The Bear and the Nightingale Is a Work of Fiction
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Solar Eclipses in the Outlook of the Slavs
ics & Ae ys ro h sp p a o r c t e s T A e Prokofyev, J Astrophys Aerospace Technol 2014, 2:2 f c h o Journal of Astrophysics & n l o a DOI: 10.4172/2329-6542.1000107 l n o r g u y o J Aerospace Technology ISSN: 2329-6542 Research Article Open Access Solar Eclipses in the Outlook of the Slavs Prokofyev A* KITION Planetarium & Observatory, Kiti, Larnaca, Cyprus *Corresponding author: Alexandr Prokofyev, KITION Planetarium & Observatory, Ammochostou 9, Kiti, 7550, Larnaca, Cyprus. Tel: +357 99037440; E-mail: [email protected] Rec date: Jul 1, 2014, Acc date: Jul 26, 2014, Pub date: Aug 15, 2014 Copyright: © 2014 Prokofyev A. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. Abstract The article provides an overview of descriptions of total solar eclipses in different literature forms, rites and toponyms of Slavs. It is shown that the solar eclipse had a prominent role in the worldview of the tribes. Explanations of some terms of Slavic outlook are given with suggestions for the correct terminology. A program for further investigation in Slavic and other people’s culture is proposed. Keywords: Total solar eclipse; Archeoastronomy; Mythology; Slavs; Character 'Akhet' (Figure 2) should be translated as 'eclipse' instead of Akhet; Myth of creation of the world; Myth of end of the world; 'horizon'. Then the next well-known text obtains a simple explanation. Dragon slayer; Tales During the advance of the eclipse (former translation: after sunset at the horizon) Ra joins the fight against the forces of darkness, Introduction crocodiles, snakes and so on. -
Moskva:„Astrel AST”, 2000, 528 S
II. R e c e n z j e i o m ó w ie n i a Etnolingwistyką 20 Lublin 2008 Jarosława Iwczenko na różne sposoby, w zależności od intencji (kara lub pomoc). Do opisu predykatów są dodane J e s z c z e r a z o m it o l o g ii Sł o w ia n charakterystyki lokatywne i temporalne oraz mo W s c h o d n ic h dusy; 3) cechy, które dotyczą przedmiotu działa nia, typów współdziałania przedmiotu i postaci. Elena Levkievskaja, Mify russkogo naroda, Według tego kwestionariusza w monografii Moskva: „Astrel AST”, 2000, 528 s. L. Winogradowej na materiale wybranych trady cji wierzeniowych podjęto próbę opisania i po Chociaż tytuł Mifologija russkogo naroda równania trzech gatunków postaci, którym odpo sugeruje zawężenie przedstawianej problema wiada rosyjska rusalka, weďma oraz domowoj. tyki wyłącznie do Rosjan, faktycznie praca Z kolei wydania popularne miały charakter przedstawia znacznie szersze spectrum. Temat raczej słownikowo-encyklopedyczny, jak np.: E. nie jest nowy — w ciągu ostatnich kilkudziesię Gruszko, J. Medwiediew, Slovar ’ slavjanskoj mi- ciu lat był on podejmowany przez różnych au fologii, Russkaja mifologija: Enciklopedija, uło torów, tak w postaci artykułów, jak i większych żony przez L. Waczurinę słownik-skorowidz Sla- opracowań o charakterze naukowym bądź popu vjanskaja mifologija, W. Kazakow, Mir slavjan- larnym. K. Moszyński, D. Zelenin, E. Pomeran- skich bogov. Odbiegając nieco od tej formy, w re cewa, A. Gieysztor, S. Urbańczyk, B. Baranow cenzowanej publikacji uznana badaczka tekstu ski, A. Gura, L. Pełka, W. Toporow, N. Tołstoj mitologicznego, E. Lewkijewska, przedstawia — to tylko badacze wybrani spośród tych, którzy czytelnikowi synkretyczny i konsekwentny opis wnieśli poważny wkład w rozważania dotyczące systemu mitologicznego Wschodniej Slawii. -
Aleksandr Nikoláevitch Afanássiev E O Conto Popular Russo
UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DEPARTAMENTO DE LETRAS ORIENTAIS PROGRAMA DE PÓS-GRADUAÇÃO EM LITERATURA E CULTURA RUSSA FLAVIA CRISTINA MOINO CAROLINSKI Aleksandr Nikoláevitch Afanássiev e o conto popular russo São Paulo 2008 UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DEPARTAMENTO DE LETRAS ORIENTAIS PROGRAMA DE PÓS-GRADUAÇÃO EM LITERATURA E CULTURA RUSSA Aleksandr Nikoláevitch Afanássiev e o conto popular russo Flavia Cristina Moino Carolinski Dissertação apresentada ao Programa de Pós-Graduação em Literatura e Cultura Russa do Departamento de Letras Orientais da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo para obtenção do título de Mestre. Orientadora: Profa. Dra. Arlete Orlando Cavaliere São Paulo 2008 Agradecimentos À minha orientadora Profa. Dra. Arlete O. Cavaliere por sempre ter acreditado e incentivado meu trabalho. Aos Profs. Drs. Bruno Barreto Gomide e Elena N. Vássina por toda a pronta atenção dispensada durante o processo do trabalho. Aos Profs. Drs. Boris Schnaiderman e Serguei Nekliúdov pela generosidade com que me ajudaram a esclarecer diversos pontos da pesquisa. À amiga e professora Tatiana Larkina pela paciência e permanente apoio. A todos os meus amigos queridos que foram atormentados pelas minhas dúvidas eternas. Ao meu superespecial marido que, com carinho e inteligência, acompanhou atentamente cada passo deste trabalho. 3 Resumo A coletânea Contos populares russos, lançada de 1855 a 1863 em oito volumes, foi resultado do cuidadoso trabalho de Aleksandr N. Afanássiev (1826-1871), responsável pela reunião e publicação de cerca de 600 textos presentes nessa obra, que ganhou destaque por ser a primeira coletânea de contos populares russos de caráter científico, tornando-se assim um importante material de estudo, além de apresentar a poesia e o humor inerentes aos contos. -
Úvod ...4. 1 . Slované ...7. 2. Rozdělení Bohů
Obsah: Úvod . 4. 1. Slované . 7. 1.1 Příchod Slovanů . 7. 1.1 Slované a jejich víra v božstvo ( polyteizmus) . 7. 1.2 Kult uctívání božstva . 9. 2. Rozdělení bohů podle významu lidstva . 11. 2.1 Hlavní bohové . 11. Svarog . 12. Svarožic – Dažbog. 12. Perun . 12. Veles . 13. 2.2 Ruský okruh – bohové východních Slovanů. 14. Stribog . 15. Chors . 15. Simargl . 15. Mokoš . 16. Trojan . 16. 2.3 Polabsko pobaltský okruh – západní Slované . 17. Svarožic – Radogost . 17. Svantovít . 18. Triglav . 19. 2.4 Další božstvo uctívané Polabany a Pobalťany . 20. Prove . 20. Podala . 20. Živa . 20. Černoboh . 20. Pripegala . 20. 1 Rugievit . 21. Polevit . 21. Porenutius . 21. Gerovit . 21. Morana . 21. 2.5 Nepodložení bohové . 22. Lada . 22. Baba . 22. Děvana . 22. 3. Duchovno starých Slovanů . 23. 3.1 Kult uctívání zvířat, rostlin a věcí . 23. 3.2 Oslavy roku . 23. 3.3 Duchové a démoni . 24. 3.4 Lesní bytosti . 26. 3.5 Polní bytosti . 27. 3.6 Duchové času . 27. 4. Báje, balady, pověsti a pověry . 28. 4.1 Báje o Svarogovi . 28. 4.2 Báje o Svarožicovi . 28. 4.3 Báje o Radegastovi . 29. 4.4 Zrození Dažboga . 30. 4.5 Mokoš . 31. 4.6 Balady – Polednice, Vodník (Karel Jaromír Erben) . 33. 4.7 Pověry – Světlonoši, Zlatobaba . 36. 5. Vlastní tvorba . 39. 5.1 Zobrazování božstva . 39. 2 5.2 Pohled na svět Slovanských Bohů ve výtvarné výchově . 40. 5.3 Vlastní tvorba . 41. 6. Slovanství a Bohové očima dnešních umělců . 44. 6.1 Jak vidí Slovanské bohy Oldřich Unar . 44. 6.2 Smysl Slovanství pro Lojzu Baránka . -
Louis Riel Tosca
LOUIS RIEL TOSCA PROGRAM SPRING 2017 CONTENTS A MESSAGE FROM GENERAL DIRECTOR 4 WHAT’S PLAYING: ALEXANDER NEEF LOUIS RIEL 12 HONOURING INDIGENEITY NEW EXPERIENCES, IN LOUIS RIEL NEW INITIATIVES 14 COMPOSER HARRY SOMERS This spring we celebrate the return ADOPTS A MODERN TONE IN of an iconic Canadian opera, Harry LOUIS RIEL Somers’ Louis Riel. 15 THE NISGA’A HISTORY OF THE “KUYAS” ARIA The fact that 50 years ago Somers and Moore made the bold decision 16 A CANADIANIZED RIEL: to focus their work on the struggles MAKING SPACE FOR MÉTIS of Riel and the Métis Nation against TO SPEAK Canada’s colonial government serves as a challenge for present and future WHAT’S PLAYING: TOSCA Great opera 18 understandings of our country. In Canada’s sesquicentennial year, these 24 A PASSION FOR PUCCINI: CONDUCTOR KERI-LYNN challenges remain at the forefront of WILSON our country’s conversations, particularly as part of the ongoing Truth and lives here. 28 GET TO KNOW ADRIANNE Reconciliation process. PIECZONKA With this new production of Louis 32 BACKSTAGE AND BEYOND Riel, we have taken the opportunity to expand our base of creative knowledge with not-for-profit arts groups, 34 BIOGRAPHIES: LOUIS RIEL and perspectives to include musical community partners, and social and performance practices that service organizations in Ontario BIOGRAPHIES: TOSCA 42 wouldn’t have been a part of the artistic to offer more than 1,000 people conversation in 1967. the opportunity to experience our EVERY NOTE COUNTS 45 mainstage programming free of 46 MEET A BOARD MEMBER: Building broader awareness of the charge. -
