Order #8209502631 subjectit topicmay you choose it for m

1. Order #8209502631
Subject
IT
Topic
May you choose it for me. Thanks
Type
Research proposal
Level
High School
Style
APA
Sources
I'm not sure how many I need. It's a proposal. May you please
decide. Thanks
Language
English(U.S.)
Description
Our management would like to see us develop a standard
consulting proposal aimed at small businesses. Our goal is to be
able to introduce our consulting company to them and perform a
network assessment or “health check” and recommendation for
their network infrastructure.
I would like you to design and develop a standard consulting
service project and proposal that can be used as a standard
template to sell the services to the customer.
We want to concentrate our scope to customers with one
location, 2 or less file servers, one Internet connection and have
100 or less employees.
Please develop such standard offering. This should include (but

2. not limited to):
• Presenting our company to the customer
• Why they should use us
• The scope of the project
• Tasks, hours associated with tasks
• Assumptions
• Cost and any optional cost/services
• Deliverables
Please present your standard proposal to your manager
Spacing
Double
Pages
5
Surname 1
Name
Tutor
Course
Date
Introduction
Artistic evolution in Russia bears high levels of significance to
the evolution of Russia itself. There exists sufficient evidence
that art in Russia was not just a way of showing one’s talent but
a way of making significant communications of one’s thoughts
and views of situations. Communication that was done through
art included the views on political situations, individuals, and
regimes. Making public declaration was hard enough for
individuals to attempt and they, therefore, resulted to using art
to make their expressions and declare their political ground.
Self-expression through art evolved with the evolution of the
artistic eras. The Soviet artistic avant garde was one of the
artistic eras in Russia. Although the Soviet avant garde was

3. preceded and succeeded by other eras, it has remained quite
significant in the evolution of Russian art. One of avant garde’s
main artistic successors was the glasnost era.
As stated in the Russian history, the avant garde artistic era
reinvented architecture with the aim of providing the Russian
Revolution a form that was livable. Designers of the avant garde
did not place a lot of focus on history and tradition. Instead, it
abstracted the elements of tradition and history to build basics
such as balance, mass and usage space in egalitarian buildings
that were socially progressive like workers’ clubs, housing, and
factories. In the 1930s however, avant garde was denounced by
socialist realists claiming it constituted antirealism and aspects
of the decadent bourgeois type of formalism. The avant garde
was banished from focused studies and its works of art
unconstructed. Other forms of artistic expression came to
existence and buried the avant garde. However, it remains one
of the most significant eras of art in the Russian art and history
as well. The glasnost, being one of the main successors of the
avant garde took much credit for being accorded the role of
restoring realism in the Russian art era. The aim of the paper is
to relate the experiences under the Soviet Union rule during and
after the World War II to the various experiences that are
narrated in various films during the war like Song of Russia and
The North Star and post-World War II films like Ballad of a
Soldier.
Song of Russia
A 1944 American film of War, Song of Russia was directed by
Gregory Ratoff, made and distributed by Metro-Goldwyn-
Mayer. Starring Robert Taylor, Robert Benchley, and Susan
Peters, the film narrates the experience of an American
Conductor (Meredith) who travels to the Soviet Union with his
manager (Higgins), just before the Germans invade the nation.
Meredith falls in love with Nadya, a Soviet pianist while they
journey across the nation in a 40-city travel. Their moments of
enjoyment are ruined by the invasion of Germany. The film was
produced during the World War II and shows the experiences of

4. Russian citizens in the hands of the Germans. The film uses the
blissful experience of Meredith and Nadya before the invasion
of the Germans to show the peaceful life that people led in the
Soviet Union. It shows how the interference of the foreign
forces destroys the peace of the nation.
In the case of the Soviet art, the uses Meredith and Nadya to
symbolize the restfulness of the artistic forms in the society.
The Germans, on the other hand, symbolize the foreign forces
that may possibly disturb the rest of the artistic forms in the
union. The foreign forces may include the interference by the
national authorities by banning the use of a given type of work
of art. Establishing restrictions on the works of art usually leads
to a cultural as well as a historical unrest. Interference from
outside cultures or forms of art as well leads to an unsettlement
of the existing artistic forms existing in the union. The bliss
experienced by the conductor and pianist show the peace that
was enjoyed by Russia without the invasion of the Germans.
Further, it portrays the positive results of the alliance between
the Soviet Union and the United States.
The North Star
Also known as Armored Attack, the North Star is a war film
produced in 1943 by Samuel Godwin Productions. It was
distributed by the RKO Radio Pictures, directed by Lewis
Milestone and written by Lillian Hellman. Starring Anne
Baxter, Walter Brennan, Walter Huston and Erich von Stroheim,
the film narrates the Ukrainian Village resistance against
German invaders using guerilla tactics. The film shows
Ukrainian villagers living peacefully in the June of 1941. Some
friends choose to go to Kiev for holiday. However, they find
themselves being attacked by a German plane as a part of the
Soviet Union Nazi invasion. Their villages are occupied by
Nazis and people flee to the hills to make partisan militias. A
brutal German Doctor is shown using children for blood
transfusing wounded German soldiers, which kills some
children. The Russians then attacked the village and rescue the
children and a girl has a vision of a future where the world is

5. free for all men.
Although the film consists of the resistance of the Ukrainian
villages, it was a film on the pro-soviet propaganda at the peak
of the war. The life that he Ukrainian villagers are living before
the Germans attacks simply portrayed a peaceful nation that
would provide people the freedom to live as they wished. On the
event of the invasion of the German soldiers, all the peace is
disrupted and the group of friends on holiday can no longer
enjoy their tour. The retreat of the villagers shows the
resistance of the Soviet Union to fall due to the attack of the
Germans. When the villagers raid the village to save the
children, they show just how the Soviet Union would be ready
to defend its citizens in cases of attacks.
Ballad of a Soldier
Produced in 1959, Ballad of a Soldier was directed by Grigori
Chukhrai. The film stars Zhanna Prokhorenko and Vladimir
Ivashov. Although it was set during the time of war, the film is
not precisely a film of war. The main agenda of the film lies in
the context of the war turmoil, different types of love such as a
married couple’s committed love, a child’s love from the mother
and a young couple’s romantic love. The film rotates around the
journey of a soldier of the Red Army on his journey home after
being given a leave. He meets various civilians on his way and
falls in love.
Symbolism in the film consists of the different people that are
affected by the war and the attacks. The soldier is about to be
rewarded for taking out the two German tanks that were about
to attack the people of his nations. From the film, it is clear that
the soldier managed to destroy the tanks out of his will to
survive and not just his being brave. The soldier’s self-
preservation ultimately led to an act of braveness. Therefore the
film symbolizes the will of the Soviet nation to overcome the
consequences of the war and rebuild itself out of self-
preservation. The nation's own preservation ultimately leads to
the conquering of the Germany invaders and it is able to restore
its peace in the nation.

6. The Soviet Art
Soviet art constituted of the visual form of art that were
produced in Russia in the Soviet Union. The Soviet Union
existed in Eurasia as a socialist state during the period between
1922 and 1991. IT works of art therefore only lasted during the
period in which the Union was in power in Russia. The union’s
economy and government were very centralized in a unitary
state where all respects were coordinated under the central
government. In a similar way, all works of art were controlled
and limited by the central government. The government decided
what types or artistic forms could be or could not be used in its
territories. Visual arts were the most used in Russia during the
rule of the Soviet Union. Different types of visual artistic
expressions were born and buried during the period, depending
on their acceptance by the central government. The various
forms of art that can be associated with the Soviet era include
the Soviet avant garde art, the Soviet non-conformist art, and
the socialist realism. The avant garde art was, however, the
most dominant during the Soviet rule in Russia.
The Soviet Avant Garde Art
Origin
During the period of the Russian Revolution, the government
established a movement that was aimed at pulling all segments
and aspects to the sole service of the ruling government. The
instruments to achieve the unification were constructed only a
few days before the occurrence of the October Revolution.
Aleksandr Bogdanov was one of the prominent theorists of the
said movement. Initially, the education ministry took charge of
the arts and supported the movement, Prolekult. However, the
movement wanted to be independent of the central government,
which saw it get disbanded in 1932. The ideas behind prolekult
attracted the attention of the Russian avant garde. The ideas of
the avant garde however clashed with the newly risen and state-
supported socialist realism. The avant garde was tryi ng to
eliminate the bourgeois art conventions. It had flourished in the
Soviet Union and Russian Empire from 1850 to the late 1960s.

