Figure 5 - available via license: CC BY
Content may be subject to copyright.
Portrait of Adam Mickiewicz published by Vezenberg & Co in St. Petersburg. Source: Private collection.
Source publication
The paper deals with the history of art censorship in the Russian Empire, which started with the reform of 1865 and lasted until the Revolution of 1905 when the restrictive measure was officially abolished. The paper summarizes the legislative measures that were taken by the government to control the distribution and display of the works of fine ar...
Context in source publication
Context 1
... May 15, 1898, the Chief Administration for Press Affairs asked the local censors to 22 Ibid., file 4-a, f. 52, 71. pay special attention to all published materials devoted to the jubilee of the famous poet Adam Mickiewicz who was a symbolic figure for the Polish nationalism (See Figure 5). The document banned any portraits of Mickiewicz that could be distributed among the population for lower prices either separately or as a decoration of goods (such as packs of cigarettes, candies, etc.) 26 . ...
Similar publications
Introduction. The research goal is to identify and analyze the architectural features of the orthodox church buildings, designed and built in Ryazan since the early 2000ies. A number of objectives are to be accomplished to achieve this pre-set goal: one must identify and study the church buildings constructed in Ryazan, analyze the space-planning s...
Citations
... 64 Censorship targeted not only literal production but also politically unacceptable images, which glorified national movements by portraying historical figures or contemporaries important to national movements, such as Mykhailo Drahomanov for Ukraine. 65 Considering the low literacy rates among the Ukrainian population, censorship of images had a great impact. 66 Still, the scale and effectiveness of the art censorship in Imperial Russia were not even close to the one that existed in the Soviet Union later. ...
Geography plays a major role in Ukraine's history. At the crossroads of Empires and cultures for centuries, Ukraine's territory's borders kept being redrawn, which subjected the population to a plethora of legal regimes, including copyright. Until Ukraine regained independence in 1991, only parts of today's territory, and only for brief periods of time, belonged to the Berne Union. The non-accession to the Berne Union was not accidental and, together with other policies in place, had an impact on the literature in the Ukrainian language. This chapter explores copyright crossroads in Europe in the late XIX-early XX century, which coincides with the rapid increase in literacy among the European population, and the conditions they created for the development of Ukrainian literature. With geography as a starting point of enquiry, the chapter investigates how copyright regulations of the time intertwined with other policies along the inter-and intra-state borders. The chapter sheds light on the significance of copyright policies for access to knowledge and education in multinational states.
Forthcoming in Kheria S., Kanellopoulou J. (eds.) Legal Geographies of Intellectual Property. Edward Elgar, 2025.
The article studies the representation of space in twenty-three Kyiv-guidebooks written for tourists, pilgrims, visiting businessmen, and artlovers during the 1860s–1930s. Imperial censorship prevented many authors from voicing their opinions openly, prompting them to find indirect and alternative ways to convey their messages. In the nineteenth century, official narratives focused on Christian Orthodox sites and imperial places. The abovementioned indirect and alternative interpretations shifted attention to newly constructed commercial areas, attributing Kyiv’s prosperity to municipal self-governance. After 1917, the authors reinterpreted the heritage through the lens of art history, expanding their geographic and thematic coverage. The guidebooks examined in this article reveal conflicting geographies in the diverse, but segregated city, during times of turbulent geopolitical change.
Der Artikel untersucht die Raumdarstellung in 23 Kyiv-Reiseführern, die in den 1860ger bis 1930ger Jahren für Touristen, Pilger, Geschäftsleute und Kunstliebhaber geschrieben wurden. Die zaristische Zensur schloss viele Autoren von der freien Meinungsäußerung aus, aber es blieben indirekte Möglichkeiten, alternative Botschaften zu vermitteln. Während sich die offiziellen Erzählungen des 19. Jahrhunderts auf christlich-orthodoxe Stätten und Orte der imperialen Präsenz konzentrierten, verlagerten alternative Interpretationen die Aufmerksamkeit auf neu errichtete Handelsgebiete und schrieben den Wohlstand der Stadt der bürgerlichen Selbstverwaltung zu. Nach 1917 interpretierten die Autoren das Erbe aus kunsthistorischer Sicht neu und erweiterten die geografische und thematische Abdeckung. Die untersuchten Reiseführer offenbaren widersprüchliche Geographien in der vielfältigen, aber segregierten Stadt in Zeiten des turbulenten geopolitischen Wandels.
Keywords: Kyiv, Guidebook/Reiseführer, Tourism/Tourismus, Pilgrimage/Wallfahrt, Mobility/Mobilität
In Search for “Friendly Other”: Ireland and Finland in the Ukrainian National Narrative in turn of the 19-20th centuries
The concept of otherness is crucial for any national identity, as far as it constitutes the boundaries of belonging to a group. While the Other is typically portrayed as the one that is different and inferior to the Self, the authors argue that for a national narrative the concept of similarity is no less important than the concept of difference. National identity often refers to the experience of other identities that are imagined as similar to “us” or being in the same social conditions as “we” are. In turn of the 19-20th centuries the Irish and Finns played a role of such “friendly” Others for the Ukrainian national movement.
