3rd INTERNATIONAL MULTIDISCIPLINARY ...

3rd INTERNATIONAL MULTIDISCIPLINARY

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SCIENTIFIC CONFERENCE ON SOCIAL SCIENCES AND ARTS

FI 3rd C IN C T O E N R FE N R AT EN IO C NA S E G ON L M E U S M O LT 2 C ID 0 IA IS 1 L C 6 SC IP IE LIN N A C R ES Y AN D

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SGEM2016

ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN

CONFERENCE PROCEEDINGS

VOLUME III

- - - - - - - - - - - - - - - - - HISTORY OF ARTS CONTEMPORARY ARTS

ARCHITECTURE & DESIGN - - - - - - - - - - - - - - - - - -

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PERFORMING & VISUAL ARTS

24 – 30 August, 2016 Albena, Bulgaria

DISCLAIMER This book contains abstracts and complete papers approved by the Conference Review


Scientific Council of SGEM.

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Opinions expressed may not necessarily reflect the position of the International

Information in the SGEM 2016 Conference Proceedings is subject to change without notice. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, for any purpose, without the express written permission of the International Scientific Council of SGEM.

Copyright © SGEM2016 All Rights Reserved by the SGEM International Multidisciplinary Scientific Conference on SOCIAL SCIENCES and ARTS Published by STEF92 Technology Ltd., 51 “Alexander Malinov” Blvd., 1712 Sofia, Bulgaria Total print: 5000 ISBN 978-619-7105-78-0 ISSN 2367-5659

DOI: 10.5593/sgemsocial2016B43

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SGEM INTERNATIONAL MULTIDISCIPLINARY SCIENTIFIC CONFERENCE ON SOCIAL SCIENCES AND ARTS Secretariat Bureau

E-mails: URL:

[email protected]

www.sgemsocial.org

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Committee. Authors are responsible for the content and accuracy.

Organizers, International Scientific Committee

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THE WORLD ACADEMY OF SCIENCES (TWAS) EUROPEAN ACADEMY OF SCIENCES, ARTS AND LETTERS ACADEMY OF SCIENCES OF THE CZECH REPUBLIC POLISH ACADEMY OF SCIENCES SLOVAK ACADEMY OF SCIENCES SCIENCE COUNCIL OF JAPAN RUSSIAN ACADEMY OF SCIENCES LATVIAN ACADEMY OF SCIENCES ACADEMY OF FINE ARTS ZAGREB, CROATIA CROATIAN ACADEMY OF SCIENCES AND ARTS ACADEMY OF FINE ARTS AND DESIGN IN BRATISLAVA RUSSIAN ACADEMY OF ARTS BULGARIAN CULTURAL INSTITUTE - VIENNA, AUSTRIA BULGARIAN ACADEMY OF SCIENCES SERBIAN ACADEMY OF SCIENCES AND ARTS NATIONAL ACADEMY OF SCIENCES OF UKRAINE NATIONAL ACADEMY OF SCIENCES OF ARMENIA ACADEMY OF SCIENCES OF MOLDOVA MONTENEGRIN ACADEMY OF SCIENCES AND ARTS GEORGIAN ACADEMY OF SCIENCES TURKISH ACADEMY OF SCIENCES


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ORGANIZERS

INTERNATIONAL SCIENTIFIC COMMITTEE

Arts, Performing Arts, Architecture and Design

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Prof. Lidia Cristea, Romania Prof.dr. Petras Grecevičius, Lithuania Prof. dr. sc. Sanja Nikčević, Croatia Prof. Dr. Mark Meerovich, Russia Prof. Lucio Altarelli, Italy Prof. Dr-Arch. Sofía Letelier Parga, Chile Prof. David Bershad, Canada Assoc. Prof. Eleni Lapidaki, Greece Assoc. prof. Malvina Russeva, Bulgaria

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3rd International Multidisciplinary Scientific Conference on Social Sciences & Arts SGEM 2016

Contents

CONFERENCE PROCEEDINGS CONTENTS

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1. "MULTIMEDIA GUIDE" SAINT-PETERSBURG STATE UNIVERSITY", Tatiana Laska, Sergei Golubkov, Saint Petersburg State University, Russia .................. 3

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HISTORY OF ARTS


2. BETWEEN FASCISM AND COMMUNISM: NIKOLAY PUNIN’S THEORY OF THE RUSSIAN AVANT-GARDE, Anatolii Rykov, St. Petersburg State University, Russia ....................................................................................................... 11 3. CONCEPT OF PATAPHYSICS: FROM JARRY TO ARRABAL, PhD candidate Sergejs Polanskis, Daugavpils University, Latvia ........................................................ 17

4. CREATING MULTIMEDIA MAP OF ANCIENT NOVGOROD, Tatiana Laska, Sergei Golubkov, Saint Petersburg State University, Russia ........................................ 25 5. CULTURAL AND STYLISTIC INTERFERENCES IN THE MUSICAL WORK ADJOINED CONTRASTS BY MAIA CIOBANU, Mihaela-Georgiana Balan, University of Arts George Enescu Iasi, Romania .............................................. 33 6. DEVELOPMENT OF PIGMENTS AND COLOR USE IN PREHISTORIC TIMES, Prof. Valdis Seglins, Dr. Agnese Kukela, University of Latvia, Latvia ......... 41 7. FINANCIAL RECORDS OF THE RUSSIAN PAINTERS IN THE 19TH CENTURY, Lecturer Anatoliy Razuev, Lecturer Olga S. Razueva, South Ural State University, Russia ....................................................................................................... 47

8. ISSUES RELATED TO JEWISH ORIGIN IN THE DILEMMATIC RECEPTION OF FELIX MENDELSSOHN'S MUSIC, Associate Professor Loredana Iatesen PhD, University of Arts GEORGE ENESCU Iasi, Romania ............ 55 9. SPIRITUAL MUSICAL AND CULTURAL TRADITIONS OF THE TATARS IN THE MUSIC OF SHAMIL SHARIFULLIN, Prof. Ekaterina Kovrikova, Prof. Nelya Nurgayanova, Kazan (Volga Region) Federal University, Russia ...................... 63

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10. THE ADOPTION OF LATE ROMAN ARCHITECTURAL PRINCIPLES WHICH REFLECTED THE AUTHORITATIVE CONCEPTS BY THE EARLY CHRISTIAN ARCHITECTURE, Dr. Dmitry Karelin, Moscow Institute of Architecture - Public building department, Russia ....................................................... 71 11. THE INFLUENCE OF THE ITALIAN RENAISSANCE ARCHITECTS OF THE LATE XV – EARLY XVI CENTURIES ON THE ARCHITECTURE OF MOSCOW, Dr.Prof. Dmitry Shvidkovsky, Moscow Institute of Architecture, Russia .................................................................... 83

