DOCSLIB.ORG

By Aleksey Konstantinovich Tolstoy Aleksey Tolstoy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
By Aleksey Konstantinovich Tolstoy Aleksey Tolstoy Read Ebook {PDF EPUB} Упырь by Aleksey Konstantinovich Tolstoy Aleksey Tolstoy. Russian poet and playwright (b. 24 August/5 September 1817 in Saint Petersburg; d. 28 September/10 October 1875 at Krasny Rog, in Chernigov province), born Count Aleksey Konstantinovich Tolstoy (Алексей Константинович Толстой). Contents. Biography. Descended from illustrious aristocratic families on both sides, Aleksey was a distant cousin of the novelist Lev Tolstoy. Shortly after his birth, however, his parents separated and he was taken by his mother to Chernigov province in the Ukraine where he grew up under the wing of his uncle, Aleksey Perovsky (1787–1836), who wrote novels and stories under the pseudonym "Anton Pogorelsky". With his mother and uncle Aleksey travelled to Europe in 1827, touring Italy and visiting Goethe in Weimar. Goethe would always remain one of Tolstoy's favourite poets, and in 1867 he made notable translations of Der Gott und die Bajadere and Die Braut von Korinth . In 1834, Aleksey was enrolled at the Moscow Archive of the Ministry of Foreign Affairs, where his tasks included the cataloguing of historical documents. Three years later he was posted to the Russian Embassy at the Diet of the German Confederation in Frankfurt am Main. In 1840, he returned to Russia and worked for some years at the Imperial Chancery in Saint Petersburg. During the 1840s Tolstoy wrote several lyric poems, but they were not published until many years later, and he contented himself with reading them to his friends and acquaintances from the world of Saint Petersburg high society. At a masked ball in the winter season of 1850/51 he saw for the first time Sofya Andreyevna Miller (1825–1895), with whom he fell in love, dedicating to her the fine poem Amid the Din of the Ball (Средь шумного бала), which Tchaikovsky would later immortalize in one of his most moving songs (No. 3 of the Six Romances, Op. 38). Sofya's husband, a cavalry colonel, refused for many years to grant her a divorce, and she was not able to marry Tolstoy until 1863. In the early 1850s, together with his cousins Aleksey and Vladimir Zhemchuzhnikov, Tolstoy created the humorous figure of "Kozma Prutkov", a clerk in the Ministry of Finance with a penchant for writing high-flown and banal verses: under this name the three friends published various satirical poems and sketches. Tolstoy also became friends with Ivan Turgenev, and thanks to his connections at the imperial court (he was a childhood friend of the heir to the throne, Grand Duke Alexander Nikolayevich) he was able to secure the release of Turgenev from internal exile in 1853. When the Crimean War broke out Tolstoy immediately enlisted in an infantry regiment, but he was taken ill with typhus near Odessa and did not see active service. In 1856, he was made an aide-de-camp by the newly-crowned Alexander II, although he resigned this post five years later and decided to live mainly in the countryside: on an estate near Saint Petersburg and at Krasny Rog in the province of Chernigov where he had grown up as a boy. Nevertheless, thanks to his friendship with the Tsar he was able to intercede for several writers who got into trouble with the government: the Ukrainian poet Taras Shevchenko (1814–1861), the Slavophile publicist Ivan Aksakov (1823–1886), and Turgenev again in 1863 when he was accused of contacts with the political émigrés in London (Alexander Herzen and Nikolay Ogaryov). Although Tolstoy did not like the radical intelligentsia and their ideas, in 1864 he did try to persuade the Tsar not to have Nikolay Chernyshevsky (1828–1889) deported to Siberia, but his petition was rejected. The second half of the 1850s was Tolstoy's most productive period as a lyric poet, whilst in later years he wrote mainly ballads and adaptations of Old Russian byliny (on Sadko and Ilya Muromets for example). His most enduring contribution to Russian literature was, however, not as a poet, but as a playwright, for his masterpiece is the dramatic trilogy about Russian history at the turn of the sixteenth and seventeenth centuries, just before the Time of Troubles. This trilogy (or 'historical triptych', as it is also known) consists of: The Death of Ivan the Terrible (Смерть Иоанна Грозного, 1864), Tsar Fyodor Ioannovich (Царь Фёдор Иоаннович, 1868), and Tsar Boris (Царь Борис, 1869). Drawing on Nikolay Karamzin's famous History of the Russian State for much of his primary material, but also inspired by Shakespeare's historical plays and Schiller's Wallenstein , Tolstoy produced a remarkably compelling panorama of these critical twenty years in the Muscovite period of Russian history. With his Romantic and noble temperament, Tolstoy