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The Slavic Vampire Myth in Russian Literature
From Upyr’ to Vampir: The Slavic Vampire Myth in Russian Literature Dorian Townsend Thesis submitted for the degree of Doctor of Philosophy School of Languages and Linguistics Faculty of Arts and Social Sciences The University of New South Wales May 2011 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Townsend First name: Dorian Other name/s: Aleksandra PhD, Russian Studies Abbreviation for degree as given in the University calendar: School: Languages and Linguistics Faculty: Arts and Social Sciences Title: From Upyr’ to Vampir: The Slavic Vampire Myth in Russian Literature Abstract 350 words maximum: (PLEASE TYPE) The Slavic vampire myth traces back to pre-Orthodox folk belief, serving both as an explanation of death and as the physical embodiment of the tragedies exacted on the community. The symbol’s broad ability to personify tragic events created a versatile system of imagery that transcended its folkloric derivations into the realm of Russian literature, becoming a constant literary device from eighteenth century to post-Soviet fiction. The vampire’s literary usage arose during and after the reign of Catherine the Great and continued into each politically turbulent time that followed. The authors examined in this thesis, Afanasiev, Gogol, Bulgakov, and Lukyanenko, each depicted the issues and internal turmoil experienced in Russia during their respective times. By employing the common mythos of the vampire, the issues suggested within the literature are presented indirectly to the readers giving literary life to pressing societal dilemmas. The purpose of this thesis is to ascertain the vampire’s function within Russian literary societal criticism by first identifying the shifts in imagery in the selected Russian vampiric works, then examining how the shifts relate to the societal changes of the different time periods. -
By Daria Petrova – Mediapoet, Artist, Mediapoetry 101 Festival Cofounder and Curator Lecture
FUTURE THEATRE FESTIVAL 22 – 29 February, Moscow Future Theatre Festival: • a discussion about the achievements and prospects of theatre in Russia as a modern, technologically advanced and highly competitive player in the global theatre industry • what will be valued in future theatre: live acting or newest technologies? what will the dialogue between artists and audience be like? what changes will theatre spaces and its economy undergo? What kind of theatre do we need in future? LECTURES WORKS-IN- PLAYWRITING DISCUSSIONS PROGRESS COMPETITION STAGED READINGS TECHNOLOGIES LABORATORY PERFORMANCES Artistic Director Eduard Boyakov Eduard Boyakov, director and producer, is now Artistic director of Moscow Gorky Art Academic Theatre (MHAT). He has created numerous theatre festivals in Russia, including the Golden Mask – the main Russian performing arts festival and national award. Eduard has produced and directed more than 50 performances for Bolshoi Theatre (Moscow), Mariinsky Theatre (Saint Petersburg) and others. He took part in co- productions with Metropolitan Opera, Lincoln Center, Barbican, London Philharmonic Orchestra, Holland Festival etc. February, 22 12:00-12:15 Opening Teaser Technological Showcase. Technologies in performances 12:15-13:30 Lecture Mediapoetry. The Letter in Digital Times 13:30-15:00 Discussion Text Machines 15:00-18:00 Opening conference The Future of Theatre 18:00, 20:30 Immersive Performance The Queen of Spades 19:00-21:00 Immersive Performance The Revenants 20:00-22:00 Opening ceremony. Multimedia Music and Poetry Concert I Will Lead You Away From the Past 22:00-23:00 Welcome Reception Festival Program on February, 22-26. All the details about the theatres, speakers and performances below February, 23 15:00-16:15 Discussion Social Theatre and the Audience of the Future 16:30-18:00 Lecture Homo Videns 14:00-21:00 VR performance Forgotten Kiss 19:00-20:00 Discussion The Art of Media. -