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CONTEMPORARY ARTS


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13. EMOTIONAL EXPERIENCING AND RATIONAL THINKING OF PRIMARY SCHOOL CHILDREN (7 - 11 YEARS), Dr. Eva Lehotakova, Dr. Helena Pataiova, Constantine The Philosopher University in Nitra, Slovakia ........................ 101

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12. BABY AND TODDLER PAINTING, Kovats Gizella, University of Arts and Design Cluj Napoca, Romania .................................................................................... 93

14. THE ANACHRONISTIC PLACE IN THE WORKS OF JEREMY DELLER, Prof. Jesus Segura Cabaсero, Prof. Toni Simу Mulet , University of Murcia-Faculty of Fine Arts-Department of Fine Arts, Spain ................................................................. 111

15. THE REASONS OF THE ABSENCE OF POLITICAL SATIRE IN THE TRADITIONAL SLOVAK AUDIOVISUAL MEDIA, Dr. Stefan Timko, Constantine The Philosopher University in Nitra, Slovakia ....................................... 117

PERFORMING AND VISUAL ARTS

16. BYZANTINE MUSICAL PATRIMONY ILLUSTRATED IN THE CREATION OF THE ROMANIAN COMPOSER PAUL CONSTANTINESCU, Assoc. Prof. Dr. Roxana Pepelea/Assoc. Prof. Dr. Dan Pepelea, Transilvania University of Brasov, Romania .................................................................................................. 127 17. CONTINUITY OR DISCONTINUITY? SLOVAK MUSIC PRODUCTION FOR CHILDREN IN THE 21ST CENTURY IN THE CONTEXT OF ITS HISTORICAL CHANGES, Asist. Prof. PhDr. Janka Kupkova, Constantine The Philosopher University in Nitra, Slovakia ................................................................. 135

18. HYPOSTASIS OF THE SONATA FORM IN THE OUVERTURES OF THE LYRICAL DRAMAS OF WOLFGANG AMADEUS MOZART, Prof. Gabriela Vlahopol, University of Arts George Enescu Iasi, Romania ...................................... 143

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19. LATVIAN ACTORS' SPEECH IN THE POSTMODERN THEATRE SPACE, Assistant Prof. Zane Daudzina, Latvian Academy of Culture, Latvia ........................ 153 20. PEDAGOGICAL MEANINGS OF THE PIANO CYCLE IN MYRIAM MARBE’S VIEW, PhD Lecturer Diana-Beatrice Andron, University of Arts George Enescu, Iasi, Romania .............................................................................................. 163 21. REFLECTIONS ON SOME ROMANIAN FOLK RITES FROM MUSIC THERAPY’S PERSPECTIVE, Lecturer PhD. Anca Spatar, University of Oradea, Romania ................................................................................................................... 171

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23. STUDIES OF MONUMENTS TO FAMOUS PERSONS AS A COMPONENT OF NATIONAL IDENTITY, Prof. Maija Burima, Assoc. Prof. Sandra Meskova, Assoc. Prof. Elina Vasiljeva, Doc. Ingrida Kupsane, Doc. Ilze Olehnovica, Daugavpils University, Latvia ..................................................................................................... 185

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22. SHORT REGARD ON ROMANIAN LIED FROM THE SECOND HALF OF THE XXTH CENTURY, Lecturer PhD. ANCA SPATAR, University of Oradea, Romania ................................................................................................................... 177

ARCHITECTURE AND DESIGN

24. SENSORY GARDEN IN URBAN ENVIRONMENT, Tatiana Laska, Yulia Petrova, Saint Petersburg State University, Russia .................................................... 197

25. "LOST" OR "OPPORTUNITY": ON LEFTOVER SPACES, Nihan Gurel Unur, Feride Onal, Dogus University, Turkey ........................................................... 207 26. FIFTY YEARS SINCE THE INTERNATIONAL URBAN COMPETITION FOR THE TERRITORY OF BRATISLAVA – PETRZALKA CITY DISTRICT, Prof. Ing. Arch. Bohumil Kovac, PhD.; Ing. Arch. Peter Horak, Slovak University of Technology Bratislava, Slovakia ............................................................................... 215 27. ALFRED PIFFL – ARCHITECT WITH SOUL OF A CONSERVATIONIST, Jana Pohanicova, Slovak University of Technology Bratislava, Slovakia .................. 223 28. ARCHITECTURAL & LANDSCAPE ORGANIZATION OF WATERFRONT TERRITORIES: HISTORICAL - CULTURAL POTENTIAL, Ruban Liudmyla, Kiev National University of Construction and Architecture, Ukraine ........................ 229 29. ARCHITECTURAL FABRIC OF 16TH CENTURY THESSALONIKI, Res. Assist. Meltem Ezel Cirpi, Res. Assist. Seda Kaplan Cincin, Prof. Dr. Nevnihal Erdogan, Kocaeli University, Turkey ........................................................................ 237

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30. ASPECT OF HEALTH IN THE SHAPING OF SUSTAINABLE RESIDENTIAL DEVELOPMENTS ACCORDING TO THEIR USERS. POLAND, THE NETHERLANDS, Assoc. Prof. Dr. Magdalena Jagiello-Kowalczyk, Cracow University of Technology, Poland ................................................................ 245 31. CATHEDRALS OF EPHEMERALITY: IMPERMANENCE AS SYMBOL, Lecturer PhD Raluca Manoliu, Lecturer PhD Tudor Gradinaru, Technical University of Iasi, Romania ............................................................................................................ 259 32. COMBINING FUNCTIONAL AND AESTHETIC ASPECTS OF USE OF DAYLIGHT IN ARCHITECTURE WITH THE APPLICATIONS OF DIGITAL METHODS SUPPORTING THE DESIGN PROCESS, PhD Malgorzata RoginskaNiesluchowska, Politechnika Gdanska, Poland.......................................................... 267 iii



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34. CRITICAL ANALYSIS OF TRANSPORT INFRASTRUCTURE DEVELOPMENT STRATEGIES, CASE STUDY TIMISOARA ROMANIA, Assistant Arch. Marius Stelian Gaman, PhD/ Assistant Arch. Stefana Badescu/ Lecturer Arch. Ana-Maria Branea, PhD, Politehnica University of Timisoara, Romania ......... 283

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33. CONVERSIONS IN SACRED ARCHITECTURE - PRACTICAL EXPERIENCE OF RESEARCH, Prof. Arch. Jerzy Uscinowicz, Bialystok University of Technology, Poland .............................................................................................. 275

