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The first English-language monograph that describes seasonal and permanent Late Bronze Age settlements in the Russian steppes, this is the final report of the Samara Valley Project, a US-Russian archaeological investigation conducted between 1995 and 2002. It explores the changing organization and subsistence resources of pastoral steppe economies from the Eneolithic (4500 BC) through the Late Bronze Age (1900-1200 BC) across a steppe-and-river valley landscape in the middle Volga region, with particular attention to the role of agriculture during the unusual episode of sedentary, settled pastoralism that spread across the Eurasian steppes with the Srubnaya and Andronovo cultures (1900-1200 BC). Three astonishing discoveries were made by the SVP archaeologists: agriculture played no role in the LBA diet across the region, a surprise given the settled residential pattern; a unique winter ritual was practiced at Krasnosamarskoe involving dog and wolf sacrifices, possibly related to male initiation ceremonies; and overlapping spheres of obligation, cooperation, and affiliation operated at different scales to integrate groups defined by politics, economics, and ritual behaviors.
In the heart of Russia, old ways of perceiving the spirits of home and nature still prevail. Fairy stories, folk art, and calendar customs carry hints of the old gods and offer a now rare way of linking human life to the landscape. This is as true for city dwellers and villagers, for the Russian soul is open to the power of myth and the mysteries of the universe. This book explains how Russia's concept of soul ("dusha") and sensitivity to the landscape extends to archaeologists, scientists, and doctors in Russia, who retain an open-minded approach and a keen interest in psychic phenomena, along with folk traditions and faith healing. Author Cherry Gilchrist has traveled often to Russia and researched its traditional lore, gaining knowledge she interweaves into this book. She blends that first-hand knowledge with serious research to paint a lively picture of these remarkable magical traditions and their enduring power.
This monograph examines the contributions of landscape design to authority and to organization of public life in imperial Russia. Analyzing how tsars and nobles inscribed their political aspirations in the gardens they designed or inhabited, this study maps out a distinct trajectory in the meaning of landscape design. Based partly on archival documents, it explores the reasons for Catherine the Great's keen interest in landscape design. It reconstructs Grigorii Potemkin's attempts to transform the Crimea physically and symbolically into the garden of the empire. And it reveals the centrality of the garden for noblemen such as Andrei Bolotov and Alexander Kurakin, who expressed their political philosophy and their anxieties about unstable social relations through landscaping. The book follows the destiny of western aesthetic categories, notably of the picturesque, as they are first adopted, then transformed, and ultimately rejected. It analyzes the historical role and mythological representations of the country estate, along with Leo Tolstoy's fraught commitment to Yasnaya Polyana and his critique of estate mythology in War and Peace. Finally, this study exposes how the current fashion for gardening in Russia, in particular among New Russians, alludes to imperial landscaping culture in order to justify a retreat from the public sphere.
Cultural diversity---the multitude of different lifestyles that are not necessarily based on ethnic culture---is a catchphrase increasingly used in place of multiculturalism and in conjunction with globalization. Even though it is often used as a slogan it does capture a widespread phenomenon that cities must contend with in dealing with their increasingly diverse populations. The contributors examine how Russian cities are responding and through case studies from Moscow, St. Petersburg, Novosibirsk, and Sochi explore the ways in which different cultures are inscribed into urban spaces, when and where they are present in public space, and where and how they carve out their private spaces. Through its unique exploration of the Russian example, this volume addresses the implications of the fragmented urban landscape on cultural practices and discourses, ethnicity, lifestyles and subcultures, and economic practices, and in doing so provides important insights applicable to a global context. --Book Jacket.
