Prologue from Original Sin to Eternal Life
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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. -
COCKEREL Education Guide DRAFT
VICTOR DeRENZI, Artistic Director RICHARD RUSSELL, Executive Director Exploration in Opera Teacher Resource Guide The Golden Cockerel By Nikolai Rimsky-Korsakov Table of Contents The Opera The Cast ...................................................................................................... 2 The Story ...................................................................................................... 3-4 The Composer ............................................................................................. 5-6 Listening and Viewing .................................................................................. 7 Behind the Scenes Timeline ....................................................................................................... 8-9 The Russian Five .......................................................................................... 10 Satire and Irony ........................................................................................... 11 The Inspiration .............................................................................................. 12-13 Costume Design ........................................................................................... 14 Scenic Design ............................................................................................... 15 Q&A with the Queen of Shemakha ............................................................. 16-17 In The News In The News, 1924 ........................................................................................ 18-19 -
Three Poems on the Death of Pushkin
STEPHANIE SANDLER THE LAW, THE BODY, AND THE BOOK: THREE POEMS ON THE DEATH OF PUSHKIN ... the Cheated Eye Shuts Arrogantly-in the Grave- Another way-to See- Emily Dickinson No fact of Alexander Pushkin's life or work was so important in constructing modern mythologies of Pushkin as his death. As a preliminary effort toward understanding those modern myths, I propose here to consider three nineteenth-century poems on Pushkin's death, all written soon thereafter. Mikhail Lermontov's "Smert' poeta" ("The Death of the Poet," 1837) de- fined Pushkin's death as an act of social violence and created a powerful discourse about Pushkin's death based on moral judgment. His definition itself constituted a symbolic act in Russian political and cultural life: "Smert' poeta" attained great authority for succeeding generations' writings about Pushkin's death and about the political context of his life. Less well-known accounts by Vasilii Zhukovskii and Countess Evdokiia Rostopchina will show more personal and strictly historical responses, foreshadowing the unorthodox responses of some of Pushkin's later readers. At the time of his death in a duel in 1837, Alexander Pushkin was admired as Russia's great national poet. Though his fame had declined during the 1830s, crowds who waited for news of the dying poet revealed how much Pushkin was loved and how pro- found was Russia's loss. The transformation of the death into tributes to his greatness began at once,l and Lermontov's "Smert' 1. For a survey of nineteenth-century poems about Pushkin, see R. V. Iezuitova, "Evoliutsiia obraza Pushkina v russkoi poezii XIX veka," Pushkin: Issledovaniia i materialy, 5 (1967), 113-39. -
01:510:255:90 DRACULA — FACTS & FICTIONS Winter Session 2018 Professor Stephen W. Reinert
01:510:255:90 DRACULA — FACTS & FICTIONS Winter Session 2018 Professor Stephen W. Reinert (History) COURSE FORMAT The course content and assessment components (discussion forums, examinations) are fully delivered online. COURSE OVERVIEW & GOALS Everyone's heard of “Dracula” and knows who he was (or is!), right? Well ... While it's true that “Dracula” — aka “Vlad III Dracula” and “Vlad the Impaler” — are household words throughout the planet, surprisingly few have any detailed comprehension of his life and times, or comprehend how and why this particular historical figure came to be the most celebrated vampire in history. Throughout this class we'll track those themes, and our guiding aims will be to understand: (1) “what exactly happened” in the course of Dracula's life, and three reigns as prince (voivode) of Wallachia (1448; 1456-62; 1476); (2) how serious historians can (and sometimes cannot!) uncover and interpret the life and career of “The Impaler” on the basis of surviving narratives, documents, pictures, and monuments; (3) how and why contemporaries of Vlad Dracula launched a project of vilifying his character and deeds, in the early decades of the printed book; (4) to what extent Vlad Dracula was known and remembered from the late 15th century down to the 1890s, when Bram Stoker was writing his famous novel ultimately entitled Dracula; (5) how, and with what sources, Stoker constructed his version of Dracula, and why this image became and remains the standard popular notion of Dracula throughout the world; and (6) how Dracula evolved as an icon of 20th century popular culture, particularly in the media of film and the novel. -
Reading Around the World
