In 2003, in response to the terminal socioeconomic instability and political ignorance, the Georgian civil society initiated a wave of mobilization, consolidation and protest actions. The Rose...Show moreIn 2003, in response to the terminal socioeconomic instability and political ignorance, the Georgian civil society initiated a wave of mobilization, consolidation and protest actions. The Rose Revolution represents the culmination of elite tensions and civil disobedience. The Revolution continues to be one of the most influential and important Color Revolutions in the post-Soviet sphere because of the large-scale mobilization of Georgian citizens. Consequently, the purpose of this thesis is to identify how did the Rose Revolution develop and promote mass mobilization required for political change. The thesis adopts the concept of “framing” and the three different framing strategies (diagnostic, prognostic, motivational) and applies them to the case of the Rose Revolution in order to analyze the consensus and action mobilization of the protest actors. By pursuing these strategies, the Rose Revolution opened opportunities for confidence and hope among the Georgian citizens. People began to distinguish between politics and the party, and thus the parties began to lose the occupied space of the political. Especially the prognostic strategies liberated the activist cores, enabled them to ‘flourish’. In other words, the public got inspired to take part in the popular discontent with the governmental establishment.Show less
This thesis set out to study Andrei Kurkov’s role as a writer within Ukraine’s alleged postcolonial condition. Firstly, I analysed the relationship between Ukraine and postcolonialism with regard...Show moreThis thesis set out to study Andrei Kurkov’s role as a writer within Ukraine’s alleged postcolonial condition. Firstly, I analysed the relationship between Ukraine and postcolonialism with regard to Russia. Secondly, I applied this theoretical framework, especially the concept of hybridity, on the public statements and political opinions of Andrei Kurkov. This thesis has found that Andrei Kurkov fits perfectly the postcolonial frame and can be called a postcolonial writer. The main feature which defines him as such is the fact that he promotes the official recognition of the Russian language as a Ukrainian specificity. Such proposition aims at solving mechanisms of cultural dependency between Ukraine and Russia. Ultimately, I argue that this recognition can positively influence the role of Russian-speaking writers in Ukraine.Show less
This thesis desires to undertake an analysis of Russian cinematic portrayals of Grigory Rasputin. It attempts to build upon David Gillespie's conviction that the Russian historical film is just as...Show moreThis thesis desires to undertake an analysis of Russian cinematic portrayals of Grigory Rasputin. It attempts to build upon David Gillespie's conviction that the Russian historical film is just as apt at detailing the present as the past, and so the analysis of each film hopes to highlight how the relevant portrayal of Rasputin can also reflect the political intricacies around the time of the film's production. The thesis first looks at Elem Klimov's film 'Agonia' from 1975. It then details Irakli Kvirikadze's 2012 film 'Rasputin.' Lastly, the thesis sees an analysis of Andrey Malyukov's 8 part TV series entitled 'Grigory R' from 2014.Show less
Volgens schrijver Fëdor Dostoevskij begrijpen buitenlanders niks van de Russische landschapskunst. Ook zijn naamgenoot Fëdor Tjutčev schreef dat “het hovaardige oog van de westerling blind is voor...Show moreVolgens schrijver Fëdor Dostoevskij begrijpen buitenlanders niks van de Russische landschapskunst. Ook zijn naamgenoot Fëdor Tjutčev schreef dat “het hovaardige oog van de westerling blind is voor het geheime licht dat uit het karige Russische landschap straalt.” Toch was de overzichtstentoonstelling van de Russische landschapsschilderkunst in 2003-2004 in Groningen een groot succes. Ook de pers was doorgaans lovend over de toen voor het westen nog onbekende schilderijen. In de westerse wereld werd de Russische landschapskunst eerder decennialang opzijgeschoven. Hoe werd de Russische landschapsschilderkunst op de tentoonstelling Het Russische Landschap ontvangen in Nederland? Om deze vraag te beantwoorden is in de literatuurstudie een historisch overzicht geïntegreerd en wordt toegelicht hoe de tentoonstelling tot stand is gekomen. Na dit historische overzicht wordt gedemonstreerd op welke manieren de Russische landschapsschilderkunst kan worden benaderd: zowel apolitieke natuurervaringen als chauvinistisch Russische trots kunnen door de werken bij de kijker worden opgewekt. Dit laatste kan worden bereikt door zowel modderige landwegen als weelderige bossen. Er wordt hier ook ingegaan op de uitlatingen van Dostoevskij en Tjutčev over het buitenlandse onbegrip. De literatuurstudie wordt afgesloten met een artikel van Ellen Rutten, waarin wordt opgemerkt dat in Groningen mensen vooral afkwamen op de Russische Ziel. Om deze laatste bewering te testen is een kwantitatief onderzoek opgesteld. De expositie werd doorverkocht aan the National Gallery, en dus kon