ANNA in the TROPICS Marilyn Haese (Book) Jane Wong (Music)
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'Anna Karenina Principle' to Better Understand and Operate Family Offices
Using the ‘Anna Karenina principle’ to better understand and operate family offices FAMILY OFFICE AND HIGH NET WORTH “If you’ve seen one family office, you’ve seen one family office.” This is a common refrain in the family office space. are predictable and sometimes preventable. In other But this dogma does the family office world a major words, like the happy families in Anna Karenina, the disservice. The sentiment behind the notion points to most successful family offices tend to adopt similar the individuality of every family. However, taking the pathways to solve problems, as well as optimize their phrase at face value can be counterproductive and operations and service delivery. lead to suboptimal advice and outcomes for families. The purpose of this article is to propose a universal, While family offices often spend an inordinate amount working definition of “family office,” a term whose of time and resources maintaining their privacy, they are ambiguity has led to inefficient communication across neither unique (nor uniquely incomprehensible) entities generations, between families and family offices, and that defy evaluation. While each family office is designed between family offices and their advisors. Sometimes around the needs of its principals, best practices do just hearing “family office” will start to generate exist and can be “fitted” to unique circumstances. So, associations for individuals affiliated with a family it is actually quite possible for families to leverage best office. But if those associations don’t come close practices and proven methods to optimize their family to matching an individual’s experience with family office and produce superior results. -
Anna Karenina the Truth of Stories “ How Glorious Fall the Valiant, Sword [Mallet] in Hand, in Front of Battle for Their Native Land.” —Tyrtaeus, Spartan Poet the St
The CollegeSUMMER 2014 • ST. JOHN’S COLLEGE • ANNAPOLIS • SANTA FE Anna Karenina The Truth of Stories “ How glorious fall the valiant, sword [mallet] in hand, in front of battle for their native land.” —Tyrtaeus, Spartan poet The St. John’s croquet team greets the cheering crowd in Annapolis. ii | The College | st. john’s college | summer 2014 from the editor The College is published by St. John’s College, Annapolis, MD, Why Stories? and Santa Fe, NM [email protected] “ He stepped down, trying not to is not just the suspense, but the connection made Known office of publication: through storytelling that matters: “Storytelling Communications Office look long at her, as if she were ought to be done by people who want to make St. John’s College the sun, yet he saw her, like the other people feel a little bit less alone.” 60 College Avenue In this issue we meet Johnnies who are story- Annapolis, MD 21401 sun, even without looking.” tellers in modern and ancient forms, filmmakers, Periodicals postage paid Leo Tolstoy, ANNA KARENINA poets, even a fabric artist. N. Scott Momaday, at Annapolis, MD Pulitzer Prize winner and artist-in-residence on Postmaster: Send address “Emotions are what pull us in—the character’s the Santa Fe campus, says, “Poetry is the high- changes to The College vulnerabilities, desires, and fears,” says screen- est expression of language.” Along with student Magazine, Communications writer Jeremy Leven (A64); he is one of several poets, he shares insights on this elegant form Office, St. John’s College, 60 College Avenue, alumni profiled in this issue of The College who and how it touches our spirits and hearts. -
The Mariinsky Ballet & Orchestra