7. Further, it reached its popular and creative height a time in the
period between the 1917 Russian Revolution and 1932, duri ng
which its ideas clashed with those of Socialist Realism.
Russian avant garde is one of the most common words used
when referring to a highly remarkable phenomenon of art that
flourished in the country in the period between 1890 and 1930.
Some of its early manifestations, however, can be dated back to
1850s while the latest ones are dated to the 1960s The Russian
avant garde phenomenon does not match any artistic style or
program. The term was used to refer to a radical innovative
movement that began to take shape during the years of the war
in 1907 to 1914, reached the revolutionary period foreground
and matured during the first decade after the revolution. Trends
of the avant garde art were brought together by a decisive
breaking-off not just from the 19th century eclectic aesthetics
and academic traditions, but also from the modern art style,
which was at the top of all spheres of art ranging from painting
and architecture to theater and design.
Russian avant garde despised the past cultural heritage and
denied continuity in artistic creation. Coincidentally, it merged
constructive and destructive urges, i.e. the nihilism spirit and
aggression of revolution along with the massive energy that
targeted the construction of new things in the art as well as in
other areas of life. I diverse stages, the innovative practices was
referred to using various terms such as new art, modernism,
cubo-futurism, constructivism and futurism among others. Only
a few years prior to that, there was nothing in the Russian art
that heralded a dramatic switcheroo like that: official fine arts
in Russia remained within its academic boundaries in the late
19th century. Most likely it seeks to account for the fact that
artists like Borisov, Valentin, and Konstantin were viewed as
innovative in the country, though rather traditional according to
western standards of art.
Avant garde’s direction, for instance, the transformation from
natural to notional, from modernist refinement to primitivism,
or from sophistication to pruning and simplification was in a

8. way similar to the one in European art. An analysis on the same
shows that the factors leading to the tendency exist beyond the
tradition of Russian art. Contrary to the case in Germany or
France where the development of avant garde was supported and
encouraged by aesthetic, philosophical and psychological
theories, in Russia it was motivated by the pre-revolutionary
environment and art patrons’ activities and enthusiasts whore
drove the national art life into the European cultural tide.
Pioneers of Russian avant garde had found themselves in the
tideway of most European currents by 1910 to 1911. They were
at the level of the most ground-breaking and daring approaches
in the art of painting. For instance, most of Natalya’s innovative
people came just after or with the popular ‘negro’ artworks by
Picasso. By the mid-1910s, avant garde’s role was passed on to
Russia. From then, the majority of pioneering creations were
done in Russia or by Russian natives.
Evolution of the Avant Garde Art
Ivan Leodinov, one of avant garde renown artists in the 1920s, a
young messianic talent became a target, as well as a victim of
reactionary politics of the Soviet Union in the 1930s. The avant
garde, then advocating for a new age of architecture of social
utopianism and abstract forms collided with the growing
totalitarian state of Stalin. As a result, Leodinov spent his
remaining years designing manuscripts that were never going to
be published. For a given period of time, the avant garde
reconfigured architecture to paint the Russian revolution in a
more livable form. IN the 1930s however, Stalin and his
socialist realists despised the modernist avant garde accusing it
of antirealism and formalism that was decadent bourgeois. The
new and once brave movement was turned to a no-subject in
Russian architecture, was banished from studies and its works
were unbuilt. Publishing avant garde ideas became unthinkable
in Russia, its archives could no longer be accessed and research
on the same became punishable. The brilliance that once
provided a visual rhetoric, a sense of form and a square footage
to the new state turned into a cultural night. The fear of the

