Science and Pseudo-Science in Modern Studies of Aleksandr Nevskii
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History 251 Medieval Russia
Medieval Russia Christian Raffensperger History 251H/C - 1W Fall Semester - 2012 MWF 11:30-12:30 Hollenbeck 318 Russia occupies a unique position between Europe and Asia. This class will explore the creation of the Russian state, and the foundation of the question of is Russia European or Asian? We will begin with the exploration and settlement of the Vikings in Eastern Europe, which began the genesis of the state known as “Rus’.” That state was integrated into the larger medieval world through a variety of means, from Christianization, to dynastic marriage, and economic ties. However, over the course of the twelfth and thirteenth centuries the creation of the crusading ideal and the arrival of the Mongols began the process of separating Rus’ (becoming Russia) from the rest of Europe. This continued with the creation of power centers in NE Russia, and the transition of the idea of empire from Byzantium at its fall to Muscovy. This story of medieval Russia is a unique one that impacts both the traditional history of medieval Europe, as well as the birth of the first Eurasian empire. Professor: Christian Raffensperger Office: Hollenbeck 311 Office Phone: 937-327-7843 Office Hours: MWF 9:00–11:00 A.M. or by appointment E-mail address: [email protected] Assignments and Deadlines The format for this class is lecture and discussion, and thus attendance is a main requirement of the course, as is participation. As a way to track your progress on the readings, there will be a series of quizzes during class. All quizzes will be unannounced. -
USAF Counterproliferation Center CPC Outreach Journal #952
Issue No. 952, 28 October 2011 Articles & Other Documents: Featured Article: U.S. Releases New START Nuke Data 1. 'IAEA Report Can Stymie Iran-P5+1 Talks' 2. German Wavers over Sale of Sub to Israel: Report 3. Armenian Nuclear Specialists Move to Iran for Better Life 4. Seoul, US Cautiously Move on 6-Party Talks 5. N. Korea Remains Serious Threat: US Defence Chief 6. Seoul, Beijing Discuss NK Issues 7. Pentagon Chief Doubts N. Korea Will Give Up Nukes 8. U.S.’s Panetta and South Korea’s Kim Warn Against North Korean Aggression 9. Pakistan Tests Nuclear-Capable Hatf-7 Cruise Missile 10. Libya: Stockpiles of Chemical Weapons Found 11. U.S. Has 'Nuclear Superiority' over Russia 12. Alexander Nevsky Sub to Be Put into Service in Late 2012 13. New Subs Made of Old Spare Parts 14. Successful Test Launch for Russia’s Bulava Missile 15. Topol Ballistic Missiles May Stay in Service until 2019 16. U.S. Releases New START Nuke Data 17. Army Says Umatilla Depot's Chemical Weapons Mission Done 18. Iran Dangerous Now, Imagine It Nuclear 19. START Treaty: Never-Ending Story 20. The "Underground Great Wall:" An Alternative Explanation 21. What’s Down There? China’s Tunnels and Nuclear Capabilities 22. Visits Timely and Important 23. Surgical Strikes Against Key Facilities would Force Iran to Face Military Reality 24. KAHLILI: Iran Already Has Nuclear Weapons Welcome to the CPC Outreach Journal. As part of USAF Counterproliferation Center’s mission to counter weapons of mass destruction through education and research, we’re providing our government and civilian community a source for timely counterproliferation information. -
EMR 12029 Alexander Nevsky
Alexander Nevsky Russia under the Mongolian yoke / Arise, you Russian people / The Battle On Ice The Field of the Dead / Alexander’s Entry Into Pskov Wind Band / Concert Band / Harmonie / Blasorchester Arr.: John Glenesk Mortimer Sergeï Prokofiev EMR 12029 st 1 Score 2 1 Trombone + nd 1 Piccolo 2 2 Trombone + 8 Flute 1 Bass Trombone + 1 Oboe (optional) 2 Baritone + 1 Bassoon (optional) 2 E Bass 1 E Clarinet (optional) 2 B Bass st 5 1 B Clarinet 1 Tuba 4 2nd B Clarinet 1 String Bass (optional) 4 3rd B Clarinet 1 Timpani 1 B Bass Clarinet (optional) 1 1st Percussion (Xylophone / Glockenspiel / Snare Drum 1 B Soprano Saxophone (optional) Wood Block) 2 1st E Alto Saxophone 1 2nd Percussion (Cymbals / Bass Drum / Triangle) 2 2nd E Alto Saxophone 1 3rd Percussion (Tam-Tam / Tambourine / Suspended 2 B Tenor Saxophone Cymbal) 1 E Baritone Saxophone (optional) 1 E Trumpet / Cornet (optional) Special Parts 2 1st B Trumpet / Cornet 1 1st B Trombone 2 2nd B Trumpet / Cornet 1 2nd B Trombone 2 3rd B Trumpet / Cornet 1 B Bass Trombone 2 1st F & E Horn 1 B Baritone 2 2nd F & E Horn 1 E Tuba 2 3rd F & E Horn 1 B Tuba Print & Listen Drucken & Anhören Imprimer & Ecouter ≤ www.reift.ch Route du Golf 150 CH-3963 Crans-Montana (Switzerland) Tel. +41 (0) 27 483 12 00 Fax +41 (0) 27 483 42 43 E-Mail : [email protected] www.reift.ch DISCOGRAPHY Cinemagic 39 Track Titel / Title Time N° EMR N° EMR N° (Komponist / Composer) Blasorchester Brass Band Concert Band 1 Terminator (Fiedel) 5’34 EMR 12074 EMR 9718 2 Robocop 3 (Poledouris) 3’39 EMR 12131 EMR 9719 3 Rio Bravo (Tiomkin) 4’22 EMR 12085 EMR 9720 4 The Poseidon (Badelt) 4’02 EMR 12116 EMR 9721 5 Another Brick In The Wall (Waters) 4’14 EMR 12068 EMR 9722 6 Alexander Nevsky (Prokofiev) 9’48 EMR 12029 - 7 I’m Dreaming Of Home (Rombi) 4’38 EMR 12115 EMR 9723 8 Spartacus (Vengeance) (LoDuca) 4’13 EMR 12118 EMR 9724 9 The Crimson Pirate (Alwyn) 5’08 EMR 12041 EMR 9725 Zu bestellen bei • A commander chez • To be ordered from: Editions Marc Reift • Route du Golf 150 • CH-3963 Crans-Montana (Switzerland) • Tel. -
History Is Made in the Dark 4: Alexander Nevsky: the Prince, the Filmmaker and the Dictator
1 History Is Made in the Dark 4: Alexander Nevsky: The Prince, the Filmmaker and the Dictator In May 1937, Sergei Eisenstein was offered the opportunity to make a feature film on one of two figures from Russian history, the folk hero Ivan Susanin (d. 1613) or the mediaeval ruler Alexander Nevsky (1220-1263). He opted for Nevsky. Permission for Eisenstein to proceed with the new project ultimately came from within the Kremlin, with the support of Joseph Stalin himself. The Soviet dictator was something of a cinephile, and he often intervened in Soviet film affairs. This high-level authorisation meant that the USSR’s most renowned filmmaker would have the opportunity to complete his first feature in some eight years, if he could get it through Stalinist Russia’s censorship apparatus. For his part, Eisenstein was prepared to retreat into history for his newest film topic. Movies on contemporary affairs often fell victim to Soviet censors, as Eisenstein had learned all too well a few months earlier when his collectivisation film, Bezhin Meadow (1937), was banned. But because relatively little was known about Nevsky’s life, Eisenstein told a colleague: “Nobody can 1 2 find fault with me. Whatever I do, the historians and the so-called ‘consultants’ [i.e. censors] won’t be able to argue with me”.i What was known about Alexander Nevsky was a mixture of history and legend, but the historical memory that was most relevant to the modern situation was Alexander’s legacy as a diplomat and military leader, defending a key western sector of mediaeval Russia from foreign foes. -
Stéphane Denève, Conductor Yefim Bronfman, Piano Clémentine
Stéphane Denève, conductor Friday, February 15, 2019 at 8:00pm Yefim Bronfman, piano Saturday, February 16, 2019 at 8:00pm Clémentine Margaine, mezzo-soprano St. Louis Symphony Chorus Amy Kaiser, director PROKOFIEV Cinderella Suite (compiled by Stéphane Denève) (1940-1944) (1891-1953) Introduction Pas-de-chale Interrupted Departure Clock Scene - The Prince’s Variation Cinderella’s Arrival at the Ball - Grand Waltz Promenade - The Prince’s First Galop - The Father Amoroso - Cinderella’s Departure for the Ball - Midnight PROKOFIEV Piano Concerto No. 2 in G minor, op. 16 (1913) Andantino; Allegretto; Tempo I Scherzo: Vivace Intermezzo: Allegro moderato Finale: Allegro tempestoso Yefim Bronfman, piano INTERMISSION 23 PROKOFIEV Alexander Nevsky, op. 78 (1938) Russia under the Mongolian Yoke Song about Alexander Nevsky The Crusaders in Pskov Arise, ye Russian People The Battle on the Ice The Field of the Dead Alexander’s Entry into Pskov Clémentine Margaine, mezzo-soprano St. Louis Symphony Chorus Amy Kaiser, director ACKNOWLEDGMENTS The 2018/2019 Classical Series is presented by World Wide Technology and The Steward Family Foundation. Stéphane Denève is the Linda and Paul Lee Guest Artist. Yefim Bronfman is the Carolyn and Jay Henges Guest Artist. The concert of Friday, February 15, is underwritten in part by a generous gift from Sally S. Levy. The concert of Saturday, February 16, is underwritten in part by a generous gift from Ms. Jo Ann Taylor Kindle. The St. Louis Symphony Chorus is underwritten in part by the Richard E. Ashburner, Jr. Endowed Fund. The St. Louis Symphony Chorus is underwritten in part by the Edward Chase Garvey Memorial Foundation. -