PR 2007 Nr 4.Indb
PRZEGLĄD RUSYCYSTYCZNY 2007. ZESZYT 4 (120) Marina Abasheva Perm State Pedagogical University, Russian Federation AESTHETICS VERSUS POLITICS: NIGHT WATCH AS THE COLD WAR ECHO This paper is devoted not so much to the popular literary tetralogy by Sergei Luk’ianenko, Night Watch (Ночной дозор), Day Watch (Дневной дозор), Twilight Watch (Сумеречный дозор), and Last Watch (Последний дозор) (2002-2006), editions of which have exceeded a million sales. Instead, this paper will focus mainly on its cinematic adaptations, Night Watch and Day Watch, directed by Timur Bekmambetov and released in 2004 and 2006. The box offi ce take of these fi lms was dozens of times their budget of 4.2 million US dollars, which, while incom- parable to American movie industry expenditures, is quite substantial for Russia. The movies were shown in Europe and the United States, and the third movie, Twilight Watch, will be shot in the United States in cooperation with the production company Fox Searchlight. These books and movies have become genuinely popular in contemporary Russia, which is no longer accustomed to huge literatary editions and the cinematic fame of the Soviet Mosfi lm studio. These books and movies have earned entrance to popular culture by the characteristics of their contents: while following the structure of a “formula narrative” (Cavelty), it is also an aggregation of fantasy, horror, adventure, catastrophe and many others. The success of these movies can be explained mainly by certain effective tech- niques of cinema marketing, new to the Russian fi lm industry, such as an extensive PR campaign and aggressive advertising (the fi lm was produced by Channel One, the central state channel of the Russian television). -
The Formal Is Political 145
P OSTMODERN C RISES From Lolita to Pussy Riot ARS ROSSICA Series Editor DIBAV D ETHEA (University of Wisconsin–Madison) POSTMODERN CRISES From Lolita to Pussy Riot MARK LIPOVETSKY BOSTON / 2017 Library of Congress Cataloging-in-Publication Data: A bibliographic record for this title is available from the Library of Congress. Names: Lipovetskii, M. N. (Mark Naumovich), author. Title: Postmodern crises : from Lolita to Pussy Riot / Mark Lipovetsky. Other titles: Ars Rossika. Description: Brighton, MA : Published by Academic Studies Press, 2017. | Series: Ars Rossica Identifiers: LCCN 2016042029 (print) | LCCN 2016045161 (ebook) | ISBN 9781618115584 (hardcover) | ISBN 9781618115591 (e-book) Subjects: LCSH: Postmodernism (Literature)—Russia (Federation) | Russian literature—20th century—History and criticism. | Russian literature—21st century—History and criticism. | Postmodernism—Russia (Federation) | Motion pictures—Russia (Federation)—History and criticism. Classification: LCC PG3027.5.P67 L56 2017 (print) | LCC PG3027.5.P67 (ebook) | DDC 891.709/0044—dc23 LC record available at https://lccn.loc.gov/2016042029 Copyright © 2017 Academic Studies Press All rights reserved. ISBN 9781618115584 (hardcover) ISBN 9781618115591 (electronic) Cover design by Tatiana Vernikov. On the cover: film-still from Short Stories, dir. Mikhail Segal, 2012. Published by Academic Studies Press in 2017 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-1-64469-666-8. More information about the initiative and links to the Open Access version can be found at www. -
UGS 303 Syllabus Page 2
