ALMA Classics New Book Information Lyrics: Volume 3 (1824–30) by Alexander Pushkin Various Translators, Edited by Roger Clarke SELLING POINTS

ALMA CLASSICS NEw BOOk Information Lyrics: Volume 3 (1824–30) by Alexander Pushkin Various translators, edited by Roger Clarke SELLING POINTS: • Beautifully packaged • Third volume in the new Alma Classics Pushkin Lyrics series • Follows on the success of the new editions of Pushkin’s works: Ruslan and Lyudmila, Boris Godunov, The Captain’s Daughter and The Queen of Spades • Translated by a board of acclaimed translators • Dual-language edition with facing text DESCRIPTION: The founding father of modern Russian literature, Alexander Pushkin has exerted – through his novel in verse Eugene Onegin, his plays, his short stories and SERIES: Alma Classics his narrative poetry – a long-lasting influence well beyond the borders of his 25th June 2020 • £9.99 motherland. A slightly lesser-known, but by no mean less important aspect of his 978-1-84749-733-8 writing is his vast production of shorter verse, a genre at which he excelled and 448 pp • PB arguably still remains unsurpassed. Subject: DCF Rights: World English This volume, part of Alma’s series of the complete poetic works of Alexander Pushkin, collects the poems Pushkin wrote during his exile in Mikhaylovskoe and his subsequent return to St Petersburg, at a time when he was working on Eugene Onegin and many others of his most celebrated works, and includes some of his lyrical masterpieces, such as ‘To —’ – arguably the most famous love poem in the Russian language – ‘A Flower’, ‘St Petersburg’ and BY THE SAME AUTHOR: ‘My Autograph’, each presented in a verse translation opposite the original Russian text. Enriched with notes, pictures and an appendix on Pushkin’s life and works, this will be essential reading for anyone wishing to delve deeper into the Russian bard’s genius. “Pushkin is an extraordinary phenomenon, perhaps the only phenomenon of the Russian spirit.” Nikolai Gogol ABOUT THE AUTHOR: Alexander Pushkin (1799–1837) was a dramatist and poet, penning such influential works as Eugene Onegin and Boris Godunov. He is now considered the father of modern Russian literature. ALSO AVAILABLE BY THE SAME AUTHOR: Belkin’s Stories • PB • £7.99 • 978-1-84749-351-4 Boris Godunov & Little Tragedies • PB • £10.99 • 978-1-84749-691-1 Eugene Onegin • PB • £4.99 • 978-1-84749-417-7 Ruslan and Lyudmila • PB • £9.99 • 978-1-84749-296-8 The Captain’s Daughter and A History of Pugachov • PB • £8.99 • 978-1-84749-215-9 The Queen of Spades • PB • £8.99 • 978-1-84749-478-8 TO PLACE YOUR ORDER, PLEASE CONTACT: Macmillan Distribution Ltd, Cromwell Place, Hampshire International Business Park, Lime Tree way, Basingstoke, Hampshire RG24 8YJ Tel: 01256 302 692 or Fax: 01256 812 521 FOR SALES ENQUIRIES, PLEASE CONTACT: Bloomsbury Publishing Plc, 50 Bedford Square, London wC1B 3DP Tel: 0207 631 5600 or Fax: 0207 631 5800 For more information about Alma Classics, please visit: www.almabooks.com.

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The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice.
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A Study of Nabokov's Commentary on Pushkin's Eugene Onegin: the First Half of Chapter II
On Chapter Two: I-XVII Shoko Miura To study Vladimir Nabokov's Commentary to Eugene Onegin is to discover with what remarkable energy and meticulous research Nabokov enables us to relive Pushkin's writing of the poem. It is the method Nabokov uses in his lectures as well. He follows the story of the poet's experiences day by day, his readings, his correspondences, his creations of poems and prose, the frustrations with the authorities, the various emotions that went through Pushkin's heart, in order to revive the genius that made Eugene Onegin. Only, because of the form of the Commentary, the story is broken into separate and scattered annotations. While it will take more than this brief study to piece together the entire story, reading and researching only a few pages of the Commentary enables us to see what Nabokov was trying to accomplish. It was my task to cover the first half of Chapter II (Stanzas 1–17, Commentary 217-266) in which nothing very dramatic happens, but which establishes the fundamental stage upon which the love story and the tragedy will later occur. Chapter II begins with the pastoral theme in the first five stanzas. It dwells on Onegin’s uneventful daily management of his land, the beauty of the countryside and, naturally, his boredom. The appearance of Lenski then introduces the theme of friendship which develops between him and Onegin. Pushkin stayed in Odessa the entire time that he was writing the stanzas 1 to 17, so that there is a slow and controlled plot development and a unified pace in the flow of narrative.