hated the oriental despotism which had taken root in Russia after the Mongol invasions of the thirteenth century, and which culminated in the bloody reign of Ivan the Terrible. The poet's sympathies were all for earlier periods of Russian history — that is, the heyday of the Kievan Rus and Novgorod — when Russia had a flourishing native culture and was in close contact with the rest of Europe. Tolstoy always emphasized the chivalric honour and sense of individual dignity which had prevailed in the Kievan Rus, and some of the most positive figures in his trilogy (Prince Ivan Petrovich Shuysky and Tsar Boris's son Fyodor) yearn for a return to these values. Boris Godunov, too, who thanks to his great intelligence, eventually rises from a lowly boyar to become Tsar of all Russia, also wants to open up his country to Europe and put an end to the backwardness and misfortunes which oriental despotism had heaped on Russia. Pursuing power not for himself but for the sake of his country, he is at first confident that the murder of the infant Tsarevich Dmitry at Uglich (carried out at his behest) is a necessary sacrifice for the greater good. However, as some commentators have pointed out, just as in Fyodor Dostoyevsky's Crime and Punishment (1866) and The Brothers Karamazov (1880), Tsar Boris discovers too late that such a 'utilitarian' scheme of founding the welfare of many on the elimination of just one human life is essentially flawed. One of Tolstoy's most memorable creations in this trilogy is the figure of the weak-willed Tsar Fyodor, who succeeds his father Ivan the Terrible on the throne but is like wax in the hands of his crafty councillor Boris Godunov. In his disarming innocence and goodness, which are ultimately of little use in this world, he is rather like Prince Myshkin in Dostoyevsky's great novel The Idiot (1869). Since this second tragedy in the triptych showed an anointed tsar being easily manipulated by his adviser, it is not surprising that the censorship forbade its being produced on the stage until 1889, but thereafter Tsar Fyodor Ioannovich became one of the most popular Russian historical plays. Although Aleksey Tolstoy as a lyric poet was often criticized for the carelessness of his rhymes and the simplicity of his diction, his finest poems are suffused by a heartfelt warmth which made them attractive to such composers as Nikolay Rimsky-Korsakov, Modest Musorgsky, Mily Balakirev, César Cui, Anton Rubinstein, Sergey Taneyev, and Sergei Rachmaninoff — and Tchaikovsky, of course, as will be seen below. In the 1840s Tolstoy also worked on a historical novel: Prince Serebrianyi (Князь Серебряный), which was not published until 1863, though. Written in the style of Sir Walter Scott and, like his dramatic trilogy, set in the times of Ivan the Terrible, this novel became very popular with young readers, and Turgenev recommended that it should be published in France. Tchaikovsky and Aleksey Tolstoy. In one of his memoirs of the composer Herman Laroche noted how difficult it was to pin down Tchaikovsky's music by a single label: in some respects his style might be described as eclectic, but on the other hand his music was always instantly recognizable. Laroche resorted to the following analogy: "In Tchaikovsky, just as in Aleksey Tolstoy, with whom overall I find he had a lot in common, there was a very intricate combination of cosmopolitan openness and impressionability with a strong national Russian kernel" [1] . Certainly, it is true that Aleksey Tolstoy was attracted to Russian subjects in his poetry and plays, whilst at the same time showing little sympathy with the Slavophiles for their insistence on the exclusivity of Russia with regard to the rest of Europe, and this is an attitude which Tchaikovsky shared to a certain degree, as can be seen in various letters of his to Taneyev, for example, or in some of his pronouncements on the "Mighty Handful". What is beyond doubt, though, is that Aleksey Tolstoy was one of the poets Tchaikovsky most liked to turn to when choosing texts to set to music. Thus, on 16/28 February 1878, he wrote to Nadezhda von Meck from Florence (Letter 762), asking her to select some poems by Afanasy Fet, Aleksey Tolstoy, Lev Mey, and Fyodor Tyutchev, which might be suitable for musical treatment. His benefactress duly sent him anthologies of these poets' verses, including the 1876 edition of A. K. Tolstoy's complete poetry, and Tchaikovsky replied to her from Clarens as follows: "I do not know how to thank you, my dear, for the collections of poems which you have sent. I am particularly gladdened by Tolstoy, whom I like very much, and, quite apart from my intention to use some of his texts as the basis of songs, I will be delighted to re-read many of his longer pieces. In particular I am interested in Don Juan , which I read a very long time ago.