35. DEMOGRAPHIC EVOLUTION ANALYSIS OF ROMANIAN CITIES TO IDENTIFY URBAN DEVELOPMENT TYPOLOGIES, Lecturer Arch. Ana-Maria Branea, PhD/ Assistant Arch. Marius Stelian Gaman, PhD/ Assintant Arch. Stefana Badescu, Politehnica University of Timisoara, Romania ........................................... 291 36. DESIGN OF MACHINE TOOLS OPERATING GRAPHICS IN CZECHOSLOVAKIA FROM 1940S TO PRESENT, Ing. Eva Fridrichova, Brno University of Technology Faculty of Mechanical Engineering Institute of Machine and Industrial Design Department of Industrial Design, Czech Republic ......................... 299 37. DEVELOPMENT OF INTERDISCIPLINARY APPROACH IN STUDIES OF LANDSCAPE ONTOLOGY, Prof. Jurate Kamicaityte-Virbasiene, Prof. Sebastien Gadal, Kaunas University of Technology, Lithuania ................................................. 307 38. DO IT YOURSELF – D.I.Y.: A METHODOLOGICAL STUDY IN FURNITURE DESIGN, Ress. Ass. Ismail Bezci, Hacettepe University, Turkey ..... 313 39. DRAWING: MOVIE MAKING POWER, PhD Student - Arch. Martina Attenni, PhD Ass. Prof. Cristiana Bartolomei, PhD - Ass. Prof. Alfonso Ippolito, University of Bologna, Italy ........................................................................................................... 325 40. DUALITY OF ARCHITECTURE: VENICE ARCHITECTURAL BIENNALE FROM THEORY TO PRACTICE/PRACTICE TO THEORY, Assist. Gurkan Topaloglu, Assoc. Prof. Dr. Asu Besgen, Karadeniz Technical University, Turkey ...................................................................................................................... 333

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41. EVALUATION OF THE INTERNATIONAL STYLE WITHIN THE FRAMEWORK OF THE CONCEPT OF PLACELESSNESS, Elif Bahadir, Hacettepe University, Turkey .................................................................................... 341 42. GARDENS AND CEMETERIES AS THE PLACES OF CONTEMPLATION. COMMEMORATIVE SPACES IN THE CONTEMPORARY URBAN LANDSCAPES, Alina Drapella-Hermansdorfer, Wroclaw University of Science and Technology-Faculty of Architecture, Poland ............................................................. 351

43. GREENERY AS ART-DESIGN IN URBAN PUBLIC SPACE, Dana Marcinkova, Slovak University of Technology Bratislava, Slovakia ......................... 359

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45. IGNORED BACKGROUNDS IN SINGLE FAMILY HOUSE PLANNING. PAST DWELLING EXPERIENCE, Ileana Codruta Negrulescu, Maja Baldea, Politehnica University of Timisoara, Romania .......................................................... 375

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44. HISTORY AND ANALYSIS OF CHANGES IN PLANNING STRUCTURE OF THE FIRST RUSSIAN MILITARY HOSPITAL IN LEFORTOVO, Assistant of the Chair Mariia S. Fedorova, Prof. Ludmila P. Holodova, Ural Federal University named after the first President of Russia B.N.Yeltsin, Russia .................................... 367

46. INFLUENCE OF POLITICAL DISCOURSE ON CONTEMPORARY ARCHITECTURE: AN ANALYSIS OF TOKI URGUP LOCAL ARCHITECTURE PROJECT, Emre Dedekarginoglu, Hacettepe University, Turkey ...................................................................................................................... 383 47. KNOWLEDGE, PREFERENCES, POSSIBILITIES IN THE SHAPING OF SUSTAINABLE HOUSING PROJECTS ACCORDING TO THEIR USERS. POLAND, THE NETHERLANDS, Magdalena Jagiello-Kowalczyk, Ph.D.Eng.Arch., Professor, Cracow University of Technology, Poland................................................ 391 48. LANDSCAPE WITHIN A METROPOLIS OR A METROPOLIS WITHIN THE LANDSCAPE?, D. Sc. Ph. D. Eng. Arch. Boguslaw Podhalanski, Politechnika Krakowska, Poland ................................................................................................... 403 49. METHODS OF INTEGRATION THE HISTORICAL ARCHITECTURAL DECORATION FROM OPOKA IN THE MODERN COMPLETE KITCHEN, Prof. Dr. Natalia Krivosheina, students Danil Pogodin, Julia Naymova, Helen Elpasheva, Vyatka State University, Russia .............................................................. 411 50. MICROHOUSES - MICROTECTURE, Janusz Barnas Eng. Arch. Ph.D., Krzysztof Barnas M.Sc. Eng., Olga Kania M.Sc. Eng., Politechnika Krakowska, Poland....................................................................................................................... 419 51. MODERN STATUS OF ARTISTIC GLASSMAKING IN RUSSIA AND ABROAD, Assistant Professor Vera Sadakova, Student Irina Kladova, Vyatka State University, Russia ..................................................................................................... 427

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52. MOUNTAIN ARCHITECTURE: DESIGNING BETWEEN THE DESIRE TO EXPLORE AND NEED FOR PROTECTION, Arch. PhD Marta Averna, Politecnico di Milano, Italy ......................................................................................................... 435 53. NATURAL-HYDROLOGICAL PROTECTION FOR WATERFRONT TERRITORIES: “BLUE-GREEN” INITIATIVE, Ruban Liudmyla, Kiev National University of Construction and Architecture, Ukraine ............................................... 443 54. RANDOMNESS IN VISUAL IDENTITY: ALGORITHMIC APPROACH, Pavel Pisklakov, South Ural State University, Russia ................................................ 451

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56. SUSTAINABILITY OF THE HYGROTHERMAL REHABILITATION OF A HISTORICAL BUILDING BY USING AN OUTER HEAT INSULATION WITH AIRED LAYER AND THE REPLICATION OF THE BORDERS, Prof. Dr. Eng. Corneliu Bob, Arch. Flaviu – Cristian Leontiuc, Politehnica University of Timisoara, Romania ................................................................................................................... 465

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55. SACRED ARCHITECTURE AND ICON IN THE MEETING OF EAST AND WEST, Prof. Jerzy Uscinowicz, Bialystok University of Technology, Poland .......... 457

