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Walk in the Light and Twenty-Three Tales 1St Edition Kindle
WALK IN THE LIGHT AND TWENTY-THREE TALES 1ST EDITION PDF, EPUB, EBOOK Leo Tolstoy | 9781570754609 | | | | | Walk in the Light and Twenty-Three Tales 1st edition PDF Book Return to Book Page. Jan 28, Mamdouh Abdullah rated it it was amazing. Place of Death: Astapovo, Russia. Nov 10, Kat rated it liked it. Entertaining and full of wisdom. For a better shopping experience, please upgrade now. The heroic characters say things like "God's will be done" and "That's none of my business"; their hands are dirty with the hard work they've done in the fields, and their minds are so filled with the logistics of immediate tasks that they have no time for politics or pompous speculation. This collection of stories is a good introduction to his style, his passions and his humanity. Open Preview See a Problem? We're featuring millions of their reader ratings on our book pages to help you find your new favourite book. I became muslim after reading this book. Other editions. True, the hermits were holy enough without his help they can walk on water, for Christ's sake but is it so prideful for a man who wants to shepherd other men toward holiness to want to teach unlearned men Jesus' special prayer? Jul 02, Anne rated it really liked it Shelves: short-stories , russian-literature. But when someone tells us However, one must admit that his novels can be daunting. ON OFF. Accept all Manage Cookies. Uh-oh, it looks like your Internet Explorer is out of date. Thank you for this great book. -
Tolstoy in Prerevolutionary Russian Criticism
Tolstoy in Prerevolutionary Russian Criticism BORIS SOROKIN TOLSTOY in Prerevolutionary Russian Criticism PUBLISHED BY THE OHIO STATE UNIVERSITY PRESS FOR MIAMI UNIVERSITY Copyright ® 1979 by Miami University All Rights Reserved Library of Congress Cataloging in Publication Data Sorokin, Boris, 1922 Tolstoy in prerevolutionary Russian criticism. Bibliography: p. Includes index. 1. Tolstoi, Lev Nikolaevich, graf, 1828-1910—Criticism and interpretation—History. 2. Criticism—Russia. I. Title. PG3409.5.S6 891.7'3'3 78-31289 ISBN 0-8142-0295-0 Contents Preface vii 1/ Tolstoy and His Critics: The Intellectual Climate 3 2/ The Early Radical Critics 37 3/ The Slavophile and Organic Critics 71 4/ The Aesthetic Critics 149 5/ The Narodnik Critics 169 6/ The Symbolist Critics 209 7/ The Marxist Critics 235 Conclusion 281 Notes 291 Bibliography 313 Index 325 PREFACE Leo Tolstoy (1828-1910) has been described as the most momen tous phenomenon of Russian life during the nineteenth century.1 Indeed, in his own day, and for about a generation afterward, he was an extraordinarily influential writer. During the last part of his life, his towering personality dominated the intellectual climate of Russia and the world to an unprecedented degree. His work, moreover, continues to be studied and admired. His views on art, literature, morals, politics, and life have never ceased to influence writers and thinkers all over the world. Such interest over the years has produced an immense quantity of books and articles about Tolstoy, his ideas, and his work. In Russia alone their number exceeded ten thousand some time ago (more than 5,500 items were published in the Soviet Union between 1917 and 1957) and con tinues to rise. -
I Am Falling Behind the Happenings
The Diary of Anatoly S. Chernyaev 1985 Donated by A.S. Chernyaev to The National Security Archive Translated by Anna Melyakova Edited by Svetlana Savranskaya http://www.nsarchive.org Translation © The National Security Archive, 2006 The Diary of Anatoly S. Chernyaev, 1985 http://www.nsarchive.org January 4th, 1985. I am falling behind the events. And they are bustling. Before the New Year’s I was distressed for Ponomarev:1 Kosolapov asked for permission to print in Communist the conclusion we wrote for B.N. [Ponomarev] for the eight-volume International Labor Movement. In response, he received instructions from Zimyanin2 to remove the footnote that it was the conclusion—let it, he says, be just an article... This is how Zimyanin now gives orders to B.N., being lower in rank than him! But something else