Communism with a Nonhuman Face
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Thesis October 11,2012
Demystifying Galina Ustvolskaya: Critical Examination and Performance Interpretation. Elena Nalimova 10 October 2012 Submitted in partial requirement for the Degree of PhD in Performance Practice at the Goldsmiths College, University of London 1 Declaration The work presented in this thesis is my own and has not been presented for any other degree. Where the work of others has been utilised this has been indicated and the sources acknowledged. All the translations from Russian are my own, unless indicated otherwise. Elena Nalimova 10 October 2012 2 Note on transliteration and translation The transliteration used in the thesis and bibliography follow the Library of Congress system with a few exceptions such as: endings й, ий, ый are simplified to y; я and ю transliterated as ya/yu; е is е and ё is e; soft sign is '. All quotations from the interviews and Russian publications were translated by the author of the thesis. 3 Abstract This thesis presents a performer’s view of Galina Ustvolskaya and her music with the aim of demystifying her artistic persona. The author examines the creation of ‘Ustvolskaya Myth’ by critically analysing Soviet, Russian and Western literature sources, oral history on the subject and the composer’s personal recollections, and reveals paradoxes and parochial misunderstandings of Ustvolskaya’s personality and the origins of her music. Having examined all the available sources, the author argues that the ‘Ustvolskaya Myth’ was a self-made phenomenon that persisted due to insufficient knowledge on the subject. In support of the argument, the thesis offers a performer’s interpretation of Ustvolskaya as she is revealed in her music. -
Poetry Sampler
POETRY SAMPLER 2020 www.academicstudiespress.com CONTENTS Voices of Jewish-Russian Literature: An Anthology Edited by Maxim D. Shrayer New York Elegies: Ukrainian Poems on the City Edited by Ostap Kin Words for War: New Poems from Ukraine Edited by Oksana Maksymchuk & Max Rosochinsky The White Chalk of Days: The Contemporary Ukrainian Literature Series Anthology Compiled and edited by Mark Andryczyk www.academicstudiespress.com Voices of Jewish-Russian Literature An Anthology Edited, with Introductory Essays by Maxim D. Shrayer Table of Contents Acknowledgments xiv Note on Transliteration, Spelling of Names, and Dates xvi Note on How to Use This Anthology xviii General Introduction: The Legacy of Jewish-Russian Literature Maxim D. Shrayer xxi Early Voices: 1800s–1850s 1 Editor’s Introduction 1 Leyba Nevakhovich (1776–1831) 3 From Lament of the Daughter of Judah (1803) 5 Leon Mandelstam (1819–1889) 11 “The People” (1840) 13 Ruvim Kulisher (1828–1896) 16 From An Answer to the Slav (1849; pub. 1911) 18 Osip Rabinovich (1817–1869) 24 From The Penal Recruit (1859) 26 Seething Times: 1860s–1880s 37 Editor’s Introduction 37 Lev Levanda (1835–1888) 39 From Seething Times (1860s; pub. 1871–73) 42 Grigory Bogrov (1825–1885) 57 “Childhood Sufferings” from Notes of a Jew (1863; pub. 1871–73) 59 vi Table of Contents Rashel Khin (1861–1928) 70 From The Misfit (1881) 72 Semyon Nadson (1862–1887) 77 From “The Woman” (1883) 79 “I grew up shunning you, O most degraded nation . .” (1885) 80 On the Eve: 1890s–1910s 81 Editor’s Introduction 81 Ben-Ami (1854–1932) 84 Preface to Collected Stories and Sketches (1898) 86 David Aizman (1869–1922) 90 “The Countrymen” (1902) 92 Semyon Yushkevich (1868–1927) 113 From The Jews (1903) 115 Vladimir Jabotinsky (1880–1940) 124 “In Memory of Herzl” (1904) 126 Sasha Cherny (1880–1932) 130 “The Jewish Question” (1909) 132 “Judeophobes” (1909) 133 S. -
Transition in Post-Soviet Art
