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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. -
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. -
Early Russia
Early Russia Timeline Cards Subject Matter Expert Chapter 1, Card 5 The Christening of Grand Duke Vladimir (c.956–1015), 1885–96 (mural), Vasnetsov, Victor Mikhailovich (1848–1926) / Vladimir Matthew M. Davis, PhD, University of Virginia Cathedral, Kiev, Ukraine / Bridgeman Images Illustration and Photo Credits Chapter 2, Card 1 Russia: Sacking of Suzdal by Batu Khan in February, 1238. Mongol Title Ivan IV Vasilyevich (Ivan the Terrible 1530–1584) Tsar of Russia from 1533, leading Invasion of Russia. A miniature from the 16th century chronicle of his army at the Siege of Kazan in August 1552, 1850 / Universal History Archive/UIG / Suzdal / Pictures from History / Bridgeman Images Bridgeman Images Chapter 2, Card 2 Portrait of Marco Polo (1254–1324), by Dolfino / Biblioteca Nazionale, Chapter 1, Card 1 Jacob Wyatt Turin, Italy / Bridgeman Images Chapter 1, Card 2 Exterior view of Haghia Sophia, built 532–37 AD/Istanbul, Turkey/ Chapter 2, Card 3 Battle between the Russian and Tatar troops in 1380, 1640s (oil on Bildarchiv Steffens/Bridgeman Images canvas), Russian School, (17th century) / Art Museum of Yaroslavl, Chapter 1, Card 4 The Conversion of Olga (d.969) from the Madrid Skylitzes (vellum), Russia / Bridgeman Images Byzantine School, (12th century) / Biblioteca Nacional, Madrid, Spain / Chapter 3 Tsar Ivan III (1440–1505) Tearing the Deed of Tatar Khan, 1862 (oil Bridgeman Images on canvas), Shustov, Nikolai Semenovich (c.1838–69) / Sumy Art Museum, Sumy, Ukraine / Bridgeman Images Creative Commons Licensing Chapter 4 Ivan IV Vasilyevich (Ivan the Terrible 1530–1584) Tsar of Russia from This work is licensed under a 1533, leading his army at the Siege of Kazan in August 1552, 1850 / Creative Commons Attribution-NonCommercial-ShareAlike Universal History Archive/UIG / Bridgeman Images 4.0 International License. -
Boris Godunov
Boris Godunov and Little Tragedies Alexander Pushkin Translated by Roger Clarke FE<NFIC; :C8JJ@:J ONEWORLD CLASSICS LTD London House 243-253 Lower Mortlake Road Richmond Surrey TW9 2LL United Kingdom www.oneworldclassics.com Boris Godunov first published in Russian in 1831 The Mean-Spirited Knight first published in Russian in 1836 Mozart and Salieri first published in Russian in 1831 The Stone Guest first published in Russian in 1839 A Feast during the Plague first published in Russian in 1832 This translation first published by Oneworld Classics Limited in 2010 English translations, introductions, notes, extra material and appendices © Roger Clarke, 2010 Front cover image © Catriona Gray Printed in Great Britain by MPG Books, Cornwall ISBN: 978-1-84749-147-3 All the material in this volume is reprinted with permission or presumed to be in the public domain. Every effort has been made to ascertain and acknowledge the copyright status, but should there have been any unwitting oversight on our part, we would be happy to rectify the error in subsequent printings. All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise), without the prior written permission of the publisher. This book is sold subject to the condition that it shall not be resold, lent, hired out or otherwise circulated without the express prior consent of the publisher. Contents Boris Godunov 1 Introduction by Roger Clarke 3 Boris Godunov 9 Little Tragedies 105 Introduction by Roger Clarke 107 The Mean-Spirited Knight 109 Mozart and Salieri 131 The Stone Guest 143 A Feast during the Plague 181 Notes on Boris Godunov 193 Notes on Little Tragedies 224 Extra Material 241 Alexander Pushkin’s Life 243 Boris Godunov 251 Little Tragedies 262 Translator’s Note 280 Select Bibliography 282 Appendices 285 1. -
Peter the Great and His Changing Identity Emily Frances Pagrabs Wofford College
Wofford College Digital Commons @ Wofford Student Scholarship 5-2016 Peter the Great and His Changing Identity Emily Frances Pagrabs Wofford College Follow this and additional works at: http://digitalcommons.wofford.edu/studentpubs Part of the European History Commons, and the Slavic Languages and Societies Commons Recommended Citation Pagrabs, Emily Frances, "Peter the Great and His Changing Identity" (2016). Student Scholarship. Paper 17. http://digitalcommons.wofford.edu/studentpubs/17 This Honors Thesis is brought to you for free and open access by Digital Commons @ Wofford. It has been accepted for inclusion in Student Scholarship by an authorized administrator of Digital Commons @ Wofford. For more information, please contact [email protected]. Peter the Great and His Changing Identity Senior History Honors Thesis May 11, 2016 Emiley Pagrabs Pagrabs 1 Introduction Well aware of the perception that foreigners held of him, Peter the Great would never apologize for his nationality or his country. A product of his upbringing, Peter did have some qualities that many foreigners criticized as barbaric and harsh. Said Peter: They say that I am cruel; that is what foreigners think of me, but who are they to judge? They do not know what the situation was at the beginning of my reign, and how many were opposed to my plans, and brought about the failure of projects which would have been of great benefit to my country obliging me to arm myself with great severity; but I have never been cruel…I have always asked for the cooperation of those of my subjects in whom I have perceived intelligence and patriotism, and who, agreeing with my views, were ready to support them.1 Essentially, Peter I was simply a Russian. -