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Advances in Social Science, Education and Humanities Research (ASSEHR), volume 312 International Conference "Topical Problems of Philology and Didactics: Interdisciplinary Approach in Humanities and Social Sciences" (TPHD 2018) Between Folklore and Literature: Mastery of A.N. Tolstoy-Storyteller (on the 135th anniversary of the writer) Varvara A. Golovko Evgenia A. Zhirkova Dept. of History of the Russian literature, theory of Dept. of History of the Russian literature, theory of literature and criticism literature and criticism Kuban State University Kuban State University Krasnodar, Russia Krasnodar, Russia [email protected] [email protected] Natalya V. Svitenko Dept. of History of the Russian literature, theory of literature and criticism Kuban State University Krasnodar, Russia [email protected] Abstract–The study of the interaction of traditional folk unfortunately incomplete project of the author, set of folk culture and professional art, folklore and literature for more tales. After the publication of the lyric collections, readers than a century is considered to be one of the main directions of became acquainted with the cycle “Magpie’s Tales”, first humanitarian knowledge. The article is devoted to the analysis of published by the St. Petersburg Publishing House “Public the author’s transformations of Russian folklore in the “fairy- Benefit” in 1910. tale” works of Alexei Nikolaevich Tolstoy (1883-1945). The relevance of the research is determined by the special role of Many times for different literary collections, the author has folklore images, motifs and plot patterns in the writer's works. rewritten the cycle “Magpie’s Tales”. In the Complete Works, The folklore-mythological aspect of the works of the “third” the authors of the comments note that “in 1923, when the State Tolstoy is less studied by scholars, although in a number of works Publishing house published a collection of fairy tales and about the writer there are judgments about the general influence poems by A. -
Faerie Is a Complete Guide to the Other Folk, Be Used with Any Game System
They lie, steal, kidnap, maim, and kill . and we put them in nurseries. They have been described as gods, demons, fallen angels, and ghosts – even aliens – but no one truly knows what they are. All through history, all around the world, they have been in the shadows, behind the trees, beneath the hills – and yes, even under the bed. Some are pretty, delicate little people with gossamer wings. But others are ten feet tall with a taste for human GURPS Basic Set, Third flesh, or wizened horrors with blue skins and claws of Edition Revised and GURPS iron. Some strike down those who unwittingly break Compendium I are required to use this supplement in a their laws. Others kill just for fun. GURPS campaign. The information in this book can GURPS Faerie is a complete guide to the Other Folk, be used with any game system. covering traditions from around the world. It describes their magic and worlds, and provides templates for THE STORYTELLERS: different faerie types and for the mortals who know them. You can incorporate the beautiful and sinister Fair Written by Ones into almost any existing game setting, or create a Graeme Davis new campaign set in the Unseelie Realms and beyond. Edited by Kimara Bernard Just keep cold iron and scripture close to hand, believe the opposite of what you hear, and don’t trust anything Illustrated by you see. Alex Fernandez And whatever you do, FIRST EDITION,FIRST PRINTING don’t eat their food. PUBLISHED OCTOBER 2003 ISBN9!BMF@JA:RSURQRoY`Z]ZgZnZ` 1-55634-632-8 Printed in SJG02295 6043 the USA By Graeme Davis Edited by Kimara Bernard Illustrated by Alex Fernandez Additional material by James L. -
Pagan Beliefs in Ancient Russia. by Luceta Di Cosimo, Barony Marche of the Debatable Lands, Aethelmearc
