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Author: Aliya Abykayeva-Tiesenhausen
Publisher: Bloomsbury Publishing
ISBN: 1838608133
Category : Art
Languages : en
Pages : 306
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Book Description
In the midst of the space race and nuclear age, Soviet Realist artists were producing figurative oil paintings. Why? How was art produced to control and co-opt the peripheries of the Soviet Union, particularly Central Asia? Presenting the 'untold story' of Soviet Orientalism, Aliya Abykayeva-Tiesenhausen re-evaluates the imperial project of the Soviet state, placing the Orientalist undercurrent found within art and propaganda production in the USSR alongside the creation of new art forms in Kazakhstan, Kyrgyzstan and Uzbekistan. From the turmoil of the 1930s through to the post-Stalinist era, the author draws on meticulous new research and rich illustrations to examine the political and social structures in the Soviet Union - and particularly Soviet Central Asia - to establish vital connections between Socialist Realist visual art, the creation of Soviet identity and later nationalist sentiments.
Author: Aliya Abykayeva-Tiesenhausen
Publisher: Bloomsbury Publishing
ISBN: 1838608133
Category : Art
Languages : en
Pages : 306
Get Book Here
Book Description
In the midst of the space race and nuclear age, Soviet Realist artists were producing figurative oil paintings. Why? How was art produced to control and co-opt the peripheries of the Soviet Union, particularly Central Asia? Presenting the 'untold story' of Soviet Orientalism, Aliya Abykayeva-Tiesenhausen re-evaluates the imperial project of the Soviet state, placing the Orientalist undercurrent found within art and propaganda production in the USSR alongside the creation of new art forms in Kazakhstan, Kyrgyzstan and Uzbekistan. From the turmoil of the 1930s through to the post-Stalinist era, the author draws on meticulous new research and rich illustrations to examine the political and social structures in the Soviet Union - and particularly Soviet Central Asia - to establish vital connections between Socialist Realist visual art, the creation of Soviet identity and later nationalist sentiments.
Author: Sophie Ibbotson
Publisher: Bradt Travel Guides
ISBN: 1804691984
Category : Travel
Languages : en
Pages : 268
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Book Description
Bradt’s Karakalpakstan is the longest, most detailed and most up-to-date travel guidebook to this autonomous republic – Central Asia’s best-kept secret. With detailed information on what to see and do, listings for accommodation and restaurants, and guidance on getting around, this guide provides all the practical advice adventurous tourists need to visit or explore this exciting destination. Roughly the size of Sweden, Karakalpakstan borders Kazakhstan, Turkmenistan and Uzbekistan, and was, until recently, dominated by the Aral Sea. As the sea water has retreated, the Aralkum – the world’s newest desert – and numerous lakes have formed in its place. Ecotourism is developing rapidly here, as local people recognise the need to protect and restore fragile ecosystems while creating meaningful employment opportunities. Amid Karakalpakstan’s remote wildernesses, the intrepid traveller will find unique geology (such as the Ustyurt Plateau), rare wildlife (including a substantial population of the critically endangered saiga antelope, whose peculiarly bulbous nose helps filter desert dust and regulate the animal’s temperature), and fabulous star gazing. The region also boasts a long history and rich culture. Scattered through the Kyzylkum, the ruins of the 50-plus desert fortresses of Ancient Khorezm (some proposed as UNESCO World Heritage Sites) attest to the region’s former strategic importance. You can explore ancient settlements (such as the necropolis of Mizdakhan, said to include the grave of Adam), and see caravanserais, mausolea and even Chilpik Dakhma, a Zoroastrian ‘tower of silence’. Alternatively, celebrate Russian Avant Garde art alongside the superb archaeological and ethnographic collections of Savitsky Museum in Nukus, justifiably known as the ‘Louvre of the Steppe’. For something entirely different, why not explore Muynak’s ship graveyard on the remains of the Aral Sea, visit the notorious Soviet bioweapons lab Aralsk 7 on Vozrozhdeniya (Resurrection Island), raise your binoculars at the Important Bird and Biodiversity Area of Sudochye Lakes (where 230 types of birds have been recorded) or dance the night away at the annual Stihia festival of electronic music. Written by two Central Asian experts, Bradt’s Karakalpakstan is an indispensable practical companion to visiting this excitingly varied republic.