Reading Around Name:__________________________________ The World Phone/ Email___________________________________ Date: ___________________________________ Passport of Reading Suggestions Let the Adventure Begin! Our Spring Reading Challenge is a virtual trip around the world. We’ve divided the world into 21 regions, and invite you to travel the world by reading a book for each, OR by spending an hour learning a language spoken in that region, using the online program Mango (a free program offered by the library). As you travel, use the dots to indicate each country you have visited. Once you’ve visited 7 or more re- gions, stop by the library for a free gift (while supplies last). How to get to Mango: Go to the Auburn Public Library website. Scroll down until you see the Mango logo on the home page. It’s under the Quick Link section just below digital main library logo. Once there, sign in as a guest using the barcode number on your library card. This booklet will give you examples of both fiction and nonfiction books for each region, but you are not lim- ited to these books. Let us know if we can help! Rules: North America You must read at least 7 of the regions. Please list This includes: U.S., Canada, Mexico, Cuba, Jamaica, Barbados, Domin- them on the Travel Itinerary and put a sticker on ican Republic, Haiti, Puerto Rico, and Trinidad the region on the map you were given. Fiction: This reading challenge will go until all of the prizes have been claimed. Prizes will be claimed on a first Girl in Translation by Jean Kwok come first serve basis. -
Boston College Magazine
ALSO: RETIREMENT CRUNCH / WILLING SPIRIT LLEGE magazine t \\v i alt Grace Notes EXPERIENCING JOHN MAHONEY & 3 PROLOGUE Prospectors What would become Somerville, Jersey is to the New York City region, watched the bright swirl of dancers. It Massachusetts, was first settled so, did we discover, was our new home- is no coincidence that when Charles- by "Charles Sprague and his bretheren town to the Boston area: the morning town allowed itself to be annexed by [sic] Richard and William," late of Sa- DJ's surefire giggle starter; an easy mark Boston, Somerville stayed a stubbornly lem. They arrived in 1628, when for a lazy columnist on a slow news day. independent municipality. "Somerville" was a thickly wooded sec- We came not knowing any of this, A year after we landed, we bought a tion of Charlestown ripe for land pros- but we learned fast from the raised double-decker in whose backyard a pre- pectors like the Sprague boys. Just sh< >rt eyebrows and concerned looks we saw vious owner had planted another of three centuries later, cover subject on the faces of new acquaintances the double-decker. We stayed there 1 John Mahoney's family also came a- moment they learned where we had years. They were good years for us, and prospecting, part of the flood of refu- for Somerville. A new reform regime gees from Boston'steemingstreetswho Ifother towns were belles of had taken over City I lall. It was led by sought healthful air and lebensraum Mayor Gene Brune—a balding, middle- the bally Somerville was within streetcar commute of Boston's aged business manager, quiet as Calvin someone's stogie-chewing jobs. -
The University of Chicago Objects of Veneration
THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies............................................................................... -
The Elizabeth Bathory Story
Nar. umjet. 46/1, 2009, pp. 133-159, L. Kürti, The Symbolic Construction of the Monstruous… Original scientific paper Received: 2nd Jan. 2009 Accepted: 15th Feb. 2009 UDK 392.28:291.13] LÁSZLÓ KÜRTI University of Miskolc, Miskolc THE SYMBOLIC CONSTRUCTION OF THE MONSTROUS – THE ELIZABETH BATHORY STORY This article analyzes several kinds of monsters in western popular culture today: werewolves, vampires, morlaks, the blood-countess and other creatures of the underworld. By utilizing the notion of the monstrous, it seeks to return to the most fundamental misconception of ethnocentrism: the prevailing nodes of western superiority in which tropes seem to satisfy curiosities and fantasies of citizens who should know better but in fact they do not. The monstrous became staples in western popular cultural production and not only there if we take into account the extremely fashionable Japanese and Chinese vampire and werewolf fantasy genre as well. In the history of East European monstrosities, the story of Countess Elizabeth Bathory has a prominent place. Proclaimed to be the most prolific murderess of mankind, she is accused of torturing young virgins, tearing the flesh from their living bodies with her teeth and bathing in their blood in her quest for eternal youth. The rise and popularity of the Blood Countess (Blutgräfin), one of the most famous of all historical vampires, is described in detail. In the concluding section, examples are provided how biology also uses vampirism and the monstrous in taxonomy and classification. Key words: scholarship; monstrosity; vampirism; blood-countess; Elizabeth Bathory There are several kinds of monsters in western popular culture today: werewolves, vampires, morlaks, the blood-countess and other creatures of the underworld. -
Dracula: Hero Or Villain? Radu R
Dracula: Hero or Villain? Radu R. Florescu racula is the real name of a Left: Portrait of Dracula Wallachian ruler, also known to at Castle Ambras, near DRomanian chroniclers as Vlad lnnsbruck, Austria. The the Impaler. Dracula is a derivative of artist is unknown, but his father's name, Dracul, which in this appears to be a Romanian means the devil. According to copy painted during the those more charitably inclined, the second half of the 16th father was so known because he had century from an earlier been invested by the Holy Roman original that was proba Emperor with the Order of the Dragon, bly painted during dedicated to fighting "the Infidel:' Dracula's imprison Dracula was, therefore, either the son of ment at Buda or evil or the son of good, villain or hero. Visegnid after 1462. Dracula ruled the Romanian princi pality of Wallachia on three separate occasions: in 1448, from 1456 to 1462, Right: The Chindia and, briefly, shortly before his assassina watchtower at Tirgo tion in 1476. These dates correspond to vi~te; a 19th-century one of the most crucial periods in the reconstruction. Apart country's history. Constantinople had from its role as an fallen in 1453, most of the lands south of observation post, it Wallachia had been converted into enabled Dracula to Turkish pashaliks, and the last hero of watch impalements in the Balkan crusades, John Hunyadi, had the courtyard below. died in the plague of Belgrade in 1456. Images courtesy The Danube was thus the frontier of Radu R. Florescu Christendom at a time when Moham med the Conqueror was planning fur chronicle which mentions Dracula, dat Genoese, English, and French chroniclers ther Turkish inroads. -