1 Pagan Beliefs in Ancient Russia. By Luceta di Cosimo, Barony Marche of the Debatable Lands, Aethelmearc. [email protected] ©2006-2017 Slavic mythology is a difficult subject. The historical evidence is fragmented, with many conflicting sources and multiple later literary inventions. This is a brief reconstruction of ancient Russian mythology. The first archaeological findings that can be attributed to Slavs date to approximately 6th c. AD. The origins of Slavs are still debated. The pagan Slavic society was an oral society. Christianity, which introduced writing, was more concerned with eradication rather than preservation of pagan beliefs. No one really tried to preserve and record whatever remained, until late period. Then, there is some evidence recorded from the Germans who visited Russia in 18th c., but a lot of it is based on the written 15thc. sources, rather than eyewitness accounts. The 19th c. Europe saw renewed interest in folklore, and combined with rise of nationalism and need for developed mythos, a lot of what was left was recorded, but a lot was altered to make it more palatable, and questionable things (especially with fertility rituals) were edited out as not to besmirch the emerging national character. During the Soviet time, the study of any religion was problematic, due to mandatory atheism. Eventually, the study of the early Slavic traditions was permitted, and even encouraged, but, everything had to pass stringent censorship rules, and could not contradict Marxist-Leninist philosophy. So, people who had the material (in the USSR) could not publish, and people who actually could publish (in the West) did not have access to the materials. -
Slavic Pagan World
Slavic Pagan World 1 Slavic Pagan World Compilation by Garry Green Welcome to Slavic Pagan World: Slavic Pagan Beliefs, Gods, Myths, Recipes, Magic, Spells, Divinations, Remedies, Songs. 2 Table of Content Slavic Pagan Beliefs 5 Slavic neighbors. 5 Dualism & The Origins of Slavic Belief 6 The Elements 6 Totems 7 Creation Myths 8 The World Tree. 10 Origin of Witchcraft - a story 11 Slavic pagan calendar and festivals 11 A small dictionary of slavic pagan gods & goddesses 15 Slavic Ritual Recipes 20 An Ancient Slavic Herbal 23 Slavic Magick & Folk Medicine 29 Divinations 34 Remedies 39 Slavic Pagan Holidays 45 Slavic Gods & Goddesses 58 Slavic Pagan Songs 82 Organised pagan cult in Kievan Rus' 89 Introduction 89 Selected deities and concepts in slavic religion 92 Personification and anthropomorphisation 108 "Core" concepts and gods in slavonic cosmology 110 3 Evolution of the eastern slavic beliefs 111 Foreign influence on slavic religion 112 Conclusion 119 Pagan ages in Poland 120 Polish Supernatural Spirits 120 Polish Folk Magic 125 Polish Pagan Pantheon 131 4 Slavic Pagan Beliefs The Slavic peoples are not a "race". Like the Romance and Germanic peoples, they are related by area and culture, not so much by blood. Today there are thirteen different Slavic groups divided into three blocs, Eastern, Southern and Western. These include the Russians, Poles, Czechs, Ukrainians, Byelorussians, Serbians,Croatians, Macedonians, Slovenians, Bulgarians, Kashubians, Albanians and Slovakians. Although the Lithuanians, Estonians and Latvians are of Baltic tribes, we are including some of their customs as they are similar to those of their Slavic neighbors. Slavic Runes were called "Runitsa", "Cherty y Rezy" ("Strokes and Cuts") and later, "Vlesovitsa". -
Logoepistemes As Representatives of the Fabulous World in A.S. Pushkin's
AD ALTA JOURNAL OF INTERDISCIPLINARY RESEARCH LOGOEPISTEMES AS REPRESENTATIVES OF THE FABULOUS WORLD IN A.S. PUSHKIN'S POEM "RUSLAN AND LYUDMILA" aLINGUO-DIDACTIC ASPECT, bNINA VASILIEVNA However, the learning process is not restricted only to observing VINOGRADOVA, cEKATERINA SERGEEVNA the specificity of the vocabulary and grammatical structure of the PALEKHA, dILSOYAR AFTAHOVNA SADYKOVA language being studied, or to working out speech clichés and scenarios used in real communication. aKazan Federal University, 18 Kremlevskaya St., Kazan, Tatarstan, Russia As N.V. Tatarinova rightly says, “the knowledge of any national bPusan National University30, Jangjeon-dong, Geumjeong-gu, language by the representative of another culture at the level of Busan, Republic