This dissertation is a study of Leningrad during World War II and the period of postwar restoration (1941-1950). Leningrad was besieged by the Germans for nearly nine-hundred days. As hundreds of thousands of people died from bombings, shelling, cold, and starvation, local authorities surprisingly instituted measures to ensure that the city’s historic monuments be safeguarded from destruction. When Leningrad was liberated in January 1944, a concerted effort was put into place to breath life into these damaged and destroyed monuments and to heal the wounds inflicted on the city. Instead of using the damage to modernize the city, Leningrad and Soviet authorities opted to privilege the country’s tsarist heritage. In the postwar period, municipal authorities proclaimed that restored monuments commemorate the determination and heroism shown by the people of Leningrad during the war. The memory of the blockade, it was argued, was a “red thread” that must run through and be inscribed in all restoration works. Although this dissertation is a local study of war and postwar restoration, it speaks to broader trends within the Soviet Union before, during, and after World War II. I argue that the care shown for Leningrad’s imperial monuments was the result of an ideological shift that began in the mid-1930s away from iconoclasm toward rehabilitating and respecting certain events and characters from the past. With international tensions rising in the 1930s, this turn to the past acted as a unifying force that had a tremendous influence on the patriotism shown during the war with the Nazis. In the postwar period, as the Soviet state began to redefine its image based on the myth of war and the country’s tsarist heritage, this patriotism was further promoted, resulting in a flurry of work throughout the Soviet Union to restore the vessels of the country’s past. Like many other modernizing states, the Soviet Union looked to its past to create a united and patriotic citizenry.

This dissertation is a study of Leningrad during World War II and the period of postwar restoration (1941-1950). Leningrad was besieged by the Germans for nearly nine-hundred days. As hundreds of thousands of people died from bombings, shelling, cold, and starvation, local authorities surprisingly instituted measures to ensure that the city’s historic monuments be safeguarded from destruction. When Leningrad was liberated in January 1944, a concerted effort was put into place to breath life into these damaged and destroyed monuments and to heal the wounds inflicted on the city. Instead of using the damage to modernize the city, Leningrad and Soviet authorities opted to privilege the country’s tsarist heritage. In the postwar period, municipal authorities proclaimed that restored monuments commemorate the determination and heroism shown by the people of Leningrad during the war. The memory of the blockade, it was argued, was a “red thread” that must run through and be inscribed in all restoration works. Although this dissertation is a local study of war and postwar restoration, it speaks to broader trends within the Soviet Union before, during, and after World War II. I argue that the care shown for Leningrad’s imperial monuments was the result of an ideological shift that began in the mid-1930s away from iconoclasm toward rehabilitating and respecting certain events and characters from the past. With international tensions rising in the 1930s, this turn to the past acted as a unifying force that had a tremendous influence on the patriotism shown during the war with the Nazis. In the postwar period, as the Soviet state began to redefine its image based on the myth of war and the country’s tsarist heritage, this patriotism was further promoted, resulting in a flurry of work throughout the Soviet Union to restore the vessels of the country’s past. Like many other modernizing states, the Soviet Union looked to its past to create a united and patriotic citizenry.

The 900 day German blockade of Leningrad fostered an environment in which social relationships, which were pruned and altered during the 1930s, were reinvigorated and reinvented by Leningraders. By the outbreak of the war in the summer of 1941, Stalinist social engineering policies had eroded previously normalized social connections and networks. At the height of the Terror, it became beneficial and advantageous for Soviet citizens to cut off many of their social relationships that had been built up over years. The family became the site of the primary emphasis of social interaction. The strengthening of the family system under Stalin created family units that were remarkably elastic and durable. This familial elasticity allowed Leningraders to reknit social relationships during the siege which became primary as food became central to survival. Without intense monitoring and oversight from the state, Leningraders were forced to rekindle social ties and relationships to survive. / History

The proposed thesis deals with informal political associations and organizations (so called informals) in Russian Soviet Federative Socialist Republic with a special focus on Leningrad in the second half of 1980s and at the beginning of 1990s. The thesis is trying to find a place of political informals within the Soviet society and within perestrojka as well as it is trying to portray informals as a pluralist element in the Soviet society, as a beginning of multipartism, as an alternative structure to official state organizations and as a strong politization and radicalization factor for masses of Soviet citizens. First part of the thesis is dedicated to the theoretical part of the problem and so it concentrates on basic characteristics of informals, its variety, ideological and social differences. Also the relations of informals and a disent movement, democratic movement, the attitudes of power structures towards informals and relations between informals themselves are assesed here. Apart from that, the fate of informals after the dissolution of the USSR and the place of informals within perestrojka are discussed. The second part of the thesis deals more specifically with a situation of political informals on the territory of Leningrad, which was a very important city from the point of view of...