17 Infidel Turks and Schismatic Russians in Late Medieval Livonia
Madis Maasing 17 Infidel Turks and Schismatic Russians in Late Medieval Livonia 17.1 Introduction At the beginning of the sixteenth century, political rhetoric in Livonia was shaped by the threat posed by an alien power: Following a significant deterio- ration in the relations between the Catholic Livonian territories and their mighty Eastern Orthodox neighbour – the Grand Duchy of Moscow – war broke out, lasting from 1501 to 1503, with renewed armed conflict remaining an immi- nent threat until 1509. During this period of confrontation, and afterwards, the Livonians (i.e., the political elite of Livonia) fulminated in their political writ- ings about the gruesome, schismatic, and even infidel Russians, who posed a threat not only to Livonia, but to Western Christendom in general. In the Holy Roman Empire and at the Roman Curia, these allegations were quite favoura- bly received. Arguably, the Livonians’ greatest success took the form of a papal provision for two financially profitable anti-Russian indulgence campaigns (1503–1510). For various political reasons, the motif of a permanent and general ‘Russian threat’ had ongoing currency in Livonia up until the Livonian War (1558–1583). Even after the collapse of the Livonian territories, the Russian threat motif continued to be quite effectively used by other adversaries of Mos- cow – e.g., Poland-Lithuania and Sweden. I will focus here first and foremost on what was behind the initial success of the Russian threat motif in Livonia, but I will also address why it persisted for as long as it did. A large part of its success was the fact that it drew upon a similar phenomenon – the ‘Turkish threat’,1 which played a significant role in the political rhetoric of Early Modern Europe, especially in south-eastern 1 This research was supported by the Estonian Research Council’s PUT 107 programme, “Me- dieval Livonia: European Periphery and its Centres (Twelfth–Sixteenth Centuries)”, and by the European Social Fund’s Doctoral Studies and Internationalization Programme DoRa, which is carried out by Foundation Archimedes. -
Eisenstein's "Ivan the Terrible, Part II" As Cultural Artifact Beverly Blois
Eisenstein's "Ivan The Terrible, Part II" as Cultural Artifact Beverly Blois In one of the most famous Russian paintings, Ilya Repin's "Ivan the Terrible with his murdered son," an unkempt and wild-eyed tsar clutches his expiring son, from whose forehead blood pours forth. Lying beside the two men is a large staff with which, moments earlier, Ivan had in a fit of rage struck his heir-apparent a mortal blow. This was a poignant, in fact tragic, moment in the history of Russia because from this event of the year 1581, a line of rulers stretching back to the ninth century effectively came to an end, ushering in a few years later the smutnoe vermia ("time of trouble") the only social crisis in Russian history that bears comparison with the revolution of 1917. Contemporary Russians tell an anekdot about this painting in which an Intourist guide, leading a group of Westerners rapidly through the rooms of the Tretiakov Gallery in Moscow, comes to Repin's canvas, and wishing, as always, to put the best face on things, says, "And here we have famous painting, Ivan the Terrible giving first aid to his son." The terribilita of the sixteenth century tsar had been modernized to fit the needs of the mid-twentieth century. Ivan had been reinterpreted. In a similar, but not so trifling way, Sergei Eisenstein was expected to translate the outlines of Ivan's accomplishments into the modern language of socialist realism when he was commissioned to produce his Ivan films in 1941. While part one of his film, released in 1945, won the Stalin Prize, First Class, part two, which was very dose to release in 1946, was instead withheld. -
POSITION About the Eleventh International Youth Film