Load more

Recommended publications
  • Andtheirassistancetorussiainthe
    Panslawizm – wczoraj, dziś, jutro Borche Nikolow Uniwersytet Świętych Cyryla i Metodego w Skopje, Instytut Historii, Republika Macedonii The Balkan Slavs solidarity during the Great Eastern Crisis (1875–1878) and their assistance to Russia in the Russo-Turkish War (1877–1878) Solidarność Słowian bałkańskich w czasie Wielkiego Kryzysu Wschodniego (1875-1878), a ich pomoc Rosji w wojnie rosyjsko-tureckiej (1877–1878) Abstrakt: Niezdolność armii Imperium Osmańskiego do stłumienia buntu w Bośni i Hercegowinie w 1875 wywołała podniecenie wśród narodów słowiańskich na calych Bałkanach. Słowiańskie narody Bałkanów dołączyły do swoich braci z Bośni i Hercegowiny w walce przeciwko Turkom. W latach Wielkiego Kryzysu Wschodniego (1875-1878) Serbia i Czarnogóra wypowiedziała wojnę Imprerium Osmańskiemu, a w Bułgarii i w Tureckiej Macedonii wybuchły liczne powstania. Narody bałkańskie wspierały się wzajemnie w walce przeciwko Imprerium, pomogły także armii rosyjskiej w czasie woj- ny rosyjsko-tureckiej (1877–1878) wysyłając wolontariuszy, jak również ubrania, żywność, leki, itp, mając nadzieję, że wielki słowiański brat z północy pomoże im wypędzić Turków z Bałkan i przynie- sie im wyzwolenie i wolność. Słowa kluczowe: Wielki Kryzys Wschodni, Imperium Osmańskie Keywords: Big Crisis East, the Ottoman Empire 91 Plight of the Christian Slav population in Bosnia and Herzegovina in the second half of the 19th century, culminated in 1975 with the uprising, which started the Great Eastern Crisis. The Inability of the Ottoman army to quickly put down the rebellion and the local population resistance, caused excite- ment amongst the Slavic people throughout the Balkans. They hoped that the time for their liberation from the Ottoman rule had come. As a result of that sit- uation, the Slavic peoples of the Balkans joined their brothers from Bosnia and Herzegovina with the fight against the Ottomans.
    [Show full text]
  • The Knightly Heart of Russia Рыцарское Сердце России
    THE KNIGHTLY HEART OF RUSSIA ― ALEXEI KONSTANTINOVICH TOLSTOY Translation into English – by A. Pokidov РЫЦАРСКОЕ СЕРДЦЕ РОССИИ ― АЛЕКСЕЙ КОНСТАНТИНОВИЧ ТОЛСТОЙ Перевод на английский язык – А. В. Покидов Серия «Лирическая Россия» * «Lyric Russia» Series 2 A FEW WORDS TO THE READER This book is next book of the “Lyric Russia” series. The recommended book contains about a hundred lyric opuses of A. K. Tolstoy in parallel texts (bi-lingua), the introductory article characterizing the main aspects of the poet’s life and activity in the 40-70ies of the 19th century, the moral trend of his work, the notes in which the meaning and importance of concrete opuses are commented as well as their pathos, the sense of particular images and other specific traits of the poems. Besides, the notes show, in chosen examples, the general character and imperfection of the translations which had been made before. The present volume is practically devoted to lyric poetry (about half of the poet’s lyric opuses have been translated). However, while compiling the volume it was deemed reasonable to give two or three brilliant specimens of satirical poems, including the famous “Popov’s Dream”, which got the highest appraisal of Lev N. Tolstoy (this opus was never published during the poet’s life and was never translated into English). A lot of attention is allotted to the themes of nature and connection of man and nature. The volume also includes a number of opuses devoted to meditations about man’s destiny, about the role of art, about predestination of Poetry, about the poet’s duty towards people.
