Esforçamo-nos por realizar uma leitura com ferramentas multidisciplinares na busca por transcender o reducionismo e os excessos de formalidades e de subjetivismo na abordagem do objeto arte, aproximando esta da ciência. Como objeto de estudo, selecionamos uma pequena parte da arte russa com o objetivo primordial de lê-la como uma narrativa pictórica. A partir disso, tratamos a pintura artes plásticas como uma narrativa que, por ser uma linguagem, porta as seis funções. A elaboração da narrativa pictórica, ao reunir inspiração, intuição e dedução, observações perceptivas racionais e emocionais, além de promover um predomínio da função poética, se vale da aplicação de leis estéticas comuns às artes plásticas não apenas da Rússia, mas à arte produzida em qualquer país. As seis funções da linguagem de Roman Jakobson e as nove leis da estética de Vilayanur S. Ramachandran são conjuntamente as chaves da nossa leitura. Na medida em que se baseia em leis universais da estética e da arte assim chamadas porque remetem à habilidade presente em todos os cérebros humanos que se desenvolvem normalmente , tal leitura, sem destituir o papel da cultura ou da individualidade do artista, centra-se não na diferença entre os vários estilos artísticos, mas em princípios que transcendem as barreiras culturais. Por essa razão, ao considerar a existência dos universais artísticos da neuroestética, consideramos também a ocorrência da convergência poética como uma afinidade artística entre os agentes expressivos que possuem elementos similares em sua realidade circundante para expressar sua mensagem. / We endeavoured to carry out a reading with multidisciplinary tools in the quest to transcend reductionism and the excesses of formalities and subjectivism in the art object approach, bringing art near to science. As object of study we select a small part of Russian art with the primordial objective of reading it as a pictorial narrative. From this, we treat painting plastic arts as a narrative that, because it is a language, bears the six functions. The elaboration of the pictorial narrative by gathering inspiration, intuition and deduction, rational and emotional perceptual observations, besides promoting a predominance of the poetic function, uses the application of aesthetic laws common to the plastic arts, not only of Russia, but to the art produced in any country. Roman Jakobsons six functions of language and Vilayanur S. Ramachandrans nine laws of aesthetics are together the keys of our reading. Insofar as it is based on universal laws of aesthetics and art so called because they refer to the ability present in all human brains that normally develop such a reading, without depriving the role of culture or the individuality of the artist, focuses not on the difference between the various artistic styles but on principles that transcend cultural barriers. For this reason, when considering the existence of the artistic universals of Neuroaesthetics, we also consider the occurrence of poetic convergence as an artistic affinity between expressive agents who possess similar elements in their surrounding reality to express their message.

Em vinte anos de vanguarda russa, entre 1910 e 1930, seus artistas experimentaram diversas linguagens artísticas, do futurismo italiano ao mais vigoroso produtivismo (uma vertente radical de fusão da arte com a vida), em busca da expressão perfeita da modernidade, da realidade por eles vivida e da história em construção no período. Ao concentrar tantos caminhos e esforços em uma só instituição de ensino de artes, estava aberta a passagem para a inovação e a revolução que o VKhUTEMAS/VKhUTEIN operou dentro da história da arte soviética. A Seção de Base com suas disciplinas amplas e integradoras, a abertura pedagógica, as disputas teórico-conceituais, a extensa lista de professores vanguardistas e um ambiente acadêmico de pesquisa e novidades, são as principais conquistas da instituição que dominou a cena artística em Moscou e na União Soviética nos anos de 1920. Uma escola voltada para o futuro, para uma nova vida e um novo mundo. / In a short period of twenty years, between 1910 and 1930, the russian avant-garde artists experiment different kinds of artistic languages, from Italian Futurism to the Productivism, a radical trend in the front of life and art fusion - in the very straight way -, searching for the perfect expression of the modernity, the reality of these times and the making of history in these context. Focusing various ways and efforts in a single institute to teaching arts established a passage to the innovation and revolution how VKhUTEMAS/VKhUTEIN was inside the soviet art history. The Basic Unit, with its extensive and integrative ensemble of classes, the pedagogical aperture, the theoretical conceptual controversies, the wide list of avant-garde teachers and the openly to researches and growth academic environment are the key acquisition of this institute which ruled over the Moscow and Soviet Union artistic scene at the 1920\'s. A school orientated to the future, to the new life and new world.