Transition in Post-Soviet Art: “Collective Actions” Before and After 1989 by Octavian Eșanu Department of Art, Art History & Visual Studies Duke University Date:_______________________ Approved: ___________________________ Kristine Stiles, Supervisor ___________________________ Fredric Jameson ___________________________ Patricia Leighten ___________________________ Pamela Kachurin ___________________________ Valerie Hillings Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art, Art History & Visual Studies in the Graduate School of Duke University 2009 ABSTRACT Transition in Post-Soviet Art: “Collective Actions” Before and After 1989 by Octavian Eșanu Department of Art, Art History & Visual Studies Duke University Date:_______________________ Approved: ___________________________ Kristine Stiles, Supervisor ___________________________ Fredric Jameson ___________________________ Patricia Leighten ___________________________ Pamela Kachurin ___________________________ Valerie Hillings An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Philosophy in the Department of Art, Art History & Visual Studies in the Graduate School of Duke University 2009 Copyright by Octavian Eșanu 2009 ABSTRACT For more than three decades the Moscow-based conceptual artist group “Collective Actions” has been organizing actions. Each action, typically taking place at the outskirts of Moscow, is regarded as a trigger for a series of intellectual -
Classical Literature and the Retroaction of Socialist Ideologyâ•Flthe Sovietization of a Medieval Georgian Epic Poem And
Diego Benning Wang, 1 Classical Literature and the Retroaction of Socialist Ideology—The Sovietization of a Medieval Georgian Epic Poem and Its Mysterious Author Diego Benning Wang O Georgia—who makest us shed tears, /Thou art the second cradle of the Russian muse. /One who carelessly forgets about Georgia, /Is not likely to be a poet in Russia. –Evgeny Evtushenko When you read Rustaveli, you would be thinking: could there be many writers who lived 700-odd years ago akin to this precious genius of the Georgian people? –Mikhail Kalinin Early-20th-century Russian poet Kontantin Balmont, the first person to fully translate the medieval Georgian epic poetry vepkhistqaosani (The Knight in Panther Skin) into Russian, said such about the work’s author Shota Rustaveli: “Like Homer to the Hellas, Dante to Italy, Shakespeare to England, Calderón and Cervantes to Spain, Rustaveli is Georgia… A people, if great, will compose a song and carry in their bosom their world- renowned poet. Such crown-bearer of the ages, still unbeknownst to the Russians to this day, was the chosen one of Georgia, Shota Rustaveli, who in the twelfth century endowed his homeland with a banner and an appeal—vepkhistqaosani […] This is the best poetry of love ever composed in Europe, a rainbow of love, a bridge of fire, which connects the heaven with the earth.”1 Long after Balmont’s Russian translation of vepkhistqaosani was completed, the work still remained unknown to most non-Georgians of the Soviet Union. Yet four decades later, Rustaveli had become a household name far beyond his native Georgia and throughout the Soviet Union. -
Translation and Literature Cumulative Index Volume 30
Translation and Literature Cumulative Index Volume 30 (2021) Part 2 Articles and Notes A. S. G. Edwards: Gavin Bone and his Old English Translations Mary Boyle: ‘Hardly gear for woman to meddle with’: Kriemhild’s Violence in Nineteenth- Century Women’s Versions of the Nibelungenlied Andrew Barker: Giant Bug or Monstrous Vermin? Translating Kafka’s Die Verwandlung in its Cultural, Social, and Biological Contexts Review Essay Caroline Batten and Charles Tolkien-Gillett: Translating Beowulf for our Times Reviews Gideon Nisbet: After Fame: The Epigrams of Martial, by Sam Riviere Sarah Carter: Ovid and Adaptation in Early Modern English Theatre, edited by Lisa S. Starks; Ovidian Transversions: Iphis and Ianthe, 1300-1650, edited by Valerie Traub, Patricia Badir, and Peggy McCracken Carla Suthren: Xenophon: Cyropaedia, translated by William Barker, edited by Jane Grogan James Simpson: The Song of Roland: A Verse Translation, by Anthony Mortimer Jonathan Evans: Zola and the Art of Television: Adaptation, Recreation, Translation, by Kate Griffiths Ritchie Robertson: Karl Kraus: The Third Walpurgis Night: The Complete Text, translated by Fred Bridgham and Edward Timms Enza De Francisci: Celebrity Translation in British Theatre: Relevance and Reception, Voice and Visibility, by Robert Stock Catherine Davies: Ten Contemporary Spanish Women Poets, edited and translated by Terence Dooley Céline Sabiron: Translation et violence, by Tiphaine Samoyault Marjorie Huet-Martin: Textuality and Translation, edited by Catherine Chavin and Céline Sabiron Volume -