    [Show full text]
  • Gladstone's Role During the Great Eastern Crisis
    Gladstone’s Role during the Great Eastern Crisis Jelena Milojković -Djurić Serbian Academy of Sciences and Arts In early July of 1975 the uprising in Herzegovina spread quickly throughout the neighboring region of Bosnia. The difficult fate of the South Slavs under Ottoman occupation became known to the whole of Europe. Gradually a wide spread revolt engulfed also Bulgaria and Romania. In order to help the suffering population, an International Relief Committee was formed in Paris. The Relief Committee was headed by the Serbian Metropolitan Mihail Jovanović and aided by the Croatian Bishop Josip Strossmayer. The Committee was ably supported by the Slavic Benevolent Society in Russia, with its outstanding members, including the writer Ivan Aksakov and countess Antonina Bliudova. During the height of the Eastern Crisis, Lord William Evart Gladstone, the distinguished English statesman, stood out as the most influential spokesmen on behalf of the South Slavs. His famous speeches in Parliament, and notably his book, Bulgarian Horrors and the Question of the East, instigated a sincere concern and willingness to help among the public at large. Gladstone’s support was very significant in view of the official English position under the aegis of the Premier Benjamin Disraeli. Disraeli aspired to preserve the precarious European equilibrium inclusive of the Turkish presence in the Balkans. He believed that the disappearance of Turkey from the Balkans would produce difficulties for England as well as for worldwide political relations. In reality, Disraeli and the English government acted against the concerns of eminent personalities and of English society at large. As may be expected, Disraeli’s position drew criticism not only from his English peers but from a number of 1 Serbian and Russian personalities.
    [Show full text]
  • THE REVOLUTIONARY TRADITION ENGL 315 Fall 2011 Instructor: Michaela Bronstein, [email protected] Monday/Wednesday 2.00-3.20
    THE REVOLUTIONARY TRADITION ENGL 315 Fall 2011 Instructor: Michaela Bronstein, [email protected] Monday/Wednesday 2.00-3.20, BARR 102 Drop-in office hours: Monday 12-2, Johnson Chapel #5 (Please e-mail to schedule meetings at any other time.) I wish to speak out about several matters even though my artistry goes smash. What attracts me is what has piled up in my mind and heart; let it give only a pamphlet, but I shall speak out. —Fyodor Dostoevsky, letter regarding his novel Demons Revolutionist and reactionary, victim and executioner, betrayer and betrayed, they shall all be pitied together when the light breaks on our black sky at last. Pitied and forgotten … —Natalia Haldin, Under Western Eyes, Joseph Conrad Contrary to the hope Conrad’s character expresses, we have not forgotten either the historical revolutionaries or the works they inspired. While Dostoevsky feared that his novel was too politically pointed to be a lasting work of art, Demons today is more well-known than the incident on which the novel was based. In this course we will analyze the afterlives of nineteenth-century novels about revolutionaries—not just their continuing interest, but their constant reappearance in later works. Dostoevsky’s worries about his novel turning into a “pamphlet” raise a broad issue for the novel form: why would an author who wishes to address pressing social issues write a novel rather than an essay? How do authors reconcile the long aims of literature with the urgent claims of the political present? Revolutionaries often appeal to their authors precisely because they seem to represent much more than the social problem they seek to reform—whether they represent the influence of ideology upon character or the difficulty of human attempts to plot better lives for themselves and others, revolutionaries usually carry the weight of much more abstract ideas than their immediate social purposes.
    [Show full text]
  • Foreign-Language Specialists in Muscovite Russia (16Th and Early 17Th Century)
    SLAVICA HELSINGIENSIA 35 ɋɥɸɛɨɜɶɸɤɫɥɨɜɭ Festschrift in Honour of Professor Arto Mustajoki on the Occasion of his 60th Birthday Ed. by Jouko Lindstedt et al. Helsinki 2008 ISBN 978-952-10-5136-4 (paperback), ISBN 978-952-10-5137-1 (PDF), ISSN 0780-3281 Ingrid Maier (University of Uppsala) Foreign-Language Specialists in Muscovite Russia (16th and Early 17th Century) This Festschrift celebrates a highly esteemed colleague, who has devoted his life to teaching Russian and research about the Russian language and Russia, Finland’s neighbor to the East. Arto Mustajoki has been and is, so to say, an intermediary between two cultures. My contribution deals with cultural in- termediaries of an earlier period, more specifically with people who lived in Russia and enabled cultural and political contacts with foreign countries some centuries ago, when foreign languages could neither be learned at school nor studied at university level. This short overview covers the period up to the early 17th century, that is, the time during which knowing a foreign language – especially a West-European one – was still something very exotic for a Russian citizen. Some introductory remarks about the communication between the East Slavs and their non-Slavic neighbors during the middle ages might be ap- propriate. We can assume that bilinguals from frontier regions were used as interpreters in early commercial contacts. However, as H. Raab (1955–1956, 342f.) points out, these “naturally generated” interpreters did not satisfy the needs, and at least from the 13th century young men from the Hanseatic cit- ies – who should not be more than twenty years old – were sent to Novgorod and Pskov specifically to learn Russian.