The University of Texas at Austin Department of Slavic and Eurasian Studies http://www.utexas.edu/cola/depts/slavic/ Spring Semester 2013 UNDERGRADUATE SIGNATURE COURSE “A World Apart: Russian Sci-Fi in Literature and Film” UGS 303 (#64810-64885) COURSE SYLLABUS Instructor: Prof. Thomas. J. Garza Offices: Calhoun CAL 406 (mailbox in CAL 415) and Rainey HRH 4.190 Phone: 471-3607 or 475-9649 Email: [email protected] Office hours: T 11-12:30 (CAL 406), M 2-3:30 (HRH 4.190) and any other time by appointment Class time: MW 1:00-2:00 pm in FAC 21 Friday meeting time according to section Required texts: [available at the UT Co-op or from online sellers] • Worlds Apart: An Anthology of Russian Science Fiction and Fantasy. Alexander Levitsky, New York, NY: Overlook Press, 2008. • We, Evgeny Zamyatin, [Natasha Randall, trans.] New York: Modern Library, 2006. • A Dog’s Heart, Mikhail Bulgakov, [Andrew Bromfield, trans.] New York: Penguin Books, 1998. • Prisoners of Power (The Inhabited Island), Strugatsky Brothers, Moscow. [available on Blackboard] • Course Packet (CP) [available at Speedway Printers at 715 W. 23rd Street] Films: [excerpted in class, most available in full versions online or on Netflix] • Aelita Queen of Mars, «Аэлита», Jakov Protozanov, dir. (1924). • Space Flight, «Космический рейс», Vasily Zhuravlev, dir. (1935). • Planet of Storms, «Планета бурь», Pavel Klushantsev, dir. (1961). • His Name Was Robert, «Его звали Роберт», Ilya Olshvanger, dir. (1967). • Soliaris, «Солярис», Andrei Tarkovsky, dir. (1972). • Stalker, «Сталкер», Andrei Tarkovsky, dir. (1979). Spring 2013 UGS 303 Syllabus page 2 • The Heart of a Dog, «Собачье сердце», Vladimir Bortko, dir. -
UGS 303 '19 Syllabus
The University of Texas at Austin Department of Slavic and Eurasian Studies http://www.utexas.edu/cola/depts/slavic/ Spring Semester 2019 UNDERGRADUATE SIGNATURE COURSE “A World Apart: Russian Sci-Fi in Literature and Film” UGS 303 COURSE SYLLABUS Instructor: Prof. Thomas j. Garza Office: Burdine BUR 458 (mailbox in BUR 452) Phone: 232-9126 or 471-3607 Email: [email protected] Office hours: T 11:00-12:30, W 2:00-3:30 (BUR 458) and any other time by appointment Class time: MW 1:00-2:00 in FAC 21 Friday meeting time/place by section Required texts: • We, Evgeny Zamyatin, [Natasha Randall, trans.] New York: Modern Library, 2006. • Worlds Apart: An Anthology of Russian Science Fiction and Fantasy. Alexander Levitsky, New York, NY: Overlook Press, 2008. [available on Canvas Modules] • Heart of a Dog, Mikhail Bulgakov, [Mirra Ginsburg, trans.] New York: Grove Press, 1968. [available on Canvas Modules] • Prisoners of Power, Strugatsky Brothers, Moscow, 1971. [excerpt on Canvas Modules] • S.N.U.F.F. Victor Pelevin, Moscow, 2011. [excerpt on Canvas Modules] • Course Packet (CP) [available on Canvas Modules] • Top Hat app [Go to app.tophat.com, click on “Sign Up,” and follow the instructions for “Student.” Our course code is: 158439] Films: [excerpted in class, most available in full versions online or on Netflix/Amazon] • Aelita Queen of Mars, «Аэлита», jakov Protozanov, dir. (1924). • Space Flight, «Космический рейс», Vasily Zhuravlev, dir. (1935). • Planet of Storms, «Планета бурь», Pavel Klushantsev, dir. (1961). • His Name Was Robert, «Его звали Роберт», Ilya Olshvanger, dir. (1967). • Soliaris, «Солярис», Andrei Tarkovsky, dir. -
Forging a New Russian Hero: Post-Soviet Science Fiction and Its Moral Objectives
Forging a New Russian Hero: Post-Soviet Science Fiction and Its Moral Objectives Elena Mironciuc Submitted in Partial Fulfillment of the Prerequisite for Honors in Russian Department April 2013 © 2013 Elena Mironciuc Acknowledgements The completion of this thesis was very much dependent on the guidance and support of my thesis advisor, Thomas Hodge. Without his expert eye and encouragement my work might not have seen the light of day. Additionally, I would like to thank Marina and Sergei Dyachenko, whom I had the pleasure to meet in person and who encouraged me to study their works. My gratitude also goes out o my friend and fellow student of Russian literature, Anya Corke, who helped me immensely with editing and formulating my work. 2 Notes on Transliteration Throughout my thesis I transliterated Russian names and titles using the Library of Congress System for Transliteration without diacritic marks. However, sometimes the writers chose to spell their names in a different manner (not according to the Library of Congress System). I made a decision to use their self-selected ways of spelling because they were also most popular and widespread. For example, instead of D'iachenko and Luk'ianenko I used Dyachenko and Lukyanenko. 