Week 1 Flashcards

1
Q

What is the main goal of ‘Seeing into Being’

A

To explore how visual culture contributes to historical and cultural understanding in the Russian Context

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2
Q

What does ‘seeing into being’ mean in the context of Russian visual culture?

A

It refers to using visual representation as a way to bring imagined realities into existence, such as religious icons or propaganda

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3
Q

How did Soviet artists sometimes subvert propaganda through visuals?

A

By embedding ambigous or contradictory messages within state-approved images, challenging official narratives.

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4
Q

What role did modernization and Westernization play in Russian visual culture?

A

They introduced new technologies and genres, but also led to tension between traditional Russian forms and Western influences

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5
Q

Why is visual ambiquity important in oppressive societies like the Soviet Union?

A

Because it allows for multiple interpretations, enabling artists and audiences to communicate ideas that can’t be openly expressed

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6
Q

What is the Cap of Monomakh traditionally believed to represent?

A

The legitimacy and continuity of Russian autocratic rule, symbolically linked to Byzantium and Kievan Rus

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7
Q

What myth is associated with the cap of Monomakh?

A

That it was a gift from the Byzantine Emperor to Vladimir of Kiev, tying Russia to Christian imperial lineage.

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8
Q

When was the ‘Tale of the Princes of Vladimir’ composed and why?

A

In the 1520’s to support Muscovy’s expanding influence and legitimize its claim as the heir of Christian and imperial traditions

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9
Q

What is the true origin of the Cap of Monomakh according to scholars?

A

It was crafted in the Mongol Empire, likely in Crimea of Central Asia and brought to Moscow in the 14th century.

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10
Q

How was the Cap transformed to fit Muscovite symbolism?

A

It was embellished with Siberian fur, gemstones, and a cross. Mirroring Christian iconography and tsarist grandeur.

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11
Q

How did the Russian elite reconcile the Caps Mongol roots with Christian identity?

A

By reshaping the crowns appearance and creating myths that rewrote its origins to align with Orthodox and Byzantine heritage

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12
Q

What is the main point of the text ‘Political Ecology’ about Northern Eurasia?

A

That it only became a unified and culturally recognized space with the rise of statehood and structured societies toward the end of the first millenium.

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13
Q

What prevented early observers from seeing Northern Eurasia as a coherent region?

A

A lack of internal observers, written records, and shared cultural or spatial frameworks, among its dispersed and diverse populations.

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14
Q

What are ‘collective observers’ and why are they important?

A

Societies like China, Persia and Byzantium that produced unified worldviews, mapping and interpreting their territories and surroundings

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15
Q

Why didn’t early Northern Eurasian populations develop a shared ‘view of the world’?

A

Due to low population density, limited mobility, and the absence of writing or institutions to unify and transmit knowledge.

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16
Q

What role did writing play in shaping a region’s percieved unity?

A

Writing allowed civilizations to conceptualize, document and communicate their shared understanding of space and society.

17
Q

What does the portrait of Tsar Aleksei Mikhailovich represent?

A

Traditional Orthodox rulership rooted in Byzantinte imagery and divine authority/

18
Q

What is the ‘Titulary’ and why is it important?

A

A 1672 illustrated manuscript of rulers portraits showing how Muscovy portrayed tsarist authority.

19
Q

What does the portrait of Peter the Great represent?

A

Secular, Western-style military power, realism and modernization. Aligned with European norms of modern leadership to reject traditional Orthodox imagery.

20
Q

What broader transition do the portraits illustrate?

A

Russia’s evolution from a religious monarchy to a modern European-style empire under Peter the Great