Em vinte anos de vanguarda russa, entre 1910 e 1930, seus artistas experimentaram diversas linguagens artísticas, do futurismo italiano ao mais vigoroso produtivismo (uma vertente radical de fusão da arte com a vida), em busca da expressão perfeita da modernidade, da realidade por eles vivida e da história em construção no período. Ao concentrar tantos caminhos e esforços em uma só instituição de ensino de artes, estava aberta a passagem para a inovação e a revolução que o VKhUTEMAS/VKhUTEIN operou dentro da história da arte soviética. A Seção de Base com suas disciplinas amplas e integradoras, a abertura pedagógica, as disputas teórico-conceituais, a extensa lista de professores vanguardistas e um ambiente acadêmico de pesquisa e novidades, são as principais conquistas da instituição que dominou a cena artística em Moscou e na União Soviética nos anos de 1920. Uma escola voltada para o futuro, para uma nova vida e um novo mundo. / In a short period of twenty years, between 1910 and 1930, the russian avant-garde artists experiment different kinds of artistic languages, from Italian Futurism to the Productivism, a radical trend in the front of life and art fusion - in the very straight way -, searching for the perfect expression of the modernity, the reality of these times and the making of history in these context. Focusing various ways and efforts in a single institute to teaching arts established a passage to the innovation and revolution how VKhUTEMAS/VKhUTEIN was inside the soviet art history. The Basic Unit, with its extensive and integrative ensemble of classes, the pedagogical aperture, the theoretical conceptual controversies, the wide list of avant-garde teachers and the openly to researches and growth academic environment are the key acquisition of this institute which ruled over the Moscow and Soviet Union artistic scene at the 1920\'s. A school orientated to the future, to the new life and new world.

Nicholas Roerich, the well-known Russian artist, writer and mystic from the early twentieth century is best known in the West for his theatrical design work, above all for the sets of the celebrated ballet The Rite of Springs. The goal of this thesis is to provide a fuller understanding of Roerich’s art and literary works within the historical context of his time. In particular, I have sought to illuminate Roerich’s focus on depiction of nature, especially mountains, in relation to his fascination with the mythical Shambhala. In the first chapter of this thesis I analyze Roerich’s early career, as well as his personal and professional relationship with the World of Art, the leading art group at the turn of the twentieth century in Russia. Roerich’s early interest in the history of ancient Russia, archeology and geology, which I discuss, was central to the meaning of his landscape depictions in both his stage designs and paintings. The second chapter of this work investigates how these interests evolved into the artist’s quest for Eastern wisdom and mystical revelations. Although Roerich is often treated as an oddity, his concerns with occult ideas were not unique in his time. The third chapter focuses on Roerich’s activities abroad and his international success as a promoter of ancient wisdom. I discuss the Russian émigré art scene in New York in the 1920s and Roerich’s place within it. I also offer an examination of the artist’s correspondence with his family and colleagues, which sheds light on Roerich’s beliefs in his mysterious “Teachers” and their role in leading him to the East. / text

