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  • All: horizontal effect x
  • Slavic and Eurasian Studies x

Aisulu Kulbayeva

orders at the level of sign type and sign group. The major identified sign types are Kazakh/Russian monolingual , Kazakh-Russian bilingual , and Kazakh-Russian-English trilingual . Among Kazakh-Russian bilingual signs, there are horizontal , vertical , and centralized sub-types. In the

Teresa Cierco

of law: horizontal accountability, effective, representative and legitimate institutions of governance, and a transparent system of public administration. These three aspects are then developed in regard to the Albanian case, using primary and secondary sources, including some interviews that were

John E. Bowlt and Nicoletta Misler

concrete elements, horizontal and vertical, convex and concave (cf. Suprematist Games of 1968 and Linii [Lines] of 2003). Moreover, snow can also constitute a highly textured and refractive ground, charging a composition or construction with variegation and energy (cf. Tsentry iskrivlennogo

Robert C. Stuart

architecture o f the 1920s was oriented toward 'international architecture quality,' but was, nevertheless, not archi- tecture in the Western sense o f the w o r d . . . . Metaphorically speaking, the architec- ture o f the 1920s was the set for an amateur production played out in a horizontal plane for the

RichardD. Anderson

's publisher h a s s l a s h e d t h e word totalitarnyi diagonally in black against a pale field to form an acute angle with the "k" in iazyk, which is printed horizontally in ochre against a black field. The colors and angle combine to foreground "language" against Htotalitarian" receding in visual per

Stephanie Jordan

relationship, that “a step had been taken which might lead to dancing without any musical accompaniment at all.” 11) In fact, the freedom of relationship is not at all casual, as the precise timing in Nijinsky’s notation demonstrates. Walking nearly always fits the pulse. Yet the effect is free, and it is

East and West, Past and Present

The Manifold Iconographic Code in Valentin Serov’s Portrait of Ida Rubinstein (1910)

Tanja Malycheva

by both traditional and modernist painters. In order to intensify the effect, Serov used his own specific technique: Rubinstein’s contours are drawn with charcoal and appear very sharp; they often break and turn into faint shadows. The body and the background are of the same sandy color, the raw

Erica Fraser

Russianness . . . has the power to awaken an emergent fantasy of a possible world, and thus to provoke an aes- thetic integration that will have a therapeutic effect" (p. 251). Hellberg-Hirn's cele- bration o f the irrational, personal, and unconstrained is, in the end, disquieting, espe- cially when

Regina Smyth and Irina V. Soboleva

between elections and post-election protests central to the work on the post-Communist electoral revolutions and suggests that there can be a reciprocal effect between protest and electoral innovation. In the next section of the paper, we outline the types of innovation that we might expect to be


hierarchy of images from the cupola and walls of the church into a multitiered icon screen with specifi- cally ordered vertical and horizontal hierarchies. From the highest tier, that of the forefathers, through those of the prophets and the feasts, we reach the Deesis tier that depicts Christ en- throned