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Tolstoy's War and Peace
Tolstoy’s War and Peace Soap opera, epic masterpiece, neither, or both? Course # 21FTOY Format: Seminar Moderators: Nancy Coiner Kendra Dahlquist Date and Time: Monday, 9:30-11:30 AM 10 weeks, starting 9/27/2021 Format: Online Maximum number of participants: 18 Auditors accepted: Yes, up to 2 Purpose : We will read War and Peace together, with plenty of background presentations and discussion to make it come alive as a work of art and life. Description: According to Isaac Babel, “If life could write by itself, it would write like Tolstoy.” War and Peace is a huge, sweeping narrative, part history and part fiction, which describes Napoleon's attempt to conquer Russia. Centered on the lives of four aristocratic families between 1805 and 1812, it includes complex characters based on Tolstoy’s parents and grandparents, who spoke French and wore French fashions but passionately resisted Napoleon’s attack. Yes, it’s long, with a cast of hundreds. But almost all readers find that, after the opening chapters, the story and characters carry them along irresistibly. We witness the burning of Moscow, young people making life- altering mistakes, the glory and horror of war. Yet (as Woolf notes) "there is always at the centre of all the brilliant and flashing petals . this scorpion, ‘Why live?’" It’s a brilliant, unsettling mix. Background presentations and lively discussions will help us enter this exhilarating work of historical and philosophical fiction. Role of participants: Participants will read approximately 150 pages of War and Peace a session. They will have the choice of giving a presentation (on Tolstoy, Russian Orthodoxy, Napoleon's career, the battle of Austerlitz, etc.) or leading a discussion. -
King-Salter2020.Pdf (1.693Mb)
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Dostoevsky’s Storm and Stress Notes from Underground and the Psychological Foundations of Utopia John Luke King-Salter PhD Comparative Literature University of Edinburgh 2019 Lay Summary The goal of this dissertation is to combine philosophical and literary scholarship to arrive at a new interpretation of Dostoevsky’s Notes from Underground. In this novel, Dostoevsky argues against the Russian socialists of the early 1860s, and attacks their ideal of a socialist utopia in particular. Dostoevsky’s argument is obscure and difficult to understand, but it seems to depend upon the way he understands the interaction between psychology and politics, or, in other words, the way in which he thinks the health of a society depends upon the psychological health of its members. It is usually thought that Dostoevsky’s problem with socialism is that it curtails individual liber- ties to an unacceptable degree, and that the citizens of a socialist utopia would be frustrated by the lack of freedom. -
Sample Pages
About This Volume Brett Cooke We continue to be surprised by how the extremely rewarding world WKDW/HR7ROVWR\FUHDWHGLVDG\QDPLFVWLOOJURZLQJRQH:KHQWKH Russian writer sat down in 1863 to begin what became War and PeaceKHXWLOL]HGSRUWUDLWVRIfamily members, as well as images RIKLPVHOILQZKDWDW¿UVWFRQVWLWXWHGDOLJKWO\¿FWLRQDOL]HGfamily chronicle; he evidently used the exercise to consider how he and the SUHVHQWVWDWHRIKLVFRXQWU\FDPHWREH7KLVLQYROYHGDUHWKLQNLQJRI KRZKLVSDUHQWV¶JHQHUDWLRQZLWKVWRRGWKH)UHQFKLQYDVLRQRI slightly more than a half century prior, both militarily and culturally. Of course, one thinks about many things in the course of six highly FUHDWLYH \HDUV DQG KLV WH[W UHÀHFWV PDQ\ RI WKHVH LQWHUHVWV +LV words are over determined in that a single scene or even image typically serves several themes as he simultaneously pondered the Napoleonic Era, the present day in Russia, his family, and himself, DVZHOODVPXFKHOVH6HOIGHYHORSPHQWEHLQJWKH¿UVWRUGHUIRUDQ\ VHULRXVDUWLVWZHVHHDQWLFLSDWLRQVRIWKHSURWHDQFKDOOHQJHV7ROVWR\ posed to the contemporary world decades after War and Peace in terms of religion, political systems, and, especially, moral behavior. In other words, he grew in stature. As the initial reception of the QRYHO VKRZV 7ROVWR\ UHVSRQGHG WR WKH FRQVWHUQDWLRQ RI LWV ¿UVW readers by increasing the dynamism of its form and considerably DXJPHQWLQJLWVLQWHOOHFWXDODPELWLRQV,QKLVKDQGV¿FWLRQEHFDPH emboldened to question the structure of our universe and expand our sense of our own nature. We are all much the richer spiritually for his achievement. One of the happy accidents of literary history is that War and Peace and Fyodor 'RVWRHYVN\¶VCrime and PunishmentZHUH¿UVW published in the same literary periodical, The Russian Messenger. )XUWKHUPRUHDV-DQHW7XFNHUH[SODLQVERWKQRYHOVH[SUHVVFRQFHUQ whether Russia should continue to conform its culture to West (XURSHDQ PRGHOV VLPXOWDQHRXVO\ VHL]LQJ RQ WKH VDPH ¿JXUH vii Napoleon Bonaparte, in one case leading a literal invasion of the country, in the other inspiring a premeditated murder. -
Refractions of Rome in the Russian Political Imagination by Olga Greco
From Triumphal Gates to Triumphant Rotting: Refractions of Rome in the Russian Political Imagination by Olga Greco A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Comparative Literature) in the University of Michigan 2015 Doctoral Committee: Professor Valerie A. Kivelson, Chair Assistant Professor Paolo Asso Associate Professor Basil J. Dufallo Assistant Professor Benjamin B. Paloff With much gratitude to Valerie Kivelson, for her unflagging support, to Yana, for her coffee and tangerines, and to the Prawns, for keeping me sane. ii TABLE OF CONTENTS Dedication ............................................................................................................................... ii Introduction ............................................................................................................................. 1 Chapter I. Writing Empire: Lomonosov’s Rivalry with Imperial Rome ................................... 31 II. Qualifying Empire: Morals and Ethics of Derzhavin’s Romans ............................... 76 III. Freedom, Tyrannicide, and Roman Heroes in the Works of Pushkin and Ryleev .. 122 IV. Ivan Goncharov’s Oblomov and the Rejection of the Political [Rome] .................. 175 V. Blok, Catiline, and the Decomposition of Empire .................................................. 222 Conclusion ........................................................................................................................... 271 Bibliography ....................................................................................................................... -
Teacher Notes on Russian Music and Composers Prokofiev Gave up His Popularity and Wrote Music to Please Stalin. He Wrote Music
Teacher Notes on Russian Music and Composers x Prokofiev gave up his popularity and wrote music to please Stalin. He wrote music to please the government. x Stravinsky is known as the great inventor of Russian music. x The 19th century was a time of great musical achievement in Russia. This was the time period in which “The Five” became known. They were: Rimsky-Korsakov (most influential, 1844-1908) Borodin Mussorgsky Cui Balakirev x Tchaikovsky (1840-’93) was not know as one of “The Five”. x Near the end of the Stalinist Period Prokofiev and Shostakovich produced music so peasants could listen to it as they worked. x During the 17th century, Russian music consisted of sacred vocal music or folk type songs. x Peter the Great liked military music (such as the drums). He liked trumpet music, church bells and simple Polish music. He did not like French or Italian music. Nor did Peter the Great like opera. Notes Compiled by Carol Mohrlock 90 Igor Fyodorovich Stravinsky (1882-1971) I gor Stravinsky was born on June 17, 1882, in Oranienbaum, near St. Petersburg, Russia, he died on April 6, 1971, in New York City H e was Russian-born composer particularly renowned for such ballet scores as The Firebird (performed 1910), Petrushka (1911), The Rite of Spring (1913), and Orpheus (1947). The Russian period S travinsky's father, Fyodor Ignatyevich Stravinsky, was a bass singer of great distinction, who had made a successful operatic career for himself, first at Kiev and later in St. Petersburg. Igor was the third of a family of four boys. -