01 5 Faces of Russia
The Faces of Russia Grade Level: Fifth Grade Presented by: Teresa Beazley, Hardy Oak Elementary School, San Antonio, TX Laura Eberle, Hardy Oak Elementary, San Antonio, TX Length of Unit: 2 weeks (9 lessons) I. ABSTRACT This is a unit written for fifth grade on the early growth and expansion of Russia, from the time of Ivan the Great to Catherine the Great. It covers in detail the topics outlined in the world civilization strand of the Core Knowledge Sequence, as well as the related geography topics. Students will look at the many faces of Russia to understand how her history has been shaped by the geography of the region, the cultures that influenced her beginning, and the strong leadership of the early czars. The unit is comprised of nine lessons that are designed to be covered in a two-week period. II. OVERVIEW A. Concept Objectives 1. Understand how geography influences the development of a country. 2. Understand how political systems gain and exercise power over people and land. 3. Appreciate how cultures honor their heritage through their arts, architecture, literature and symbols B. Content covered from Core Knowledge Sequence 1. Russia as the successor to Byzantine Empire 2. Moscow as the new center of Eastern Orthodox Church and Byzantine culture 3. Ivan III (The Great); “czar” 4. Ivan IV (The Terrible) 5. Peter the Great: modernizing and “Westernizing” Russia 6. Catherine the Great 7. Geography of Russia a. Moscow and St. Petersburg b. Ural Mountains, Siberia, steppes c. Volga and Don Rivers d. Black, Caspian, and Baltic Seas e. -
Russia in the Accounts of Sixteenth-Century English Voyagers, Ed
Rude and Barbarous Kingdom: Russia in the Accounts of Sixteenth-Century English Voyagers, ed. Lloyd E. Berry and Robert O. Crummey, Madison, Milwaukee and London: University of Wisconsin Press, 1968. xxiii, 391 pp. $7.50. This attractively-presented volume is yet another instance of the work of publishers in making available in a more accessible form primary sources which it was hitherto necessary to seek among dusty collections of the Hakluyt Society publications. Here we have in a single volume accounts of the travels of Richard Chancellor, Anthony Jenkinson and Thomas Randolph, together with the better-known and more extensive narrative contained in Giles Fletcher's Of the Russe Commonwealth and Sir Jerome Horsey's Travels. The most entertaining component of this volume is certainly the series of descriptions culled from George Turberville's Tragicall Tales, all written to various friends in rhyming couplets. This was apparently the sixteenth-century equivalent of the picture postcard, through apparently Turberville was not having a wonderful time! English merchants evidently enjoyed high favour at the court of Ivan IV, but Horsey's account reflects the change of policy brought about by the accession to power of Boris Godunov. Although the English travellers were very astute observers, naturally there are many inaccuracies in their accounts. Horsey, for instance, mistook the Volkhov for the Volga, and most of these good Anglicans came away from Russia with weird ideas about the Orthodox Church. The editors have, by their introductions and footnotes, provided an invaluable service. However, in the introduction to the text of Chancellor's account it is stated that his observation of the practice of debt-bondage is interesting in that "the practice of bondage by loan contract did not reach its full development until the economic collapse at the end of the century and the civil wars that followed". -
The End of Boris. Contribution to an Aesthetics of Disorientation
The end of Boris. ConTriBuTion To an aesTheTiCs of disorienTaTion by reuven Tsur The Emergence of the Opera–An Outline Boris Godunov was tsar of russia in the years 1598–1605. he came to power after fyodor, the son of ivan the terrible, died without heirs. Boris was fyodor's brother-in-law, and in fact, even during fyodor's life he was the omnipotent ruler of russia. ivan the Terrible had had his eldest son executed, whereas his youngest son, dmitri, had been murdered in unclear circumstances. in the 16–17th centuries, as well as among the 19th-century authors the prevalent view was that it was Boris who ordered dmitri's murder (some present-day historians believe that dmitri's murder too was ordered by ivan the Terrible). in time, two pretenders appeared, one after the other, who claimed the throne, purporting to be dmitri, saved miraculously. Boris' story got told in many versions, in history books and on the stage. Most recently, on 12 July 2005 The New York Times reported the 295-year-late premiere of the opera Boris Goudenow, or The Throne Attained Through Cunning, or Honor Joined Happily With Affection by the German Baroque composer Johann Mattheson. Boris' story prevailed in three genres: history, tragedy, and opera. in the nineteenth century, the three genres culminated in n. M. Karamzin's monumental History of the Russian State, in alexander Pushkin's tragedy Boris Godunov, and in Modest Mussorgsky's opera Boris Godunov. each later author in this list liberally drew upon his predecessors. in her erudite and brilliant 397 reuven tsur the end of boris book, Caryl emerson (1986) compared these three versions in a Pimen interprets as an expression of the latter's ambition. -