    [Show full text]
  • History of Modern Bulgarian Literature
    The History ol , v:i IL Illlllf iM %.m:.:A Iiiil,;l|iBif| M283h UNIVERSITY OF FLORIDA LIBRARIES COLLEGE LIBRARY Digitized by the Internet Archive in 2012 with funding from LYRASIS Members and Sloan Foundation http://archive.org/details/historyofmodernbOOmann Modern Bulgarian Literature The History of Modern Bulgarian Literature by CLARENCE A. MANNING and ROMAN SMAL-STOCKI BOOKMAN ASSOCIATES :: New York Copyright © 1960 by Bookman Associates Library of Congress Catalog Card Number: 60-8549 MANUFACTURED IN THE UNITED STATES OF AMERICA BY UNITED PRINTING SERVICES, INC. NEW HAVEN, CONN. Foreword This outline of modern Bulgarian literature is the result of an exchange of memories of Bulgaria between the authors some years ago in New York. We both have visited Bulgaria many times, we have had many personal friends among its scholars and statesmen, and we feel a deep sympathy for the tragic plight of this long-suffering Slavic nation with its industrious and hard-working people. We both feel also that it is an injustice to Bulgaria and a loss to American Slavic scholarship that, in spite of the importance of Bulgaria for the Slavic world, so little attention is paid to the country's cultural contributions. This is the more deplorable for American influence in Bulgaria was great, even before World War I. Many Bulgarians were educated in Robert Col- lege in Constantinople and after World War I in the American College in Sofia, one of the institutions supported by the Near East Foundation. Many Bulgarian professors have visited the United States in happier times. So it seems unfair that Ameri- cans and American universities have ignored so completely the development of the Bulgarian genius and culture during the past century.
    [Show full text]
  • The Russian Empire As a "Civilized State": International Law As
    THE RUSSIAN EMPIRE AS A “CIVILIZED STATE”: International Law as Principle and Practice in Imperial Russia, 1874-1878 Peter Holquist Cornell University The National Council for Eurasian and East European Research 910 17th Street, N.W. Suite 300 Washington, D.C. 20006 TITLE VIII PROGRAM Project Information* Principal Investigator: Peter Holquist Council Contract Number: 818-06g Date: July 14, 2004 Copyright Information Scholars retain the copyright on works they submit to NCEEER. However, NCEEER possesses the right to duplicate and disseminate such products, in written and electronic form, as follows: (a) for its internal use; (b) to the U.S. Government for its internal use or for dissemination to officials of foreign governments; and (c) for dissemination in accordance with the Freedom of Information Act or other law or policy of the U.S. government that grants the public access to documents held by the U.S. government. Additionally, NCEEER has a royalty-free license to distribute and disseminate papers submitted under the terms of its agreements to the general public, in furtherance of academic research, scholarship, and the advancement of general knowledge, on a non-profit basis. All papers distributed or disseminated shall bear notice of copyright. Neither NCEEER, nor the U.S. Government, nor any recipient of a Contract product may use it for commercial sale. * The work leading to this report was supported in part by contract or grant funds provided by the National Council for Eurasian and East European Research, funds which were made available by the U.S. Department of State under Title VIII (The Soviet-East European Research and Training Act of 1983, as amended).