This thesis examines the interaction of Georgian painting and national politics in the first two decades of Soviet power in Georgia, 1921-1939, focussing in particular on the period following the consolidation of Stalin's power at the helm of the Communist Party in 1926-7. In the Stalin era, Georgians enjoyed special status among Soviet nations thanks to Georgia's prestige as the place of Stalin's birth. However, Georgians' advanced sense of their national sovereignty and initial hostility towards Bolshevik control following Georgia's Sovietisation in 1921 also resulted in Georgia's uniquely fraught relationship with Soviet power in Moscow in the decades that followed. In light of these circumstances, this thesis explores how and why the experience and activities of Georgian painters between 1926 and 1939 differed from those of other Soviet artists. One of its central arguments is that the experiences of Georgian artists and critics in this period not only differed significantly from those of artists and critics of other republics, but that the uniqueness of their experience was precipitated by a complex network of factors resulting from the interaction of various political imperatives and practical circumstances, including those relating to Soviet national politics. Chapter one of this thesis introduces the key institutions and individuals involved in producing, evaluating and setting the direction of Georgian painting in the 1920s and early 1930s. Chapters two and three show that artists and critics in Georgia as well as commentators in Moscow in the 1920s and 30s were actively engaged in efforts to interpret the Party's demand for 'national form' in Soviet culture and to suggest what that form might entail as regards Georgian painting. However, contradictions inherent in Soviet nationalities policy, which both demanded the active cultivation of cultural difference between Soviet nationalities and eagerly anticipated a time when national distinctions in all spheres would naturally disappear, made it impossible for an appropriate interpretation of 'national form' to be identified. Chapter three, moreover, demonstrates how frequent shifts in Soviet cultural and nationalities policies presented Moscow institutions with a range of practical challenges which ultimately prevented them from reflecting in their exhibitions and publications the contemporary artistic activity taking place in the republics of the Caucasus and Central Asia. A key finding of chapters four and five concerns the uniquely significant role that Lavrenty Beria, Stalin's ruthless deputy and the head of the Georgian and Transcaucasian Party organisations, played in differentiating Georgian painters' experiences from those of Soviet artists of other nationalities. Beginning in 1934, Beria employed Georgian painters to produce an exhibition of monumental paintings, opening at the Tretyakov Gallery in Moscow in 1937, depicting episodes from his own falsified history of Stalin's role in the revolutionary movement in Transcaucasia. As this thesis shows, the production of the exhibition introduced an unprecedented degree of direct Party supervision over Georgian painting as Beria personally critiqued works by Georgian painters produced on prescribed narrative subjects in a centralised collective studio. As well as representing a major contribution to Stalin's personality cult, the exhibition, which conferred on Georgian painters special responsibility for representing Stalin and his activities, was also a public statement of the special status that the Georgians were now to enjoy, second only to that of the Russians. However, this special status involved both special privileges and special responsibilities. Georgians would enjoy special access to opportunities in Moscow and a special degree of autonomy in local governance, but in return they were required to lead the way in declaring allegiance to the Stalin regime. Chapter six returns to the debate about 'national form' in Georgian painting by examining how the pre-Revolutionary self-taught Georgian painter, Niko Pirosmani, was discussed by cultural commentators in Georgia and Moscow in the 1920s and 30s as a source informing a Soviet or Soviet Georgian canon of painting. It shows that, in addition to presenting views on the suitability of Pirosmani's painting either in terms of its formal or class content, commentators perpetuated and developed a cult of Pirosmani steeped in stereotypes of a Georgian 'national character.' Further, the establishment of this cult during the late 1920s and early 1930s seems to have been a primary reason for the painter's subsequent canonisation in the second half of the 1930s as a 'Great Tradition' of Soviet Georgian culture. It helped to articulate a version of Georgian national identity that was at once familiar and gratifying for Georgians and useful for the Soviet regime. The combined impression of cultural sovereignty embodied in this and other 'Great Traditions' of Soviet Georgian culture and the special status articulated through the 1937 exhibition allowed Georgian nationalism to be aligned, for a time, with support for Stalin and the Soviet regime.

<p>The topic of this essay is the strategic importance of the <em>Golan Heights</em> during the period <em>1967-1973, </em>specifically targeting the following<em> </em>questions;</p><p>-          <em>Why were the heights strategically important</em>?</p><p>-          <em>What are the gains of either of the states in controlling the Golan Heights?</em></p><p>A theoretical framework based on Jerker Widén´s and Jan Ångström´s <em>Militärteorins grunder</em> (The fundamentals in Military Theory) and its chapter regarding the strategic context will be used as an analytical framework.</p><p>The framework has been applied on the specific conditions of the Golan Heights during a given and limited period of time; stretching from 1967 to 1973, however, the study will <em>not</em> deal with the <em>war of attrition</em> in 1970 as the impact on the Golan Heights and the surrounding geographical strategically important area was limited if at all. The two wars waged during this particular time are used in an attempt to give a somewhat objective picture of the strategic importance of the area.</p><p>The conclusions are that the importance of the Golan heights during the selected period was significant as the Golan Heights provided a “strategic lock” both ways and provides a favourable area to deploy artillery, intelligence and surveillance sensors.</p> / <p>Denna uppsats behandlar främst de grundläggande teorierna kring strategi applicerade på referensobjektet Golanhöjderna under åren 1967-1973.</p><p>Syftet är att svara på frågorna:</p><p><em>Varför var höjderna viktiga ur ett strategiskt perspektiv?</em></p><p><em>Vilka fördelar vinner endera</em> <em>staten på att besitta dem?</em></p><p>Tidsrymden har valts med tanke på att det är under denna tid som de häftigaste striderna ägde rum på detta specifika terrängavsnitt. Utnötningskriget 1970 berörs ej då det inte berörde terrängavsnittet. De parter som behandlas är Israel och Syrien då dessa gränsar till varandra runt Golanhöjderna.</p><p>De bägge parternas planer och mål under stridigheterna kommer att analyseras enligt en deskriptivt-analyserande metod och även till viss del jämföras vad avser deras avsikter och önskade slutläge.</p><p>Den teoretiska referensramen, vilken skall fungera som ett analysverktyg, består huvudsakligen av sex belysande aspekter som tillsammans kan beskriva den strategiska bilden, hämtade ur Jerker Widéns och Jan Ångströms bok <em>Militärteorins grunder</em>. Utöver dessa sex aspekter kommer även manöverkrig, linjaritet samt rysk krigskonst att beskrivas. Dessa operationaliseras sedan på referensobjektet och leder fram till en diskussion som sedan mynnar ut i ett antal slutsatser.</p><p>De slutsatser som har dragits är att Golanhöjderna har en strategisk vikt i området 1967-1973 då de fungerade som ett ”strategiskt lås” för bägge sidor samt att höjderna var värdefulla ur underrättelse-/spaningshänseende.</p>