Absolute Monarchy in Russia
wh07_te_ch04_s05_MOD_s.fm Page 168 Monday, March 5, 2007 12:28WH07MOD_se_CH04_S05_s.fm PM Page 168 Thursday, January 25, 2007 2:45 PM The palace (left) of Catherine the Great (far left) reflects both European and traditional Russian architectural styles. Step-by-Step SECTION Instruction 5 WITNESS HISTORY AUDIO A Foreign Princess Takes the Throne Objectives For twenty years, the German princess Catherine lived As you teach this section, keep students at the Russian court, enduring an unhappy marriage to focused on the following objectives to help the Russian heir apparent, who was widely considered them answer the Section Focus Question to be insane. She filled her time reading, studying and master core content. French philosophy, building alliances behind the scenes, and biding her time. When her husband ■ Explain how Peter the Great tried to became emperor in 1762, she called on her allies to make Russia into a modern state. act. Within a few months he had been deposed and ■ Identify the steps Peter took to expand Catherine proclaimed empress of Russia. Like Peter the Russia’s borders. Great before her, Catherine would rule with intelligence, a firm hand, and a mind set on ■ Describe how Catherine the Great modernization. strengthened Russia. Focus Question How did Peter the Great and Catherine the Great strengthen Russia and expand its territory? Absolute Monarchy in Russia Prepare to Read In the early 1600s, Russia was still a medieval state, untouched by Objectives the Renaissance or Reformation and largely isolated from Western Build Background Knowledge L3 • Explain how Peter the Great tried to make Russia into a modern state. -
The Three Faces of Peter the Great Leadership Lessons from the St
Faculty & Research The Three Faces of Peter the Great Leadership Lessons from the St. Petersburg’s Founder by S. Shekshnia 2004/96/ENT Working Paper Series The Three Faces of Peter the Great Leadership Lessons from the St. Petersburg’s Founder By Dr. Stanislav Shekshnia Partner Zest Leadership and Adjunct Professor of Entrepreneurship INSEAD 2004 1 Abstract Peter the Great was arguably the most effective transformational leader in Russian history. He turned the country away from its past toward European civilization, acquired strategically important territories in the West, created an army and a navy, and centralized government, all of which served Russia for the next 300 years. His leadership agenda and style were strongly influenced by events in his early life, which produced the violent and visionary recurring themes of his “inner theater”: the fear for his own safety and for Russia’s future, the desire for revenge against his enemies, the need for total freedom of action, and the urge to change things for the better. Peter’s “inner theater,” conditions in Russia at the turn of the 17th century and situational factors produced three different leadership styles which were present throughout his life. Peter, as CEO of Russia Inc., demonstrated behavior and competencies consistent with effective leadership in the modern world, while his darker side was characterized by a somewhat erratic leadership enforced through humiliation and horror. Peter was not born with a vision for reform, rather he developed the vision as the reforms progressed. Though very opportunistic in his actions, the Russian tsar was remarkable for his ability to focus on the future and for his determination to realize his ambitions. -
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. -
Hermitage Essay FINAL
Citation for published version: Harney, M & Forsyth, M 2014, The State Hermitage Museum and its Architecture. in The Hermitage: A Palace and a Museum. Ertug & Kocabiyik, Germany, pp. 19-23. Publication date: 2014 Document Version Early version, also known as pre-print Link to publication Publisher Rights CC BY-NC-ND University of Bath Alternative formats If you require this document in an alternative format, please contact: [email protected] General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 27. Sep. 2021 building, built 1819–1828, defines an enormous concave open area facing the only as a dwelling place for the imperial family, but also as an important the state hermi tage museum Winter Palace with a monumental double arch forming a triumphal ceremonial symbol and memorial to the Russian state. approach from Nevsky Prospekt, St Petersburg’s main thoroughfare. The archway is crowned by a bronze chariot pulled by six horses (in Latin, a Three façades of Rastrelli’s grandiose palace face the Neva, the adjacent and its architecture seiuga ), bearing a winged figure of Glory. Carlo Rossi imagined a gigantic Admiralty and Palace Square respectively. The fourth façade is contiguous to column in the centre of the square and this vision was fulfilled when the the buildings of the Hermitage.