3 Table of Contents Introduction ......................................................................................................................................................5 Chapter One: Sergei Lukyanenko .......................................................................................................................................................8 -
SF COMMENTARY 82 40Th Anniversary Edition, Part 3
SF COMMENTARY 82 40th Anniversary Edition, Part 3 August 2011 IN THIS ISSUE: DOUGLAS BARBOUR STEPHEN BAXTER GREGORY BENFORD JENNY BLACKFORD DAMIEN BRODERICK DITMAR (DICK JENSSEN) BRUCE GILLESPIE TERENCE M. GREEN ROSLYN KOPEL GROSS AMY HARLIB STEVE JEFFERY IAN NICHOLS CATH ORTLIEB YVONNE ROUSSEAU PETER RYAN IAN WATSON GEORGE ZEBROWSKI Cover: ‘A New Reality’ by Ditmar SF COMMENTARY 82 August 2011 72 pages 40th Anniversary Edition, Part 3 SF COMMENTARY No. 82, August 2011, is edited and published by Bruce Gillespie, 5 Howard Street, Greensborough, VIC 3068, Australia. Phone: 61-3-9435 7786. Also available in .PDF file from eFanzines.com at http://efanzines.com/SFC/SFC82.PDF or from my email address: [email protected]. Available for The Usual (letters or substantial emails of comment, artistic contributions, articles, reviews, traded publications, or review copies) or subscriptions (Australia: $50 for 5, cheques to Bruce Gillespie; Overseas: $US70 or 35 pounds for 5, or equivalent, airmail; please send folding money, not cheques). Printed by Copy Place, Basement, 105 Bourke Street, Melbourne VIC 3000. Graphics Ditmar (Dick Jenssen) (front cover); carl juarez (back cover). Photographs Gary Hoff (p. 4); unknown (p. 6); Mary Jo Kare (p. 13); Terry Green (pp. 28, 32, 35, 36, 37, 38); BSFA (p. 39); Ian Watson (p. 40); Jennifer Bryce (p. 46); Judith Clute (p. 46). 3 I MUST BE TALKING TO MY FRIENDS 52 No lack of joy in language The Editor Steve Jeffery 16 COVER STORY: A new reality 54 CRITICANTO Ditmar (Dick Jenssen) 54 Argumentum grande: Morrow’s ‘The LastWitchfinder’ 19 CONNIE WILLIS’S NEW NOVEL George Zebrowski Extensive spoilers: 56 More passion needed in Egan’s recent fiction Investigating Connie Willis’s Blackout and All Peter Ryan Clear 59 Einstein’s notebooks Yvonne Rousseau Gregory Benford 60 Garth Nix: new fiction from old themes 28 THE LIFE AND WORK OF TERENCE M. -
Twilight Watch SERGEILUKVANENK Miramax Books
Twilight Watch SERGEILUKVANENK miramax books IHHYPERIONI NEW YORK This text contains extracts from songs by the following groups: The Hibernation of Beasts (Zimovie zverei), Belomor, The White Guard (Belaya gvardiya) and Picnic; and also by Alexander Ulyanov ("Las"), Zoya Yashchenko, andKirill Komarov. Copyright © 2007 Sergei Lukyanenko All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without the written permission of the Publisher. Printed in the United States of America. For information address Hyperion, 77 West 66th Street, New York, NY 10023-6298 This book is a work of fiction. Names, characters, places and incidents are either the product of the author's imagination or are used fictitiously. Any resemblance to actual events or locales or persons, living or dead, is coincidental. ISBN: 1-4013-6021-1 ISBN 13: 978-14013-6021-4 First Edition 10 987654321 This text is of no relevance to the cause of the Light. THE NIGHT WATCH This text is of no relevance to the cause of the Darkness. THE DAY WATCH Story One NOBODY'S TIME Prologue THE GENUINE OLD Moscow HOUSE YARDS DISAPPEARED SOMETIME BE-tween the two popular bards Vysotsky and Okudzhava. A strange business. Even after the revolution, when for purposes of the struggle against "the slavery of the kitchen" they actually did away with kitchens in housing, nobody tried to get rid of the yards. Every proud Stalin block displaying its Potemkin facade to the broad avenue beside it had to have a yard—large and green, with tables and benches, with a yard keeper sweeping the asphalt clean every morning. -