Author: Nazira Akhmedova
Publisher: Arnoldsche Verlagsanstalt GmbH
ISBN: 9783897904309
Category : Art, Russian
Languages : en
Pages : 0
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Book Description
Unnoticed by the international art world until recently, the Karakalpakstan State Museum of Art - located in Nukus, Uzbekistan - houses the second largest collection of Russian avant-garde art in the world (after the Russian Museum in St. Petersburg). This extraordinary museum is the life's work of Igor Vitalievich Savitsky, a Russian painter born in Kiev who first visited Karakalpakstan in 1950 as a member of the famous Khorezm Archeological & Ethnographic Expedition led by Sergei Tolstov. Subsequently, having moved from Moscow to Nukus, Savitsky began collecting the works of the Russian avant-garde - including of such well-known names as Falk, Mukhina, Koudriachov, Popova, and Redko - whose paintings were banned during Stalin's rule and through the 1960s because they did not conform to the officially prescribed Soviet 'socialist realism' school of art. The current English language publication, already issued in Russian in 2011, helps make the Savitsky Collection accessible to a broad international audience for the first time. Text in English, French, and German.
Author: Michael Moorcock
Publisher: Tachyon Publications
ISBN: 1616963123
Category : Fiction
Languages : en
Pages : 408
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Book Description
“He is the master storyteller of our time.”—Angela Carter Michael Moorcock: Legendary author of the Elric saga, Science Fiction Grand Master, platinum album–receiving rock star, and controversial editor of the new wave fiction movement’s New Worlds. In this definitive collection, discover the incomparable stories of one of our most important contemporary writers. These exceptional stories range effortlessly from the genre tales that continue to define fantasy to the author’s critically acclaimed mainstream works. Classic offerings include the Nebula Award–winning novella “Behold the Man,” which introduces a time traveler and unlikely messiah that H.G. Wells never imagined; “The Visible Men,” a recent tale of the ambiguous and androgynous secret agent Jerry Cornelius; the trilogy “My Experiences in the Third World War,” where a Russian agent in an alternate Cambodia is powerless to prevent an inevitable march toward nuclear disaster; and “A Portrait in Ivory,” a Melibone story of troubled anti-hero Elric and his soul-stealing sword, Stormbringer. Newer work handpicked by an expert editing team includes one previously unpublished story and three uncollected stories.
Author: Richard Greene
Publisher: Open Court Publishing
ISBN: 0812694732
Category : Philosophy
Languages : en
Pages : 186
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Book Description
Spoilers get folks upset—really upset. One thing that follows from this is that if you pick up a book that’s all about spoilers, it may seriously disturb you. So anyone reading this book—or even dipping into it—does so at their peril. Spoilers have a long history, going back to the time when some Greek theater-goer shouted “That’s Oedipus’s mom!” But spoilers didn’t use to be so intensely despised as they are today. The new, fierce hatred of spoilers is associated with the Golden Age of television and the ubiquity of DVR/Netflix/Hulu, and the like. Today, most people have their own personal “horror story” about the time when they were subject to the most unfair, unjust, outrageous, and unforgivable spoiler. A first definition of spoiler might be revealing any information about a work of fiction (in any form, such as a book, TV show, or movie) to someone who hasn’t encountered it. But this isn’t quite good enough. It wouldn’t be a spoiler to say “The next Star Trek movie will include a Vulcan.” Nor would it be a spoiler to say, “The story of Shawshank Redemption comes from a short story by Stephen King.” There has to be something at least a bit unexpected or unpredictable about the information, and it has to be important to the content of the work. And you could perpetrate a spoiler by divulging information about something other than a work of fiction, for example details of a sports game, to someone who has tivoed the game but not yet watched it. Timing and other matters of context may make the difference between a spoiler and a non-spoiler. It could be a spoiler to say “There’s a Vulcan in the next Star Trek movie” if spoken to someone raised in North Korea and knowing absolutely nothing about Star Trek. It can also be a spoiler to say something about a movie or TV show when it’s new, and not a spoiler when it has been around for some years. This raises the distinction between “personal spoilers” and “impersonal spoilers.” Personal spoilers are spoilers for some particular individual, because of their circumstances. You should never give