POSITION About the eleventh international youth film festival "Light to the world", dedicated to the 800th anniversary of the birth of the Holy Grand Duke Alexander Nevsky. (May 12-15, 2021, Yaroslavl oblast) (The date of the final can be changed to an indefinite period in connection with the pandemic) "I am the light of the world; he who follows Me shall not walk in darkness, but shall have the light of life" (Jn. 8: 12) 1. Objective: to promote the spiritual, moral, Patriotic and aesthetic education of the modern youth. 2. Tasks: - create an environment of healthy creative communication between children's and youth film studios and individual young film enthusiasts; - provide methodological and practical assistance to specialists working in the field of children's and youth film-making, as well as education and upbringing of children and youth; - identify and support gifted children; - identify and support young film enthusiasts and film enthusiasts who make films for children, promote traditional spiritual and moral values, patriotism, and a healthy lifestyle. 3. The organizers of the competition: The festival is co-organized by the Rybinsk diocese of the Russian Orthodox Church and the National copyright holders support Fund (Moscow). The project is being implemented in 2021 using a grant from the President of the Russian Federation for the development of civil society provided by the presidential grants Fund. The festival is supported by the administration of the Yaroslavl region and its subjects, state, commercial and public structures, PIA " Russian chronicle "(Yaroslavl), the center" Sunny " (Rybinsk), the gallery of modern Orthodox art and painting" Under the Holy cover " (Uglich), as well as the media. -
Top Moscow Observation Decks Moscow Tours
Moscow Metro Map Sights and Tourist Attractions 23 Kadashevskaya 34 Andronikov Monastery 46 Maly Theatre 58 Central Moscow Sloboda Museum Complex Tel.: +7 (495) 911-45-02 Tel.: +7 (495) 624-40-46 Hippodrome Tel.: +7 (925) 131-19-06 10 Andronyevskaya Sq. 1 Teatralny Pass. Tel.: +7 (495) 945-42-03 MUSEUMS 12 Bakhrushin State 2 Kadashevsky Blind maly.ru 22 Begovaya St., bld. 1 1 Moscow Kremlin Central Theatre Museum 35 Krutitskoye Lane, bld. 5 cmh.ru Museums Tel.: +7 (495) 953-44-70 Patriarchal Metochion 47 Chekhov Moscow museumkadashi.com Tel.: +7 (495) 695-41-46 31/12 Bakhrushina St. Tel.: +7 (495) 676-30-93 Art Theatre GARDENS, PARKS, ZOO The Kremlin gctm.ru 24 Polytechnic Museum 13 Krytitskaya St. Tel.: +7 (495) 629-87-60 59 Zaryadye Park kreml.ru +7 (495) 730-54-38 krutitsy.ru 3 Kamergersky Lane Tel.: +7 (495) 531-05-00 13 Pushkin Memorial TOURIST CALL CENTER OF MOSCOW 9 Lubyansky Lane, bld. 1 6 Varvarka St. 2 State Historical Apartment on Arbat 36 Kazan Cathedral mxat.ru 8-800-302-31-12 AND 8-800-350-51-12 polymus.ru zaryadyepark.ru Museum Tel.: +7 (499) 241-92-95 on Red Square 48 Gorky Moscow +7 (495) 587-71-12 Tel.: +7 (495) 692-40-19 53 Arbat St. MODERN ART CENTERS Tel.: +7 (495) 698-27-26 Art Theatre 60 Alexandrov Gardens MOSCOW TOURIST PORTAL 1 Red Square pushkinmuseum.ru 25 Winzavod Centre 3 Nikolskaya St. On the northwest side Tel.: +7 (495) 697-87-73 DISCOVER.MOSCOW shm.ru of Contemporary Art kazanski-sobor.ru of the Kremlin walls 14 Bulgakov Museum 22 Tverskoy Boulevard 3 Tel.: +7 (495) 917-46-46 Tretyakov Gallery Tel.: +7 (495) 699-53-66 37 Vysokopetrovsky mxat-teatr.ru 61 Hermitage Garden MOSCOW GUEST PASS CARD: Tel.: +7 (495) 957-07-27 1/8 4th Syromyatnichesky RUSSIANCITYPASS.COM 10 Bolshaya Sadovaya St. -
Church, Nation and State in Russia and Ukraine
EDITED BY GEOFFREY A.HOS KING Church, Natioh and State in Russia and Ukraine CHURCH, NATION AND STATE IN RUSSIA AND UKRAINE Church, Nation and State in Russia and Ukraine Edited by Geoffrey A. Hosking Professor of Russian History School of Slavonic and East European Studies University of London Canadian Institute of Ukrainian Studies Press University of Alberta Copyright © 1990 Canadian Institute of Ukrainian Studies Press University of Alberta Edmonton, Alberta, Canada Canadian Cataloguing in Publication Data Main entry under title: Church, nation and state in Russia and Ukraine ISBN 0-920862-71-3 1. Church and state—Soviet Union—History. 