THE USE of the FRENCH LANGUAGE in LEO TOLSTOY's NOVEL, WAR and PEACE by OLGA HENRY MICHAEL D. PICONE, COMMITTEE CHAIR ANDREW
THE USE OF THE FRENCH LANGUAGE IN LEO TOLSTOY’S NOVEL, WAR AND PEACE by OLGA HENRY MICHAEL D. PICONE, COMMITTEE CHAIR ANDREW DROZD MARYSIA GALBRAITH A THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Modern Languages and Classics in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2016 Copyright Olga Henry 2016 ALL RIGHTS RESERVED ABSTRACT This study comprises an inventory and an analysis of the types of code-switching and the reasons for code-switching in Leo Tolstoy’s novel, War and Peace. The eighteenth and nineteenth centuries in Russia were marked by multilingualism among the nobility. The French language, in particular, was widely known and used in high society. Indeed, French was considered expressively superior to Russian (Offord, Ryazanova-Clarke, Rjéoutski & Argent, 2015). Then as now, code-switching was a common phenomenon among bilinguals. There were subjects discussed specifically in French, and others in Russian, in Tolstoy’s novel, which represents the life in Russia between 1807 and 1812, and which was constructed to reflect the nature of the time period and its characteristics. In this paper, using the theoretical model proposed by Myers-Scotton (1995) based on markedness, an identification is made of reasons for using code-switching. This is correlated with René Appel and Pieter Muysken’s (1987) five functions of code-switching; and Benjamin Bailey’s (1999) three functional types of switching. A delineation is also made of the types of topics discussed in the French language by the Russian aristocracy, the types of code-switching used most frequently, and the base language of code- switching in Tolstoy’s novel. -
Ulyanovsk State Technical University 1 Content
Ulyanovsk State Technical University 1 Content The city of Ulyanovsk 4 International Cooperation 19 History of Ulyanovsk 6 Social and Cultural Activity 20 Ulyanovsk Today 8 Health and Sports 21 Ulyanovsk State University Awards 22 Technical University 10 Research Centres Facts & Numbers 12 & Laboratories 23 Higher Education 14 UlSTU in progress... 24 Traditions of the University 16 Plans for Future 25 Campus map 17 Contact Information 26 Library 18 3 The city of Ulyanovsk Ulyanovsk is a fascinating city with unique geography, culture, economy and a rich history. Ulyanovsk is an administrative center of the Ulyanovsk region. It is located at the middle of European Russia in the Volga Ulyanovsk is the 20th in Russian population ranking Upland on the banks of the Volga City with a humid continental climate (meaning hot summers and cold winters) and Sviyaga rivers (893 km southeast of Moscow). Coordinates: 54°19′N 48°22′E Population: 637 300 inhabitants (January, 2011) Ulyanovsk is an important Time zone: UTC+4 (M) Ethnic russians: 75%, tatars: 12%, transport node between European composition: chuvash: 8%, mordvins: 3%, others: 2% and Asian Russia. Dialing code: +7 8422 Density: 1185 people/km2 Total area: 622,46 km². Religions: Orthodoxy, Islam A view of the Lenin Memorial building 4 in Ulyanovsk (the right bank of the Volga river) 5 Vladimir Ulyanov (Lenin) is a world-famous History personality, the leader of 1917 Russian revolution. Lenin was born on April, 22 1870 of Ulyanovsk in Simbirsk and lived there the earliest 17 years of his life. Ulyanovsk was founded as a fortress in 1648 by the boyar Bogdan Khitrovo and deacon Grigory Kunakov. -
The Gloom and Glory of Russian Literature. 393
390 THE OPEN COURT. position to men of proven worth. In the United States candidates are restricted, by Constitutional provision, to local constituencies. In consequenqe the quality of our leadership suffers. Politically it is a great Constitution, one of which we are rightly proud. It might, however, easily be improved—were the world any longer interested in politics. THE GLOOM AND GLORY OF RUSSIAN LITERA- TURE.