Thesis (M.A.)--University of South Africa, 2002.

From the very beginning, library education has been a mixture of theory and practice. Dewey required apprenticeships to be part of the first library school at the University of Chicago as a method to indoctrinate new professional. Today, acculturation is incorporated into the professional education through a large variety of experiential learning techniques, including internships, practicum, field work, and service learning projects, all of which are designed to develop some level of professional skills within an information organization. But, what is done for understanding library culture? It is said that one cannot truly recognize the extent of one's own cultural assumptions, until they have experienced another. This study followed a group of LIS graduate students that took that next step – going to Russia. By employing a critical hermeneutic methodology, this study sought to understand what value students gain by from working on an assessment project in an international school library. Using a horizon analysis, the researcher established the worldview of participants prior to their departure, analyzed their experience through post-experience interviews, and constructed an understanding of value. Among other concepts, the researcher looked specifically to see whether "library cultural competency", understanding library culture in global context, was developed through working on a service learning project within an international school library. This dissertation provides feedback for the program leaders and ideas for future research.

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The transfer of an artistic work from the literary medium to the filmic medium presents technical, personal, social and political factors for consideration which are capable of revealing important information about the times in which both the literary work and the film work were created. In a Russian context, where both literature and film have played roles of central cultural importance, the study of this interaction can be particularly fruitful. The first chapter of this dissertation considers the theoretical aspects of adaptation, namely fidelity to the original work and questions of metaphor and narrative structure. After examining these issues in a general context, Chapter 1 then views them in the light of specific stages of Russian cinematic history. The remaining chapters of this dissertation consider selected post-revolutionary Soviet and Russian filmic adaptations of the works of Nikolai Gogol', Fedor Dostoevskii and Anton Chekhov in chronological order. Analysis of both text and film is undertaken in order to demonstrate the complexity of literary and extra-literary factors involved in adaptation. The works of Gogol' have provided film makers with the challenge of finding "adequate" filmic equivalents to this writer's narrative devices, particularly his use of skaz [oral folk narration]. Dostoevskii's works have proven to be a stumbling block for film makers, both in terms of their ideological acceptability, and their exploration of complex psychological and religious issues. The adaptations of Chekhov's works have provided cinema with diverse subject matter that reflects the various stages and developments of Russian cinematic history, from pure fabula borrowing to an emphasis on mood and atmosphere. The interdisciplinary approach of this dissertation strives to show both the on-going relevancy of nineteenth-century Russian literature to modern culture, and the cinema's ability to present vastly differing interpretive possibilities of the literary cano

This thesis explores China's relations with Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan, and Uzbekistan, from 1991 to 2005, contributing to the body of knowledge by arguing that China's relations with post-Soviet Central Asia were shaped by security and economic imperatives in Xinjiang, home to Muslim Turkic nationalities who have historically challenged Beijing's jurisdiction. / As discussed in Chapter One, after 1949, the Communist Party sought to bring Xinjiang firmly within Beijing's orbit, ending a 150-year long period during which Beijing's hold over Xinjiang periodically faltered. The dissolution of the Soviet Union in 1991, coupled with instability in Afghanistan, led to new challenges to Beijing's authority. / Chapter Two examines China's relations with Central Asia from 1992 to 1996. In the post-Cold War order characterized by US primacy, China envisioned Central Asia as an arena of cooperation between China, Russia, and the independent republics. However, the republics became fertile ground for transnational Islamist movements. China feared spillover into Xinjiang; consequently, China extended economic cooperation to the impoverished republics with the understanding that they would suppress emigre Uighur organizations. Bilateral economic cooperation was also important for Xinjiang, which benefited from cross-border trade. / Chapter Three examines Sino-Central Asian relations from 1996 to 2001, exploring the development of the Shanghai Five mechanism in 1996 between China, Russia, Kazakhstan, Kyrgyzstan, and Tajikistan, which initially addressed confidence building, but after 1998, focused on regional security. This was important for China, since in 1996/1997, Xinjiang experienced instability that was exacerbated by the independence of Central Asia. Competition over the region's energy is also examined, which contributed to international rivalry. / Chapter Four examines Sino-Central Asian relations from 2001 to 2005. In June 2001, the Shanghai Accord signatories, and Uzbekistan, established the Shanghai Cooperation Organization (SCO). While envisioned as a forum for wide-ranging cooperation, combating "terrorism, separatism, and extremism," was an immediate priority. Following the attacks on September 11, 2001, the United States sought a military presence in Central Asia that temporarily undermined China's influence, heightening China's concerns over energy security. China's response was to gradually deepen relations with the republics in the energy and security fields.