is the most important—he reflects the “opinion” that it is not necessary to establish the connection (for many decades into the future) between Ponomarev and this fundamental publication in an official Party organ... That is, they are preparing our B.N. for the hearse. I think he will not survive the XXYII Congress; in any case not as CC [Central Committee] Secretary. At work, almost every day brings evidence of his helplessness. His main concern right now is to vindicate at least something of his self-imagined “halo” of the creator of the third (1961) Party Program. In no way can he reconcile himself to the fact that life has torn “his creation” to pieces. He blames everything on the intrigues of either Gorbachev3 or Chernenko4; but mainly on “the curly one” (this is how he calls Chernenko’s assistant Pechenev); and also in part on Aleksandrov5 and Zagladin.6 He complains to me, seeking in me somebody to talk to, a sympathizer. -
Twenty-Three Tales
Twenty-Three Tales Author(s): Tolstoy, Leo Nikolayevich (1828-1910) Publisher: Grand Rapids, MI: Christian Classics Ethereal Library Description: Famous for his longer novels, War and Peace and Anna Karenina, Leo Tolstoy displays his mastery of the short story in Twenty-Three Tales. This volume is organized by topic into seven different segments. Part I is filled with stories for children, while Part 2 is filled with popular stories for adult. In Part 3, Tolstoy discreetly condemns capitalism in his fairy tale "Ivan the Fool." Part 4 contains several short stories, which were originally published with illustrations to encourage the inexpensive reproduction of pictorial works. Part 5 fea- tures a number of Russian folk tales, which address the themes of greed, societal conflict, prayer, and virtue. Part 6 contains two French short stories, which Tolstoy translated and modified. Finally, Part 7 contains a group of parabolic short stories that Tolstoy dedicated to the Jews of Russia, who were persecuted in the early 1900©s. Entertaining for all ages, Tolstoy©s creative short stories are overflowing with deeper, often spiritual, meaning. Emmalon Davis CCEL Staff Writer Subjects: Slavic Russian. White Russian. Ukrainian i Contents Title Page 1 Preface 2 Part I. Tales for Children: Published about 1872 5 1. God Sees the Truth, but Waits 6 2. A Prisoner in the Caucasus 13 3. The Bear-Hunt 33 Part II: Popular Stories 40 4. What Men Live By (1881) 41 5. A Spark Neglected Burns the House (1885) 57 6. Two Old Men (1885) 68 7. Where Love Is, God Is (1885) 85 Part III: A Fairy Tale 94 8. -
Marina Davydova: Some Thoughts on Russian Theatre at the Turn of the Century
rtlb.ru russian theatre life in brief Marina DavyDova: Some ThoughTS on RuSSian Theatre aT The TuRn of The CenTuRy January 2008 White Dresses. “ouR pRoduCTionS aRe abSoluTely Safe.” The Russian theatre of the past decade has Throughout the nineties the Russian theatre been largely drawn into the orbit of the theatre existed in a distinctive kind of ghetto, making of Europe. Or it is rather the other way around – no attempts to digest aesthetically the rapidly European drama has turned out of the blue to changing reality: we are here all by ourselves, occupy the Russian theatre space to the effect all dressed in white, while the reality stinks of considerably changing the local theatrical and has nothing to do with us. Paradoxical as landscape. In terms of major theatrical forums it may sound, in the post-perestroika period Moscow has lately left far behind all the capi- we could claim to have Europe’s most asocial tals and mega cities of the world: the Chekhov public and theatre. In the Soviet times theatre Festival, the Territory, the NET, the Stanislavsky managed to substitute, no matter how clum- Season to mention just a few. In the context sily, for the civil society. But it clearly failed to of the current guest tour hullabaloo even the become an integral component of this spring- Golden Mask that is by definition (“national the- ing up new society that was offering a wider atre award and festival”) prescribed to cultivate range of freedoms. predominantly the national stage has scaled up The social and political affectation somehow to acquire the European dimension by bringing ran dry as the long-standing rules of play- along the productions of overseas dignitaries. -