9. Stalinist state led to the exiling of avant garde both from
practice and history of Russia.
Avant garde’s history and evolution are rather complex than
straightforward. In 1937, the first Soviet architects erased the
various achievements of the modernist Soviet architects,
condemned their works. The architects relegated the works to
biased historical records that were meant to interpret the avant
garde only as a stage of socialist realism’s evolution journey.
Political convenience was, however, the only aim that the
architects aimed at achieving with the modifications. The
accounts went ahead to affect treatments in the West, which
kept its distance especially because of the devoted communism
of the avant garde works. In the late 50s, however, the Soviet
Union was in need of large quantities of housing and architects
looked for constructive over decorative design base and was led
to reconsider modernism. As a result, the avant garde
architecture was reintroduced in the Soviet Union and would
later find its way back to the Russian art and history.
Evolution from the 1960s to Glasnost
In 1962, Selim Magomedov, a Soviet scholar seized the moment
of thaw requesting the reintroduction of avant garde
architecture. He wrote a supporting essay that aimed at
communicating the need to reassess the avant garde works of
the period between the 1910s and 20s. The essay was written a
decade after the death of Stalin and was precisely politically
defiant. Selim’s stand enabled the opening of the door to the
main subject and to the major role of understanding the work
itself. The avant garde incorporated various schools of thought,
movements, a wide range of disciplines and numerous figures.
All the constituents of the avant garde went through diverse
phases as they, the social conditions and the state evolved.
Despite the setbacks that were encountered during the time of
Leonid Brezhnev’s in power, the painstaking baseline by several
individuals resulted in a slow books march in the early 1980s
that were published externally from the Soviet Union.
Approximately 5 years into Gorbachev’s era of glasnost, the

10. writers who were at one point discouraged were being pushed to
meet the demand. The rule became a publish-or-perish and not
the initial publish-and-perish. New challenges, however,
consisted of the sustenance of cooperation and quality standards
between the Westerners and Russians mainly appearing
territorial about the materials used as sources.
The Glasnost Era
In Russian, the term glasnost holds diverse and precise
meanings. Firstly, its meaning publicity, in the criteria of the
situation of being open for the public to know has been applied
in Russia at least from the beginning of the 18th century. In the
late 19th century Russian empire, glasnost was associated with
judicial system reforms making sure that the public, as well as
the press, could be present during court hearings and the final
sentence of the case was read for them to hear. Further, it was
exposed to popularity by Gorbachev as an enhancement for
government transparency in the 1980s. As explained by
Lyudmila, a Soviet activist of human rights has been used in the
Russian language for many centuries. It had been included in
books of law and dictionaries as long as they have existed. It
was an ordinary nondescript word that was mainly used for
referring to any process of governance or of justice being issued
in the open.
Gorbachev and Glasnost
Gorbachev used the term glasnost to represent a political slogan
that meant the increased transparency and openness in the
government activities and institutions during the rule of the
Soviet Union. Glasnost acted as a reflection of a commitment to
getting citizens in the Soviet Union to engage in public
discussions of their governing system and find solutions to
them. Gorbachev also encouraged popular criticism and scrutiny
of the system’s leaders. Further, he encouraged the use of mass
media airing of the public’s concerns. Critics that are aware of
the recent history of the term viewed the new slogan of the
Soviet authorities as being vague and having a limited option to
other fundamental liberties. Alexei Simonov, a member of the

11. Glasnost Defense Foundation asserted that Glasnost is like a
tortoise that slowly crawls towards the freedom of speech.
In the 6 years when the USSR tried to undertake self-
reformation, glasnost was in most cases connected to the
similarly imprecise catchphrase of perestroika and
demokratizatsiya literally meaning restructuring and
democratization. Glasnost was in most cases summoned by
Gorbachev in its link with policies meant to reduce levels of
corruption at the high places in the communist party as well as
in the Soviet government and to moderate the misuse of
administrative authority in the central committee. Additionally,
glasnost can be used for defining the distinctive and brief
period between 1986 and 1991, which at the end the existence
of the USSR ceased. It was a period for reducing pre-broadcast
and pre-publication censorship and greater extents of
information freedom, but the central information control or
censorship by both the government and the party were still basic
aspects of the Soviet system to the end.
Soviet Artistic Avant-Garde during the Glasnost Era
Just the time when the avant garde art considered itself
unfashionable to involve itself with arts or politics in Russia, a
reactionary painter of the old guard of the Socialist realism,
Glazunov took the opportunity to preach to the public masses.
With the high retrospective at the former riding institution of
the czar, he paid self-respect to the 35 years he served as an
artist of the people in Russia. It is possible that the only bridge
that existed between Glazunov and his young mates is a popular
way of recognizing the preposterous gap between the promises
made yesterday and the present day’s disillusionments. The
distance separating the two generations remains quite extensive.
As Astakhov, a pop Carver asserted Manezh was for the horses.
Although the horses may have been taken away, their manure
still kept reappearing. In the case of the Soviet artistic avant
garde, the statement literally implies that although the active
use of the avant garde artistic system may have stopped years in
the past, the aspect of the art still remained in the Russian