zowel de Engelse als Nederlandse media-aandacht worden onderzocht. Het extra aantal bronnen uit Engeland dat hierdoor is toegevoegd maakt de percentages een stuk betrouwbaarder en minder afhankelijk van toeval. In elke gevonden relevante bron is gezocht naar een veertiental kenmerken. Aan de hand hiervan kan worden afgeleid op welke manier het westen de Russische landschapskunst heeft binnengehaald. Een van de grootste ontdekkingen in het kwantitatieve onderzoek was het verschil tussen de Nederlandse en Engelse krantenartikelen, die uitgebreid worden toegelicht. Verder toont dit werkstuk aan dat in Nederland vele bronnen meegingen in de Russische Ziel, maar ook andere kenmerken erg vaak werden genoemd. Het landschap werd in Groningen en Nederland zowel intrinsiek als nationaal geïnterpreteerd, en deze twee benaderingen blijken elkaar ook niet uit te sluiten.Show less
This thesis revisits the 1988 Sotheby’s auction in Moscow, an event that catalyzed the commercialization of the Soviet art market. For the first time in history, unofficial art, previously outlawed...Show moreThis thesis revisits the 1988 Sotheby’s auction in Moscow, an event that catalyzed the commercialization of the Soviet art market. For the first time in history, unofficial art, previously outlawed by the Soviet state, was auctioned off to predominantly Western buyers. While scholars have assessed the role of the auction in transforming the Soviet art market, none have contemplated the perceptions of commercialization from the perspective of the media. Additionally, pre-existing literature lacks application of cultural theory. Therefore, this thesis departs from previous works by assessing Western and Soviet news coverage of the event. Based on the conclusions drawn from this analysis, Pierre Bourdieu’s theory of symbolic capital is applied in order to understand the ‘re-shuffling of artistic hierarchies.’ By drawing on media- and theory-focused lenses, this thesis aims to contribute to the discussion on the nature of commercialization in the Soviet Union prior to its collapse, as well as invite a more careful reading on the effects of commercialization on Soviet artistic production.Show less
This thesis explores the stereotypes of different Cold War movies made in the Soviet Union. Three movies are analysed based on a critical literature review about stereotypes. Based on the...Show moreThis thesis explores the stereotypes of different Cold War movies made in the Soviet Union. Three movies are analysed based on a critical literature review about stereotypes. Based on the observations and different theories of scholars the stereotypes are defined and placed within their time period.Show less
This thesis investigates the topics of female consciousness and identity through the case studies of three Russian films: Intergirl (1989), The Country of the Deaf (1998), The Spot (2006). Firstly,...Show moreThis thesis investigates the topics of female consciousness and identity through the case studies of three Russian films: Intergirl (1989), The Country of the Deaf (1998), The Spot (2006). Firstly, relevant theories and secondary literature will be presented regarding topics such as: gender discourse in Russia, female consciousness and identity, the cinematic role of the Gaze as well as the metaphor of the Prostitute. In the Methodology section, the reader will be introduced to the approach of social semiotics analysis of film. The main body of the thesis consists of three chapters focused on the close-reading of the case studies. Finally, this thesis will provide a conclusion detailing my own observations in relation to previous research.Show less
This thesis investigates the reappearance of the Russian prison camp memoir. It investigates how these contemporary prison camp memoirs are connected to prison camp writing from the past. I used...Show moreThis thesis investigates the reappearance of the Russian prison camp memoir. It investigates how these contemporary prison camp memoirs are connected to prison camp writing from the past. I used the contemporary prison camp memoirs of Maria Alyokhina (2017) and Ildar Dadin (2018). Both were political prisoners, convicted in politically motivated trials, and served sentenced in the modern day system of Russian penal colonies. Their memoirs are a product of the growing repression that takes place under president Vladimir Putin. Russia has a long tradition of prison camp writing. The contemporary prison camp memoirs recall this past, and are therefore looked at in the context of this tradition, especially that of Gulag memoir writing. The thesis first looks at the most important aspects of the narratives of the contemporary memoirs, which they share with Gulag memoirs (retrospect, testimonial function and a bi-functionality). Secondly it investigates the structure of the narratives, and how these share the four morphological features of Gulag memoirs as formulated by Leona Toker, who analyzed the corpus of Gulag memoirs. Thirdly, it explores how the authors of the contemporary prison camp memoirs inscribe their memoirs in the tradition of Russian prison camp writing, and how they deploy the past in their narratives about the present.Show less
