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A semiotic reading of hyperrealism in the Soviet Union: representations of the Soviet urbanscape in the 1970s and 1980s as a new form of critical realism

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TitleInfo
Title
A semiotic reading of hyperrealism in the Soviet Union: representations of the Soviet urbanscape in the 1970s and 1980s as a new form of critical realism
Name (type = personal)
NamePart (type = family)
Morandi
NamePart (type = given)
Maria Cristina
NamePart (type = date)
1976-
DisplayForm
Maria Cristina Morandi
Role
RoleTerm (authority = RULIB)
author
Name (type = personal)
NamePart (type = family)
Sharp
NamePart (type = given)
Jane Ashton
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Jane Ashton Sharp
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Advisory Committee
Role
RoleTerm (authority = RULIB)
chair
Name (type = personal)
NamePart (type = family)
Sidlauskas
NamePart (type = given)
Susan
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Susan Sidlauskas
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Advisory Committee
Role
RoleTerm (authority = RULIB)
internal member
Name (type = personal)
NamePart (type = family)
Zervigon
NamePart (type = given)
Andres Mario
DisplayForm
Andres Mario Zervigon
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Advisory Committee
Role
RoleTerm (authority = RULIB)
internal member
Name (type = personal)
NamePart (type = family)
Kurg
NamePart (type = given)
Andres
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Andres Kurg
Affiliation
Advisory Committee
Role
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outside member
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Rutgers University
Role
RoleTerm (authority = RULIB)
degree grantor
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School of Graduate Studies
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school
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Text
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theses
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2019
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2019-10
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2019
Language
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English
Abstract (type = abstract)
In the 1950s and 1960s, the Western-established dichotomy between style and ideology, embodied by modernism and realism, was dominant. This dichotomy tended to suppress, marginalize or ostracize realism in the Soviet Union by reducing it to the leftist political project. This dissertation presents a critical reassessment of realism in the Soviet Union by challenging its representation as a monolithic phenomenon through the analysis of hyperrealism in the 1970s and 1980s. My analyses of Ando Keskküla, Jaan Elken, Semyon Faibisovich and Sergei Sherstiuk’s hyperrealist artworks, based on Yuri Lotman's semiotic theory of culture, show the influence on their artistic production of the social and cultural system of signs of the Soviet society, as displayed in architecture, means of transport, and housing, along with the artist’s personal agenda. Rather than the idealized conditions promoted by official doctrine, these artists adopted a unique strategy to subvert the predominant Socialist realist political rhetoric by representing the actual conditions of decay and collapse of Tallinn and Moscow’s urban environment as a powerful metaphor for the existential condition of alienation and seclusion experienced by the population in the last years of the Soviet era. While Keskküla, Elken, Faibisovich, and Sherstiuk remained committed to a figurative style they also tested and broadened the boundaries of realism, by breaking its rules through means and visual strategies which included the concepts of mimesis, original creativity, the artists’ agency, use of quotation and technical reproduction. In doing so, they problematized the discourse on the perception of reality in a totalitarian society, while introducing a critical third way distinct from the socialist realism and the formalist praxis of non-conformist artists of their time.
Subject (authority = RUETD)
Topic
Art History
Subject (authority = LCSH)
Topic
Socialist realism in art -- Soviet Union
Subject (authority = LCSH)
Topic
Photo-realism -- Soviet Union
RelatedItem (type = host)
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Title
Rutgers University Electronic Theses and Dissertations
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ETD
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ETD_10230
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application/pdf
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text/xml
Extent
1 online resource (viii, 448 pages) : illustrations
Note (type = degree)
Ph.D.
Note (type = bibliography)
Includes bibliographical references
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School of Graduate Studies Electronic Theses and Dissertations
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rucore10001600001
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NjNbRU
Identifier (type = doi)
doi:10.7282/t3-kr8p-jq89
Genre (authority = ExL-Esploro)
ETD doctoral
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Rights

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The author owns the copyright to this work.
RightsHolder (type = personal)
Name
FamilyName
Morandi
GivenName
Maria Cristina
Role
Copyright Holder
RightsEvent
Type
Permission or license
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2019-09-10 10:02:21
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Name
Maria Cristina Morandi
Role
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Affiliation
Rutgers University. School of Graduate Studies
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Author Agreement License
Detail
I hereby grant to the Rutgers University Libraries and to my school the non-exclusive right to archive, reproduce and distribute my thesis or dissertation, in whole or in part, and/or my abstract, in whole or in part, in and from an electronic format, subject to the release date subsequently stipulated in this submittal form and approved by my school. I represent and stipulate that the thesis or dissertation and its abstract are my original work, that they do not infringe or violate any rights of others, and that I make these grants as the sole owner of the rights to my thesis or dissertation and its abstract. I represent that I have obtained written permissions, when necessary, from the owner(s) of each third party copyrighted matter to be included in my thesis or dissertation and will supply copies of such upon request by my school. I acknowledge that RU ETD and my school will not distribute my thesis or dissertation or its abstract if, in their reasonable judgment, they believe all such rights have not been secured. I acknowledge that I retain ownership rights to the copyright of my work. I also retain the right to use all or part of this thesis or dissertation in future works, such as articles or books.
Copyright
Status
Copyright protected
Availability
Status
Open
Reason
Permission or license
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