57. SUSTAINABILITY OF THE INTERVENTION FOR THE HYGROTHERMAL REHABILITATION OF A HISTORICAL BUILDING USING AN INNER HEAT INSULATION WITH AIRED LAYER, Prof. Dr. Eng. Corneliu Bob, Arch. Flaviu – Cristian Leontiuc, Politehnica University of Timisoara, Romania ................................................................................................................... 473 58. THE ANALYSIS OF THE URBANISTIC AND ECOLOGICAL POTENTIAL FOR REGIONAL DEVELOPMENT IN CARANSEBE?, Associate Professor Ph.D. Szekely Gabriel, Lecturer Ph.D. Tenche-Constantinescu Alina-Maria, Banat University of Agronomical Sciences and Veterinary Medicine, Romania ................................... 481 59. THE ATMOSPHERE OF BUILT SPACES, Magdalena Lukasiuk, Uniwersytet Warszawski, Poland .................................................................................................. 493 60. THE IMAGE OF FUTURE SPACE ARCHITECTURE, Dr. Dmitry Karelin, Nikolay Zaitsev, Maria Karelina, Moscow Institute of Architecture - Public building department, Russia .................................................................................................... 499 61. THE IMPORTANCE OF THE PUBLIC FACILITIES NETWORK WITHIN THE URBAN ENVIRONMENT AND ITS DISTRIBUTION WITHIN COLLECTIVE HOUSING NEIGHBORHOODS. CASE STUDY: TIMISOARA, ROMANIA, Stefana Badescu, Ana-Maria Branea, Marius Stelian Gaman, Politehnica University of Timisoara, Romania ............................................................................ 507 62. THE INFLUENCE OF THE LAWS OF ERGONOMICS ON THE DESIGN OF HIGH-RISE BUILDINGS, Valery V. Aurov, Maria D. Bausheva, Elena V. Uliyanova, Moscow Institute of Architecture - Public building department, Russia ... 515

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63. THE INTERIOR OF ALEXANDER NEVSKY CATHEDRAL (1839–1864) BY ARCHITECT ALEXANDER VITBERG IN VYATKA, Prof. Dr. Natalia Krivosheina, Vyatka State University, Russia ........................................................... 523 64. THE PROBLEM OF CONVERSION IN SACRED ARCHITECTURE SOME AXIOLOGICAL ASPECTS, Prof. Jerzy Uscinowicz, Bialystok University of Technology, Poland .................................................................................................. 531

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66. THE REVITALIZATION PROCESSES OF THE PORT STRUCTURES IN GDYNIA AND GDANSK ON THE BACKGROUND OF CONTEMPORARY PORT CHANGES, Tomasz Szymanski, Politechnika Gdanska, Poland .................. 547

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65. THE PROBLEM OF IDENTITY IN ARCHITECTURE TOWARDS THE GLOBALIZATION: THE EXPERIENCE OF THE HOUSE IN MOLEDO BY EDUARDO SOUTO MOURA, Prof. Ana Luisa Rodrigues, University of Minho, Portugal .................................................................................................................... 539

67. THE ROLE AND IMPORTANCE OF GREEN AREAS IN CONTEMPORARY SPACES OF KRAKOW ON CHOSEN EXAMPLES, PhD, Arch. Tomasz Bajwoluk, Cracow University of Technology, Poland ........................ 557

68. THE SHAPING OF ARCHITECTURAL SPACE AS A CONSEQUENCE OF ENVIRONMENTAL PROTECTION STRATEGIES, Janusz Barnas Eng. Arch. Ph.D., Politechnika Krakowska, Poland .................................................................... 563 69. THE TRANSFORMATION OF THE PLACE TO THE NON-PLACE IN THE CONTEXT OF CONSUMPTION: THE CASE OF PARK HOTEL-ISTANBUL, Lecturer, Msc. Arch. Asli Uzunkaya, Assist. Prof. Dr. Pinar Oktem Erkartal, Beykent University, Turkey .................................................................................................... 571 70. THE WAY OF FOUR GATES, Ph.D. Arch. Pawel Zuk, Cracow University of Technology, Poland .................................................................................................. 579 71. THINKING PROCESS OF ARCHITECTURAL DESIGN COMPETITIONS: A PRAGMATICAL APPROACH, Assist. Prof. Dr. Mustafa Orkun Ozuer, Beykent University, Turkey .................................................................................................... 587 72. TOPOLOGY AND SPACE-TIME STRUCTURE OF THE BUILT ENVIRONMENT, Prof. Alexey Krasheninnikov, Prof. Natalia Saprykina, Moscow Architectural Institute - Urban Planning and Design, Russia ..................................... 593 73. URBAN FARM AS A NEW METHOD OF ORGANIZING HOUSING ENVIRONMENT - THE GENESIS, FORM AND TYPOLOGY, Justyna Kleszcz, PhD, University of Zielona Gora, Poland .................................................................. 601

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74. URBAN WASTELAND ARRANGEMENT FOR POLYSPECIES AREAS CAUSES AND EFFECTS OF IMPLEMENTATION AS A METHOD OF URBAN RENEWAL, Justyna Kleszcz, PhD, University of Zielona Gora, Poland .................. 609 75. VEDIC RITUAL YAJNA, PLANES OF ITS CEREMONIAL PLATFORMS AND THEIR REALIZATION, Mgr. Petr Bogan, J. E.Purkyne University in Usti nad Labem, Czech Republic ............................................................................................ 617

76. WATER COMPOSITION AT BUGA EXHIBITION - 2007-2015, Professor Cut, Ph.D., D.Sc. Sabina Kuc, Cracow University of Technology, Poland................. 625

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77. WATER COMPOSITIONS - FLORIADE 2012, Professor Cut, Ph.D., D.Sc. Sabina Kuc, Cracow University of Technology, Poland ............................................ 633

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Section Performing and Visual Arts

STUDIES OF MONUMENTS TO FAMOUS PERSONS

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AS A COMPONENT OF NATIONAL IDENTITY

Assoc. Prof. Sandra Meškova


Assoc. Prof. Elīna Vasiļjeva

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Prof. Maija Burima

Doc. Ingrida Kupšāne Doc. Ilze Oļehnoviča

Daugavpils University, Latvia

ABSTRACT

Monuments or open space sculpture objects are very significant components of commemoration of national history and structure of national identity. They are significant landmarks of the environment and often function as meeting places due to their encoding as spatial checkpoints in the mental maps of people living in the respective area. Monuments to famous persons characterize relations between ideology and its projection on masses from the perspectives of social history, visuality, communication, and art. These objects are usually connected with various processes of social life and related to commemoration rituals as they mark places of public gathering on particular events for sharing memories of an event related to the action of or ideas proclaimed by the subject of the monument. Monuments to famous persons are always recorded in the socio-political context and acquire a variety of functions in the political communication as objects of both remembrance and oblivion. The experience in the field of monumental sculpture within the post-Soviet territory is diverse and even contradictory. The interpretation of these monuments can yield meaningful comparisons of attitudes characteristic of the Soviet and post-Soviet period towards personalities represented in monuments. In addition, monuments to famous persons are also popular objects of tourist routes. Keywords: monuments, sculpture objects, identity, commemoration