Fucking Winter Outside 15 Dmitry Vilenski Artur Żmijewski
Dimitry Vilensky (b. 1964) is an art- Artur Żmijewski (b. 1966) is an art- ist, writer and founding member of the group ist, primarily working with photography and Chto delat?/What is to be done? and serves as film. He studied in the sculpture class of Pro- 15 dmitry Vilenski the editor of its magazine. Chto delat?/What is fessor Grzegorz Kowalski at the Warsaw Art to be done? is a platform that was initiated in Academy from 1990 to 1995, as well as the Ger- Artur ŻmijeWski 2003 by a collective of artists, critics, philoso- rit Rietveld Academie in Amsterdam in 1999. phers, and writers with the goal of merging In 2005, he represented Poland at the 51st Art political theory, art, and activism. Vilensky Biennale in Venice showing a video “Repeti- regularly contributes to the group’s online tion” – a reenactment of the famous experi- magazine and he is member of the editorial ment of Phillip G. Zimbardo . He is member of board of the Art Journal. His most recent work, the Polish political movement “Krytyka Poli- created with Tsaplya [Olga Egorova], was a tyczna” and the art director of the magazine of video entitled “Russian woods” (2012) that was the same name. He curated the 7th Berlin Bi- Fucking Winter published on the group’s website [www.ch- ennale for Contemporary Art in 2012, which todelat.org]. Exhibitions of his work and that developed his position on social activism, for- of Chto delat?/What is to be done? include: “The mulated earlier in his manifesto The Applied So- Outside Lesson on Dis-Consent”, Staatliche Kunsthalle cial Arts (2007). -
Russian Soft Power in France: Assessing Moscow's Cultural and Business Para- Diplomacy
Russian Soft Power in France: Assessing Moscow's Cultural and Business Para- diplomacy January 8, 2018 Marlene Laruelle Senior Fellow, Carnegie Council; Research Professor, The George Washington University This paper is the first of a series of publications on Russia's influence in France. France constitutes the most prominent example of Russia's soft power in Western Europe, due not only to the long-lasting positive bilateral relations but also to the presence of an important Russian emigration since the 1920s that can act as a relay of influence. This project is supported by a grant from the Foundation Open Society Institute in cooperation with OSIFE of the Open Society Foundations. The French-Russian relationship is based on a long-standing tradition of cultural exchanges. In the 19th century, France was already one of the preferred destinations for Russian political exiles, and subsequently received several of the major waves of Russian emigration in the interwar period. Under the presidency of de Gaulle, it positioned itself as a European power relatively favorable to the Soviet Union. France's strong Communist tradition also encouraged a certain ideological proximity, and Russian was widely taught at secondary school level until the collapse of the USSR. The bilateral relationship is more complex today, characterized by close- knit economic and cultural interrelationships but also by political difficulties over the main international issues, the most important of which are Ukraine and Syria. Since the support shown by Russia to the European extreme right and the—now waning—honeymoon between the Front National (National Front) and some Kremlin circles, debate in France on the "Russian presence" and "Russia's networks of influence" has escalated, sometimes reaching extreme forms of paranoia founded on gross exaggeration, groundless supposition, and the reproduction of American arguments concerning the rumored Russian hand in electing Donald Trump. -
Production Program