FOUR CENTURIES Russian Poetry in Translation
FOUR CENTURIES Russian Poetry in Translation № 25, 2020 Four Centuries. Russian Poetry in Translation Copyright © 2020 by Dr. Ilya Perelmuter, publisher. Mail: [email protected] This edition was typeset by Paul Bezembinder usingE MiKT X. Font: Linux Libertine. All rights to translations and materials published in this magazine are retained by the individual translators and authors. No part of this magazine may be reproduced, copied, transmitted, distributed or otherwise used without the prior permission of the Publisher. This magazine as a whole can be sent indissolubly per e-mail as a pdf file. Commercial distribution is not allowed. This magazine should be cited as follows: Four Centuries. Russian Poetry in Translation. Essen: Perelmuter Verlag, 2020, № 25. Все права на переводы и другие материалы, опубликованные в этом журнале, в полном объёме сохраняются за отдельными переводчиками и авторами. Журнал защищён авторским правом в совокупности всех его частей и в полном объёме. Любые типы копирования, перепечатки, распространения, публикации его отдельных частей без согласия издателя не разрешаются. Журнал может быть послан по электрон- ной почте с сохранением его целостности в формате pdf. Журнал без нарушения его целостности может быть включён в электронную библиотеку с уведомлением об этом издателя. Коммерческое распространение журнала запрещено. Цитирование материалов журнала обязательно в следующей форме: Four Centuries. Russian Poetry in Translation. Essen: Perelmuter Verlag, 2020, № 25. Acknowledgements I am grateful to FTM Agency Ltd. for their kind permission to publish translations of Boris Pasternak's poems into Italian. I am grateful to Mr. Sergej Kuznetsov for his kind permission to publish translations of Nina Iskrenko's poems in our magazine. -
Russian Culture
HUMANITIES INSTITUTE Ayse Dietrich, Ph.D. RUSSIAN CULTURE Contents Religion Philosophy Science Art Literature RELIGION Overview Religion has always been an important element in the Russians’ spiritual life. From early Paganism to the powerful Christianized Kievan State and its religious plurality, and continuing with state- controlled and suppressed religious faith under the Soviets, Russian religious life provides a multifaceted picture. ANCIENT PERIOD Paganism: Centuries ago tribes in Kievan Rus’ believed in gods and spirits which they identified with the forests and meadows. Although very little information has survived about the religious customs of these tribes, we can learn about the religious beliefs and practices of one East Slavic tribe, the Rus, from priests’ manuscripts, epics and some treaties signed with princes. The pagan Russians, as mentioned in The Tale of Bygone Years, worshipped the earth, trees, stones, fire, the sun and water. The Russians conducted their ceremonies, and made their prayers and supplications in these forests and in shrines. During these ceremonies they played trumpets and rang bells in a wild, noisy fashion, and danced skipping and hopping. Sacrifices were made during these ceremonies to obtain from the gods what they had asked for. Animal and human bones, skulls, vessels, coals and ashes have been found in archaeological excavations. Human sacrifice in Russia continued up until the middle of the 16th century. POST CLASSICAL PERIOD Christianization: There was no unity among the Russian princes, and paganism was unsuitable for the unification and centralization of the unruly principalities. Vladimir wanted to unite his people under a single state religion, and adopted Christianity from Byzantium to serve this purpose. -
TRAVELING Elise Partridge NO