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The Superfluous Man in Nineteenth-Century Russian Literature
Hamren 1 The Eternal Stranger: The Superfluous Man in Nineteenth-Century Russian Literature A Thesis Submitted to The Faculty of the School of Communication In Candidacy for the Degree of Master of Arts in English By Kelly Hamren 4 May 2011 Hamren 2 Liberty University School of Communication Master of Arts in English Dr. Carl Curtis ____________________________________________________________________ Thesis Chair Date Dr. Emily Heady ____________________________________________________________________ First Reader Date Dr. Thomas Metallo ____________________________________________________________________ Second Reader Date Hamren 3 Acknowledgements I would like to thank those who have seen me through this project and, through support for my academic endeavors, have made it possible for me to come this far: to Dr. Carl Curtis, for his insight into Russian literature in general and Dostoevsky in particular; to Dr. Emily Heady, for always pushing me to think more deeply about things than I ever thought I could; to Dr. Thomas Metallo, for his enthusiastic support and wisdom in sharing scholarly resources; to my husband Jarl, for endless patience and sacrifices through two long years of graduate school; to the family and friends who never stopped encouraging me to persevere—David and Kathy Hicks, Karrie Faidley, Jennifer Hughes, Jessica Shallenberger, and Ramona Myers. Hamren 4 Table of Contents: Chapter 1: Introduction………………………………………………………………………...….5 Chapter 2: Epiphany and Alienation...................................……………………………………...26 Chapter 3: “Yes—Feeling Early Cooled within Him”……………………………..……………42 Chapter 4: A Soul not Dead but Dying…………………………………………………………..67 Chapter 5: Where There’s a Will………………………………………………………………...96 Chapter 6: Conclusion…………………………………………………………………………..130 Works Cited…………………………………………………………………………………….134 Hamren 5 Introduction The superfluous man is one of the most important developments in the Golden Age of Russian literature—the period beginning in the 1820s and climaxing in the great novels of Dostoevsky and Tolstoy.
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Folklore and the Construction of National Identity in Nineteenth Century Russian Literature
Folklore and the Construction of National Identity in Nineteenth Century Russian Literature Jessika Aguilar Submitted in partial fulfillment of the Requirements for the degree of Doctor of Philosophy In the Graduate School of Arts and Sciences Columbia University 2016 © 2016 Jessika Aguilar All rights reserved Table of Contents 1. Introduction……………………………………………………………………………..…..1 2. Alexander Pushkin: Folklore without the Folk……………………………….20 3. Nikolai Gogol: Folklore and the Fragmentation of Authorship……….54 4. Vladimir Dahl: The Folk Speak………………………………………………..........84 5. Conclusion……………………………………………………………………………........116 6. Bibliography………………………………………………………………………………122 i Introduction In his “Literary Reveries” of 1834 Vissarion Belinsky proclaimed, “we have no literature” (Belinskii PSS I:22). Belinsky was in good company with his assessment. Such sentiments are rife in the critical essays and articles of the first third of the nineteenth century. A decade earlier, Aleksandr Bestuzhev had declared that, “we have a criticism but no literature” (Leighton, Romantic Criticism 67). Several years before that, Pyotr Vyazemsky voiced a similar opinion in his article on Pushkin’s Captive of the Caucasus : “A Russian language exists, but a literature, the worthy expression of a mighty and virile people, does not yet exist!” (Leighton, Romantic Criticism 48). These histrionic claims are evidence of Russian intellectuals’ growing apprehension that there was nothing Russian about the literature produced in Russia. There was a prevailing belief that
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From Onegin to Ada: Nabokov's Canon and the Texture of Time Marijeta Bozovic Submitted in Partial Fulfillment of the Requireme