    [Show full text]
  • Russian Literature from Pushkin to Dostoevsky
    SLAV-R 263 / SLAV-R 563 Professor Jacob Emery Mon/Wed 2:30P-3:45 [email protected] Kirkwood Hall 212 BH 515: MW 4-5 or by appointment Russian Literature from Pushkin to Dostoevsky The course is summarized and its aims are set forth: This course is a literature seminar. It will teach us to become more appreciative, perceptive, and understanding readers, and to communicate our experience of literary texts in a compelling way. In the process, we will touch upon questions of Russian history and culture, literary and intellectual tradition, philosophy and ethics and religion. How do we account for the extraordinary, unprecedented outburst of creativity in 19th century Russia? Why do we read these books more than a hundred years after they were written, and what skills do we need to have as readers if we are to understand and enjoy artworks that were created in a different language and in a different time? How do these works engage philosophy and social thought, and how do these aspects relate to their literary form? Why do we read fiction—which is a polite word for things that are not true, or at least not true in the usual sense—and what can fiction do that other kinds of writing cannot? These questions are just for starters. There will be many more questions, and you will pose most of them yourselves. For some of these questions you will develop good working answers. In other cases you will only open the door onto knotty knotty knots of complex issues. But by the end of the semester you will have read and understood the major prose works of what is called the “Golden Age of Russian Literature,” and you will have a firm foundation in the historical context and literary concepts necessary to understand works like them.
    [Show full text]
  • The Unique Cultural & Innnovative Twelfty 1820
    Chekhov reading The Seagull to the Moscow Art Theatre Group, Stanislavski, Olga Knipper THE UNIQUE CULTURAL & INNNOVATIVE TWELFTY 1820-1939, by JACQUES CORY 2 TABLE OF CONTENTS No. of Page INSPIRATION 5 INTRODUCTION 6 THE METHODOLOGY OF THE BOOK 8 CULTURE IN EUROPEAN LANGUAGES IN THE “CENTURY”/TWELFTY 1820-1939 14 LITERATURE 16 NOBEL PRIZES IN LITERATURE 16 CORY'S LIST OF BEST AUTHORS IN 1820-1939, WITH COMMENTS AND LISTS OF BOOKS 37 CORY'S LIST OF BEST AUTHORS IN TWELFTY 1820-1939 39 THE 3 MOST SIGNIFICANT LITERATURES – FRENCH, ENGLISH, GERMAN 39 THE 3 MORE SIGNIFICANT LITERATURES – SPANISH, RUSSIAN, ITALIAN 46 THE 10 SIGNIFICANT LITERATURES – PORTUGUESE, BRAZILIAN, DUTCH, CZECH, GREEK, POLISH, SWEDISH, NORWEGIAN, DANISH, FINNISH 50 12 OTHER EUROPEAN LITERATURES – ROMANIAN, TURKISH, HUNGARIAN, SERBIAN, CROATIAN, UKRAINIAN (20 EACH), AND IRISH GAELIC, BULGARIAN, ALBANIAN, ARMENIAN, GEORGIAN, LITHUANIAN (10 EACH) 56 TOTAL OF NOS. OF AUTHORS IN EUROPEAN LANGUAGES BY CLUSTERS 59 JEWISH LANGUAGES LITERATURES 60 LITERATURES IN NON-EUROPEAN LANGUAGES 74 CORY'S LIST OF THE BEST BOOKS IN LITERATURE IN 1860-1899 78 3 SURVEY ON THE MOST/MORE/SIGNIFICANT LITERATURE/ART/MUSIC IN THE ROMANTICISM/REALISM/MODERNISM ERAS 113 ROMANTICISM IN LITERATURE, ART AND MUSIC 113 Analysis of the Results of the Romantic Era 125 REALISM IN LITERATURE, ART AND MUSIC 128 Analysis of the Results of the Realism/Naturalism Era 150 MODERNISM IN LITERATURE, ART AND MUSIC 153 Analysis of the Results of the Modernism Era 168 Analysis of the Results of the Total Period of 1820-1939
    [Show full text]
  • CHESTER S. L. DUNNING August 2012
    CHESTER S. L. DUNNING August 2012 Department of History Texas A&M University College Station, Texas 77843-4236 (979) 845-7166 e-mail: [email protected] DEGREES RECEIVED: B.A. University of California at Santa Cruz 1971 Highest Honors in History, College Honors M.A. Boston College 1972 (with distinction) major field: Russian history minor fields: Early modern Europe, American history to 1900 Ph.D. Boston College 1976 (with distinction) major field: Russian history minor fields: Early modern Europe, Comparative early modern European history, American history to Reconstruction ACADEMIC APPOINTMENTS: Lecturer Boston College 1975-76 Assistant Professor Pembroke State University 1977-79 University Honors Professor Pembroke State University 1978-79 Assistant Professor Texas A&M University 1979-85 Associate Professor Texas A&M University 1985-2002 Visiting Scholar Harvard University 1987-88 Professor Texas A&M University 2002- Eppright Professor Texas A&M University 2005-2008 Fasken Chair Texas A&M University 2012- Fulbright Visiting Professor University of Aberdeen, Scotland 2013 TEACHING FIELDS: UNDERGRADUATE Russian Civilization Medieval and Early Modern Russian History Early Modern Europe Rise of the European Middle Class Imperial Russia, 1801-1917 History of the Soviet Union Eastern Europe Since 1453 Western Civilization 2 TEACHING FIELDS: GRADUATE Early Modern Russia Early Modern Europe Medieval Russia Imperial Russia The Russian Revolution and Civil War Historiography SUPERVISION OF INDEPENDENT GRADUATE WORK: Chair M.A. Committee Ann Todd Baum Completed, 1985 Chair M.A. Committee Cassandra Bell Completed, 1991 Chair M.A. Committee James Vargas Completed, 1993 Chair M.A. Committee Lisa Tauferner Completed, 2007 Chair M.A. Committee Mark Douglass Completed, 2009 Chair M.A.