Hauptsächlich beschäftigte Wozzeck verständlicherweise die Kritiker in den 1920er Jahren: Boris Asaf’ev, der mit seinen Rezensionen das russische Publikum auf die neue Oper vorbereitete, sowie Ûlian Vajnkop, Abram Gozenpud, Sergej Mokulskij und post factum Sergej Levik.2 Doch können wir uns daraus kaum eine Vorstellung davon machen, was für eine Stimmung bei den Vorbereitunge

nÃo hà / A pesquisa discute argumentos sobre o conhecimento de si na DeduÃÃo Transcendental da CrÃtica da RazÃo Pura, utilizando como estratÃgia de anÃlise e estudo da obra o seu cotejamento com um manuscrito kantiano encontrado e publicado apenas no final do sÃculo XX. Utiliza tambÃm para aprofundamento das teses os comentadores que notadamente realizaram discussÃes sobre a temÃtica. Os argumentos defendem a importÃncia do sentido interno para compreensÃo do argumento principal e para caracterizaÃÃo de suas especificidades, o que o torna esse Ãltimo tema adjunto ao problema. O tempo, que à a forma desse sentido interno, foi estudado como aparecimento do sujeito na sensibilidade e, portanto, à fator crucial na compreensÃo da subjetividade kantiana. O trabalho de pesquisa foi estruturado em torno de algumas distinÃÃes importantes para compreensÃo do tema em anÃlise, sÃo elas: entre sentido interno e sentido externo, e apercepÃÃo e sentido interno. Ao longo da produÃÃo dos argumentos, ressaltou-se o carÃter sistÃmico do pensamento kantiano, o que implica em maior complexidade na definiÃÃo de seus elementos, visto os mesmos estarem bastante definidos em relaÃÃo aos demais. Do trabalho se conclui a especificidade do conhecimento de si, compreendido como distinto do conhecimento em sentido strictu por nÃo conter os qualificativos de um conhecimento propriamente objetivo. Das conclusÃes tambÃm emergiram a corporeidade do sujeito empÃrico como modo de apreensÃo de si mesmo, revelando a relaÃÃo sentido interno e externo, alÃm da autoafecÃÃo como conceito importante na compreensÃo da distinÃÃo do sentido interno da apercepÃÃo transcendental. / This research discusses arguments about self-knowledge in the work Transcendental Deduction of the Critique of Pure Reason using as a strategy of analysis and study of the work the comparison of it with a Kantian manuscript found and published only at the end of the 20th century. It also uses, in order to deepen the theses, the commentators who notably held discussions on the subject. The research defends the importance of inner sense to understand the main argument and to characterize its specificities. Inner sense is a secondary theme, but very attached to the main problem. Time, which is the form of this inner sense, has been studied as the appearance of the subject in the sensibility and, therefore, crucial factor in the understanding of the Kantian subjectivity. This research was structured around some important distinctions to understand the theme under analysis, they are: between internal sense and external sense, and apperception and inner sense. Throughout the production of the arguments the systemic character of the Kantian thought was emphasized, which implies in a greater complexity in the definition of its elements since they are defined in relation to the others. The research concludes the specificity of the self-knowledge that is distinct from the knowledge in a strict sense, because it does not contain the qualifiers of a properly objective knowledge. From the conclusions also emerged the importance of the embodiment of the empirical subject as a way of apprehending oneself, expressing the relation between internal and external sense; as well as the self-affection as an important concept to understand the distinction of the inner sense from the transcendental apperception.

This master thesis deals with possibilities and conditions of entry on challenging market in Russian Federation from the point of view of setting up of company or purchasing of a existing one and also from the point of view of specifications, which are existing only just in Russia. The assignment is geographically defined on Leningrad region with focus on the urban center St. Petersburg and with branch specified on construction industry. On basis of analyzed facts in the field of accounting standards, taxation and law environment this assignment contains the recommendations in which way and with help of which procedures enter the market.