From Onegin to Ada: Nabokov’s Canon and the Texture of Time Marijeta Bozovic Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2011 2011 Marijeta Bozovic all rights reserved ABSTRACT From Onegin to Ada: Nabokov’s Canon and the Texture of Time Marijeta Bozovic The library of existing scholarship on Vladimir Nabokov circles uncomfortably around his annotated translation Eugene Onegin (1964) and late English-language novel Ada, or Ardor (1969). This dissertation juxtaposes Pushkin’s Evgenii Onegin (1825-32) with Nabokov’s two most controversial monuments and investigates Nabokov’s ambitions to enter a canon of Western masterpieces, re-imagined with Russian literature as a central strain. I interrogate the implied trajectory for Russian belles lettres, culminating unexpectedly in a novel written in English and after fifty years of emigration. My subject is Nabokov, but I use this hermetic author to raise broader questions of cultural borrowing, transnational literatures, and struggles with rival canons and media. Chapter One examines Pushkin’s Evgenii Onegin, the foundation stone of the Russian canon and a meta-literary fable. Untimely characters pursue one another and the latest Paris and London fashions in a text that performs and portrays anxieties of cultural borrowing and Russia’s position vis-à-vis the West. Fears of marginalization are often expressed in terms of time: I use Pascale Casanova’s World Republic of Letters to suggest a global context for the “belated” provinces and fashion-setting centers of cultural capital. Chapter Two argues that Nabokov’s Eugene Onegin, three-quarters provocation to one-quarter translation, focuses on the Russian poet and his European sources.
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Study on the Depiction of the Image of Free Women in the Captain's
Advances in Social Science, Education and Humanities Research, volume 123 2nd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2017) Study on the Depiction of the Image of Free Women in The Captain’s Daughter Zhang Yi Xi’an Fanyi University, Xi’an 710105, China [email protected] Key words: Pushkin; The Captain’s Daughter; Maria Abstract: In Pushkin’s novel The Captain’s Daughter, a major part of this fiction was spent on the depiction of a traditional woman Maria’s pursuit of freedom of life and love and her life experience that she finally won freedom after defeating chains. By doing so, the desire for free life and the great willpower of modern women was manifested and also the attachment of women and progressive thinking of Pushkin was revealed. With elaborate analysis of the era-characterized, unique and beautiful character of Maria, Pushkin’s appreciation of free women is uncovered in this study. Although without splendid words and plots filled with ups and downs, the novel vividly describes the living conditions of Russian people in 18th century, at that time the freedom of people, especially women, were fettered. That means people has to fight for their freedom, among which resists of women were more common, and this phenomenon has drawn wide-range attention from all walks of life. With only 80,000 words, The Captain’s Daughter is a medium-length novel. However, as the last work of Pushkin, it profoundly portrays an important farmer’s revolt in 18th century’s Russia from all sides. Also in this novel, there is a group of females who are bravely fighting for freedom, with full and mature souls and unshakable faith, they are bold but not reckless as their western counterparts, reserved but not dull as the western females, they have their own ways of struggle.
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All the Same the Words Don't Go Away
All the Same The Words Dont Go Away Essays on Authors, Heroes, Aesthetics, and Stage Adaptations from the Russian Tradition Caryl Emerson Caryl Emerson STUDIES IN RUSSIAN AND SLAVIC ARS ROSSIKA LITERATURES, CULTURES AND HISTORY Series Editor: Lazar Fleishman Series Editor: David Bethea (Stanford Universtity) (University of Wisconsin — Madison and Oxford University) All the Same The Words Dont Go Away Essays on Authors, Heroes, Aesthetics, and Stage Adaptations from the Russian Tradition Caryl Emerson Caryl Emerson Boston 2011 Library of Congress Cataloging-in-Publication Data Emerson, Caryl. All the same the words don’t go away : essays on authors, heroes, aesthetics, and stage adaptations from the Russian tradition / Caryl Emerson. p. cm. -- (Studies in Russian and Slavic literatures, cultures and history) Includes bibliographical references and index. ISBN 978-1-934843-81-9 (hardback) 1. Russian literature--History and criticism. 2. Russian literature--Adaptations--History and criticism. I. Title. PG2951.E46 2011 891.709--dc22 2010047494 Copyright © 2011 Academic Studies Press All rights reserved Effective May 23, 2016, this book will be subject to a CC-BY-NC license. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/. Other than as provided by these licenses, no part of this book may be reproduced, transmitted, or displayed by any electronic or mechanical means without permission from the publisher or as permitted by law. ISBN 978-1-934843-81-9 (hardback) ISBN 978-1-618111-28-9 (electronic) Book design by Ivan Grave On the cover: Saskia Ozols Eubanks, St. Isaac’s Cathedral After the Storm.
