When the Moscow Art Theater appeared in New York in 1924, it was the apostle of a new dramatic naturalism bent on depicting man's inner torment through an intense psychological probing. Some forty years later, one of the world's greatest art theaters occupies only an insignificant position in the world of art. Why is this so? It is the purpose of this dissertation to answer this question by a careful analysis of the trends in the repertoire of the Moscow Art Theater. An analysis of the repertoire reveals several major trends in the Theater's repertoire after the Revolution of 1917. These trends are revealed through performances in the following areas: (a) Russian classical plays; (b) Adaptations of Russian classical novels; (c) Translations of West European classical plays; (d) Mikhail Bulgakov and his controversial plays; (e) Modern Soviet drama. An analysis of carefully selected plays from each trend reveals how the Moscow Art Theater was systematically sapped of all its inner vitality and enslaved to a regime. The resultant loss of creative endeavour and the Theater's reliance on the Russian classics in the years following World War II confirms the indivisibility of art and freedom. Some of the Moscow Art Theater's trends were established before the Revolution of 1917. This dissertation therefore, begins by tracing the Theater's repertorial trends since the first performance in 1898. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

The testimonios of three Canadian women athletes and the 1980 Olympic boycott are presented. The Latin American method of testimonio is adapted as a framework for understanding personal stories. Testimonios written in a series of interpretive narratives and poems--poetic testimonios--represent three women's voices. This study includes three journeys: the research journey, a journey of self-discovery, and the journeys of three women athletes. Distinct and collective voices are highlighted. An analysis of writing forms used is offered. A traditional literature review and a section linking the study's findings to the literature are available in the appendices. Testimonios are methods of resistance, and, thus, imply an appeal to matters of social justice. Therefore, "a call to action" invites researchers, counselors, and sport professionals to take a closer look at the oppressive system of high-performance sport and contemplate structural change. Beyond this, the ultimate worth of the project is for readers to decide. / Graduation date: 2002

No description available.

This thesis aims to analyze the role of railways and railway stations in the construction of the capital city of an industrial empire with reference to the concept of &ldquo / territorialization.&rdquo / The main case is Russia, where the geographical factors are prominent in the creation of the economic, political, social and cultural structure of the country / and the focus of analysis is the city of Moscow, which acted as the center of this structure as connected to its territory by a developed system of railways. The continuous processes of &ldquo / territorialization&rdquo / , &ldquo / deterritorialization&rdquo / and &ldquo / reterritorialization&rdquo / of the Eurasian continent by Russians and the associated nations form the basic spatial backstage of this study. The built environment as basically materialized in the capital city, which serves as the control center of territoriality, and the way how human territoriality in the country and within the capital city are interrelated, are the key issues to be investigated. In this context railways emerged as new media for territorialization in the age of industry. In this study the Russian railways and the Moscow railway stations are analyzed in their positions in the territorial configuration of industrial Russia form the mid-nineteenth century onwards. Moscow as a leading industrial as well as historical and cultural center, was not the capital city when the country introduced the rapid construction of railway network and station buildings. In this study it is claimed that the rise of Moscow to become the capital city is, thus, related with its becoming the center of the Russian railway network.

This study is an exploration of the lesbian subculture in Russia focusing in particular on the subculture as a unique heterogeneous space of social interaction and cultural production that is not self contained or isolated from mainstream society, but incorporates a variety of cultural flows and traditions that are a part of Russian mainstream culture, other Russian subcultures, or global cultural flows. Some of these cultural flows and traditions are more compatible than other ones. The increasingly globalized images and ideas of what a gay and lesbian community is, or perhaps should be like, are only partially compatible with contemporary reality in Russia. The high value placed on visibility and explicitly political, even radical activism, in gay and lesbian subcultures in the West, must in Russia be reconciled not only with the totalitarian past, and the increasingly authoritarian present, but also with the traditions and practices that developed as a response to the repressive regime and enabled people to live and even thrive within it. Using private spaces as public space, and public space as private space established a practice of multilayered spaces that are continuously maintained through social inclusion and exclusion, visibility and invisibility. However, the subculture is not only an intersection of external cultural flows and traditions, it also has it’s own unique traditions, knowledges and practices. Poetry, music, literature and art form the backbone of the flow of activities within the subculture. Visual and grammatical cues, styles, jokes and lesbian genders are integral aspects of the subculture as it is continuously renegotiated by its participants also on an individual level.. The study is based on fieldwork, participant observation and interviews, mainly in Moscow, and to some extent in St Petersburg, during 2005 with recurring visits during 2006 and 2007.

This thesis investigates spatial patterns of income-based residential segregation at the neighborhood level in the Russian capital city Moscow within new administrative boundaries, which have received relatively little attention in prior studies. It is argued that Moscow faces high levels of income inequality exacerbated by growing levels of spatial segregation between the affluent and prestigious Center – South-West and poor industrial South – South-East. Applying a whole set of quantitative methods complemented with computer mapping techniques, based on the latest 2013 data by the City of Moscow Territorial Branch of the Federal State Statistics and 2010 Census data, this study provides new insights into spatial differentiation processes and elaborates policy solutions aimed at addressing economic disparities in the city. A key finding of this thesis is that income segregation in the study area has been driven to a larger extent by the isolation of very poor neighborhoods from middle- and upper-income areas.

Mikhail Bulgakov’s satirical novel The Master and Margarita offers a humorous and caustic depiction of 1930s Moscow. Woven around the premise of a visit by the devil to the fervently atheistic Soviet Union, it is directed against the repressive bureaucratic social order of the time. In chapter 12 of the book, the devil appears onstage at the Variety Theater and turns Moscow on its head. By appealing to their greed and desire for status, he turns the spectators into the spectacle. A close reading of the text confirms that the Theater is much more than a fictional setting for the chapter. Instead, it serves as a backdrop for a disturbing portrait of human frailty, a scathing criticism of Soviet bureaucracy and hypocrisy, and unmistakable references to real-life Moscow institutions and to the author’s personal experiences during the tumultuous 1930s. / text

Thesis (Ph. D.)--University of Washington. / Bibliography: l. [450]-461.

Thesis (Ph. D.)--University of Washington, 1997. / Vita. Includes bibliographical references (leaves [209]-252).

Thesis--University of Wisconsin, 1968. / eContent provider-neutral record in process. Description based on print version record. Bibliography: leaves 202-208.