Memories in memoirs: Mykhailo (Moisey) Fradkin

2021 ◽  
Vol 2021 (02) ◽  
pp. 306-328
Author(s):  
V. Myzgina ◽  

The artist Moisey Fradkin (1904–1974) was a bright talented person in a brilliant galaxy of Ukrainian artists of the late 1920s – mid 1930s. He was a direct participant in the process of forming a special national “face” of graphic art. His works, which were exhibited at numerous foreign exhibitions in Europe and the United States, were noted as “strong and magical.” However, the further Fradkin’s creative destiny was not triumphant – after a very bright surge of original talent, his art was muted in the Procrustean bed of the Stalinist ideology, from about the end of the 1930s to the 1960s. He did not lose his skills, but only at the end of his life, full of wise experience, Fradkin again acquired bright energy and youthful enthusiasm in his work. Fradkin was a widely educated person, he taught at the Kharkiv Art Institute, was an active illustrator, author of easel compositions and graphic miniatures-exlibrises, worked in the field of industrial graphics for many years, headed the section of decorative and applied arts of the Kharkiv Club of Exlibrisists, collected a huge library. He and his wife, H. Krieger put together a unique collection of paintings, graphics and decorative and applied arts (more than 4000 items), which was later inherited by the Kharkiv Art Museum. The museum’s archives contain scattered sheets with fragments of Fradkin’s memoirs about his years of study at the Kharkiv Art College-Institute, which emotionally describe the time of the rapid reform of art education, which was full of contradictions. The article is based on these, not completely deciphered notes, and on the personal memoirs of the author of the article, who was familiar with the artist in the last four years of his life.

2020 ◽  
Vol 1 (1) ◽  
pp. 141-153
Author(s):  
Adolphus G. Belk ◽  
Robert C. Smith ◽  
Sherri L. Wallace

In general, the founders of the National Conference of Black Political Scientists were “movement people.” Powerful agents of socialization such as the uprisings of the 1960s molded them into scholars with tremendous resolve to tackle systemic inequalities in the political science discipline. In forming NCOBPS as an independent organization, many sought to develop a Black perspective in political science to push the boundaries of knowledge and to use that scholarship to ameliorate the adverse conditions confronting Black people in the United States and around the globe. This paper utilizes historical documents, speeches, interviews, and other scholarly works to detail the lasting contributions of the founders and Black political scientists to the discipline, paying particular attention to their scholarship, teaching, mentoring, and civic engagement. It finds that while political science is much improved as a result of their efforts, there is still work to do if their goals are to be achieved.


2019 ◽  
Author(s):  
Ani Eblighatian

The paper is an off-shoot of the author's PhD project on lamps from Roman Syria (at the University of Geneva in Switzerland), centered mainly on the collection preserved at the Art Museum of Princeton University in the United States. One of the outcomes of the research is a review of parallels from archaeological sites and museum collections and despite the incomplete documentation i most cases, much new insight could be gleaned, for the author's doctoral research and for other issues related to lychnological studies. The present paper collects the data on oil lamps from byzantine layers excavated in 1932–1939 at Antioch-on-the-Orontes and at sites in its vicinity (published only in part so far) and considers the finds in their archaeological context.


2018 ◽  
Vol 48 (4) ◽  
pp. 403-440 ◽  
Author(s):  
Jérôme Lamy

The TOPEX/POSEIDON satellite mission to observe the oceans triggered the formation of the new specialty of space oceanography from the 1970s to 1990s. Previously, in the 1960s in the United States, traditional oceanographers had shown little interest in the possibilities of space and thus space engineers and physicists worked on the first missions (Seasat in particular). TOPEX/POSEIDON brought together two projects, one American (TOPEX) and the other French (POSEIDON). The gradual crystallization of the disciplinary specialty of space oceanography occurred by making available a platform of instruments able to meet an ensemble of varied needs. Battery failures just before the launch of the joint mission meant that the mission had to focus on the essentials (notably El Niño effects). Subsequently, the discovery of a significant rise in sea levels due to global warming resulted in space oceanography becoming a recognized specialty. The case of TOPEX/POSEIDON shows the original ways in which instruments gained a place in the very large range of oceanographic techniques.


2020 ◽  
Vol 21 (3) ◽  
pp. 648-680
Author(s):  
SHANE HAMILTON

A range of private and public institutions emerged in the United States in the years before and after the Great Depression to help farmers confront the inherent uncertainty of agricultural production and marketing. This included a government-owned and operated insurance enterprise offering “all-risk” coverage to American farmers beginning in 1938. Crop insurance, initially developed as a social insurance program, was beset by pervasive problems of adverse selection and moral hazard. As managers and policy makers responded to those problems from the 1940s on, they reshaped federal crop insurance in ways that increasingly made the scheme a lever of financialization, a means of disciplining individual farmers to think of farming in abstract terms of risk management. Crop insurance became intertwined with important changes in the economic context of agriculture by the 1960s, including the emergence of the “technological treadmill,” permanently embedding financialized risk management into the political economy of American agriculture.


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