of Korea , 609-735, the language-system, not enlarged by the mastery of the cKazan Federal University, 18 Kremlevskaya St., Kazan, cognitive basis of this people, entails either communicative Tatarstan, Russia failures when a non-native speaker does not understand the dKazan Federal University, 18 Kremlevskaya St., Kazan, meaning of phrases consisting even of words known to him, or Tatarstan, Russia pseudo-understanding, without being aware of the meaning comprehended in the connotations, which are obvious to native email: [email protected], bnvasilievnavinogradova speakers and are hidden from the non-native speaker”( [email protected], [email protected], diaftah Tatarinova et al, 2013 ). At the same time, he often encounters ovna [email protected] precisely the problem of an adequate understanding of the work under study: the plot and images are perceived with great difficulty, since he has not got the so-called “background Abstract: The article brings up the question of the possibility of considering A.S. -
Boston Symphony Orchestra Concert Programs, Season 45,1925-1926, Trip
CARNEGIE HALL . NEW YORK Thursday Evening, November 26, at 8.30 Saturday Afternoon, November 28, at 2.30 PRoGRHftttE — V\ "... Your piano is admirable and it is 'with my warmestgreetings that I nvish you the great success <which your instrument deserves. When CHALIAPIN sings, the piano is always a Baldwin. The greatest operatic genius of this genera- tion finds in Baldwin tone the perfect background for his magnificent art. As on the concert stage, so in his homes in New York and in Paris — Chaliapin uses the Baldwin. That loveliness and purity of tone which appeals to Chaliapin as well as to every exacting musician is found in all Baldwins; alike in the Concert Grand, in the smaller Grands, and in the Uprights. The history of the Baldwin is the history of an ideal. latftorin CINCINNATI CHICAGO NEW YORK INDIANAPOLIS ST. LOUIS LOUISVILLE DENVER DALLAS SAN FRANCISCO CARNEGIE HALL NEW YORK Fortieth Season in New York FORTY-FIFTH SEASON, 1925-1926 INC. SERGE KOUSSEVITZKY, Conductor THURSDAY EVENING, NOVEMBER 26, at 8.30 AND THE SATURDAY AFTERNOON, NOVEMBER 28, at 2.30 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1925, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P CABOT ... President GALEN L. STONE . Vice-President ERNEST B. DANE . Treasurer FREDERICK P. CABOT ERNEST B. DANE HENRY B. SAWYER M. A, DE WOLFE HOWE GALEN L. STONE JOHN ELLERTON LODGE BENTLEY W. WARREN ARTHUR LYMAN E. SOHIER WELCH W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 1 \k.t \' After more than half a century on Fourteenth Street, Steinway Hall is now located at 109 West 57th Street. -
RISE of the SLAVS by Rimgaudas P
RISE OF THE SLAVS by Rimgaudas P. Kiliulis WGAW # 1672596 Vilnius/Istanbul, [email protected] +90 549 3323200 FADE IN: EXT. KURGAN- DAY. (439). V.O. Hermanaric also took arms against the Venethi... These people... have now three names, that is, Venethi, Antes and Sclaveni... yet at that time they were all obedient to Hermanaric's commands. Jordanes. A PRIEST with Sclaveni men prepare wood for cremation fire on the kurgan. They place a dead warrior body on the firewood. The Priest starts the fire. DAURITAS (7) and his mother (23) cry nearby the dead body. The Goths’ king WANDALAR (64) and warriors watch the burial rite from a distance. WANDALAR An excellent scout. He speared us a dozen of warriors. The body burns. The Priest collects the ashes and spreads them to the pit nearby. Dauritas’s mother cries and falls to the pit embracing ashes. She wants to make a suicide by cutting herself throat by a knife. Few women and the Priest halt her. Frightened Dauritas pulls his mother from the ashes. The priest covers the ashes with a upturned wooden vessel. People move to the Saint Oak. EXT. SAINT OAK NEAR THE KURGAN- DAY. The priest makes offering. He decapitates a cock on the altar near the Saint Oak. Priestesses put dry herbs to the saint fire. Smoke rises. PRIEST Slava Perun. Sclaveni echo “Slava Perun”. According the Goth’s POV only “slava Perun” sounds around, other words are indistinguishable. The Goths see a lynx on the Saint Oak. The hungry lynx watches to the cock.