2. Church and state—Ukraine—History. I. Hosking, Geoffrey A. BR933.C58 1990 322’.1’0947 C90-091565-X All rights reserved. No part of this publication may be produced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the copyright owner. Printed in Hong Kong. Contents Acknowledgements vii Preface viii Notes on the Contributors xii 1 The Formation of Modern Ukrainian Religious Cul- 1 ture: The Sixteenth and Seventeenth Centuries Frank E. Sysyn 2 The Spirituality of the Vyg Fathers 23 Robert O. Crummey 3 The Authority of Holiness: Women Ascetics and 38 Spiritual Elders in Nineteenth-century Russia Brenda Meehan-Waters 4 The Greek Catholic Church in Nineteenth-century 52 Galicia John-Paul Himka 5 Printing the Bible in the Reign of Alexander I: 65 Toward a Reinterpretation of the Imperial Russian Bible Society Stephen K. Batalden 6 Christianity, the Service Ethic and Decembrist 79 Thought Franklin A. -
Classical 5: Russia Was the Center of Much Revolution in the 20Th Century
Classical 5: Russia was the center of much revolution in the 20th century. Inventive and dramatic music of Shostakovich and Prokofiev capture the cultural spirit of the time. Dmitri Shostakovich (September 12/25, 1906-August 9, 1975) Symphony No. 5 in D minor, op. 47 (1937) Born in St. Petersburg, Russia, into a politically liberal family, Shostakovich was a child prodigy as a pianist and composer. He entered the Petrograd Conservatory at age 13, and by the time he graduated in 1926, Shostakovich was intent pursuing a dual career as a pianist and composer, but early success with his First Symphony led him to concentrate on composition. The premiere of his opera Lady Macbeth of the Mtsensk District in 1934 was a resounding success with critics and the public, and placed him at the forefront of Soviet musical composition. This also made him a target. Two years later, amid Stalin’s Great Terror, an article entitled “Muddle instead of music” took Shostakovich to task for producing “leftist confusion instead of natural, human music,” and warned him of the consequences of not changing his style to something more appropriate. The general public caught completely by surprise, and the composer was well aware that the consequences included the threat of death. His musical response was calculated carefully as he searched for the right balance between the directives for music that promoted the right sorts of emotional responses, accomplished by using overt lyricism and heroic textures, and his artistic desires for forward-looking styles. Much was at stake at the premiere of the Fifth Symphony on November 21, 1937. -
The Chronicle of Novgorod 1016-1471
- THE CHRONICLE OF NOVGOROD 1016-1471 TRANSLATED FROM THE RUSSIAN BY ROBERT ,MICHELL AND NEVILL FORBES, Ph.D. Reader in Russian in the University of Oxford WITH AN INTRODUCTION BY C. RAYMOND BEAZLEY, D.Litt. Professor of Modern History in the University of Birmingham AND AN ACCOUNT OF THE TEXT BY A. A. SHAKHMATOV Professor in the University of St. Petersburg CAMDEN’THIRD SERIES I VOL. xxv LONDON OFFICES OF THE SOCIETY 6 63 7 SOUTH SQUARE GRAY’S INN, W.C. 1914 _. -- . .-’ ._ . .e. ._ ‘- -v‘. TABLE OF CONTENTS PAGE General Introduction (and Notes to Introduction) . vii-xxxvi Account of the Text . xxx%-xli Lists of Titles, Technical terms, etc. xlii-xliii The Chronicle . I-zzo Appendix . 221 tJlxon the Bibliography . 223-4 . 225-37 GENERAL INTRODUCTION I. THE REPUBLIC OF NOVGOROD (‘ LORD NOVGOROD THE GREAT," Gospodin Velikii Novgorod, as it once called itself, is the starting-point of Russian history. It is also without a rival among the Russian city-states of the Middle Ages. Kiev and Moscow are greater in political importance, especially in the earliest and latest mediaeval times-before the Second Crusade and after the fall of Constantinople-but no Russian town of any age has the same individuality and self-sufficiency, the same sturdy republican independence, activity, and success. Who can stand against God and the Great Novgorod ?-Kto protiv Boga i Velikago Novgoroda .J-was the famous proverbial expression of this self-sufficiency and success. From the beginning of the Crusading Age to the fall of the Byzantine Empire Novgorod is unique among Russian cities, not only for its population, its commerce, and its citizen army (assuring it almost complete freedom from external domination even in the Mongol Age), but also as controlling an empire, or sphere of influence, extending over the far North from Lapland to the Urals and the Ob.