Claire E McCallum
Biographic Data
| ID | 5844584 |
|---|---|
| NAME | Claire E McCallum |
| GIVEN NAMES | Claire E |
| FAMILY NAME | McCallum |
| SIGNATURE | MCCALLUM C E |
| AFFILIATIONS | University of Exeter |
| ORCID | 0000-0001-6379-4651 |
| VERIFIED | Yes |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 4 |
| WORKS AS AUTHOR | 9 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2011 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 2 |
We Know What War Is”
The aim of this article is to bring the issue of peace more definitively into the increasingly complex vision we have of the postwar era and to give particular thought to the place of the military man within a society that was now supposedly orientated toward peace. To do so, the discussion will range across both lived experience and cultural representations—predominantly of a visual nature—that broached the issue of peace, paying close attention…
A Beautiful Dream, Facing Both the Future and the Past’
Between 5 November 1957 and 16 March 1958, the new Central Exhibition Hall in Moscow (Manezh) hosted the All-Union Exhibition dedicated to the Great October Socialist Revolution. Coming as it did just over a year after Nikita Khrushchev’s denunciation of Stalin, this hugely significant exhibition offers a unique lens through which to examine the dynamics of early Destalinization and the artistic conceptualization of the October Revolution in this…
Making Martyrs
Making Martyrs: the language of sacrifice in Russian culture from Stalin to Putin." Social History, 44(1), pp. 148–149
The Fate of the New Man
Club Red
Scorched by the Fire of War
Drawing on images reproduced in both professional and popular publications, this article charts the changing representation of the war-damaged man in Soviet visual culture from the outbreak of war in 1941 until the reinstatement of Victory Day as a public holiday in 1965. Through such images it is shown that art followed a very different trajectory than literature or film when it came to dealing with such problematic aspects of the war experience…
The Return
Following the end of the Great Patriotic War, an estimated twenty‐five million people were left homeless and countless more were left dealing with the realities of single‐parenthood, fatherlessness and bereavement. This article will chart the attempts to both articulate and obfuscate the impact of this loss on the family in contemporary visual culture, focussing primarily on the conceptualisation of the Soviet soldier as a father. It will argue t…
Moscow, the Fourth Rome
Unattainable Bride Russia
Scorched by the Fire of War
Drawing on images reproduced in both professional and popular publications, this article charts the changing representation of the war-damaged man in Soviet visual culture from the outbreak of war in 1941 until the reinstatement of Victory Day as a public holiday in 1965. Through such images it is shown that art followed a very different trajectory than literature or film when it came to dealing with such problematic aspects of the war experience…
The Return
Following the end of the Great Patriotic War, an estimated twenty‐five million people were left homeless and countless more were left dealing with the realities of single‐parenthood, fatherlessness and bereavement. This article will chart the attempts to both articulate and obfuscate the impact of this loss on the family in contemporary visual culture, focussing primarily on the conceptualisation of the Soviet soldier as a father. It will argue t…
Unattainable Bride Russia
Moscow, the Fourth Rome
Club Red
Scorched by the Fire of War
Drawing on images reproduced in both professional and popular publications, this article charts the changing representation of the war-damaged man in Soviet visual culture from the outbreak of war in 1941 until the reinstatement of Victory Day as a public holiday in 1965. Through such images it is shown that art followed a very different trajectory than literature or film when it came to dealing with such problematic aspects of the war experience…
The Return
Following the end of the Great Patriotic War, an estimated twenty‐five million people were left homeless and countless more were left dealing with the realities of single‐parenthood, fatherlessness and bereavement. This article will chart the attempts to both articulate and obfuscate the impact of this loss on the family in contemporary visual culture, focussing primarily on the conceptualisation of the Soviet soldier as a father. It will argue t…
The Fate of the New Man
Making Martyrs
Making Martyrs: the language of sacrifice in Russian culture from Stalin to Putin." Social History, 44(1), pp. 148–149
A Beautiful Dream, Facing Both the Future and the Past’
Between 5 November 1957 and 16 March 1958, the new Central Exhibition Hall in Moscow (Manezh) hosted the All-Union Exhibition dedicated to the Great October Socialist Revolution. Coming as it did just over a year after Nikita Khrushchev’s denunciation of Stalin, this hugely significant exhibition offers a unique lens through which to examine the dynamics of early Destalinization and the artistic conceptualization of the October Revolution in this…
We Know What War Is”
The aim of this article is to bring the issue of peace more definitively into the increasingly complex vision we have of the postwar era and to give particular thought to the place of the military man within a society that was now supposedly orientated toward peace. To do so, the discussion will range across both lived experience and cultural representations—predominantly of a visual nature—that broached the issue of peace, paying close attention…
Political science (8 works) · History (6 works) · Law (6 works) · Law (6 works) · Sociology (6 works) · Eastern European Communism and Reforms (5 works) · History (5 works) · European history and politics (4 works) · Historical Gender and Feminism Studies (4 works) · Art (3 works)