In this thesis artwork is defined, through analogy with quantum mechanics, as the conjoining of the nonsimultaneously measurable momentum (waves) of artwork-text (words within the primary sources and exhibition catalogues) with the position (particles) of artwork-objects (artist- productivity/exhibition-quantities). Such a proposition allows for the changes within the artwork of the Russian avant-garde to be charted, as such artwork-objects are juxtaposed with different artwork-texts from 1902 to 2009. The artwork of an initial period from 1902 to 1934 is examined using primary-source artwork-text produced by Russian artists and critics in relation to the contemporaneous production-levels of various types of Russian-avant-garde artwork-objects. The primary sources in this dataset are those reproduced in the artwork-text produced by the 62 exhibitions described below, and those published in John E. Bowlt's 1991 edition of Russian Art of the Avant-Garde: Theory and Criticism. The production of artwork in the latter period from 1935 to 2009 is examined through consecutive exhibitions, and the relationship between the artwork-text produced by these exhibitions and the artwork-objects exhibited at them. The exhibitions examined within this thesis are 62 containing Russian avant-garde artwork, held in Britain from 1935 to 2009. Content analysis, using an indices-and-symptom analytical construct, functions to convert the textual, unstructured data of the artwork-text words to numerical, structured data of recording-unit weighted percentages. Whilst artist-productivity and exhibition-quantities of types of artwork-object convert the individual artwork-objects to structured data. Bivariate correlation, descriptive statistics, graphs and charts are used to define and compare relationships between: The recording units of the artwork-texts; the artist-productivity/ exhibition-quantities of types of artwork-objects; the structured artwork-text data and structured artwork-object data. These various correlations between structured artwork-text data and structured artwork-object data are calculated in relationship to time (Years) to chart the changes within these relationships. The changes within these relationships are synonymous with changes within Russian avant-garde artwork as presented from 1902 to 1934 and within the 62 British exhibitions from 1935 to 2009. Bivariate correlations between structured artwork-texts data and structured artwork-objects data express numerically (quantitatively) the ineffable relationships formed over time by large sets of unstructured data in the continued (re)creation of artwork.

This dissertation of limited scope traces the attempts by Gorbachev (1985-1991) to reform an economic, political and social system which was in a state of terminal decline. The origins of its demise, it is argued, lay in the ossified command economy inherited from Stalin. The enormous damage inflicted on Soviet agriculture during collectivisation in the 1930s~ when millions of productive peasants died, proved to be a fatal blow to that sector. Tlms, Gorbachev followed a two-fold strategy ofrefonn. Glasnost (openness) was introduced to allow constructive debate on economic and social matters. Despite a hesitant beginning, the right to criticise allowed the emergence of more radical campaigners, such as Yeltsin who demanded greater democracy. Significantly, the revival of ethnic nationalist demands in the republics led to disintegration. Perestroika (restructuring) was intended to modernise and boost living standards. The economy faltered but the market was not yet in place / History / M.A. (History)

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This dissertation provides an in-depth study of police transformation in Georgia, Kyrgyzstan and Russia since the collapse of the Soviet Union. It draws upon interviews with police, NGO workers, politicians and international practitioners, and employs a comparative-historical approach. Contra to democratic policing approaches, advocating the diffusion of police power and implementation of police reform concurrently with wider democratisation, reform was relatively successful in Georgia after the 2003 Rose Revolution because of state-building. The new government monopolised executive power, fired many police, recruited new personnel, raised police salaries and clamped down on organised crime and corruption. Success also depended on the elite's political will and their appeal to Georgian nationalism. Prioritisation of state-building over democratisation limited the reform's success, however. The new police are politicised and have served elites' private interests. Reform has failed in Kyrgyzstan because of a lack of state-building. Regional, clan and other identities are stronger than Kyrgyz nationalism. This has hindered the formation of an elite with capacity to implement reform. The state has limited control over the police, who remain corrupt and involved in organised crime. State-building has not precipitated police reform in Russia because of the absence of political will. The ruling cohort lacks a vision of reform and relies on corruption to balance the interests of political factions. The contrasting patterns of police reform have a number of implications for democratic police reform in transitioning countries: First, reform depends on political will. Second, institutionalising the police before democratising them may be a more effective means of acquiring the capacity to implement reform. Third, such an approach is likely to require some sort of common bond such as nationalism to legitimate it. Fourth, ignoring democratisation after institutionalisation is risky as reformers can misuse their power for private interests.

The present work analyses the fiction of the post-Soviet Russian writers, Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin against the background of the notion of post-Soviet Russian postmodernism. In doing so, it investigates the usefulness and accuracy of this very notion, proposing that of ‘post-Soviet neo-modernism’ instead. Common critical approaches to post-Soviet Russian literature as being postmodern are questioned through an examination of the concept of postmodernism in its interrelated historical, social, and philosophical dimensions, and of its utility and adequacy in the Russian cultural context. In addition, it is proposed that the humorous and grotesque nature of certain post-Soviet works can be viewed as a creatively critical engagement with both the past, i.e. Soviet ideology, and the present, the socially tumultuous post-Soviet years. Russian modernism, while sharing typologically and literary-historically a number of key characteristics with Western modernism, was particularly motivated by a turning to the cultural repository of Russia’s past, and a metaphysical yearning for universal meaning transcending the perceived fragmentation of the tangible modern world. Continuing the older Russian tradition of resisting rationalism, and impressed by the sense of realist aesthetics failing the writer in the task of representing a world that eluded rational comprehension, modernists tended to subordinate artistic concerns to their esoteric convictions. Without appreciation of this spiritual dimension, semantic intention in Russian modernist fiction may escape a reader used to the conventions of realist fiction. It is suggested that contemporary Russian fiction as embodied in certain works by Sorokin, Tuchkov and Khurgin, while stylistically exhibiting a number of features commonly regarded as postmodern, such as parody, pastiche, playfulness, carnivalisation, the grotesque, intertextuality and self-consciousness, seems to resume modernism’s tendency to seek meaning and value for human existence in the transcendent realm, as well as in the cultural, in particular literary, treasures of the past. The closeness of such segments of post-Soviet fiction and modernism in this regard is, it is argued, ultimately contrary to the spirit of postmodernism and its relativistic and particularistic worldview. Hence the suggested conceptualisation of post-Soviet Russian fiction as ‘neo-modernist’.