personal spoilers (such as when someone says that they have never seen a particular movie, even though the plot is common knowledge. You can’t tell them the plot). Sometimes facts other than facts about a story can be spoilers, because they allow people to deduce something about the story. To reveal that a certain actor is not taking part in shooting the next episode may allow someone to jump to conclusions about the story. Spoilers need not be specific; they can be very vague. If you told someone there was a big surprise ending to The Sixth Sense or Fight Club, that might spoil these movies for people who haven’t seen them. You can spoil by mentioning things that are common knowledge, if someone has missed out on that knowledge (“Luke and Darth Vader are related”), but you usually can’t be blamed for this. People have some obligation to keep up. This means that in general you can’t be blamed for spoilers about stories that are old. “Both Romeo and Juliet are dead at the end” could be a spoiler for someone, but you can’t be blamed for it. This is a rule that’s often observed: many publications have regulations forbidding the release of some types of spoilers for a precisely fixed time after a movie release. However, some spoilers never expire, either because the plot twist is so vital or the work is so significant. So, if you’re talking to young kids, you probably should never say “Darth Vader is Luke’s father,” “Norman Bates is Mother,” “Dorothy’s trip to Oz was all a dream,” “All the passengers on the Orient Express collaborated in the murder,” “in The Murder of Roger Akroyd, the narrator did it,” “Soylent Green is people,” “To Serve Man is a cookbook,” and finally, what many consider to be the greatest and worst spoiler of them all, “The Planet of the Apes is really Earth.” Some famous “spoilers” are not true spoilers. It’s not going to spoil Citizen Kane for anyone to say “Rosebud is his sled.” This piece of information is not truly significant. It’s more of a McGuffin than a plot twist. A paradox about spoiling is that people often enjoy a work of fiction such as a Sherlock Holmes story over and over again. They remember the outline of the story, and who did the murder, but this doesn’t stop them re-reading. This demonstrates that the spoilage generated by spoilers is less than we might imagine. It’s bad to spoil, but how bad? People do seem to exaggerate the dreadfulness of spoiling, compared with other examples of inconsiderateness or rudeness. Are there occasions when it’s morally required to spoil? Yes, you might want to dissuade someone from watching or reading something you believed might harm them somehow. Also, you might issue a spoiler in order to save the world from a terrorist attack (Yes, this is a philosophy book, so it has to include at least one totally absurd example). A more doubtful case is deliberate spoiling as a protest, as occurred with Basic Instinct. The book ends with three spoiler lists: the Most Outrageous Spoiler “Horror Stories”; the Greatest Spoilers of All Time; and the Greatest Spoilers in Philosophy.
Author: Виктор Кадыров
Publisher: Litres
ISBN: 504188563X
Category : History
Languages : en
Pages : 57
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Book Description
This book explores the magical world of Kyrgyz nomads, describes the main types of applied art, shows the origins of the ancient Kyrgyz ornament. Samples of products of the main types of applied art are given. It is very important that modern masters know and understand the hidden world of the Kyrgyz pattern. This will help them to preserve the depth and beauty that is in the works of ancient craftsmen.
Author: Ann VanderMeer
Publisher:
ISBN:
Category : Fiction
Languages : en
Pages : 436
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Book Description
Presents a collection of stories from the "new weird" genre--a overlap of science fiction, fantasy, and horror--from some of its well-known writers, along with commentaries and a story featuring emerging authors within the genre.
Author:
Publisher:
ISBN:
Category : Electronic journals
Languages : en
Pages : 378
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Book Description
Author: Suzanne Braun Levine
Publisher: Macmillan
ISBN: 0374299528
Category : Biography & Autobiography
Languages : en
Pages : 354
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Book Description
An oral biography of the influential Bella Abzug charts her more than fifty-year career as an activist, congresswoman, social leader, and champion of the disenfranchised and powerless.
Author: Jeffrey Brooks
Publisher: Cambridge University Press
ISBN: 1108484468
Category : Art
Languages : en
Pages : 349
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Book Description
A century of Russian artistic genius, including literature, art, music and dance, within the dynamic cultural ecosystem that shaped it.
