КФУ. Карточка публикации. The Post-Thaw Period and Monumental Art in the Soviet Province

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THE POST-THAW PERIOD AND MONUMENTAL ART IN THE SOVIET PROVINCE

Форма представления

Статьи в зарубежных журналах и сборниках

Год публикации

2022

Язык

английский

Авторы, сотрудники КФУ

Сергеев Сергей Алексеевич, автор

Библиографическое описание на языке оригинала

Sergey Sergeev, Zulfia Sergeeva. The Post-Thaw Period and Monumental Art in the Soviet Province // Res Militaris. - 2022. - Vol.12. - Is.3. - P. 853-858.

Аннотация

he article is devoted to the study of the influence of the socio-political context of the «post-thaw» period (1964 - 1970) on Soviet culture in general and on monumental art in the Soviet province in particular. «Post-thaw» is a term characterizing the historical period between the fall of Khrushchev and the «frost» that followed the invasion of Czechoslovakia by Warsaw Pact troops in 1968. The cultural and ideological processes of the «post-thaw» period became more complex compared to the period of the thaw. «Post-thaw» gave rise to such forms of social life and culture that did not support the official ideology and official discourse, and at the same time were not openly opposed to them. Monumental art in the USSR, especially monumental decorative painting, developed mainly within the framework of rigid ideological canons, but during the post-thaw period, artists were already more free in their choice of styles than before, and they were not prohibited from using any new artistic forms, elements abstract art. In the course of the study of a specific case undertaken by the authors, the meanings of the panel «Soviet Tataria» on the outer facade of the suburban railway station in Kazan, built in 1967, were analyzed. The image of a woman's head in a Tatar ethnic headdress became in the following decades a symbol representing the Soviet image of the city of Kazan and the Republic of Tatarstan as a whole. The authors believe that this panel in its artistic form reflects not only the main ideas of the official discourse of the 1960s, but also contains certain hidden meanings that are opposed to the official discourse.

Ключевые слова

?Post-thaw?, ?thaw?, monumental art, official discourse

Название журнала

Res Militaris

URL

https://www.scopus.com/inward/record.uri?eid=2-s2.0-85142168547&partnerID=40&md5=1f52525b0f410f9ec323fc583dabad64

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https://repository.kpfu.ru/?p_id=281997

Полная запись метаданных

Поле DC	Значение	Язык
dc.contributor.author	Сергеев Сергей Алексеевич	ru_RU
dc.date.accessioned	2022-01-01T00:00:00Z	ru_RU
dc.date.available	2022-01-01T00:00:00Z	ru_RU
dc.date.issued	2022	ru_RU
dc.identifier.citation	Sergey Sergeev, Zulfia Sergeeva. The Post-Thaw Period and Monumental Art in the Soviet Province // Res Militaris. - 2022. - Vol.12. - Is.3. - P. 853-858.	ru_RU
dc.identifier.uri	https://repository.kpfu.ru/?p_id=281997	ru_RU
dc.description.abstract	Res Militaris	ru_RU
dc.description.abstract	he article is devoted to the study of the influence of the socio-political context of the «post-thaw» period (1964 - 1970) on Soviet culture in general and on monumental art in the Soviet province in particular. «Post-thaw» is a term characterizing the historical period between the fall of Khrushchev and the «frost» that followed the invasion of Czechoslovakia by Warsaw Pact troops in 1968. The cultural and ideological processes of the «post-thaw» period became more complex compared to the period of the thaw. «Post-thaw» gave rise to such forms of social life and culture that did not support the official ideology and official discourse, and at the same time were not openly opposed to them. Monumental art in the USSR, especially monumental decorative painting, developed mainly within the framework of rigid ideological canons, but during the post-thaw period, artists were already more free in their choice of styles than before, and they were not prohibited from using any new artistic forms, elements abstract art. In the course of the study of a specific case undertaken by the authors, the meanings of the panel «Soviet Tataria» on the outer facade of the suburban railway station in Kazan, built in 1967, were analyzed. The image of a woman's head in a Tatar ethnic headdress became in the following decades a symbol representing the Soviet image of the city of Kazan and the Republic of Tatarstan as a whole. The authors believe that this panel in its artistic form reflects not only the main ideas of the official discourse of the 1960s, but also contains certain hidden meanings that are opposed to the official discourse.	ru_RU
dc.language.iso	ru	ru_RU
dc.subject	?Post-thaw?	ru_RU
dc.subject	?thaw?	ru_RU
dc.subject	monumental art	ru_RU
dc.subject	official discourse	ru_RU
dc.title	The Post-Thaw Period and Monumental Art in the Soviet Province	ru_RU
dc.type	Статьи в зарубежных журналах и сборниках	ru_RU