国产bbaaaaa片,成年美女黄网站色视频免费,成年黄大片,а天堂中文最新一区二区三区,成人精品视频一区二区三区尤物

首頁> 外文學位 >State Art or Sites of Resistance: Socialist Realism in Romania: 1945-1989.
【24h】

State Art or Sites of Resistance: Socialist Realism in Romania: 1945-1989.

機譯:國家藝術或抵抗場所:羅馬尼亞的社會主義現實主義:1945-1989年。

獲取原文
獲取原文并翻譯 | 示例

摘要

During the Revolution of December 1989, the dictator Ceausescu and his wife Elena were ousted from power and executed by firing squad. Fifteen years later, the "Ceausescu Palace" (1983), for which twenty percent of Bucharest had been torn down during construction, opened as the first National Museum of Contemporary Art and the first democratic Parliament. My dissertation problematizes this allegedly smooth transformation of an authoritarian symbol to a metaphor of freedom. Is such a transformation at all possible; in what ways and to what extent does re-using a building re-use its ideology?;This research takes the overlapping functional programs (palace, "house of the people," house for art, house for legislation) of the building as its point of departure. It focuses on the collection of Socialist Realist paintings located in the Museum and explores the implementation of Soviet Socialist Realism in Romania. In the five chapters that make up the dissertation, I explore artistic agency during the dictatorship of Nicolae Ceausescu in Romania and examine Socialist Realist paintings as tactics used by artists simultaneously to survive in and to alter the system. My project challenges established arguments in art history claiming that artists working under oppressive regimes lack individual agency. Instead, I argue that Socialist Realist paintings served the state as didactic art but also countervailed state power by serving as surreptitious coded sites of resistance.;The interdisciplinary debate that most informs this dissertation comes from Postcolonial Studies, Critical Theory, Political Science, and Women's Studies. Because of this overlap, the Socialist Realist painting per se acts as an intersection between discourses about art and power, culture and politics, space and memory. Therefore, I argue, the painting is not just the product of the general totalitarian art canon, but also a collection of particular aesthetical choices.;Historian Boris Groys considers interest in Socialist Realism to have been dominated by a single question: "Are we dealing with art here?" My dissertation argues that indeed we are dealing with art here precisely by examining its here-ness in the newly born democratic Romania. The Romanian moment of Socialist Realism requires us to consider a simultaneous double-consciousness: first, we must attend to the particularities of its restricted aesthetic; second, we must become aware of the possibilities not available for artists, but imagined or known about, that existed outside the boundaries of those restrictions. To meet this complex moment, my research, both, focuses on circumstantial details and points to a broader theoretical framework. Rather than narrowly labeling the art commissioned by the regime and the artists, I focus on the aesthetic, social, iconographical, and stylistic choices these artists made when faced with the implementation of Soviet Socialist Realism in Romania. I look at how they painted the canonical political portrait.
機譯:在1989年12月的革命期間,獨裁者齊奧塞斯庫(Ceausescu)和他的妻子埃琳娜(Elena)被趕下臺,并被開除行刑隊處決。十五年后,“ Ceausescu宮”(1983年)開幕,這是布加勒斯特在建造過程中被拆除的百分之二十,這是第一座國家當代藝術博物館和第一座民主議會。我的論文對威權主義象征主義向自由隱喻的平穩(wěn)轉變提出了質疑。完全有可能進行這種轉變嗎?重用建筑物以何種方式和程度重用其意識形態(tài)?該研究以建筑物的重疊功能程序(宮殿,“人民之家”,藝術之家,立法之家)為基礎。出發(fā)點。它著重于位于博物館的社會主義現實主義繪畫的收藏,并探討了蘇聯社會主義現實主義在羅馬尼亞的實施情況。在構成論文的五個章節(jié)中,我探索了羅馬尼亞的尼古拉·齊奧塞斯庫(Nicolae Ceausescu)獨裁統(tǒng)治期間的藝術代理,并考察了社會主義現實主義繪畫作為藝術家在生存和改變體系中同時使用的策略。我的項目挑戰(zhàn)了藝術史上公認的論點,這些論點聲稱在壓迫性政權下工作的藝術家缺乏個人代理。取而代之的是,我認為社會主義現實主義繪畫既是作為說教藝術服務于國家,又通過充當秘密的反抗場所而抵消了國家權力。學習。由于這種重疊,社會主義現實主義繪畫本身就成為有關藝術與權力,文化與政治,空間與記憶的論述之間的交叉點。因此,我認為,這幅畫不僅是一般極權主義藝術典范的產物,而且還是特定審美選擇的集合。;歷史學家鮑里斯·格羅伊斯(Boris Groys)認為,對社會主義現實主義的興趣主要由一個問題主導:“我們在交易嗎?這里有藝術品嗎?”我的論文認為,實際上,我們正在通過在新生的民主羅馬尼亞中檢查藝術的精確性來確實在這里處理藝術。羅馬尼亞的社會主義現實主義時刻要求我們同時考慮雙重意識:首先,我們必須注意其有限審美的特殊性;其次,我們必須考慮其雙重審美。第二,我們必須意識到藝術家所沒有的可能性,但是他們想象或知道的可能性超出了這些限制的范圍。為了迎接這個復雜的時刻,我的研究都集中在環(huán)境細節(jié)上,并指出了更廣闊的理論框架。我沒有狹窄地貼上政權和藝術家委托的藝術標簽,而是關注這些藝術家面對羅馬尼亞實施蘇聯社會主義現實主義時在美學,社會,肖像和風格上的選擇。我看看他們如何畫出規(guī)范的政治畫像。

著錄項

  • 作者

    Tanta, Mirela R.;

  • 作者單位

    University of Illinois at Chicago.;

  • 授予單位 University of Illinois at Chicago.;
  • 學科 Art history.;Russian history.;Art criticism.
  • 學位 Ph.D.
  • 年度 2014
  • 頁碼 155 p.
  • 總頁數 155
  • 原文格式 PDF
  • 正文語種 eng
  • 中圖分類 遙感技術;
  • 關鍵詞

相似文獻

  • 外文文獻
  • 中文文獻
  • 專利
獲取原文

客服郵箱:kefu@zhangqiaokeyan.com

京公網安備:11010802029741號 ICP備案號:京ICP備15016152號-6 六維聯合信息科技 (北京) 有限公司?版權所有
  • 客服微信

  • 服務號