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RUS421 Pushkin Professor Hilde Hoogenboom Spring 2011 LL420B, 480.965.4576 PEBE117, TR 12:00-1:15 [email protected] #18444 Office Hours: TR2-4 & by Appt
RUS421 Pushkin Professor Hilde Hoogenboom Spring 2011 LL420B, 480.965.4576 PEBE117, TR 12:00-1:15 [email protected] #18444 Office Hours: TR2-4 & by appt. Pushkin: The Invention of Russian Literature Alexander Pushkin (1799-1837) was an acknowledged genius , the No. 1 writer during his lifetime, not because he wrote best-sellers (although he did), but because his work, and his personality and life, exemplified qualities that brought him recognition and fame . Pushkin traced his lineage to noble families and was the great grandson of Peter the Great’s Abyssinian general, Abram Petrovich Gannibal, born an African prince . Pushkin was the Russian Byron , the Russian Mozart of poetry. After graduating from the elite Lycée, at age 21, the publication of his first major poem, Ruslan and Ludmila (1820), created a sensation , especially when he was exiled to the south at the same time for circulating poems about freedom . In 1826, back in St. Petersburg, where the Emperor Nicholas I was his personal censor, Pushkin became a professional man of letters and established a literary journal. His greatest work, the novel in verse Eugene Onegin (1833), was acclaimed as “an encyclopedia of Russian life ” and was made into a beloved opera by Petr Tchaikovsky in 1878. Students copied his bawdy poetry in their albums. His reputation with women made mothers fear for their daughters. His marriage to the beautiful Natalia Goncharova led to a duel over her honor, in which he was killed . Since then, his stature in Russian literature has only increased and he is Russia’s national poet , a literary saint with statues throughout Russia and streets named after him in every town.
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Alexander Sergeyevich Pushkin - Poems
Classic Poetry Series Alexander Sergeyevich Pushkin - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive www.PoemHunter.com - The World's Poetry Archive 1 Alexander Sergeyevich Pushkin(6 June 1799 – 10 February 1837) Alexander Sergeyevich Pushkin was a Russian author of the Romantic era who is considered by many to be the greatest Russian poet and the founder of modern Russian literature. According to Vladimir Nabokov, "Pushkin's idiom combined all the contemporaneous elements of Russian with all he had learned from Derzhavin, Zhukovsky, Batyushkov, Karamzin, and Krylov; these elements are: 1. The poetical and metaphysical strain that still lived in Church Slavonic forms and locutions; 2. Abundant and natural gallicisms; 3. The everyday colloquialisms of his set; and 4. Stylized popular speech. He made a salad of the famous three styles (low, medium elevation, high) dear to the pseudoclassical archaists, and added to it the ingredients of Russian romanticists with a pinch of parody." Born into the Russian nobility in Moscow, Pushkin published his first poem at the age of fifteen, and was widely recognized by the literary establishment by the time of his graduation from the Imperial Lyceum in Tsarskoye Selo. While under the strict surveillance of the Tsar's political police and unable to publish, Pushkin wrote his most famous play, the drama Boris Godunov. His novel in verse, Eugene Onegin, was serialized between 1825 and 1832. Notoriously touchy about his honour, Pushkin fought a total of twenty-nine duels. At the age of thirty-seven years, however, Alexander Pushkin was fatally wounded in such an encounter with Georges-Charles de Heeckeren d'Anthès.