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INTRODUCTION

Monument is a work of art, a significant phenomenon of culture, history, and ideology; it is a part of the historico-cultural legacy. Monuments reveal the trends of cultural policies and the development of social memory as well as characteristics of urban environment or landscape, traditions and rites of public festivals and everyday life traditions. Monuments to famous persons constitute one of the segments of the whole totality of monuments. Most often monuments to famous persons are dedicated to public figures, representatives of culture and science: politicians, literati, composers, artists, inventors, discoverers. Subjects of many monuments have made a great contribution to several of 185


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the above-mentioned spheres. Monuments to famous persons make one of several categories of monuments – monuments to significant events, tombstones, monuments to animals, symbolical and metaphorical monuments dedicated to some typological realia, e.g. monuments to drowned seamen and fishermen in towns by the sea, etc. They stand out among other categories of monuments by the informatively analytical context – the personality and contribution of the particular subject represented by them.

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THE DESCRIPTION OF FIELD RESEARCH AND RESULTS

A group of Daugavpils University scholars in collaboration with the University College of Southeast Norway (Høgskolen i Sørøst-Norge, Norway) in the framework of European Economy Zone financial instrument and Norwegian financial instrument project “Establishing of Scholarships for Language and Culture Studies in Latvia and Norway with the Focus on Studies of Monuments to Famous Persons and Their Testing for the Needs of Tourism” have assumed studies of monuments dedicated to famous persons with the aim of elaborating indicators for the characteristics of this category of monuments in the perspective of national identity concept and social memory and commemoration. At the present stage of the research (started in 2015 and planned to complete in 2017) indicators of characteristics of monuments to famous persons have been crystallized that provide an opportunity to interpret the way the monument matches the understanding of the components of the national identity concept (opinions of the subject of monument, the monument location, time of its production, frequency of actualization, etc.). Project participants study the monuments in their regional or national culture environment as compared to other environment that testifies to shifts in national identity and its transformations under the impact of various socio-political and culture factors, relatedness of monuments to famous persons to social memory, individual memory and projection of monuments in commemoration rituals. It must be specified that the given research includes all kinds of monuments that are concerned with representing famous persons (monuments, busts, memorial plaques, etc.). Monument is a reminder of historical events. Monument to a famous person is a memento of the significance of this person. Hence, this kind of a monument sustains a bond with publicly significant events of the past and functions as a building material of historical identity. Each object of culture legacy is also a part of social life, being a part of the present-day politics.

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National identity is closely related to the notion of commemoration. Commemoration as a uniting element of the nation “[..] includes all ways or mechanisms that function to remind of and embody past events. Commemoration creates and sustains a sense of belonging to the past, ancestors, common feelings, emotions, and atmosphere. It includes public and individual commemoration (also mourning) rituals, founding of memorial places both in the real and virtual environment, creating commemoration environments, infrastructure and media products as well as many other actions.” [1] In a wider understanding, commemoration is related to sustaining memory of various historical events and personalities under the impact of psychological, religious, ideological, mental, etc. factors. In a more specific sense, commemoration is related to

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Global or local political processes, innovations in culture and economy may affect or even radically change people’s attitude towards monuments: they may be forgotten or recalled from oblivion, demolished or reconstructed. For instance, in the soviet period in each administrative territory there had to be a monument to Lenin whose image was related to commemoration rituals for sustaining the communist ideology. “[..] recently widespread demolishing of monuments and building new ones is not irrational conduct. Peculiar attitude towards images is based on the social representations of particular political needs and economic interests.” [3]

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mnemonic or memorial places that, being visited, actualize past events and personalities. This meaning of commemoration has been highlighted by the French sociologist Maurice Halbwachs in his study “On Collective Memory” [2], where he regards social memory as a specific phenomenon in the paradigm of collective memory.

In Baltic countries, after the restoration of independence, monuments to Lenin were soon removed from the culture landscape and most often their places remained neutral – no other monuments were erected to fill the void. However, it must be mentioned that in individual cases non-standard solutions were applied as the monuments to Lenin were replaced by ones that expressed the local patriotism of a particular place (village, town, region) or generally human and common values and needs. Hence, in 2003 in the central square of the town of Preiļi the void of the removed monument to Lenin was filled by the monument “The Cheese Diamond” and memorial sign to six most popular Latvian cheese brands. The erection of such monuments is a symbolic testimonial of the significance of cheese as a food product in the economic life of Preiļi and a proof of the great diversity and superb quality of Latvian cheese brands, simultaneously proving, according to S. Kruks, that “with the changing political regimes, the aims of socialization change and the symbols of the old regime vanish from the stage” [4] To compare the situation in Latvia to that of neighbouring states, in Belarus the monuments to Lenin and the soviet army fighting in World War II have been preserved and coexist in the culture environment with national environment architecture objects.

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Spatial objects dedicated to the soviet army are a sensitive issue of debate in Baltic countries as they are related to stable commemoration rituals. The most scandalous event expressing the debatable character of this issue was moving the bronze monument of a soviet army soldier – “Monument of Liberators” (also called the “Bronze Alyosha”) from the centre of Tallinn, the capital of Estonia, to its outskirts. The leader of the Estonian government at that time, Andrus Ansip declared that the monument must remain as a uniting element of the Estonian society but it actually facilitated schism among people in Estonia and was moved to soldier cemetery on 27 April 2007 with reburial of the mortal remains of soldiers. The moving of the monument aroused protests in Russia and among the Russian population of Estonia. Each year on the occasion of 9 May or the Victory Day there recur heated debates in Riga concerning the monument to Liberators of Riga in Victory Park. On 30 June 2016 the Commission of Mandates, Ethic, and Applications of the Saeima of the Republic of Latvia did not accept the public initiative for the renovation of the pre-war project of the Victory Square in Riga suggesting inter alia demolishing the monument to Liberators of Riga. The petition concerning the Victory Park had been prepared in April 2012 and 187


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during four years 10,000 votes were collected for its submission to Saeima. The petition proposed to renovate the Victory Square in accordance with the project that had been drawn during the First Republic of Latvia (1918–1940). The so-called Victory Monument in Riga since its unveiling in 1985 has been an ambiguous symbol in relation to which the manifestation of divided historical memory of Latvian society concerning the soviet occupation period from 1944 to 1991 has occurred. Nowadays the monument has become a catalyst of post-soviet nostalgia experienced by the part of Latvian society who is affected by the mass media of Russia, whereas part of Latvians perceive it as a symbol of soviet occupation.

