Abstract not available.

Abstract not available.

Abstract not available.

Source: Dissertation Abstracts International, Volume: 30-12, Section: A, page: 5457. / Thesis (Ph.D.)--The Florida State University, 1969.

Thesis (Ph.D.)--New York University, 2002. / Source: Dissertation Abstracts International, Volume: 63-08, Section: A, page: 2748. Adviser: Mikhail Iampolski.

As one of the most significant postmodern writers in contemporary Germany, Libuse Monikova critically explores the political divisions of Europe from different perspectives, using an interdisciplinary approach to educate her reader. All her works relate either directly or indirectly to her native Czecho-Slovakia. This dissertation focuses on four of Monikova's works, Prager Fenster, "Tetom and Tuba," Pavane fur eine verstorbene Infantin, and Der Taumel, and examines her understanding of the densely layered concept of Heimat. Monikova depicts her Heimat construct through the metaphor of disability and disease as a landscape of German and Soviet occupations and as a territory of historically and politically rooted power struggles. Her analysis of the expulsion of the Sudeten Germans from the former Czecho-Slovakia as well as her portrayal of Czech complicity in the totalitarian regime redefines concepts of victimization and resistance, and reveals the unstable discursive nature of subordination and domination. Monikova's concept of Heimat cannot be fully understood without the inclusion of minority and gender discourses as well as art as cultural space. This study underscores Monikova's analysis of the situation of women and minorities in her country of origin. Monikova makes transparent the kind of masculine superiority that is comfortably ensconced not only in Czecho-Slovak society, but also in western epistemologies. Her dynamic, witty, and politically alert female figures are independent intellectuals with vitriolic humor who offer a fresh alternative to ideological and dogmatic idealism that prevails in many feminist texts of the 1970s. Furthermore, I attempt to show how Monikova, an author who emphasizes a decentralized perspective of writing through otherness and displacement, portrays minorities living in her Heimat. Methodologically, I include theories of Czech, Slovak, German, and US cultural critics in my study. Consequently, I seek to not only [re]discover Monikova as a writer and political activist in the Czech Republic where her texts began to be published only recently, but also to engage her critics in a constructive inter-cultural dialogue.

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2009. / Source: Dissertation Abstracts International, Volume: 70-06, Section: A, page: . Adviser: Harriet Murav. Includes bibliographical references (leaves 173-181) Available on microfilm from Pro Quest Information and Learning.

Thesis (Ph.D.)--Indiana University, Dept. of Communication and Culture, 2006. / Source: Dissertation Abstracts International, Volume: 67-06, Section: A, page: 1962. Adviser: Barbara Klinger. "Title from dissertation home page (viewed June 21, 2007)."

The Soviet political photomontage, as a turn “from faktura to factography,” is sometimes viewed as a compromise that the constructivists had to make to meet the aesthetic and informational needs of their new audience, the proletarian masses. I argue that it was an expansion of the constructivist paradigm, and that throughout the 1920s Soviet photomontage was not only feeding on the principles of analytical art, but in a sense became their ultimate expression. Gustav Klucis, a pioneer of the Soviet political photomontage, and the hero of my dissertation, stated in his theoretical writings, that photomontage is the form of analytical art. The hybrid genre of photomontage was in fact a result of the constructuvists’ search for an adequate form to interpret political reality. In the case of Klucis photomontage was anything but a direct and simple agitational genre. I prove that in Klucis’s agitational photomontage the radical constructivist form and the factographic material were organically intertwined. There was never a forced incorporation of ideology into an elaborate geometric construction. On the contrary, contemporary life and current political events captured by the artist-photographer’s camera, served as a catalyst for invention of new forms. I argue that the political photo-slogan-montage invented by Klucis emerged from his earlier experimental “small architecture” created in 1922: agitational kiosks, stands for slogans, podiums, and ‘radio-orators.’ I focus in particular on the series of Klucis’s constructivist photomontages of the 1920s: illustrations to Molodaya Gvardia, and the series of illustrations to Mayavovsky’s poem Lenin. The idea of depicting Lenin as iconoclast and the productivist artists’ ally in their project of rebuilding the entire world led Klucis to challenge the boundaries of his art. The Lenin series, one of the most complex examples of constructivist photomontage of the 1920s, demonstrates close affinities of photomontage with the avant-garde poetry of Mayakovsky, the constructivist theater of Vsevolod Meyerhold and set designer Liubov Popova, and Dziga Vertov’s avant-garde film. / Slavic Languages and Literatures

This thesis explores representations of medieval Russia in cultural and artistic works of the late nineteenth and early twentieth centuries, with an eye to the shifting perceptions of Russia’s cultural heritage demonstrated through these works. The thesis explores the history of medievalism as a field of study and interrogates the reasons that medievalism as a paradigm has not been applied to the field of Russian studies to date. The first chapter is an investigation of architectural monuments incorporating Old Russian motifs, following the trajectory of the “Russian Style” in church architecture, one of the most prominent and best-remembered forms of Russian medievalism. Chapter two explores the visual representation of medieval Russian warriors, bogatyri, in visual and plastic arts, and the ways in which this figure is involved in the national mythmaking project of the nineteenth century. The third chapter focuses on the Rimsky-Korsakov opera, The Invisible City of Kitezh and the Maiden Fevroniya, investigating the ways that different medieval and modern elements come together in this work to present an aestheticized image of medieval Russia. In this analysis of diverse and far-ranging facets of Russian medievalism in the plastic, visual, literary and performing arts, the complicated relationship between medievalism and the prevalent discourse of nationalism is investigated, opening up new opportunities for scholarly intersections with other medievalisms – in Western Europe and beyond. / Slavic Languages and Literatures