Marina Dmitrieva
Biographic Data
| ID | 1383410 |
|---|---|
| NAME | Marina Dmitrieva |
| GIVEN NAMES | Marina |
| FAMILY NAME | Dmitrieva |
| SIGNATURE | DMITRIEVA M |
| AFFILIATIONS | Leipzig University |
| ORCID | 0000-0003-0979-5009 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2006 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
Italian Renaissance Courts and Its Research in Western Historiography of the 21st Century
The article is devoted to the study of Italian Renaissance Сourts in Western (mainly Italian) historiography of the 21st century. The authors identify the directions and problems of research, comparing the problems of scientific works were written before the appearance of Italian Court History with works that were appeared at different stages of its development: in the initial period, in the first and second decades of the 21st century (the main …
A Rhythmic-Cosmic Language
For Walter Benjamin, the trip to Moscow in the winter of 1926-1927 was a disappointment not only for his love aspirations, but also in terms of his belief in a socialist future. Consequently, on this occasion he ignored signs of modernity, such as avant-garde art or constructivist architecture. Instead he was fascinated, even obsessed, with folk art. He spent hours in the Toy museum; his Moscow Diary is full of descriptions of the colourful range…
Un Langage cosmico-rythmique
Pour Walter Benjamin, le voyage à Moscou de 1926-1927 fut une déception, non seulement pour ses aspirations amoureuses, mais aussi pour sa foi en un avenir socialiste. Il ignora à cette occasion tous les signes de la modernité, tel que l’art avant-gardiste ou l’architecture constructiviste. A la place, il fut fasciné, voire obsédé, par l’art folklorique. Il passa des heures au musée du Jouet ; le journal qu’il tînt à Moscou fourmille de descripti…
Les monuments étrangers
Après la disparition du régime socialiste, les monuments dits « étrangers » dans les pays d’Europe centrale et orientale – Pologne, Allemagne et Ukraine – ont été diversement gérés. Ces monuments « étrangers », érigés par des architectes venant de l’extérieur du pays et qui ne sont pas en harmonie avec la tradition architecturale locale, paraissent comme surajoutés dans l’environnement urbain. Qu’arrive-t-il à ces structures, qui incarnent la mém…
Skythen, Amazonen und Futuristen. Der Steppendiskurs der 1910 1920er Jahre und seine heutigen Implikationen
Due to the archaeological discovery of Greek and Scythian culture in the south of the Russian Empire in the second half of the 19th century and the scientific exploration of Russia’s own Orient – i.e. the non-European peoples of Siberia, Central Asia, Caucasus and middle-Volga – the Eurasian paradigm became more and more influential among Russian intellectuals and artists. For the adherents of Eurasianism, the steppe, broadly considered as a cros…
Moscow Architecture between Stalinism and Modernism
Recent changes in Moscow's urban structure combine the post-Soviet and the early Soviet aesthetical and ideological patterns in a very contradictory way. The master plan of 2004 with its vision of the ‘‘new capital’’ of the year 2020, is essentially orientated along the lines of its 1935 predecessor. Striking similarity of the mechanisms of the visual celebration of Moscow as a capital city of Russian Federation is, however, based on the opposite…
Moscow Architecture between Stalinism and Modernism
Recent changes in Moscow's urban structure combine the post-Soviet and the early Soviet aesthetical and ideological patterns in a very contradictory way. The master plan of 2004 with its vision of the ‘‘new capital’’ of the year 2020, is essentially orientated along the lines of its 1935 predecessor. Striking similarity of the mechanisms of the visual celebration of Moscow as a capital city of Russian Federation is, however, based on the opposite…
Moscow Architecture between Stalinism and Modernism
Recent changes in Moscow's urban structure combine the post-Soviet and the early Soviet aesthetical and ideological patterns in a very contradictory way. The master plan of 2004 with its vision of the ‘‘new capital’’ of the year 2020, is essentially orientated along the lines of its 1935 predecessor. Striking similarity of the mechanisms of the visual celebration of Moscow as a capital city of Russian Federation is, however, based on the opposite…
Skythen, Amazonen und Futuristen. Der Steppendiskurs der 1910 1920er Jahre und seine heutigen Implikationen
Due to the archaeological discovery of Greek and Scythian culture in the south of the Russian Empire in the second half of the 19th century and the scientific exploration of Russia’s own Orient – i.e. the non-European peoples of Siberia, Central Asia, Caucasus and middle-Volga – the Eurasian paradigm became more and more influential among Russian intellectuals and artists. For the adherents of Eurasianism, the steppe, broadly considered as a cros…
Les monuments étrangers
Après la disparition du régime socialiste, les monuments dits « étrangers » dans les pays d’Europe centrale et orientale – Pologne, Allemagne et Ukraine – ont été diversement gérés. Ces monuments « étrangers », érigés par des architectes venant de l’extérieur du pays et qui ne sont pas en harmonie avec la tradition architecturale locale, paraissent comme surajoutés dans l’environnement urbain. Qu’arrive-t-il à ces structures, qui incarnent la mém…
A Rhythmic-Cosmic Language
For Walter Benjamin, the trip to Moscow in the winter of 1926-1927 was a disappointment not only for his love aspirations, but also in terms of his belief in a socialist future. Consequently, on this occasion he ignored signs of modernity, such as avant-garde art or constructivist architecture. Instead he was fascinated, even obsessed, with folk art. He spent hours in the Toy museum; his Moscow Diary is full of descriptions of the colourful range…
Un Langage cosmico-rythmique
Pour Walter Benjamin, le voyage à Moscou de 1926-1927 fut une déception, non seulement pour ses aspirations amoureuses, mais aussi pour sa foi en un avenir socialiste. Il ignora à cette occasion tous les signes de la modernité, tel que l’art avant-gardiste ou l’architecture constructiviste. A la place, il fut fasciné, voire obsédé, par l’art folklorique. Il passa des heures au musée du Jouet ; le journal qu’il tînt à Moscou fourmille de descripti…
Italian Renaissance Courts and Its Research in Western Historiography of the 21st Century
The article is devoted to the study of Italian Renaissance Сourts in Western (mainly Italian) historiography of the 21st century. The authors identify the directions and problems of research, comparing the problems of scientific works were written before the appearance of Italian Court History with works that were appeared at different stages of its development: in the initial period, in the first and second decades of the 21st century (the main …
Art (5 works) · Political science (4 works) · Aesthetics (3 works) · History (3 works) · Law (3 works) · Archaeology (2 works) · Cultural Identity and Heritage (2 works) · History (2 works) · Law (2 works) · Politics (2 works)