^ BY MAXIMILIAN J. RUDWIN. Russian Literature the Lady of Sorrozvs of Holy Russia. '* A BANDON all hope, ye who enter here." These fateful words i\ of Dante might well be inscribed on the fly-leaf of every Russian book. The foreign reader of Russian literature walks in the Valley of Shadow. He is overwhelmed by a wealth of woe. He is steeped in gloom. The Tragedy of Russian Life. Russian literature is a faithful record of the history of Russia. In her literature, hapless and helpless, Russia has recorded her grief and sorrow. In her song and story she has uttered her heaven- rending cry of anguish. Russia's fiction is the direct outcome of the sufferings of her people. The misfortunes of Russia are darker and deeper, her shrieks of agony are louder and longer than those of any other country. Her literature is sadder and gloomier that that of any land. It is the literature of a country which is always "complaining and sighing and wailing." If the joys of Russia are bitterly ignored in her literature, it is because in truth they cannot be said to exist. The humorous details in Russian literature often hide a most tragical background, w^hich all of a sudden breaks 1 In this essay pre-revolutionary literature only will be considered. -
Sergei Prokofiev
Sergei Prokofiev Sergei Sergeyevich Prokofiev (/prɵˈkɒfiɛv/; Russian: Сергей Сергеевич Прокофьев, tr. Sergej Sergeevič Prokof'ev; April 27, 1891 [O.S. 15 April];– March 5, 1953) was a Russian composer, pianist and conductor. As the creator of acknowledged masterpieces across numerous musical genres, he is regarded as one of the major composers of the 20th century. His works include such widely heard works as the March from The Love for Three Oranges, the suite Lieutenant Kijé, the ballet Romeo and Juliet – from which "Dance of the Knights" is taken – and Peter and the Wolf. Of the established forms and genres in which he worked, he created – excluding juvenilia – seven completed operas, seven symphonies, eight ballets, five piano concertos, two violin concertos, a cello concerto, and nine completed piano sonatas. A graduate of the St Petersburg Conservatory, Prokofiev initially made his name as an iconoclastic composer-pianist, achieving notoriety with a series of ferociously dissonant and virtuosic works for his instrument, including his first two piano concertos. In 1915 Prokofiev made a decisive break from the standard composer-pianist category with his orchestral Scythian Suite, compiled from music originally composed for a ballet commissioned by Sergei Diaghilev of the Ballets Russes. Diaghilev commissioned three further ballets from Prokofiev – Chout, Le pas d'acier and The Prodigal Son – which at the time of their original production all caused a sensation among both critics and colleagues. Prokofiev's greatest interest, however, was opera, and he composed several works in that genre, including The Gambler and The Fiery Angel. Prokofiev's one operatic success during his lifetime was The Love for Three Oranges, composed for the Chicago Opera and subsequently performed over the following decade in Europe and Russia. -
The French Passages of Tolstoy's War and Peace in English Translation
Shedding Light on the Shadows: The French Passages of Tolstoy’s War and Peace in English Translation by Caitlin Towers Timothy Portice, Advisor Julien Weber, Second Reader Comparative Literature Thesis Middlebury College Middlebury, VT February 8, 2016 1 Introduction Lev Tolstoy first published the entirety of his novel War and Peace in 1869.1 It did not take long for his work to reach a foreign audience, and the first translation of War and Peace into English was completed between 1885 and 1886. Over the past century and a half since its publication there have been twelve major English translations of the novel. Archdeacon Farrar, who was a 19th century cleric and author, said “If Count Tolstoï’s books have appeared in edition after edition, and translation after translation, the reason is because the world learns from him to see life as it is” (Dole, iii) Each translation of a novel speaks to a different generation and different audience, and helps decades of readers learn “to see life as it is” in ways specific to their times. With each new translation Tolstoy’s novel becomes accessible to and relatable for new audiences, ranging from a British audience at the turn of the century to an American audience in the middle of the Cold War. Although all of these American and British translations vary in ways that are fascinating culturally, politically and historically, this study focuses specifically on one aspect of the translation of War and Peace: the different ways in which the many passages of the novel originally written in French are translated. -