Thursday, October 1, 2015, 8pm Friday, October 2, 2015, 8pm Saturday, October 3, 2015, 2pm & 8pm Sunday, October 4, 2015, 3pm Zellerbach Hall The Mariinsky Ballet & Orchestra Gavriel Heine, Conductor The Company Diana Vishneva, Nadezhda Batoeva, Anastasia Matvienko, Sofia Gumerova, Ekaterina Chebykina, Kristina Shapran, Elena Bazhenova Vladimir Shklyarov, Konstantin Zverev, Yury Smekalov, Filipp Stepin, Islom Baimuradov, Andrey Yakovlev, Soslan Kulaev, Dmitry Pukhachov Alexandra Somova, Ekaterina Ivannikova, Tamara Gimadieva, Sofia Ivanova-Soblikova, Irina Prokofieva, Anastasia Zaklinskaya, Yuliana Chereshkevich, Lubov Kozharskaya, Yulia Kobzar, Viktoria Brileva, Alisa Krasovskaya, Marina Teterina, Darina Zarubskaya, Olga Gromova, Margarita Frolova, Anna Tolmacheva, Anastasiya Sogrina, Yana Yaschenko, Maria Lebedeva, Alisa Petrenko, Elizaveta Antonova, Alisa Boyarko, Daria Ustyuzhanina, Alexandra Dementieva, Olga Belik, Anastasia Petushkova, Anastasia Mikheikina, Olga Minina, Ksenia Tagunova, Yana Tikhonova, Elena Androsova, Svetlana Ivanova, Ksenia Dubrovina, Ksenia Ostreikovskaya, Diana Smirnova, Renata Shakirova, Alisa Rusina, Ekaterina Krasyuk, Svetlana Russkikh, Irina Tolchilschikova Alexey Popov, Maxim Petrov, Roman Belyakov, Vasily Tkachenko, Andrey Soloviev, Konstantin Ivkin, Alexander Beloborodov, Viktor Litvinenko, Andrey Arseniev, Alexey Atamanov, Nail Enikeev, Vitaly Amelishko, Nikita Lyaschenko, Daniil Lopatin, Yaroslav Baibordin, Evgeny Konovalov, Dmitry Sharapov, Vadim Belyaev, Oleg Demchenko, Alexey Kuzmin, Anatoly Marchenko, -
Tolstoy's Oak Tree Metaphor
BJPsych Advances (2015), vol. 21, 185–187 doi: 10.1192/apt.bp.114.013490 Tolstoy’s oak tree metaphor: MINDREADING depression, recovery and psychiatric ‘spiritual ecology’ Jeremy Holmes times for Leo. They had 13 children. However, Jeremy Holmes is a retired SUMMARY with Tolstoy’s increasing fame, accumulated consultant medical psychotherapist and general psychiatrist. He is Tolstoy’s life and work illustrate resilience, disciples and hangers-on, and eccentric views the transcendence of trauma and the enduring currently Visiting Professor to (e.g. on marital celibacy – a precept he signally the Department of Psychology, impact of childhood loss. I have chosen the failed to practise!) the marriage deteriorated, University of Exeter, UK. famous oak tree passage from War and Peace to often into open warfare, and was beset by Correspondence Jeremy Holmes, illustrate recovery from the self-preoccupation of School of Psychology, University of depression and the theme of ‘eco-spirituality’ – Sophia’s suicide threats (Fig 2). At the age of 82, Exeter, Exeter EX4 4QG, UK. Email: the idea that post-depressive connectedness and possibly in the early stages of a confusional state, [email protected] love apply not just to significant others but also to Tolstoy precipitously left home, accompanied by nature and the environment. his daughter Alexandra. A day later he died of pneumonia at Astapovo railway station en route DECLARATION OF INTEREST to the Caucasus. None. War and Peace I seem to re-read War and Peace roughly every Leo Tolstoy’s novels War and Peace (1869) 20 years – my fourth cycle is fast approaching. -
Intersemiotic Translation of Russian Classics for Foreign Audiences
Russian Journal of Linguistics 2019 Vol. 23 No. 2 399—414 Вестник РУДН. Серия: ЛИНГВИСТИКА http://journals.rudn.ru/linguistics DOI: 10.22363/2312-9182-2019-23-2-399-414 ∗ “A Sensible Image of the Infinite” : Intersemiotic Translation of Russian Classics for Foreign Audiences Olga Leontovich Volgograd State Socio-Pedagogical University 27 Lenin Prospect, Volgograd, 400066, Russia Tianjin Foreign Studies University No. 117, Machang Road, Hexi Disctrict, Tianjin, China Abstract The article is a continuation of the author’s cycle of works devoted to foreign cinematographic and stage adaptations of Russian classical literature for foreign audiences. The research material includes 17 American, European, Chinese, Indian, Japanese fiction films and TV series, one Broadway musical and 9 Russian films and TV series used for comparison. The paper analyses different theoretical approaches to intersemiotic translation, ‘de-centering of language’ as a modern tendency and intersemiotic translation of literary works in the context of intercultural communication. Key decisions about the interpretation of original texts are made by directors and their teams guided by at least three goals: commercial, creative and