Drawing on the methods of feminist art history and my own knowledge of the field, this PhD gives an overview of “Russian” (Russian Empire, Soviet, post-Soviet) art history with women at its center. Starting in the late 18th century and spanning to the present-day, I critically examine women’s artworks, the social contexts in which those women find themselves, as well as their biographies. Thus, this thesis extends beyond strict media analysis as a central concern of feminist criticism. This text consist of five chapters. Chapter One begins at the end of the 18th century and covers women artists working throughout the Russian Empire up through the beginning of the 20th century. Thesis looks at specific women artists and how the path to professionalization opened up new doors while women were still largely excluded from elite artistic circles. This overview demonstrates how this occurred both in explicit social exclusion as well as implicitly – specifically in the ways that the portrayals of women in professional art shifted throughout the 19th century. The ambivalent nature of women’s simultaneous inclusion and exclusion from leading art institutions and groups serves as a defining feature of the art world of the Russian Empire. Chapter Two examines women’s roles in the avant-garde at the beginning of the 20th century. As has been recognized in much popular scholarship, women served as key players in the so-called “Russian Avant-Garde”. For instance, while many Western European artists at the time turned to the colonies of their respective empires for stimulation, many Russian avant-garde artists turned to local peasants. Precisely because of their more differentiated relationships, Chapter Two argues that these women artists produced very dissimilar work from their Western European counterparts. This was due both to questions of gender as well as power and colonialism. From there, thesis shows the ways in which women avant-garde artists made use of various media – especially textiles, porcelain, and book design. Chapter Three revolves around women artists in the Soviet Union. At first it examines how women were portrayed in Socialist Realism, which followed largely three archetypes: the collective farm woman, the sportswoman, and the ballerina. In this chapter focus is on how women navigated the slippery terrain of the social world of Socialist Realism by highlighting the role of its most successful example – Vera Mukhina. Tracing through Mukhina’s path from the avant-garde to Socialist Realism’s most famous female artists, the text reveals continuities between the two genres that have typically been overlooked in the literature. Indeed, Mukhina’s development suggests much more in common between the avant-garde and Socialist Realism than most male artists’ careers would indicate. Finally, this chapter discusses women artists who rejected Socialist Realism and produced so-called “unofficial” art – focusing on the (in)famous Bulldozer Exhibition of 1974. Chapter Four illuminates how women artists negotiated the enormous socio-political changes during Perestroika through past the dissolution of the Soviet Union. In the 1990’s, three prominent all-women art collectives emerged: the Factory of Found Clothes, the Cyber-Femin Club, and the Fourth Height. Based largely on interviews with the women who participated in the groups, text sketches out a general history of how they formed, produced art, and confronted questions of gender and society. Then, chapter four turns to women artists who worked mostly individually throughout the same period. In this thesis women artists from the 90’s are categorized based on their concepts of gender – women who flipped gender dynamics through their art, women who took radical stances toward gender through their art, and women who did not clearly challenge ideas of gender. In the text they are called the “flip-floppers”, the “radicals”, and the “quietists”, respectively. In Chapter Five, there is a break with the chronological approach of the previous chapters. Instead, first part compares the trial of Iuliia Tsvetkova in 2019 and the trial of Natalia Goncharova in 1910. Both women were accused of producing pornography and thus subject to prosecution. Through this comparison, one can see the continuities and ruptures of the gender dynamics in broader society then and now, particularly in relationship to art and art production. Second part of the chapter five, compares the so-called “Leningrad Feminists” of the 1970’s and Pussy Riot from the 2010’s. By highlighting how these two collectives used the imagery of the Virgin Mary in their work, the text draws out parallels between the two that have gone unnoticed, even by the artists themselves. This dissertation is thus fundamentally about connections. Connections, both visible and invisible, define the social constellations in which women artists participate. By drawing out these connections, this thesis reimagines Russian art history and propose new, albeit imperfect, in the words of Amelia Jones, genealogies. Such genealogies open the space for a deep reckoning with the canon.:Table of Contents Introduction But What is a Russian Woman Artist