The Drama in Disguise: Dramatic Modes of Narration and Textual Structure in the Mid-Nineteenth-Century Russian Novel
The Drama in Disguise: Dramatic Modes of Narration and Textual Structure in the Mid-Nineteenth-Century Russian Novel by Kathleen Cameron Wiggins A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Slavic Languages and Literatures in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Irina Paperno Professor Luba Golburt Lecturer Anna Muza Professor Peter Glazer Fall 2011 The Drama in Disguise: Dramatic Modes of Narration and Textual Structure in the Mid-Nineteenth-Century Russian Novel Copyright 2011 by Kathleen Cameron Wiggins 1 Abstract The Drama in Disguise: Dramatic Modes of Narration and Textual Structure in the Mid- Nineteenth-Century Russian Novel By Kathleen Cameron Wiggins Doctor of Philosophy in Slavic Languages and Literatures University of California, Berkeley Professor Irina Paperno, Chair My dissertation investigates the generic interplay between the textual forms of drama and the novel during the 1850s, a fertile “middle ground” for the Russian novel, positioned between the works of Pushkin, Lermontov, and Gogol and the psychological realist novel of the 1860s and 70s. My study begins with Turgenev’s Rudin (1856) and then considers Goncharov’s Oblomov (1859) and Dostoevsky’s Siberian novellas (1859), concluding with an examination of how the use of drama evolved in one of the “great novels” of the 1860s, Tolstoy’s Voina i mir ( War and Peace , 1865-69). Drawing upon both novel and drama theory, my dissertation seeks to identify the specific elements of the dramatic form employed by these nineteenth-century novelists, including dramatic dialogue and gesture, construction of enclosed stage-like spaces, patterns of movement and stasis, expository strategies, and character and plot construction. -
Hero in the Novels by Ivan Goncharov and Leo Tolstoy
Journal of Siberian Federal University. Humanities & Social Sciences 3 (2018 11) 445-457 ~ ~ ~ УДК 82-3 Interpretation of the “Mediocre” Hero in the Novels by Ivan Goncharov and Leo Tolstoy Ekaterina I. Shevchugova* Siberian Federal University 79 Svobodny, Krasnoyarsk, 660041, Russia Received 10.01.2017, received in revised form 13.03.2018, accepted 16.03.2018 The article investigates the identification and characterization of the “mediocre” hero in the novel trilogy by Ivan Goncharov and the novel-epopee ‘War and Peace’ by Leo Tolstoy. The research method is typological. The theoretical basis of the research includes the investigations by V. Markovich and A. Davydov. The article describes similar typologies of characters in Goncharov’s and Tolstoy’s novels. The terminal points of typology are presented by the impersonal type of characters (which have no outstanding features: Alekseev, Ayanov, Karataev) and the excessive type of characters (they have one or more of outstanding features; they are Raysky, Natasha, Andrey Bolkonsky). In the field of mediation there is the “mediocre” hero: a special type of personality characterized by evenness, calmness, moderate expression of emotions, restraint actions. But the “mediocre” hero in Goncharov’s novels is able to overcome the boundaries of his type occasionally going beyond the usual level of feeling (Stoltz and Olga Ilyinskaya, Oblomov, Tushyn), and the “mediocre” hero in Tolstoy’s works is not able to do it (Nikolai Rostov). Keywords: Ivan Goncharov, Leo Tolstoy, mediation, typology of characters, “mediocre” hero. DOI: 10.17516/1997-1370-0239. Research area: philology. Introduction behind the character accused to be ordinary and The features of the heroes of literary works mediocre, there is not a typical person as a result sometimes include such definitions as colourless, of the artistic weakness of the author, but the ordinary, inexpressive, etc.