12. society and its impact could be felt in the society. Further, the
benefits that the art provided the society were still evident after
many years of inactivity.
Before the existence of glasnost, the part that was played by art
in the Soviet Union was not considered as important. There was
a common determinant of the mediums of art in the period after
glasnost is the universal part that art plays in the soviet union.
The ruling government of the Soviet Union would tolerate art
that propagated opinions that were in support of socialism. As
provided by the soviet union there existed two types of
opinions, a correct opinion, and an incorrect opinion. A correct
opinion was described as the result of socialist awareness and it
tends to encourage the construction of a society that is socialist
or communist. An incorrect opinion, on the other hand, consist
of one that of a reactionary nature and tends to obstruct social
processes. It is only incorrect opinion situation where freedom
of speech is considered. In the incorrect opinion, is contrary to
the socialist order and should not be protected.
In 1986, the glasnost era opened doors for the world to
experience the unofficial art that was being within the Soviet
Union. While what was referred to as official art had not been
accorded a widespread acclaim, the unofficial art was
considered a fresh and highly marketable product which had an
impact on the international world of art. The Westerners
accessed a taste of the Soviet avant garde with the assistance of
Steven Reichard, Anne Livet, and Volkert Klaucke, who
invented the Sovart, a company that took the role of connecting
Soviet artists in American galleries that were responsible. The
three individuals journeyed to the Soviet Union at the glasnost
injection and met official artists in the day and unofficial ones
by night. By the February of 1988, part-time and unofficial
artists exhibited to one another, to several patrons and to
diplomats and foreign visitors in the studios or in shows.
Soviet avant garde artists were convinced to sell their works of
art to both domestic and foreign markets. The idea of the
westerners that works of art were like precious objects and were

13. marketable products invaded the Soviet Union and led to the
adoption of the culture of selling works of art. Avant-garde
artistic products were sold to both members of both the Soviet
Union and to foreigners for the purpose of gaining profits. The
adoption of the habit of trading works of art led to the
resurrection of meat artistic forms of expression all over the
Soviet Union. As a result, the avant garde art was brought back
to active existence in the Russian culture and artistic practice.
People actively made works of art and sold them either in their
studios or under display in art show fairs.
Russian Artists
Russian artists always alienated themselves from most artists
from other parts of the world. Most of the Russian artists were
steeped deep in the habits, practices, and passions that gave
them the characteristic of being Russian artists from
Dostoevsky to modernism. Dostoevsky, for instance, touched on
the subject of synesthesia when talking about his encounter with
migraines. By the late years of the 19th century, Russian
composers had made it a downright fashionable practice to
make claims of suffering from, or to take inspiration and
pleasure from the condition. It was always the same type of
synaesthesia, which included the confusion of color and sound,
although the modern synaesthesia authority had claimed that
that was indeed a very scarce variety of the condition. Rimsky-
Korsakov who was in a generation before Kandinsky claimed
that he heard chords and keys as colors, but went ahead to
compose his orchestral art Prometheus. Concerns similar to
those of the Kandinsky generation were evident in the artworks
of many experimental and modernist writers in Russia during
the early years of the 20th century.
Beyond music, painting, and writing, the most dominant type of
art in Russia at the beginning of the 20th century was theater.
The era was not only that of Stanislavsky but also that of his
great student, director Meyerhold. The director spoke of
changing theater into music, which resulted in a great stir in the
year 1909 because of his Wagner Tristan und Isolde epic