    [Show full text]
  • Responses to Old Catholicism in Late Imperial Russia
    ACTA SLAVICA IAPONICA, TOMUS 41, PP. 91–109 Saving the Selves or Saving the Others? Responses to Old Catholicism in Late Imperial Russia Mikhail Suslov INTRODUCTION This paper examines Messianic thought in Russia through political and theo- logical debates on the Old Catholic movement. The Old Catholic Church emerged as a reaction to the first Vatican Council (1870) with the program of reconnecting with the Lutheran, Anglican and Orthodox Churches on the theo- logical foundation, laid out by the Church fathers and Church councils of the first ten centuries of Christianity. The Old Catholic question, which initially appeared as one of purely ecclesiological and perhaps theological interest, was broadly aired and discussed by literally every significant Russian public figure in the 1870s–1900s. Although Old Catholicism per se and its relations with the Russian Orthodox Christianity have not been successful to date,1 it induced the crystallization of a network of sympathizers in the Russian Empire. For them, Old Catholicism was a means to voice their discontent with the official Church and to shape their alternative visions about Russian Orthodoxy in world histo- ry. The Old Catholic movement stirred up religious and geopolitical hopes and initiated important ideological and theological discussions, which revolved around such questions as, what is Russia’s role in the world, and how can reli- gious principles be implemented in everyday life.2 1 In 1987 the Orthodox-Old Catholic dialogue resulted in a principal agreement on theo- logical grounds. However, palpable practical consequences did not follow. The process stalled also because the Old Catholics adopted the female priesthood, and thereby alien- ated themselves from the Russian Orthodox Church.
    [Show full text]
  • Freedom from Violence and Lies Essays on Russian Poetry and Music by Simon Karlinsky
    Freedom From Violence and lies essays on russian Poetry and music by simon Karlinsky simon Karlinsky, early 1970s Photograph by Joseph Zimbrolt Ars Rossica Series Editor — David M. Bethea (University of Wisconsin-Madison) Freedom From Violence and lies essays on russian Poetry and music by simon Karlinsky edited by robert P. Hughes, Thomas a. Koster, richard Taruskin Boston 2013 Library of Congress Cataloging-in-Publication Data: A catalog record for this book as available from the Library of Congress. Copyright © 2013 Academic Studies Press All rights reserved ISBN 978-1-61811-158-6 On the cover: Heinrich Campendonk (1889–1957), Bayerische Landschaft mit Fuhrwerk (ca. 1918). Oil on panel. In Simon Karlinsky’s collection, 1946–2009. © 2012 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Published by Academic Studies Press in 2013. 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com Effective December 12th, 2017, this book will be subject to a CC-BY-NC license. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/. Other than as provided by these licenses, no part of this book may be reproduced, transmitted, or displayed by any electronic or mechanical means without permission from the publisher or as permitted by law. The open access publication of this volume is made possible by: This open access publication is part of a project supported by The Andrew W. Mellon Foundation Humanities Open Book initiative, which includes the open access release of several Academic Studies Press volumes. To view more titles available as free ebooks and to learn more about this project, please visit borderlinesfoundation.org/open.
    [Show full text]