FICTION POETRY CRITICISM ART Kathleen Aponick Walter Bargen Tina Barr Christian Barter Robert Bense Eileen Berry Rebecca Black Susan Briante Nadia Herman Colburn James Doyle Shannon Doyne Tony D'Souza Beth Ann Fennelly Charles Freeland Kenneth Frost John Gallaher Geoffrey Gardner John Gery Mark W. Halperin TRAVEL John Hennessy Catherine Kasper Philip Kobylarz Dale M. Kushner Stacey Levine William Logan David Matlin Jill McDonough Peter Michelson Patrick Moran Linda Lancione Moyer G.E. Murray Martin Ott Robert Parham TRAVELING Elise Partridge 2002 summer NO. 14 John Peck Kathryn Rantala Peter Robinson John J. Ronan Michael Salcman Neil Shepard Richard Spilman The Notre Dame Review, continuing the Donna Baier Stein Lisa M. Steinman journey at www.nd.edu/~ndr/review.htm, Robert Stewart number 14 Marcela Sulak summer 2002 where you’ll find more interviews, poetry, Arturo Vivante $8 u.s. Daniel Weissbort fiction, and authors reading from their work. Tony Whedon $9.50 canada NOTRE DAME REVIEW NOTRE DAME REVIEW NUMBER 14 Editors John Matthias William O'Rourke Senior Editor Steve Tomasula Founding Editor Valerie Sayers Managing Editor Editorial Assistants Michael G. Richards Jenny Boully Jenny Bryant John Dethloff Contributing Editors Nora Edwards Matthew Benedict David Ewald Gerald Bruns Elizabeth Fredericks Seamus Deane Chris Gerben Stephen Fredman Justin Haynes Sonia Gernes Tina Kubasta Orlando Menes Wei Liu Jere Odell Shannon O'Keefe Kymberly Taylor Haywood Joanna Philbin James Walton Jon Readey Henry Weinfield Sara Swanson Charles Valle The Notre Dame Review is published semi-annually. Subscriptions: $15 (individuals) or $20 (institutions) per year or $250 (sustainers). Single Copy price: $8. -
Literary Strategies for Overcoming Retromania In
Convention-2019 Convention 2019 “Modernization and Multiple Modernities” Volume 2020 Conference Paper Resisting 'Recumbency on The Past ': Literary Strategies for Overcoming Retromania in Maria Stepanova's Novel In Memory of Memory, (2017) Svetlana Novikova Saint Petersburg State University, Saint Petersburg, Russia Abstract This article discusses the philosophical semi-documentary novel In Memory of Memory by Maria Stepanova (2017). The narrative about the past can be interpreted as a strategy of dealing with the dominant retro-utopian sentiments in Russian society. The history of several generations of Stepanova’s own family is depicted against the backdrop of tragic twentieth-century Russian upheavals which are transformed into a meta-novel focusing on the workings of memory and ways of articulating it. The article identifies two strategies used in Stepanova’s novel to counter retro-utopianism. Corresponding Author: The first strategy is the choice of a hybrid genre – documentary fiction – to recount Svetlana Novikova the events of family and national history. The second strategy relies on the concept [email protected] of memory as a catalogue used to complete the ’work of grief’ in Russian literature Received: Month 2020 and to help it escape its fixation on the past. These strategies in Stepanova’s novel Accepted: Month 2020 appear to be closely connected with her reception of W.G. Sebald’s (1944-2001) works, Published: 28 September 2020 in particular his documentary fiction. Publishing services provided by Keywords: M. Stepanova, W.G. Sebald, documentary fiction, meta-novel, retromania Knowledge E Svetlana Novikova. This article is distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use and 1. -
Pavlovets, Remorenko
On Changing the Policy of Regulation in Today’s School Literary Education M. Pavlovets, I. Remorenko Mikhail Pavlovets with complicated plots. The list of par- Received in Candidate of Sciences in Philology, As- ticularly important books has changed July 2014 sociate Professor, Department of Con- insignificantly, consisting almost entire- temporary Russian Literature and Read- ly of required school reading and foreign ing Practices, Institute of Humanities, books, their number having been reduced Moscow City Pedagogical University. by onethird over the last five years. The E-mail: [email protected] scope of reading interests also proved Igor Remorenko to involve mainly foreign literature and to Candidate of Sciences in Pedagogy, have shrunken over the last five years. The Rector, Moscow City Pedagogical Uni- required reading list and the number of versity. E-mail: [email protected] books actually read by high school grad- uates do not coincide: even philologyori- Address: 4 Selskokhozyaystvenny pro ented school students read many books yezd, 129226, Moscow, Russian Fed- in excerpts or simplified versions. Litera- eration. ture as a school subject does not create Abstract. A