14. production where the set’s shapes and colors and the singers’
movements were choreographed carefully in time to the music
for them to become part of Wagner’s final score. The age also
incorporated that of Diaghilev and his massively prospering
Russian Ballet. The specific point of Diaghilev’s epic
spectaculars like the Rite of Spring and Firebird was mainly the
way in which they united Russia’s greatest composers. Painters,
choreographers, and dancers to build an extremely dramatic,
colorful and musical experiences that were sold to audiences in
the Western as purely of a Russian origin.
Similar to other Russian emigrants, Kandinsky appeared to
never have had a doubt about his roots of culture and never
stopped to speculate on how important they were to him.
Although he had spent a remarkable period of time in Germany
and in France as well, he would constantly speak of and write
about Russia. Precisely. He would write about Moscow, his
native town, and how its outstanding beauties had nurtured his
relatively peculiar way of viewing the world. Images of Russia
would constantly surface in his early works. The use of the
language of symbolic shapes and piercing colors was clear in
his works of art. Therefore, it is clear that Russian artists were
not easily taken off their Russian culture, beliefs, and practices.
The connection they had to their culture was relatively strong
for foreign influence to divert them.
Russian Artists and the American Pop
Peculiar is one of the most relevant words that can be used to
describe the Soviet artistic scenario. In order to understand it,
therefore, various analogies are required from the West. For
various reasons, Russia has been witnessed to lead a life that is
to some extent isolated from the other parts of the world. In
historical times, the nation has been recorded to not have any
existing formations of genuine elements of the western
traditions. Indeed, Russia’s literature has in all historical times
given proof of an attitude that is ambivalently peculiar to the
complex relationship between it and the West. Adopting a
violent and an unsatisfied form of longing to get into and

15. become part of the European mainstream life, presently made up
of a resentful despite Western values, not by ways that are
enclosed to proclaiming Slavophiles, but mainly of an unsettled,
self-aware combination of the mutually opposing waves of
feeling.
Such a mixed emotion of hate and love is evident in the writings
of almost all well-known Russian authors. At times it rises to
great extents of vehemence in the efforts to protest against the
events of foreign influence. Foreign influence in one way or
another tends to cloud the masterpieces of Pushkin, Gogol,
Tolstoy, Griboedov, and Chekhov among others. As far as
history goes, Russia has been known to alienate itself from the
other parts of the world, the Western in precise. As a result, the
inborn cultures of Russia have been intact for a very long time
in history. In the recent years, however, Russia has been
witnessed to let a little of the Western culture into its
boundaries. As a result, Russian artists have had the chance to
learn new artistic techniques and practices that enable it to
match its standards with those existing in the rest of the outer
world. The American artists are the closest to Russia and tend
to have a major impact on Russian art as well as artists.
Modification of Western Paradigms to the Specificity of the
Soviet Historical Situation
During the early years of the 18th century, Russian artists
journeyed through Europe and America for training. Fine arts
academies consisted of western teachers who would teach them
on the various artistic forms of the west. Naturalism, for
instance, was a fashionable way of art in France, Italy, and
Germany and eventually became a fashion in Russia as well.
Various 18th-century Russian writers made the efforts to make
pieces of art that were better than juts imitative of their models
in the Western. To begin, they attacked the chaotic and stilted
state of the Russian language that was trapped in a place
between Church Slavonic and dialects that were uneducated.
In the mid-18th century, Mikhail, who was a philosopher, an
author, and a scientist standardized the literary language of

16. Russia, grouping it into generic styles. Vasily, joined him to
verify guidelines, while Alexander joined to systemize the
literary genres. In general, the three were highly responsible for
taking Russian literature through all the stages of Western
literature and put it on its own feet within 50 years. The period
they took to transform the literature is literally a blink of an eye
in history for such a major change. All three would write in the
forms that they theorized and would also practice the things that
they preached. Although several false ideas and a notable level
of mediocrity occurred, Russian literature was inexistent in
places that it had not previously been by the end of the 18th
century. Utilizing the newly established Russian literary
language, Karazamin, who was an author of novels, plays and
poetry produced a commendable amount of history of the
Russian nation.
Music was left behind by literature in establishing its Russian
idioms. Art music, or rather classical music, was general ly an
imported wholesale from the West all through the 18th century.
Orthodox chant also took a turn towards the west. Dmitry, who
was the Church’s most successful composer during the time he
worked, was sent to Italy to get training. He wrote in a perfect
…