tHE Directed by Granada Artist-in-Residence Katya Kamotskaiaseagull This performance lasts two hours and 15 minutes, including one 15 minute intermission. Please be advised that this production contains brief loud noise and employs the use of synthetic fog and smoke. Before the performance begins, please note the exit closest to your seat. Kindly silence your cell phone, pager, and other electronic devices. Video, photographic or audio recording of this production is strictly prohibited by law. Food and drink are not permitted in the theatre. Thank you for your cooperation. Main Theatre March 10-14, 2010 ABOUT THE PLAY 101 years after The Seagull was first published in English, one may ask why direc- tors still choose to stage it and audiences to watch it! For me, the writing of Chekhov himself will never get old because its focus is on human beings and their complex and often contradictory nature. Detractors of the writer often criticize his work because ‘nothing happens,’ but it is this lack of exter- nal events and politics that for me makes it more or less timeless. Of course it has a specific location and period which bring their own set of rules and challenges, but fundamentally, the human characters are as relevant today as they were at the end of the 19th century. They are alive, with all the happiness and struggle, hope and pain that this entails. The play, The Seagull, tackles two core aspects of our humanity – those of creativity and love. It was written historically at a meeting of two generations of actors and writers in Russia – between the late 19th century theatre “of stereotypes and received ideas,” and the early 20th with its employment of psychological understanding in perfor- mance. -
The Art and Science of Television 7 Contents
СОДЕРЖАНИЕ ЭКРАННЫЕ ИСКУССТВА И КУЛЬТУРА: МЕТОДОЛОГИЧЕСКИЕ ПОДХОДЫ РЕЙФМАН Б.В. ПОСТМОДЕРНИЗМ КАК ПРЕДЧУВСТВИЕ В ТЕОРИИ «АВТОРСКОГО КИНО» И ФИЛЬМАХ ФРАНЦУЗСКОЙ «НОВОЙ ВОЛНЫ»...................................10 KONSON G.R. / КОНСОН Г.Р. THE PAINTINGS OF ILYA GLAZUNOV THROUGH THE PRISM OF THE METHODOLOGIES OF SERGEI EISENSTEIN AND LEV VYGOTSKY / ЖИВОПИСЬ ИЛЬИ ГЛАЗУНОВА СКВОЗЬ ПРИЗМУ МЕТОДОЛОГИИ СЕРГЕЯ ЭЙЗЕНШТЕЙНА И ЛЬВА ВЫГОТСКОГО....................................38 ФЕНОМЕНЫ «ВРЕМЯ» И «ПРОСТРАНСТВО» В ЭКРАННЫХ ИСКУССТВАХ И КУЛЬТУРЕ TSCHERNOKOSHEWA E. / TCHERNOKOJEVA E. IM ZEITALTER DER HYBRIDISIERUNGEN: MUSIKEN — MEDIEN — MINDERHEITEN/ IN THE AGE OF HYBRIDIZATION: MUSIC — MEDIA — MINORITIES...............................................88 СТРУКТУРА И СЮЖЕТ В ЭКРАННЫХ ПРОИЗВЕДЕНИЯХ ТАРАСОВА А.В. ПОНЯТЬ, ПРОЧУВСТВОВАТЬ И ПРИСВОИТЬ: ЮЖНОКОРЕЙСКИЙ СЕРИАЛ «ЛУННЫЕ ВЛЮБЛЕННЫЕ — АЛЫЕ СЕРДЦА: КОРЁ» В ОБСУЖДЕНИЯХ РУССКОЯЗЫЧНЫХ ЗРИТЕЛЕЙ...........................124 РЕПРЕЗЕНТАЦИЯ ОБРАЗА СОВРЕМЕННОГО ГЕРОЯ НА ЭКРАНЕ ДЕЗОРЦЕВА М.А. ИСТОРИЧЕСКИЕ РОМАНЫ ХИЛАРИ МАНТЕЛ О ТОМАСЕ КРОМВЕЛЕ КАК ОСНОВА ДЛЯ ЭКРАНИЗАЦИИ: НА ПРИМЕРЕ ТЕЛЕСЕРИАЛА «WOLF HALL» BBC.................................148 ЯЗЫК ЭКРАННЫХ МЕДИА НИКИФОРОВА А.Е. ЭКРАННОСТЬ МАГИЧЕСКОГО ЗЕРКАЛА В ПОЭМЕ А. ТЕННИСОНА «ЛЕДИ ИЗ ШАЛОТТ» И ИЛЛЮСТРАЦИЯХ ПРЕРАФАЭЛИТОВ .................... 168 МЕДИАОБРАЗОВАНИЕ NEVSKAYA M.V. / НЕВСКАЯ М.В. SCHOOLS OF THE AIR IN AUSTRALIA: THE MODERN DISTANT LEARNING PROTOTYPE/ АВСТРАЛИЙСКИЕ ШКОЛЫ ПО РАДИО: К ИСТОРИИ ФОРМИРОВАНИЯ СОВРЕМЕННОГО ДИСТАНЦИОННОГО ОБУЧЕНИЯ .............................................192 THE ART AND SCIENCE OF TELEVISION 7 CONTENTS VISUAL ARTS AND SCREEN CULTURE: METHODOLOGICAL APPROACHES REIFMAN B.V. POSTMODERNISM AS PRESENTIMENT IN THE THEORY OF “AUTHORIAL CINEMA” AND THE FILMS OF THE FRENCH “NEW WAVE”.....................................10 KONSON G.R. THE PAINTINGS OF ILYA GLAZUNOV THROUGH THE PRISM OF THE METHODOLOGIES OF SERGEI EISENSTEIN AND LEV VYGOTSKY.. 3 8 THE PHENOMENA OF ‘TIME’ AND ‘SPACE’IN VISUAL ARTS AND SCREEN CULTURE TSCHERNOKOSHEWA E. -
The Ears of Hermes
The Ears of Hermes The Ears of Hermes Communication, Images, and Identity in the Classical World Maurizio Bettini Translated by William Michael Short THE OHIO STATE UNIVERSITY PRess • COLUMBUS Copyright © 2000 Giulio Einaudi editore S.p.A. All rights reserved. English translation published 2011 by The Ohio State University Press. Library of Congress Cataloging-in-Publication Data Bettini, Maurizio. [Le orecchie di Hermes. English.] The ears of Hermes : communication, images, and identity in the classical world / Maurizio Bettini ; translated by William Michael Short. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1170-0 (cloth : alk. paper) ISBN-10: 0-8142-1170-4 (cloth : alk. paper) ISBN-13: 978-0-8142-9271-6 (cd-rom) 1. Classical literature—History and criticism. 