ideological. Intersemiotic translation makes use of such strategies as foreignization, domestication and universalization. The resignifying of a literary text by means of the cinematographic semiotic system is connected with such transformations as: a) reduction — omission of parts of the original; b) extension — addition, filling in the blanks, and signifying the unsaid; c) reinterpretation — modification or remodeling of the original in accordance with the director’s creative ideas. A challenge and at the same time one of the key points of intersemiotic translation is a difficult choice between the loyalty to the original, comprehensibility for the target audience and freedom of creativity. -
What to Expect from Lucia Di Lammermoor
WHAT to EXpect From Lucia di Lammermoor The MetropoLitAN OperA’s production OF Lucia di Lammermoor unfurls a tight tapestry of family honor, forbidden love, heart- THE WORK LUCIA DI LAMMERMOOR break, madness, and death. Mary Zimmerman’s exploration of Sir Walter Composed by Gaetano Donizetti Scott’s shocking 1819 novel The Bride of Lammermoor led her down winding roads in Scotland, where her imagination was fed by the country’s untamed Libretto by Salvadore Cammarano vistas and abandoned castles. That journey shaped her ghost-story-inspired (based on The Bride of Lammermoor by Sir Walter Scott) vision for the production of Donizetti’s Lucia di Lammermoor. The char- First performed on September 26, 1835 acter of Lucia has become an icon in opera and beyond, an archetype of the in Naples, Italy constrained woman asserting herself in society. She reappears as a touchstone for such diverse later characters as Flaubert’s adulterous Madame Bovary THE MET PRODUCTION and the repressed Englishmen in the novels of E.M. Forster. The insanity Marco Armiliato, Conductor that overtakes and destroys Lucia, depicted in opera’s most celebrated mad scene, has especially captured the public imagination. Donizetti’s handling Mary Zimmerman, Production of this fragile woman’s state of mind remains seductively beautiful, thor- Daniel Ostling, Set Designer oughly compelling, and deeply disturbing. Madness as explored in this Mara Blumenfeld, Costume Designer opera is not merely something that happens as a plot function: it is at once a T.J. Gerckens, Lighting Designer personal tragedy, a political statement, and a healing ritual. Daniel Pelzig, Choreographer The tale is set in Scotland, which, to artists of the Romantic era, signi- STARRing fied a wild landscape on the fringe of Europe, with a culture burdened Anna Netrebko (Lucia) by a French-derived code of chivalry and an ancient tribal system. -
Anna Karenina
ANNA KARENINA A musical in 2 acts and 19 scenes. Music, Daniel Levine; Lyrics & Book, Peter Kellogg; Adapted from the novel by Leo Tolstoy; Previewed from Tuesday, 11th August, 1992; Opened in the Circle in the Square Uptown on Wednesday, 26th August , 1992. Closed 4th October, 1992 (46 perfs & 18 previews) THE STORY Act I Anna Karenina, a handsome woman in her late twenties, is visiting her brother, Stiva. She is travelling alone, without husband or son, for the first time. On the train meets a dashing officer, Count Vronsky. Also on the train is Constantin Levin, a brooding intellectual. Levin runs into Stiva at the station confesses he's come to ask Kitty's sister-in-law, to marry him. Stiva warns Levin he has a rival in Vronsky. Stiva greets Anna and we hear the reason for her visit. Stiva has had an affair and his wife, Dolly, has found out. Anna has come to ask Dolly to forgive him, but first she chastises Stiva. The scene changes to the home of eighteen year-old Kitty, whither Dolly has fled. Anna arrives and tells Kitty about seeing Levin. Kitty suspects the reason for his return. Levin then and proposes. Reluctantly Kitty turns him down. Just then, Stiva arrives with Vronsky. Anna comes downstairs, having smoothed things over with Dolly. She recognises Vronsky as the attentive officer from the train. Stiva goes off to speak to Dolly, leaving the other four. A week later, Anna is returning home. At a small station between Moscow and St. Petersburg, Anna steps outside for some air and is surprised to see Count Vronsky. -