The topic of this essay is the strategic importance of the Golan Heights during the period 1967-1973, specifically targeting the following questions; -          Why were the heights strategically important? -          What are the gains of either of the states in controlling the Golan Heights? A theoretical framework based on Jerker Widén´s and Jan Ångström´s Militärteorins grunder (The fundamentals in Military Theory) and its chapter regarding the strategic context will be used as an analytical framework. The framework has been applied on the specific conditions of the Golan Heights during a given and limited period of time; stretching from 1967 to 1973, however, the study will not deal with the war of attrition in 1970 as the impact on the Golan Heights and the surrounding geographical strategically important area was limited if at all. The two wars waged during this particular time are used in an attempt to give a somewhat objective picture of the strategic importance of the area. The conclusions are that the importance of the Golan heights during the selected period was significant as the Golan Heights provided a “strategic lock” both ways and provides a favourable area to deploy artillery, intelligence and surveillance sensors. / Denna uppsats behandlar främst de grundläggande teorierna kring strategi applicerade på referensobjektet Golanhöjderna under åren 1967-1973. Syftet är att svara på frågorna: Varför var höjderna viktiga ur ett strategiskt perspektiv? Vilka fördelar vinner endera staten på att besitta dem? Tidsrymden har valts med tanke på att det är under denna tid som de häftigaste striderna ägde rum på detta specifika terrängavsnitt. Utnötningskriget 1970 berörs ej då det inte berörde terrängavsnittet. De parter som behandlas är Israel och Syrien då dessa gränsar till varandra runt Golanhöjderna. De bägge parternas planer och mål under stridigheterna kommer att analyseras enligt en deskriptivt-analyserande metod och även till viss del jämföras vad avser deras avsikter och önskade slutläge. Den teoretiska referensramen, vilken skall fungera som ett analysverktyg, består huvudsakligen av sex belysande aspekter som tillsammans kan beskriva den strategiska bilden, hämtade ur Jerker Widéns och Jan Ångströms bok Militärteorins grunder. Utöver dessa sex aspekter kommer även manöverkrig, linjaritet samt rysk krigskonst att beskrivas. Dessa operationaliseras sedan på referensobjektet och leder fram till en diskussion som sedan mynnar ut i ett antal slutsatser. De slutsatser som har dragits är att Golanhöjderna har en strategisk vikt i området 1967-1973 då de fungerade som ett ”strategiskt lås” för bägge sidor samt att höjderna var värdefulla ur underrättelse-/spaningshänseende.

In the interwar period, Prague became one of the important centers of immigration from the former Russian empire, mostly thanks to the receptive stance of the fledgling republic and its political representation. This dissertation, dedicated to the visual art scene of "Russian Prague", does not confine itself to only consider artists who found themselves in exile in Czechoslovakia. Rather, it focuses on the position of Prague within the larger network of contacts of the Russian diaspora as such, and surveys relations of the local exile community with other émigré centers, especially Paris. By engaging perspectives of institutional frameworks, acquisition practices and strategies, as well as their political motivations, this study takes the Russian art collection of the Karásek Gallery, state purchases of Russian art, the Archive and Collection of Slavonic Art at the Slavonic Institute, the Scythian group and the permanent art exhibition of the Russian Cultural-Historical Museum as symptomatic examples that reveal the shifting boundaries of the notion of "Russian art outside Russia." It also brings the artistic production of the interwar period into conversation with that of the art traditions of pre-revolutionary Russia. All the described phenomena are characterized by rich international contacts and a...

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