survey of firstyear philol- enough motivation to read the books that ogy students was conducted in autumn are referred to as national literary clas- 2008 at Moscow Humanitarian Pedagog- sics. We find it necessary to revise the ical Institute (MHPI) with the purpose of conventional attitudes toward state pre- exploring these students’ reading inter- scriptions for teaching literature, to aban- ests and getting an idea of how they had don rigid required reading lists, and to read the books they were required to read switch to a competencybased model of in school—in full, in short summaries, or literary education outlined in the Federal in excerpts. -
Russian History
HUMANITIES INSTITUTE Ayse Dietrich, Ph.D. RUSSIAN HISTORY Contents Part I : Ancient Period Part II : Postclassical Period Part III : Early Modern Period Part IV : 19th Century Part V : 20th Century Ancient Period Overview Like all nations, the history of Russia begins with the settlement of its territory by early humans. This took place approximately 40,000 years ago during the last Ice Age. Archeological excavations show a record of continuous human adaptation to the conditions they faced and the massive environmental changes that occurred after the end of the Ice Age. Over time, tool-making techniques became more sophisticated as did human society. Agriculture, cattle breeding, and the discovery of techniques to work metals made larger and more complex societies possible. Trade networks appeared leading to even greater contact among societies, but conflict among different groups was also present. Due to the lack of historical records for these early periods these peoples are known only from the artifacts they left behind. However, in the past few decades archeological excavations in the southern part of European Russia have discovered evidence of distinct cultures and settlements of Indo-European origin dating back to at least 3500 BCE. Beginning around 1000 BCE pastoral nomads dominated this region. The first identifiable Indo- Europeans groups who settled in this territory and played important roles in its development were the Cimmerians, Scythians, Sarmatians, and Slavs. Earlier, around 1500 BCE the Slavs had settled in the region of Poland and western Russia. Slavs had lived on the plains of western Russia for hundreds of years before the first East Slavic state called the Kievan state was founded. -
RUSSIAN CULTURE – 20 Century
HUMANITIES INSTITUTE Ayse Dietrich, Ph.D. th RUSSIAN CULTURE – 20 Century Overview In this turbulent century, continuous wars, revolutionary movements, revolts, uprisings, famine and ignored problems exhausted and frustrated Russian society during the Empire. The intellectuals raised their voice against inequality, injustice, mistreatment, arrest, imprisonment and inhumane living standards, and took action against their rulers to save their life and their country. During the Bolshevik revolution, however, these same intellectuals found themselves subject to an even more repressive regime that brought few solutions to the injustices they had struggled against. All the pain, suffering, disillusionment and resistance to increasing government control and censorship was mirrored in the culture of this century. VERBAL ARTS Literature Literature constitutes one base of society, in that it reflects the history, politics, economic systems, and structure of a society, its people, religion and culture. Russian literature gives us a detailed view of the human experiences of a country, and it is intimately connected with the life of Russian society. Socialist Realism: Although Socialist Realism claims to present an unbiased, accurate depiction of life, as did its predecessor 19th century Russian realism, there are significant differences between the two, particularly in regard to subject matter. Socialist Realist works focus almost exclusively on the themes of building socialism and creating a classless society. Maxim Gorky is widely regarded as the pioneer of this genre with his novel The Mother. Symbolism: Symbolism conveys its message through the use of symbols whose meanings are grasped intuitively . It emerged as a reaction against realism and can be seen in the works of F.