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The above-mentioned discussion on sensitive commemoration monuments ignited by the contradictions and ambivalences of social memory revealing the schisms of Latvian society is more manifested in monuments that are symbolical and metaphorical. Monuments dedicated to concrete well-known persons and their public, cultural, scientific or other contribution become objects of radical debates more rarely. However, there are cases when this happens, especially if the monument is dedicated to a personality with contradictory political opinions whose life covered several politically contradictory epochs. Monuments dedicated to famous persons rather often perform the function of manifesting the national, regional, ethnic identity. The monument to a famous person becomes a part of national identity formation narrative by way of vast comments using social and culture texts produced by and related to concrete personalities. If, upon the change of the political situation, the personality starts to be treated as debatable, it is erased from the social memory narrative, yet the texts created by her (literary works, paintings, music, etc.) are often preserved in the canon of the national culture as well as monuments dedicated to these personalities. They become tabooed, silenced, more seldom disdained, as if they were non-existent and invisible. For the monuments dedicated to these personalities to gain neutral connotation, there is a need for generation change and public discussion.

The analysis of various kinds of monuments in the perspective of national identity aspects brings out a need for setting indicators and working out methodology of work in order to produce the characteristics of monuments to famous persons and test their correspondence to the needs of tourism – opportunities or need to integrate the monument in tourist (national and/or international) routes.

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An essential element of the description of a monument is general information on it: the title of the monument, its subject, time of unveiling, the funding, the contracting authority, the artist, the material, colour, precise location, characteristics of the surrounding landscape and territory, the size of the monument, what it depicts (description, text on the monument, the description of the subject – expression, clothing, posture, etc.). Another range of issues concern the function of the monument in the society: regular or unique events organized by it, whether it is included in tourist guide books, its popularity with the local public, literary or art works dedicated to the monument. Considering these issues, additional information may be acquired by means of surveys of the local residents. The aim of such surveys is obtaining an idea of the reputation of the investigated monument: whether it is recognized or neglected, popular or unpopular with the public. The interview may contain the following questions: what respondents can tell about this monument, whether they know its object, whom it is dedicated to,

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To relate the investigated monument to the context of studying national identity it is essential to acknowledge the ideological trends it represents, what it reveals about the time period it was erected and how its significance is interpreted nowadays. Such an investigation makes it possible to work out recommendations concerning its inclusion into tourist routes: what could be the thematic of these tourist routes, why, what would it tell to tourists, travellers, interested people. “Whatever its style of design, exterior sculpture is a work of art, yet analysing it as an aesthetic object, we would not be able to explain the sense of monumental propaganda. Sculpture is also just a material object that may be judged as to the labour investment and resources used. Unlike a painter, a sculptor faces specific negotiations with the contracting authority about much bigger financing and with the local government about the place of exposing. There are cases when art does not play the decisive role in such negotiations.” [5]

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when it was erected, what it is associated with, how popular it is with the public, the respondents’ personal memories about the monument, whether it is popular with wider public or with a particular group of population.

When characterizing monuments in the context of identity, the “Identity Matrix” [6] developed by M. Nazukina is productive. The matrix is based on the theories proposed by the French psychologist S. Moscovici and the American social psychologist T. Shibutani. The identity matrix characterizes an individual’s self-identification and includes both individual and collective identifications. It consists of the following identity segments: 1) “I-image” (or self-image) that includes individual categories: a person’s gender, age, appearance, etc.; 2) “I and WE” that comprises collective and social group categories: family, class, generation, ethnic group, race; 3) spatial and territorial categories: country, region, place; 4) political categories: nationality, citizenship, ideological and political orientation, party affiliation; 5) socio-cultural categories: language, religion, confession, belonging to a certain culture or subculture group; 6) role categories: parent, neighbour, buyer, pedestrian, driver, tourist, etc. Monuments to famous persons enable an individual to identify him/herself with the viewpoints of the subject of the monument or the problems represented by the monument because it actualizes one or more segments of the person’s identity matrix. Monuments to famous persons often reflect on political and socio-cultural categories. Monuments to famous personalities and political categories: the case of the Norwegian writer Knut Hamsun

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Transformations in political history and public attitudes towards them are vividly demonstrated by monuments to persons, who have created literary works that are popular among broad circles of readers and are of great artistic and intellectual value, but in terms of their political affiliation have collaborated with the occupying powers. In this respect, a global scale example is the Norwegian writer Knut Hamsun. Knut Hamsun was awarded the Nobel Prize in Literature in 1920 for his novel “Growth of the Soil”. In 1943, the writer sent it as a gift to Germany’s minister of propaganda, Joseph Goebbels. Hamsun later flew to meet Hitler at Hitler’s mountain lair in Bavaria. In 1948, K. Hamsun was convicted of treason and the moral support to the Nazis. One of the first monuments to Hamsun is his bust created by Wilhelm Rasmussen. At the writer’s home “Nørholm” in Grimstad there is Knut Hamsun’s grave, his sanctuary 189

in life and now his last rest. Over the grave stands Wilhelm Rasmussen’s bust of Knut Hamsun with the inscription “1859-1952”. This place is a private territory. Hamsun’s heirs’ relations with the state institutions are still tense due to Hamsun’s conviction and the large contributions imposed; therefore the family denies interested people from viewing this place.


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During the lengthy decades of the denial and condemnation of Hamsun’s personality, in fact, no new memorial sites dedicated to him have been created; neither there has been any interest in his memorial home. Hamsun’s commemoration has largely been sustained by enthusiasts in the northern part of Norway (Hamsun’s native and childhood places). One of the few busts was created by the Greek sculptor and writer Georg Themistoklis Malteso, who was a strong admirer of Knut Hamsun. He sculptured the bust after the photo of Hamsun. His idea was to donate the bust to Nørholm, but there already stood Wilhelm Rasmussen’s bust over Hamsun’s grave. Marie Hamsun then immediately thought of Hamarøy, which she had visited shortly before, and she asked Malteso to give that extraordinary present to Hamarøy instead. The bust was erected on 13 August 1961. For a long time it was not included in the official list of the state’s monuments and official tourist guides contained no mention of it. The monument is “mounted” within the scenery of harsh and majestic, colourfully Norwegian nature so typical of the writer’s works, thus stating that “national identity and cultural peculiarities vividly correlate with the conditions of natural environment” [7].