From the royal pew of Ivan the Terrible, to Catherine the Great's use of landscape, to the struggles between the Orthodox Church and preservationists in post-Soviet Yaroslavl—across five centuries of Russian history, Russian leaders have used architecture to project unity, identity, and power. Church architecture has inspired national cohesion and justified political control while representing the claims of religion in brick, wood, and stone. The architectural vocabulary of the Soviet state celebrated industrialization, mechanization, and communal life. Buildings and landscapes have expressed utopian urges as well as lofty spiritual goals. Country houses and memorials have encoded their own messages. In Architectures of Russian Identity, James Cracraft and Daniel Rowland gather a group of authors from a wide variety of backgrounds—including history and architectural history, linguistics, literary studies, geography, and political science—to survey the political and symbolic meanings of many different kinds of structures. Fourteen heavily illustrated chapters demonstrate the remarkable fertility of the theme of architecture, broadly defined, for a range of fields dealing with Russia and its surrounding territories. The authors engage key terms in contemporary historiography—identity, nationality, visual culture—and assess the applications of each in Russian contexts.
Stimulating, informative guide by noted teacher covers painting technique, painting from life, materials — paints, varnishes, oils and mediums, grounds, etc. — a painter's training, more. 64 photos. 5 line drawings.
After the fall of communism, Russia was in a state of shock. The sudden and dramatic change left many people adrift and uncertain—but also full of a tentative but tenacious hope. Returning again and again to the provincial hinterlands of this rapidly evolving country from 1992 to 2008, Susan Richards struck up some extraordinary friendships with people in the middle of this historical drama. Anna, a questing journalist, struggles to express her passionate spirituality within the rules of the new society. Natasha, a restless spirit, has relocated from Siberia in a bid to escape the demands of her upper-class family and her own mysterious demons. Tatiana and Misha, whose business empire has blossomed from the ashes of the Soviet Union, seem, despite their luxury, uneasy in this new world. Richards watches them grow and change, their fortunes rise and fall, their hopes soar and crash. Through their stories and her own experiences, Susan Richards demonstrates how in Russia, the past and the present cannot be separated. She meets scientists convinced of the existence of UFOs and mind-control warfare. She visits a cult based on working the land and a tiny civilization founded on the practices of traditional Russian Orthodoxy. Gangsters, dreamers, artists, healers, all are wondering in their own ways, “Who are we now if we’re not communist? What does it mean to be Russian?” This remarkable history of contemporary Russia holds a mirror up to a forgotten people. Lost and Found in Russia is a magical and unforgettable portrait of a society in transition.
This wide-ranging cultural history explores the expression of Bolshevik Party ideology through the lens of landscape, or, more broadly, space. Portrayed in visual images and words, the landscape played a vital role in expressing and promoting ideology in the former Soviet Union during the Stalin years, especially in the 1930s. At the time, the iconoclasm of the immediate postrevolutionary years had given way to nation building and a conscious attempt to create a new Soviet �culture.� In painting, architecture, literature, cinema, and song, images of landscape were enlisted to help mold the masses into joyful, hardworking citizens of a state with a radiant, utopian future -- all under the fatherly guidance of Joseph Stalin. From backgrounds in history, art history, literary studies, and philosophy, the contributors show how Soviet space was sanctified, coded, and �sold� as an ideological product. They explore the ways in which producers of various art forms used space to express what Katerina Clark calls �a cartography of power� -- an organization of the entire country into �a hierarchy of spheres of relative sacredness,� with Moscow at the center. The theme of center versus periphery figures prominently in many of the essays, and the periphery is shown often to be paradoxically central. Examining representations of space in objects as diverse as postage stamps, a hikers� magazine, advertisements, and the Soviet musical, the authors show how cultural producers attempted to naturalize ideological space, to make it an unquestioned part of the worldview. Whether focusing on the new or the centuries-old, whether exploring a built cityscape, a film documentary, or the painting Stalin and Voroshilov in the Kremlin, the authors offer a consistently fascinating journey through the landscape of the Soviet ideological imagination. Not all features of Soviet space were entirely novel, and several of the essayists assert continuities with the prerevolutionary past. One example is the importance of the mother image in mass songs of the Stalin period; another is the "boundless longing" inspired in the Russian character by the burden of living amid vast empty spaces. But whether focusing on the new or the centuries-old, whether exploring a built cityscape, a film documentary, or the painting Stalin and Voroshilov in the Kremlin, the authors offer a consistently fascinating journey through the landscape of the Soviet ideological imagination.