Anyway? Literature Review & Methodology Chapter Outline Chapter 1: Woman as Artist in the Russian Empire Imperialism and Internal Colonization Bridging Art Histories: Between the Russian Empire and the Western Empires The “Russian Empire” periods of Marie-Anne Collot, Élisabeth Vigée Le Brun, and Kristina Robertson Independent Foreign Women Artists, Operating Beyond Royal Patronage: Maria Gomion and Julie Hagen-Schwarz Representations of Local and European Women Artists in the Russian Empire: Comparing article “Russkie Khudozhnitsy” [Russian Women Artists] and Somov’s article “Zhenshchiny Khudozhnitsy” [Women Artists] Paths to Professional Art for Women Artists in the late Russian Empire Variety of Professional Strategies for Women Artists in the Russian Empire Challenges Faced by Women in the Imperial Academy of Arts: Marfa Dovgaleva, Avdotia Mikhailovna Bakunina, Sofia Sukhovo-Kobylina, and Katerina Khilkova Women Artists from the Russian Empire in the Académie Julian: Maria Bashkirtseff, Princess Maria Tenisheva, Maria Iakunchikova, and Elizaveta Zvantseva Female and Male Paths to Becoming an Artist: The Cases of Elena Polenova and Vasilii Polenov Women in the Wanderers and the World of Art Two Women Wanderers: Emily Shanks and Antonina Rzhevskaia Women in the World of Art and Related Circles: Anna Ostroumova-Lebedeva, Elizaveta Kruglikova, Elena Polenova, Maria Yakunchikova, and Zinaida Serebriakova Between Artist, Mother, and Model: Self-Representations of Women Artists Insisting on the Professional Self: Katerina Dolgorukaia, Katerina Chikhacheva, Sofia Sukhovo-Kobylina, Maria Bashkirtseff, Elizaveta Kruglikova, Anna Ostroumova-Lebedeva, Marianne Werefkin, and Teresa Ries The Fe[male] Gaze: Ol’ga Della-Vos-Kardovskaia, Tamara de Lempicka, and Zinaida Serebriakova Chapter 2: Women Artists Shaping the Avant-Garde Conceptualizing Avant-Garde in the Russian Empire Framing the “Feminine”: Noble and Peasant Femininities Women Artists and Religion: Natalia Goncharova and Marianne Werefkin Women Artists and Lubok: Sofia Kalinkina, Elizaveta Bem, and Maria Siniakova The Case of Natalia Goncharova: Between Two Worlds Looking West: Goncharova and Gauguin Looking East: Goncharova and Peasant Culture Craft in the Foreground: Women in Textile, Porcelain, and Book Design Women in Textile Design, Embroidery, and Factory Production: Natalia Davidova, Sonia Delaunay-Terk, Nadezhda Udaltsova, Vera Pestel, Ol’ga Rozanova, Varvara Stepanova, and Lubov Popova Women in Costume Design in the Early Soviet Union: Natalia Goncharova, Nina Genke-Meller, Alexandra Exter, Nadezhda Lamanova, Varvara Stepanova, Sonia Delaunay-Terk, and Vera Mukhina Women Artists and Futurist Books: Elena Guro, Natalia Goncharova, and Ol’ga Rozanova Women Artists and Children’s Book Illustration: Vera Ermolaeva, Elena Safronova, Alisa Poret, Tatjana Glebova, Maria Siniakova, Galina and Ol’ga Chichagovy, and others Women artists and Small Sculptural Forms (porcelain and ceramics): Natalia Danko and Alexandra Shekotikhina-Potozkaia Chapter 3: Women Artists in Socialist Realism and Unofficial Art Aligning Art History of the Soviet Union and Gender Studies Official Images of Women in the Soviet Union Kolkhoznitsa [Collective Farm Woman] Sportsmenka [Sportswoman] Balerina [Ballet Dancer] Socialist Realist Women Painters Women Artists in the Moscow School of Socialist Realism: Vera Orlova, Ekaterina Zernova, and Serafima Riangina Women Artists and the Leningrad School of Painting: Nadezhda Steinmiller, Evgenia Antipova, Vera Nazina, and others Women Socialist Realist painters from the Soviet Republics: Tetiana Iablonska, Vaiiha Samadova, the Sisters Aslamazian, Elene Akhvlediani, and others Women Artists as Soviet Sculptors Women as Sculptors before the Soviet Union: Elena Luksch-Makovskii, Maria Dillon, Teresa Ries, and Anna Golubkina A Case Study: Vera Mukhina the Soviet Sculptor – Between the Street and the Household Women Artists in Unofficial Art Some Aspects of Canonization of Women Artists of the Bulldozer Exhibit: Nadezhda Elskaia and Lydia Masterkova Artistic Couples in Soviet Unofficial Art and Their Visions of Eden Chapter 4: Women Artists in the Late Soviet Union and after Its Dissolution The Emergence of Women-Only Groups in the Post-Soviet Space: the Factory of Found Clothes (FFC), Cyber-Femin Club, the Fourth Height The Factory of Found Clothes (FFC): Ol’ga Tsaplia-Egorova and Natalia Gluklia-Pershina-Yakimanskaia The Cyber-Femin-Club: Alla Mitrofanova, Irina Aktuganova, Lena Ivanova, and Ol’ga Levina Chetvertaia Vysota [The Fourth Height]: Ekaterina Kameneva, Dina Kim, and Galina Smirnskaia Resisting Erasure: Women Artists from the 1990’s The Mirror Game or the Flip-Floppers: Anna Alchuk and Tania Antoshina The Radicals: Alena Martynova and Elena Kovylina The Quietists: Marina Perchikhina and Liza Morozova Curating the “Gender Turn” in the post-Soviet art: Natalia Kamenetskaia and others Chapter 5: Creating Parallel Histories Unacceptable Bodies: Trials against Natalia Goncharova in 1910 and Iuliia Tsvetkova in 2019 Bogoroditsa stan’ Feministkoi? Comparing the Leningrad Feminists and Pussy Riot Conclusion Illustrations Bibliography Additional Materials. Interviews.