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The situation with K. Hamsun’s commemoration changed after the 50th anniversary of his death (2002) and his 150th birthday (2009). In the context of the events for the commemoration of the writer, polemic books were published that explained and reevaluated the reasons for the litterateur’s controversial political viewpoints. Those processes began to balance the aspects of the outstanding litterateur and scandalous political personality. Owing to the anniversaries, the writer’s literary legacy was actualized also in the capital of Norway and its surroundings, where the number of the writer’s critics was greater than in the north of Norway, the writer’s homeland. The Norwegian society is not yet ready for the erection of a monument to Hamsun in the capital, but the first Hamsun’s statue has been recently unveiled in Skultbakken i Vågå. The author of the statue – Skule Waksvik – had previously stated that Hamsun’s statue should be erected in the centre of Oslo, alongside the statues of other classical literature pillars (Ibsen, Bjørnson), as readers owed that to the writer for his impressive works. However, in Aker Brygge, the modern architecture district of Oslo, there are wooden pedestals mounted in the streets on which the extracts from Knut Hamsun’s literary works are inscribed and can be read with the references to the author’s name provided. Tourism routes include places associated with the characters of his literary works. Thus, in Oslo there used to be a restaurant, which had functioned for many years but is now closed, named after one of K. Hamsun’s colourful characters depicted in the novel “Hunger” (1890) – a woman of easy virtue Ylajali (the address of the restaurant – Olav plass 2). This is where the novel “Hunger” takes place. To date, there is no Hamsun’s statue in Oslo. The writer’s “first in the world Hamsun’s statue” [8] was created in 2009 and unveiled in Skultbakken i Vågå. With the expression in its visual narrative, the creator of the statue, the artist Skule Waksvik tries to voice that Hamsun was a talented, though arrogant personality, he was a man who has got stranded in his verities.

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In Norway there are 75 visual and sculptural memorial objects aimed at the perpetuation of Hamsun’s commemoration: K. Hamsun’s Centre, streets named after Hamsun, the monument, busts, commemorative plaques, stelae, informative memorial plaques, memorial home, etc. being of both public and private property. Many of the objects were created in the last decade. Knut Hamsun’s Society has set up a website dedicated to the writer, and it contains information about each memorial testimony [9]. The data presented about the monuments include the available information about their origin, location and their authors. Admirers of Hamsun’s creative work and people interested in his personality are encouraged to perform exploratory tours in these places: “On the tracks of Hamsun... We here suggest to you a travel of discovery: Use your holiday or a long weekend to track down relics of Knut Hamsun. It could be a bust, a monument, a place where he lived for some time, a street named after him, places where he found inspiration for his novels.... Do continue the list yourself. To get you started (on the tracks of...), you will find on this page some of the places, we have had joy and pleasure out of visiting or places we just find inevitable.” [10]

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Having considered the dynamics of the development of monuments and memorials to Hamsun in the context of the development of national identity, it can be concluded that the debates over the writer’s personality and viewpoints, from the beginning of the 21st century have transformed the scepticism against the author developed in the previous 50 years in favour of increased interest in the formation of radical views of a creative and eccentric personality. These transformations are supported by a number of visual memory testimonies, including monuments, busts and other cultural and historical visual signs dedicated to Hamsun’s contribution to the development of Norwegian and world modern literature. Monuments to famous persons in a multicultural environment: the case of Daugavpils National memory does not exist in isolation; it is closely related to other national memories, thus becoming a dialogical or even polylogical commemoration (it depends on a region’s ethnic composition); “dialogic remembering links two nations through their common knowledge of a shared legacy of traumatic pasts” [11].

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The brightest example of a multicultural society in Latvia is Daugavpils. Historically, it has developed as a poly-ethnic and culturally pluralistic city. The historical context (both its inclusion in Rzecpospolita, the Russian Empire, the events of World War II and the Soviet time) has determined the shift and the change of focus in the functioning of ethnic groups and cultures present in this space. By studying monuments and memorial signs to famous personalities that were created in the second half of the 20th century – the early 21st century and are now present in the urban space, it can be stated that they embody the historical memory of Daugavpils’ population, revealing the coexistence and acceptance of various ethnic groups in the commemoration process. Monuments and memorial plaques are devoted to cultural and public employees of Russian, Latvian, Polish and Jewish origin. The square at Daugavpils University hosts the distinguished Latvian writer Rainis’ (1865–1929) bust (1967, the author – Indulis Folkmanis). This is the only monument in Daugavpils, at which cultural events are being organized. The bust is placed on the elevation, thus an observer’s view is directed

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The bust was created under the sign of Rainis’ 100th anniversary; the poet is essential in Latvians’ consciousness, but at the same time he is a writer who is recognized by representatives of any ethnic group living in Latvia. Besides, Daugavpils residents are more or less aware of Rainis’ biographical link to Daugavpils and its surrounding area. The recognition of the person and the organization of certain cultural events at the monument position Rainis’ bust not only as a part of the Latvian city, but also as a component of the manifestation of Daugavpils’ collective identity and multiculturalism.

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upwards. The monument is surrounded by a green area that prevents a viewer from coming too close to the monument and, e.g., touching it. Thereby, piety towards the personality – the subject of the bust – is implicitly modelled.

A few hundred meters further, the bust of the Latvian writer Andrejs Pumpurs (1841– 1902) (1966, the author – I. Krumina) is located in Pumpurs’ square. It has replaced Alexander Pushkin’s bust erected in 1949. Commemoration of this litterateur in the space of Daugavpils is not so much connected with his activity as a litterateur and prominent representative of national romanticism, but rather with his military career, i.e. in 1895 he moved to the then Dvinsk and worked at the war commissariat. A. Pumpurs’ look (as reproduced in the bust) is directed to the building where the commissariat was located. Hence A. Pumpurs’ bust does not so much represent Latvian culture, but basically embodies the history of Daugavpils, in which, including also the development of culture processes, the military component has always been important. Not always are monuments and memorial plaques indicative of harmonious coexistence of cultures. “The commemoration example in the border area manifests processes of political and historical transformations untypical of and even contradictory to the national ideology.” [12] An example of in a way hidden ethno-cultural rivalry is the development of two memorial signs that are dedicated to two mayors – one of them of Russian origin, the other – a Latvian.

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The monument to the mayor Pavel Dubrovin (1839-1890) was unveiled in 2007; it was created by the sculptor Alexander Taratinov. On the one hand, this monument is the most functional one in the urban environment. P. Dubrovin is depicted in full height and free posture – walking with the dog in the park established by the mayor himself. It is possible to approach Dubrovin, “pat him on the shoulder” – the distance is not emphasized; on the contrary, the viewer is encouraged to communicate, establish contact, the monument seems to melt in the environment of the park and its visitors. Moreover, it also possesses its own “legend” and mythology. On the other hand, the context of its creation implies political connotation. Its construction was financially secured by the management of Moscow Central Administrative District and Moscow entrepreneurs, and therefore, more patriotically-minded Latvian citizens perceive this fact as having political subtext. Emphasizing the pre-occupation period in the history of the city and the Latvian dimension in the urban space, a memorial plaque to the mayor Andrejs Švirksts (18971955) was unveiled in 2011; he held the post in 1938 – 1940 and was exiled to Siberia without the right to return home. Its author is the sculptor Ivo Folkmanis. The plaque is spatially located in the very heart of Daugavpils – the Unity House, which was built in the 1930s as a monumental building representing the ideology of Ulmanis’ times, the main sign of Latvianity in Daugavpils.