2. Literature and anthropology—Greece. 3. Literature and anthropology—Rome. 4. Hermes (Greek deity) in literature. I. Short, William Michael, 1977– II. Title. PA3009.B4813 2011 937—dc23 2011015908 This book is available in the following editions: Cloth (ISBN 978-0-8142-1170-0) CD-ROM (ISBN 978-0-8142-9271-6) Cover design by AuthorSupport.com Text design by Juliet Williams Type set in Adobe Garamond Pro Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American Na- tional Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 CONTENTS Translator’s Preface vii Author’s Preface and Acknowledgments xi Part 1. Mythology Chapter 1 Hermes’ Ears: Places and Symbols of Communication in Ancient Culture 3 Chapter 2 Brutus the Fool 40 Part 2. -
A House of Gentlefolk Ivan Turgenev
A House of Gentlefolk Ivan Turgenev The Harvard Classics Shelf of Fiction, Vol. XIX, Part 1. Selected by Charles William Eliot Copyright © 2001 Bartleby.com, Inc. Bibliographic Record Contents The Novel in Russia Biographical Note Criticisms and Interpretations I. By Emile Melchior, Vicomte de Vogüé II. By William Dean Howells III. By K. Waliszewski IV. Richard H. P. Curle V. By Maurice Baring List of Characters Chapter I Chapter II Chapter III Chapter IV Chapter V Chapter VI Chapter VII Chapter VIII Chapter IX Chapter X Chapter XI Chapter XII Chapter XIII Chapter XIV Chapter XV Chapter XVI Chapter XVII Chapter XVIII Chapter XIX Chapter XX Chapter XXI Chapter XXII Chapter XXIII Chapter XXIV Chapter XXV Chapter XXVI Chapter XXVII Chapter XXVIII Chapter XXIX Chapter XXX Chapter XXXI Chapter XXXII Chapter XXXIII Chapter XXXIV Chapter XXXV Chapter XXXVI Chapter XXXVII Chapter XXXVIII Chapter XXXIX Chapter XL Chapter XLI Chapter XLII Chapter XLIII Chapter XLIV Chapter XLV Epilogue The Novel in Russia PROSE fiction has a more prominent position in the literature of Russia than in that of any other great country. Turgenev, Dostoevsky, and Tolstoy occupy in their own land not only the place of Dickens, Thackeray, and George Eliot in England, but also to some degree that of Carlyle, Matthew Arnold, or Ruskin. Their works are regarded as not merely diverting tales over which to spend pleasantly an idle hour, but as books full of suggestive and inspiring teaching on moral and social questions. “Fathers and Children” and “Crime and Punishment” are discussed and read not merely for their artistic merit, as reflections of Russian life, but as trenchant criticisms of that life. -
And Post-Soviet Literature and Culture
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 Russia Eternal: Recalling The Imperial Era In Late- And Post-Soviet Literature And Culture Pavel Khazanov University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Eastern European Studies Commons, English Language and Literature Commons, European History Commons, and the European Languages and Societies Commons Recommended Citation Khazanov, Pavel, "Russia Eternal: Recalling The Imperial Era In Late- And Post-Soviet Literature And Culture" (2017). Publicly Accessible Penn Dissertations. 2894. https://repository.upenn.edu/edissertations/2894 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2894 For more information, please contact [email protected]. Russia Eternal: Recalling The Imperial Era In Late- And Post-Soviet Literature And Culture Abstract The return of Tsarist buildings, narratives and symbols has been a prominent facet of social life in post- Soviet Russia. My dissertation aims to explain this phenomenon and its meaning by tracking contemporary Russia’s cultural memory of the Imperial era. By close-reading both popular and influential cultural texts, as well as analyzing their conditions of production and reception, I show how three generations of Russian cultural elites from the 1950s until today have used Russia’s past to fight present- day political battles, and outline how the cultural memory of the Imperial epoch continues to inform post- Soviet Russian leaders and their mainstream detractors. Chapters One and Two situate the origin of Russian culture’s current engagement with the pre-Revolutionary era in the social dynamic following Stalin’s death in 1953.