Concerto for Clarinet for Solo B Clarinet, Chamber Orchestra and Electronics B
MITYA Concerto for Clarinet for solo B clarinet, chamber orchestra and electronics b Taylor Brook 2010 Score in C Instrumentation flute (+ piccolo) oboe Bb clarinet tenor saxophone baritone saxophone Bassoon horn trumpet in C (cup, straight and harmon mutes) trombone (cup, straight and harmon mutes) tuba solo Bb clarinet 2 percussion: I - 3 sizzle cymbals I - 3 suspended cymbals I - vibraphone I - almglocken (A3, D4, E4, A4 and B4) I - crotale (G6 only) I - lion’s roar I - bass drum I - pitched gongs (D3 and A3) II - almglocken (B3, C#4, F#4 and G#4) II - 3 sizzle cymbals II - pitched gongs (E3, A3 and D4) II - 3 timpani (32”, 29” and 26”) II - wine glass (D5) II - tubular bells harp 2 violins viola cello contrabass MIDI keyboard (77 or more keys) electronics (see performance instructions for details) Concert Notes Mitya, a clarinet concerto by Taylor Brook, was composed in partial fulfilment of the Master’s of Music degree at McGill University, under the supervision of Brian Cherney and Sean Ferguson. Mitya is dedicated to the clarinetist Mark Bradley. The title of this clarinet concerto is a reference to Kitty and Levin’s son in Leo Tolstoy’s Anna Karenina. In the final chapters of the novel, Tolstoy describes the process of conception, pregnancy, birth and infancy from the perspective of the father. Simply put, the emotional state of the father, Levin, moves from confusion and fear to understanding and acceptance. In addition to informing the composition on a purely abstract level, I also used passages of the novel to develop the large-scale form and structure of the work. -
1 a Riod a N Te
1 University of Maryland School of Music’s Maryland Opera Studio Presents ARIODANTE Music by George Frideric Handel Libretto by Antonio Salvi KAY THEATRE at The Clarice November 21 - 25, 2019 November PROGRAM University of Maryland School of Music’s Maryland Opera Studio Presents ARIODANTE Music by George Frideric Handel Libretto by Antonio Salvi Performed in Italian, with English Supertitles ABOUT MARYLAND OPERA CAST Ariodante ................................... Esther Atkinson (Nov 22, 25), Jazmine Olwalia (Nov 21, 24) MARYLAND OPERA STUDIO King of Scotland ......................................Jack French (Nov 21, 24), Jeremy Harr (Nov 22, 25) Craig Kier, Director of Maryland Opera Studio Ginevra .............................................. Judy Chirino (Nov 22, 25), Erica Ferguson (Nov 21, 24) Amanda Consol, Director of Acting Justina Lee, Principal Coach | Ashley Pollard, Manager Lurcanio...............................................Charles Calotta (Nov 21, 24) Mike Hogue (Nov 22, 25) Polinesso ..........................................................................................................Jesse Mashburn Dalinda ..........................Michele Currenti (Nov 22, 25), Joanna Zorack-Greene (Nov 21, 24) Odoardo .............................................Charles Calotta (Nov 22, 25), Mike Hogue (Nov 21, 24) ABOUT THE MARYLAND OPERA STUDIO’S CHORUS FALL OPERA PRODUCTION Abigail Beerwart, Andy Boggs, Amanda Densmoor, Henrique Carvalho, Maryland Opera Studio (MOS) singers perform in two fully staged operas. The first of these, -
ANNA KARENINA on the LARGE and SMALL SCREEN Peter Cochran
1 ANNA KARENINA ON THE LARGE AND SMALL SCREEN Peter Cochran Edmund Goulding, 1927; Clarence Brown, 1935; Julien Duvivier, 1948; Rudolph Cartier, 1961; Alexandr Zarkhi, 1967; Basil Coleman, 1977; Simon Langton, 1985; Bernard Rose, 1997; David Blair, 2000; Sergei Solovyov, 2005; Joe Wright, 2012 It seems impossible to make a fully-balanced film or television version of Tolstoy’s Anna Karenina . Despite the film-makers’ best intentions, something always goes wrong. The main problem is that the films are, for the most part, two hundred years behind Tolstoy in moral complexity, and in frankness about love, sex, and human relations. Not until the year 2000 do they catch up with him. As a result, most early twentieth-century