activities of the Republican library of the Tatar ASSR them. V.I. Lenin during the Great Patriotic war. The highlighted characteristic of this period of trend, consisting in the application of the composition of the reading groups, the development of mobile library points, moving the centre of gravity in service to the readers on military subjects, a decrease in the dynamics of recruitment literature, incompleteness of the library staff and the deterioration of conditions of work. ; Рассмотрены направления деятельности Республиканской библиотеки Татарской АССР им. В.И. Ленина в период Великой Отечественной войны. Выделены характерные для данного периода тенденции, заключающиеся в изменении состава читательских групп, развитии передвижных библиотечных пунктов, перенесении центра тяжести в обслуживании читателей на военную тематику, снижении динамики комплектования литературы, неукомплектованности библиотечного персонала и ухудшении условий его труда.

The article is devoted to the fifth anniversary of the interdisciplinary Russian journal The Contemporary History of Russia. The journal started publication in June 2011. Before the end of 2015, nearly 300 articles and other items have appeared. NIR differs from other academic and historical publications in a number of ways. Firstly, the journal initially declared that its aim was to 'combine on its pages the efforts of historians, political scientists, economists, sociologists, psychologists, and all of those who research 20th-century Russian history in an attempt to overcome one-dimensional accounts of Russian historical development'. Secondly, while the items published in NIR have a strictly academic character, they are of interest to the general public. Thirdly, the approach of the editorial board to selected publications is distinguished by academic impartiality, objectivity, and a high level of tolerance. The article attempts to collectively analyse a large number of the scholarly papers published by the journal between 2011 and 2015. The author categorises these materials into several thematic sections related to methodology, sources, and the subject of study. ; Статья посвящена пятилетию деятельности российского научно-теоретического междисциплинарного журнала «Новейшая история России». Журнал начал выходить в июне 2011 г. С этого времени и до конца 2015 г. на его страницах было опубликовано порядка 300 академических материалов различной направленности. Издание изначально было объявлено междисциплинарным, журнал был призван объединить на своих страницах усилия историков, политологов, экономистов, социологов, психологов – всех тех, кто занимается исследованием истории России ХХ в. в попытке преодолеть односторонность в оценках российского исторического процесса. Хотя материалы журнала носят строго академический характер, они представляют интерес для широкой публики, интересующейся проблемами истории минувшего столетия и современности. Подход редколлегии к отбираемым материалам отличают академическая непредвзятость, объективность и высокий уровень толерантности. В статье сделана попытка взвешенного анализа нескольких десятков научных публикаций, увидевших свет на страницах журнала за 2011–2015 гг. Эти материалы автор распределил по 16 тематическим разделам, не только выявив источниковедческие, концептуальные и методологические достоинства тех или иных публикаций, но и указав на возможные недостатки, прежде всего в использовании элементов научно-справочного аппарата.

The article analyzes the transformation during the 100-year period of the his-torical memory of the population of Belarus in relation to national holidays (Days of the Republic). The mechanism of formation of the historical myth regarding the date of July 11, 1920 is revealed. It is noted that despite the enormous intellectual efforts and material costs aimed at constructing this myth, when the political situation changed, it remained in the memory of only one generation of citizens of the republic. ; В статье анализируется трансформация в течение 100-летнего периода исторической памяти населения Беларуси в отношении национальных праздников (Дней республики). Раскрывается механизм формирования исторического мифа в отношении даты 11 июля 1920 г. Отмечается, что несмотря на огромные интеллектуальные усилия и материальные затраты, направленные на конструирование этого мифа, при смене политической конъюнктуры он сохранился в памяти только одного поколения граждан республики.