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When considering the period of World War II and the post-war period, ethnic monuments are of crucial significance. In the post-war period, the Soviet power, while developing a new tradition of commemorating Soviet victims, tried to avoid ethnic features. Levelling of ethnicity is important to the Jewish people in connection with monuments to the Holocaust victims. On the one hand, according to Judaism traditions, all the places of Jews’ extermination should be marked – and, taking into account the tragedy of the Holocaust in Latvia, there are many such places. But on the other hand, the Jewish tradition strictly regulates the structure of memorial sites and monuments. The prohibition to portray people is a part of the traditions of monument design, and it is inherent in the common Jewish tradition. No monument outside the burial site is envisaged. [13] It can serve as an explanation of the fact that in the territory of Latvia, even in urban areas, which used to have numerically large Jewish communities, there are no monuments, but at the end of the 20th – the early 21st century there appeared a lot of memorial sites and various signs. Mostly these are either monuments dedicated to some event (memorials to the Holocaust victims), or commemorative plaques to persons (Isaiah Berlin in Riga, Solomon Mikhoels in Daugavpils). There are not many monuments in the strict sense. In this context, the Monument to Mark Rothko in Daugavpils and the monument to Žanis Lipke in Riga are of interest.

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The monument to Mark Rothko is a memorial sign (its author – Romualds Gibovskis, the monument was unveiled in 2003) – is an abstract spatial structure that is located on the bank of the Daugava river. [14] The location of the monument is not associated with the artist himself. The choice of the place was explained as the scene that had survived in the artist’s memories of childhood. The abstract nature of the monument was attributed to the painter’s own artistic direction. Only in 2013, there appeared an informative inscription at the monument. Until then, the essence of the monument was clear neither to tourists nor to many residents of Daugavpils. CONCLUSION

Monuments or other memorial signs to famous persons are important sources of evidence about the changes of identity segments included in the identity matrix. In the present study, the monuments to famous persons have been interpreted in the context of political and multi-ethnic segments of national identity. In conclusion, the monuments are closely linked to the commemoration rites, national cultural canon and transformations of social memory.

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The change of attitude towards the open space sculpture objects dedicated to the collaborationist considered in the present study testifies to the great significance of public opinion in the evolution of monument semiotics. In Latvia, as well as in other post-Soviet countries such a discussion is still ahead, for instance, in actualizing the personality of Vilis Lācis (1904 – 1966) and his remembrance. In 1940 V. Lācis was appointed Minister of Interior of the Latvian Soviet Socialist Republic and he placed his signature on many Latvian public and political figures’ arrest and deportation orders. There is also a monument dedicated to Anna Sakse (1905 – 1981), the writer who has praised the Soviet times. Both the above-mentioned writers, apart from the texts that were tributes to the era, wrote also popular high-quality literary works. At present, the monuments to these two writers are largely glossed over, because the evaluation of their

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A sensitive topic of discussion in the post-Soviet territories is the monuments dedicated to the phenomena of the Soviet times. Commemoration rituals manifest themselves most prominently in the treatment of monuments to the Holocaust victims.

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personalities still lacks clarity. The monuments dedicated to V. Lācis and A. Sakse seem to be “deleted” from the nation’s mental map.


The study testifies to the fact that monuments to famous persons may serve as important resources for the development and introduction of new tourism products. REFERENCES

[1] Turner, C., Nation and Commemoration, Delanty, G., Kumar, K. (eds). The Sage Handbook of Nations and Nationalism, London, Sage Publications, 2006, P. 206. [2] Halbwachs, M., On Collective Memory, Chicago, London, The University of Chicago Press, 1992. [3] Kruks, S. Ārtelpas skulptūras semiotika, ekonomika un politika, Rīga, Neputns, 2011, P. 10. [4] Kruks, S. Ārtelpas skulptūras semiotika, ekonomika un politika, Rīga, Neputns, 2011, P. 11.

[5] Kruks, S. Ārtelpas skulptūras semiotika, ekonomika un politika, Rīga, Neputns, 2011, P. 10– 11. [6] Назукина, М.В., Матрица идентичности, Политическая идентичность и политика идентичности: в 2 т., Т. 1, Семененко, И.С., (отв.ред.), Идентичность как категория политической науки: словарь терминов и понятий, М., Российская политическая энциклопедия (РОССПЭН), 2012, P. 195. [7] Klepers, A., Smaļinskis, J., Tūristu gids, Vietas pieredzējuma radīšana, Vidzemes Augstskola, Valmiera, 2014.

[8] Rasmussen, K. H., On the tracks of Hamsun..., Knut Hamsun – his life, his works.

https://www.nrk.no/ho/verdens-forste-hamsun-statue-1.6716622 [accessed 09.07.2016.] [9]

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[10] Rasmussen, K. H., On the tracks of Hamsun..., Knut Hamsun – his life, his works. http://www.hamsun.at/hamsun/index_uk.htm [accessed 09.07.2016.]

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[11] Assmann, A, From Collective Violence to a Common Future: Four Models for Dealing with a Traumatic Past, Conflict, Memory Transfers and the Reshaping of Europe, ed. by Helena Gonçalves da Silva, Adriana Alves de Paula Martins, Filomena Viana Guarda and José Miguel Sardica, Cembridge Scholars Publishing, 2010, P. 30.

[12] Burima, M., Vasiljeva, E., Commemoration Principles and Models of World War II Memorial Sites in the Cultural Landscape of Latvia-Belarus Borderland. History of Arts, Contemporary Arts, Performing and Visual Arts, Architecture and Design. Conference Proceedings SGEM 2015. ISBN 978-619-7105-50-6; ISSN 2367-5659; DOI: 10.5593/sgemsocial2015B4. Sofia: SGEM2015, P. 86. [13] The Shaping of Israeli identity, Myth, memory and trauma, ed. by R. Wistrich and D., Ohana. London: Frank Cass, 1995, P. 150. [14] www.visitdaugavpils.lv/lv/turisms/pieminas-zime-veltijums-rotko [accessed 09.07.2016. 194