Book Reviews

Maria Czaplicka: Gender, Shamanism, Race: An Anthropological Biography Grażyna Kubica, translated by Ben Koschalka (Lincoln: University of Nebraska Press, 2020), Critical Studies in the History of Anthropology Series, eds. Regna Darnell and Robert Oppenheim], xix + 591 pp. ISBN: 978-1-4962-2261-9.Place and Nature: Essays in Russian Environmental History Edited by David Moon, Nicholas B. Breyfogle, and Alexandra Bekasova (Cambridgeshire, UK: White Horse Press 2021,), 343 pp. ISBN: 978-1-912186-16-7.Mebet Alexander Grigorenko, translated by Christopher Culver (London: Glagoslav Publications, 2020), 174 pp. $23.65 (paperback). ISBN: 978-1-912894-90-1.

Kursk Exhibitions of Kazimir Malevich: An Attempt of Reconstruction

The article focuses on the Kursk exhibitions with the participation of Kazimir S. Malevich, the history of their organization, exhibitors, reaction of critics. Notes in the local newspapers and magazines and preserved exhibition catalogs became the main sources of the research. This documents show that Malevich began to exhibit his works at the first exhibitions of the Kursk artistic community. Critical reviews give an idea of the titles of his paintings, the impression they made, or simply record participation. These texts can supplement the information of modern researchers about some facts of the artist’s biography. The paper is the first attempt to describe art exhibitions of 1910 and 1913 in details. Special attention in the text is paid to description of exhibition of the Association of Kursk Artists in 1910, where Malevich showed for the first time some paintings of “white series”, for example Rest (Otdyh), Bathing (Kupanie) and White Horse (Belaya loshad’). The exposition of “Cubists, Futurists and Ko”, which became part of the XIV exhibition of the Association of Kursk Artists, is introduced to the scientific audience for the first time. The author tried to find out the names of the exhibitors and the number of works, based on reviews in newspapers and photographs from the archive of Oleg Radin (Kursk). Malevich brought to Kursk at least 23 paintings. Some of these works were presented at the Oslinyj Hvost exhibition in Moscow in 1912, but the artist changed the composition of his paintings.

The stereotypical representation of women in the classic fairy tales Snow White, Cinderella, and Sleeping Beauty

The stereotype that emerges from some classic fairy tales is a princess who has a beautiful face and an angelic heart, a prince on a white horse who is handsome and charming, and a happy ending forever. These three sweet things are generally always the main menu served in bedtime fairy tales, including the classic fairy tales Snow White, Cinderella, and Sleeping Beauty. Besides sounding beautiful, the plot and characterization presented in the classic fairy tale represent a woman through feminine standards packaged through stereotypes. This research uses qualitative research methods and narrative analysis. The research results found details of the seven functional characters of the characters in the fairy tale. It can then be seen that various stereotypical representations aimed at women in the three tales, ranging from the obsession with natural beauty, misconceptions about the meaning of ambition, and marriage, are the solution for all the problems of a woman.

Study on the Application of Mongolian Cultural Elements in Mascot Design

The Mongolian culture is part of China's traditional culture. It is a prairie culture of fusion Mongolian wisdom for nearly a thousand years. This article briefly introduces the basic concepts of mascots and Mongolian cultural elements, and carries out a design practice by using the horse culture, color matching, boke clothing in the Mongolian cultural elements. The white horse mascot was designed by combining with national culture. It can be found that Mongolian traditional culture is a huge resource treasure house for mascot design through design practice, and the design of mascot is the characteristic of the era that inherits the development of Mongolian culture. The integration of Mongolian culture and mascot design can achieve mutual benefit.