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Eugene Onegin Page 1 of 2 Opera Assn
San Francisco War Memorial 1997-1998 Eugene Onegin Page 1 of 2 Opera Assn. Opera House This production is sponsored by friends and colleagues of William W. Godward Eugene Onegin (in Russian) Opera in three acts by Pyotr Ilyich Tchaikovsky Libretto by P.Tchaikovsky and Konstantin Stepanovich Shilovsky Based on a poem by Alexander Sergeyevich Pushkin Conductor CAST Yuri Temirkanov† Tatyana Elena Prokina Assistant to Mr. Temirkanov Nicolle Foland (11/29) Robert Lyuter Olga Marianna Tarasova Designer Madame Larina Irina Rubtsova † Igor Ivanov† Filipyevna Sofia Aksenova † Lighting Designer A peasant Daniel Harper Thomas J. Munn Lensky Raymond Very Chorus Director Valery Serkin (11/29) Ian Robertson Eugene Onegin Anthony Michaels-Moore Choreographer David Okerlund (11/29) Lawrence Pech A captain John Relyea Musical Preparation Monsieur Triquet Michel Sénéchal Susanna Lemberskaya Zaretsky John Relyea Joyce Fieldsend Guillot Marcus Ceniceros Jonathan Khuner Svetlana Gorzhevskaya Prince Gremin Eric Halfvarson Prompter Jonathan Khuner *Role debut †U.S. opera debut Supertitles Christopher Bergen PLACE AND TIME: Early 19th-century St. Petersburg and environs Assistant Stage Director Alexei Stepaniuk Assistant Director Paula Williams Yefim Maizel Stage Manager Theresa Ganley Wednesday, November 19 1997, at 7:30 PM Act I, Scene 1 -- The garden of Madame Larina's country house Saturday, November 22 1997, at 8:00 PM Act I, Scene 2 -- Tatyana's bedroom Tuesday, November 25 1997, at 8:00 PM Act I, Scene 3 -- Another part of the garden Friday, November 28 1997, at 8:00 PM INTERMISSION Saturday, November 29 1997, at 12:00 PM Act II, Scene 1 -- A ballroom in Madame Larina's house Tuesday, December 2 1997, at 8:00 PM Act II, Scene 2 -- Early morning on the bank of a stream Friday, December 5 1997, at 8:00 PM INTERMISSION Sunday, December 7 1997, at 2:00 PM Act III, Scene 1 -- A fashionable house in St.
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|What to Expect from Eugene Onegin
| WHAT TO EXPECT FROM EUGENE ONEGIN A TIMELESS STORY OF LOVE, YEARNING, AND THE TRAGIC CONSEQUENCES THE WORK: of youthful pride, Eugene Onegin holds the dual honor of being one of the most EUGENE ONEGIN An opera in three acts, sung in beloved works of both Russian opera and Russian literature. Tchaikovsky’s Russian expressive lyricism gives a fitting voice to the emotional turmoil at the heart Music by Pyotr Tchaikovsky of Alexander Pushkin’s famous verse novel. Pushkin’s stature in Russian Libretto by the composer and literature can only be compared to Shakespeare’s in the English canon, and Konstantin Shilovsky the opera represents a fortuitous meeting of two of Russia’s great creative Based on the verse novel Eugene Onegin by Alexander Pushkin minds. With roughly half a century separating them, Tchaikovsky stands First performed March 19, 1879 at as the tortured creator of highly personal, semi-autobiographical works of the Maly Theater, Moscow, Russia (with students from the Moscow art while Pushkin is the sly and subversive social critic. But it is these differ- Conservatory); professional premiere ences that make the operatic version of Eugene Onegin so thrilling: it’s both on January 29, 1881 at the Bolshoi Theater, Moscow, Russia a kaleidoscopic portrait of Russian society and a philosophical reflection on the human condition. PRODUCTION Deborah Warner’s Met production places the action in the late 19th Robin Ticciati, Conductor century, around the time of the opera’s premiere and several decades after Deborah Warner, Production Pushkin’s own setting in the 1820s. This shift emphasizes the autumnal Tom Pye, Set Designer quality of aristocratic life at the end of Russia’s imperial age, highlighting Chloe Obolensky, Costume Designer the sharp divisions between country life, rural gentry, and aristocratic St.
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