Thesis (D.M.A.)--University of North Texas, 2007. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 24, 2000, June 24, 2002, Jan. 24, 2005, and Dec. 1, 2006. Includes bibliographical references (p. 37-38).

Thesis (M.A.)--University of Wisconsin--Madison, 1969. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1971. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

The first exhibition organised by Nikolai Kul'bin opened in St. Petersburg in April 1908. It marked the beginning of a new era in the history of the art of the Russian capital, and introduced many young artists to the exhibiting environment and the public. While still firmly within the symbolist tradition it was these artists who strove to renew and broaden the visual language of painting. The aim of this thesis has been to trace the developments in this process that started from fin-de-siecle symbolism and reached, via Neo-Primitivism, a climax in Cubo-Futurism. This is achieved by a survey of the composition and events surrounding Kul'bin's group "Triangle" and the art society that grew out of it, "The Union of Youth", from 1908 to 1914. As a group Triangle existed for three art seasons between 1908 and 1910. Chapters One and Two examine the growth and changes in the group in this time. The adoption of an aesthetic of "free creativity" and synaesthetic principles, the psychological impressionism of Kul'bin and Matyushin, and the association of ideas with literary symbolism are examined. The notion of art as an abstraction from nature is studied with reference to Markov's theories and the art of the Union of Youth exhibitors in Chapter Three and succeeding chapters. In addition, the originality of the establishment of the Union of Youth in the Russian context, and the overlap of ideas and artists with Triangle is discussed. The provision of this new forum for unestablished artists stimulated many developments in the visual arts, not least the progress of Neo-Primitivism, which, as seen In Chapter Four was even transferred to the theatre. The Union of Youth's production of "Khoromnyya Deistva" is seen to presage Markov's notion of "constructive" and "non-constructive" art, examined in Chapter Five, as well as the zaum transrationalism of Malevich, Matyushin and Kruchenykh in the Futurist opera The Victory over the Sun. The Union of Youth's role in creating the ambience appropriate for such ideas is analysed and in the second half of the thesis it is seen that while the group backed these modernist tendencies, most of the member-artists actually failed to be truly innovative in their own art. The dependence on developments in Munich and Paris, and the inter-relationship of these artistic centres with Petersburg are studied in the light of the retention of a mystical symbolist aspect in the art of the Petersburg avant-garde.

Heretofore in the western world there has been no intensive literary study of the noted Russian author of the eighteenth century, Denis Ivanovich Fonvizin. Many western scholars assert that Fonvizin's works are valuable only as historical documents and that they possess little literary merit. Nevertheless, a close acquaintance with Fonvizin's works and a careful scrutiny of the information about them, help to put his works in a proper perspective. To perform this task I have consulted many Soviet and pre-revolutionary sources and shall report their findings along with mine. The method of approach has been to analyze the works and the available critical literature. Chapter One is devoted to a general study of the author and his career. Chapters Two and Three deal with Fonvizin's most important literary legacies Brlgadir and Nedorosl' respectively, and provide analyses of sources, structure, characterization, style, language, humour and influences. I have commented in particular on the characters as manifestations of their class in Russian society of the time and attempted to provide an insight into the plays' social meaning and use of humorous devices. The Epilogue consists of a brief summary in an attempt at formulating a conclusion about Fonvizin's place in the literary history of Russia. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

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This thesis attempts to determine whether the Russian chemist, Dmitrii Ivanovich Mendeleev, was open to Western ideas and capital in the Russian petroleum industry. It does so by examining five of his trips to study this business, as either an advisor to the Russian government or a private consultant. These voyages took place between 1863 and 1886 and saw Mendeleev in France, the United States and the Caucasus. Each trip produced a combination of personal letters, diaries, and published articles. This work employs a mixture of published and unpublished archival documents. In the process, much is revealed about the history of this industry, its industrialists, as well as Mendeleev's personality. / The introduction outlines the general questions that this thesis aims to answer. Chapter one summarizes Mendeleev's life until he first worked in the oil industry in 1863. These formative years were crucial for Mendeleev. His youthful travels around Europe, studies in Germany and personal inclinations, made him a multi-lingual and cosmopolitan individual. The remaining five chapters examine Mendeleev's trips to study the industry. An epilogue briefly recounts his final years. / The conclusion of this thesis is that contrary to Soviet scholarship, Mendeleev was open to the West. His only requirement was that Western ideas and capital assist in the growth of the Russian oil industry and result in abundant and cheap kerosene for the Russian population.

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