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International Conference on Arts, Design and Contemporary Education (ICADCE 2016) Russianness in the Works of European Composers Liudmila Kazantseva Department of Theory and History of Music Astrakhan State Concervatoire Astrakhan, Russia E-mail: [email protected] Abstract—For the practice of composing a conscious Russianness is seen more as an exotic). As one more reproduction of native or non-native national style is question I’ll name the ways and means of capturing Russian traditional. As the object of attention of European composers origin. are constantly featured national specificity of Russian culture. At the same time the “hit accuracy” ranges here from a Not turning further on the fan of questions that determine maximum of accuracy (as a rule, when finding a composer in the development of the problems of Russian as other- his native national culture) to a very distant resemblance. The national, let’s focus on only one of them: the reasons which out musical and musical reasons for reference to the Russian encourage European composers in one form or another to culture they are considered in the article. Analysis shows that turn to Russian culture and to make it the subject of a Russiannes is quite attractive for a foreign musicians. However creative image. the European masters are rather motivated by a desire to show, to indicate, to declare the Russianness than to comprehend, to II. THE OUT MUSICAL REASONS FOR REFERENCE TO THE go deep and to get used to it. RUSSIAN CULTURE Keywords—Russian music; Russianness; Western European In general, the reasons can be grouped as follows: out composers; style; polystyle; stylization; citation musical and musical. -
Cultural Stereotypes: from Dracula's Myth to Contemporary Diasporic Productions
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2006 Cultural Stereotypes: From Dracula's Myth to Contemporary Diasporic Productions Ileana F. Popa Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the English Language and Literature Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/1345 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Cultural Stereotypes: From Dracula's Myth to Contemporary Diasporic Productions A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Virginia Commonwealth University. Ileana Florentina Popa BA, University of Bucharest, February 1991 MA, Virginia Commonwealth University, May 2006 Director: Marcel Cornis-Pope, Chair, Department of English Virginia Commonwealth University Richmond, Virginia May 2006 Table of Contents Page Abstract.. ...............................................................................................vi Chapter I. About Stereotypes and Stereotyping. Definitions, Categories, Examples ..............................................................................1 a. Ethnic stereotypes.. ........................................................................3 b. Racial stereotypes. -
Levan Bregadze the Markers of Nikoloz Baratashvili's
Levan Bregadze The Markers of Nikoloz Baratashvili’s Romanticism Abstract: It is discussed N. Baratashvili’s romanticism in close connection with the worldview of one of the most prominent creators and thinkers, “foremost” romanticist Novalis; on the basis of Novalis’ perception of the life romanticizing, using the technical means of polarization and potentiation it is studied how in the Nikoloz Baratashvili’s creative works the relationship with the universe, people, everyday occurrences is romanticized, the goal of which is to make the life intensive, full-blooded, to open its way towards infinity. Key words: Baratashvili, Novalis, romanticism, polarization, potentiation. Most of the writer-romanticists lived short lives: Edgar Allan Poe lived 40 years on this earth, Giacomo Leopardi and Juliusz Słowacki died at their 39th years of age, Charlotte Brontë passed away at the age of 38, Robert Burns and Alexander Pushkin diedat 37, George Gordon Byron – 36, José María Heredia – 35, Heinrich von Kleist, José de Espronceda and Gustavo Adolfo Bécquer – 34, Wilhelm Müller – 33, Percy Bysshe Shelley and Emily Brontë -30, Novalis, Anne Brontë and Branko Radičević – 29, Nikoloz Baratashvili – 27, Mikhail Lermontov, Sándor Petőfi, Karel Hynek Mácha and Karoline von Günderrode – 26, John Keats, Wilhelm Hauff and Wilhelm Heinrich Wackenroder – 25... and yet, in the short time of their lives, they created the literature of such a quality that they will remain in the memory of mankind forever; some of them marked the history of literature so profoundly that they still influence and will continue to influence in future the spiritual formation of people. How did they manage that? What explanation can be found? The answer to this conundrumhas to be found in their philosophy of life, in the philosophy of romantic life.