Year 9 2014/15
Year 9 JOHNSON LIBRARY 2014/15 SEVENOAKS SCHOOL YEAR 9 SUGGESTED READING LIST CLASSICS AUSTEN, Jane Emma; Pride and Prejudice BRADBURY, Ray Fahrenheit 451; The Illustrated Man BRONTE, Charlotte Jane Eyre BRONTE, Emily Wuthering Heights CARROLL, Lewis Alice’s Adventures in Wonderland; Alice Through the Looking Glass COLLINS, Wilkie The Moonstone DAHL, Roald Skin and Other Stories DICKENS, Charles Oliver Twist; Childhood of David Copperfield DUMAS, Alexandre The Three Musketeers ELIOT, George Silas Marner FRANKLIN, Miles My Brilliant Career GARNER, Alan Red Shift GREENE, Graham Our Man in Havana; Brighton Rock HARDY, Thomas Under the Greenwood Tree HEMINGWAY, Ernest The Old Man and the Sea JAMES, Henry The Turn of the Screw LEE, Harper To Kill a Mocking Bird MAUPASSANT, Guy de Short Stories ORWELL, George Animal Farm POE, Edgar Alan Tales of Mystery and Imagination SHELLEY, Mary Frankenstein SMITH, Dodie I Capture the Castle STEINBECK, John The Moon is Down STEVENSON, Robert Louis The Strange Case of Dr Jekyll and Mr Hyde TOLKIEN, J.R.R. The Lord of the Rings WAUGH, Evelyn Scoop; Decline and Fall WELLS, H.G. The Time machine; War of the Worlds WODEHOUSE, P. G. Summer Lightning WYNDHAM, John Day of the Triffids; The Midwich Cuckoos PRESENT TIMES ALMOND, David Jackdaw Summer; The True Tale of the Monster Billy Dean ASHLEY, Bernard No Way to Go BROOKS, Kevin Killing God; The Bunker Diary BURGESS, Melvin Nicholas Dane CASSIDY, Anne The Story of My Life; Just Jealous; Guilt Trip; The Dead House; Dead Time; Killing Rachel CHAMBERS, Aidan Dying -
Transliterated Vampires: Subtitling and Globalization in Timur Bekmambetov’S Night Watch “Trilogy”
Courtney White Transliterated Vampires: Subtitling and Globalization in Timur Bekmambetov’s Night Watch “Trilogy” In 1947, about twenty years into the sound film Such questions of translation in global era, Hollywood Quarterly published an essay by filmmaking—of visual and aural languages, of Vsevolod Pudovkin entitled “The Global Film.” subtitling and dubbing—have been circulating That Pudovkin’s article is tinged with nostalgia for since the advent of sound film, but have rarely been the silent film era, with its unquestioned privileging addressed in critical discourse. Two recent book- of image over sound and spoken word, should length studies, Abé Mark Nornes’ Cinema Babel: come as little surprise. To Pudovkin, the silent Translating Global Cinema and Mark Betz’s Beyond film is artistically and linguistically superior to the the Subtitle: Remapping Eurpoean Art Cinema, sound film because verbal speech simultaneously have made important strides in identifying encourages a focus on dialogue over visual and addressing the theoretical and ideological imagery and montage, and because that speech implications of film translation.3 Both texts reveal must be translated in order to be understood by Pudovkin’s assumptions regarding even silent foreign audiences. A silent film’s intertitles could, film translation to be somewhat naïve. However, he asserts, “be replaced in any language without Pudovkin’s comments on the visual apparatus of harming the artistic integrity or the organic the subtitle, particularly its tendency to draw the elements of the work.”1 But a sound film presents viewer’s eye to the bottom of the screen and fix problems of translation that, to Pudovkin’s mind, it there, remain entirely relevant—and, all these inevitably ruined the artistic (read: visual) impact years later, very infrequently addressed in academic of the film: “Since the spectator has to read, almost writing on film.