films represent, not a reaction to Tolstoy, but a deflection of attention away from him. The novel is either a beautiful tale of doomed romance, or a dissection of the way the female sexual impulse wreaks havoc if given too loose a rein … or both. Most films opt for the former interpretation, as more marketable. There are some things which novels can do but which films can’t: At the very moment when Vronsky thought that now was the time to overtake Mahotin, Frou-Frou herself, understanding his thoughts, without any incitement on his part, gained ground considerably, and began getting alongside of Mahotin on the most favorable side, close to the inner cord. Mahotin would not let her pass that side. Vronsky had hardly formed the thought that he could perhaps pass on the outer side, when Frou-Frou shifted her pace and began overtaking him on the other side. -
2016 State Solos
Band Association of NSW 2016 State Solo & Party Juvenile Bb Cornet Draw Competitor Band Own Choice PointsPlace 1 Josh Green Gunnedah Shire No2 Victory - H. Clarke 87 2 Ben Hoskins-Murphy Central West Brass Danse Macabre - Edward Gregson 85 3 Callan MacKenzie Parramatta City Band Soliloquy - P. Sparke 89 2 4 Malachi Gately Central West Brass The Executant 88 3 5 Amity Cleal Gunnedah Shire No2 The Beautiful American - J. Hartmann 92 1 Juvenile Trumpet Draw Competitor Band Own Choice PointsPlace 1 Chloe Kinmont Meriden School Concert Band Call from Modern Suite - B. Fitzgerald 78 2 Daniel Rowe Barker College Concert Bands Rondo For Lifey - Bernstein 77 3 Dawson Elizabeth Meriden School Concert Band No3 Fantasia Brilliante - J.Baptiste Arb 80 4 Samuel BENNETT Knox Grammar Year 7 Wind Band Fantaisie En Mi - J Ed Barat 83 2 5 Harry James Barker College Concert Bands Andante - F. J Haydn 85 1 6 Ben Hoskins-Murphy Forbes Town and District Band La Rejouissance 82 3 7 Dylan Bradley Castle Hill RSL Youth Wind Orchestra In the Mood - J. Garland 75 Juvenile Tenor Horn Draw Competitor Band Own Choice PointsPlace 1 Aideen Keane Parramatta City Band A Time for Peace - Peter Graham 90 2 2 Elliot Bangert Central West Brass Silver Threads among the Gold 291 1 Juvenile French Horn Draw Competitor Band Own Choice PointsPlace 1 Isabella (Bella) LYNN Monte Sant' Angelo Wind Ensemble Nocturne opus 7 - F. Strauss 71 2 2 Adam James Peter Knox Grammar School Symphonic SOONIUS Wind Ensem 3 Alec BERG Knox Grammar Year 7 Wind Band Just Deserts - Lowell E. -
Feminist Criticism and Anna Karenina
Review Articles FEMINIST CRITICISM AND ANNA ~~ENINA. A REVIEW ARTICLE Amy Mandelker, CUNY Graduate Center Judith Armstrong, The Unsaid Anna Karenina. New York: St. Martin's Press, 1988, 202 pp. Mary Evans, Reflecting on Anna Karenina. London: Routledge, 1989, 99 pp. 1. Problems in Ideological Criticism ~If I were to try to say in words everything that I intended to express in my novel [Anna Karenena), I would have to write the same novel I wrote from the beginning. ,,1 These much-quoted words of Tolstoy's elevate the abstruse discourse of verbal art above critical exegesis, as he intended, and diminish the value of any attempt at thematic or moral criticism. The very notion of practicing a "moral," or "ethical" criticism is daunting in any case, exposed as it is to the dangers of the "politics of interpretation" or to charges of a relativistic subjectivism defined by deconstruction as "the problem that develops when a consciousness gets involved in interpreting another consciousness, the basic pattern from which there can be no escape in the social sciences.,,2 Or can there be, as J. Hillis Miller has argued, a moment of pure ethical critical response? Is there "a necessary ethical moment in the act of reading as such, a moment neither cognitive, nor political, nor social, nor interpersonal, but properly and independently ethical,,?3 How is ideological criticism to escape the twin pitfalls of the doctrinaire rej ection, even censorship, of any ideologically flawed work or, its obverse: the critical blindness that results from our own unconscious affirmation of the ideology implicit in a text? 'Letter to Strakhov, 23-26 April, 1876.