The Rise of Russia
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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. -
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. -
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. -
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. -
The Northern Black Sea Region in Classical Antiquity 4
The Northern Black Sea Region by Kerstin Susanne Jobst In historical studies, the Black Sea region is viewed as a separate historical region which has been shaped in particular by vast migration and acculturation processes. Another prominent feature of the region's history is the great diversity of religions and cultures which existed there up to the 20th century. The region is understood as a complex interwoven entity. This article focuses on the northern Black Sea region, which in the present day is primarily inhabited by Slavic people. Most of this region currently belongs to Ukraine, which has been an independent state since 1991. It consists primarily of the former imperial Russian administrative province of Novorossiia (not including Bessarabia, which for a time was administered as part of Novorossiia) and the Crimean Peninsula, including the adjoining areas to the north. The article also discusses how the region, which has been inhabited by Scythians, Sarmatians, Greeks, Romans, Goths, Huns, Khazars, Italians, Tatars, East Slavs and others, fitted into broader geographical and political contexts. TABLE OF CONTENTS 1. Introduction 2. Space of Myths and Legends 3. The Northern Black Sea Region in Classical Antiquity 4. From the Khazar Empire to the Crimean Khanate and the Ottomans 5. Russian Rule: The Region as Novorossiia 6. World War, Revolutions and Soviet Rule 7. From the Second World War until the End of the Soviet Union 8. Summary and Future Perspective 9. Appendix 1. Sources 2. Literature 3. Notes Indices Citation Introduction -
NARRATING the NATIONAL FUTURE: the COSSACKS in UKRAINIAN and RUSSIAN ROMANTIC LITERATURE by ANNA KOVALCHUK a DISSERTATION Prese
NARRATING THE NATIONAL FUTURE: THE COSSACKS IN UKRAINIAN AND RUSSIAN ROMANTIC LITERATURE by ANNA KOVALCHUK A DISSERTATION Presented to the Department of Comparative Literature and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2017 DISSERTATION APPROVAL PAGE Student: Anna Kovalchuk Title: Narrating the National Future: The Cossacks in Ukrainian and Russian Romantic Literature This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of Comparative Literature by: Katya Hokanson Chairperson Michael Allan Core Member Serhii Plokhii Core Member Jenifer Presto Core Member Julie Hessler Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2017 ii © 2017 Anna Kovalchuk iii DISSERTATION ABSTRACT Anna Kovalchuk Doctor of Philosophy Department of Comparative Literature June 2017 Title: Narrating the National Future: The Cossacks in Ukrainian and Russian Romantic Literature This dissertation investigates nineteenth-century narrative representations of the Cossacks—multi-ethnic warrior communities from the historical borderlands of empire, known for military strength, pillage, and revelry—as contested historical figures in modern identity politics. Rather than projecting today’s political borders into the past and proceeding from the claim that the Cossacks are either Russian or Ukrainian, this comparative project analyzes the nineteenth-century narratives that transform pre- national Cossack history into national patrimony. Following the Romantic era debates about national identity in the Russian empire, during which the Cossacks become part of both Ukrainian and Russian national self-definition, this dissertation focuses on the role of historical narrative in these burgeoning political projects. -
History of Russia to 1855 Monday / Wednesday / Friday 3:30-4:30 Old Main 002 Instructor: Dr
HIST 294-04 Fall 2015 History of Russia to 1855 Monday / Wednesday / Friday 3:30-4:30 Old Main 002 Instructor: Dr. Julia Fein E-mail: j [email protected] Office: Old Main 300, x6665 Office hours: Open drop-in on Thursdays, 1-3, and by appointment COURSE DESCRIPTION Dear historians, Welcome to the first millennium of Russian history! We have a lively semester in front of us, full of famous, infamous, and utterly unknown people: from Ivan the Terrible, to Catherine the Great, to the serfs of Petrovskoe estate in the 19th century. Most of our readings will be primary documents from medieval, early modern, and 19th-century Russian history, supplemented with scholarly articles and book sections to provoke discussion about the diversity of possible narratives to be told about Russian history—or any history. We will also examine accounts of archaeological digs, historical maps, visual portrayals of Russia’s non-Slavic populations, coins from the 16th and 17th centuries, and lots of painting and music. As you can tell from our Moodle site, we will be encountering a lot of Russian art that was made after the period with which this course concludes. Isn’t this anachronistic? One of our course objectives deals with constructions of Russian history within R ussian history. We will discuss this issue most explicitly when reading Vasily Kliuchevsky on Peter the Great’s early life, and the first 1 HIST 294-04 Fall 2015 part of Nikolai Karamzin’s M emoir , but looking at 19th- and 20th-century artistic portrayals of medieval and early modern Russian history throughout also allows us to conclude the course with the question: why are painters and composers between 1856 and 1917 so intensely interested in particular moments of Russia’s past? What are the meanings of medieval and early modern Russian history to Russians in the 19th and 20th centuries? The second part of this course sequence—Revolutionary Russia and the Soviet Union—picks up this thread in spring semester. -
Ilya Repin and the Zaporozhe Cossacks
Skidmore College Creative Matter MALS Final Projects, 1995-2019 MALS 5-17-2008 Ilya Repin and the Zaporozhe Cossacks Kristina Pavlov-Leiching Skidmore College Follow this and additional works at: https://creativematter.skidmore.edu/mals_stu_schol Part of the European History Commons, and the Other History of Art, Architecture, and Archaeology Commons Recommended Citation Pavlov-Leiching, Kristina, "Ilya Repin and the Zaporozhe Cossacks" (2008). MALS Final Projects, 1995-2019. 50. https://creativematter.skidmore.edu/mals_stu_schol/50 This Thesis is brought to you for free and open access by the MALS at Creative Matter. It has been accepted for inclusion in MALS Final Projects, 1995-2019 by an authorized administrator of Creative Matter. For more information, please contact [email protected]. Ilya Repin and the Zaporozhe Cossacks by Kristina Pavlov-Leiching FINAL PROJECT SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN LIBERAL STUDIES SKIDMORE COLLEGE May 2008 Advisors: Kate Graney, Ken Klotz THE MASTER OF ARTS PROGRAM IN LIBERAL STUDIES SKIDMORE COLLEGE CONTENTS ABSTRACT . .. .. iv LIST OF ILLUSTRATIONS . v Chapter INTRODUCTION . .. .. .. 1. Goals of the Study 1. HISTORICAL BACKGROUND . .. .. .. 3. Repin and the Academy of Arts in St. Petersburg Repin's Experiences Abroad Repin and the Wanderers Association Repin as a Teacher and Reformer Repin's Final Years 2. REPIN'S AESTHETIC BELIEFS AS AN ARTIST AND TEACHER . .................................. 15. An Artist Driven by Social Obligation A Painter of the Peasantry and Revolutionary A Devout Nationalist An Advocate of Art forAr t's Sake(1873-1876 & 1890s) Impressionist Influence An Encounter with Tolstoy's Aesthetics Repin as a Teacher and Reformer of the Academy The Importance of the Creative Process A Return to National Realism 11 3. -
from Ancient Rome to the American War of Independence
: From Ancient Rome to the American War of Independence and Press Release Monday 19 October 2015 H. G. Wells A Short History of the World In Three Volumes. Illustrated. Edited by George Sandulescu and Lidia Vianu Contemporary Literature Press is Contemporary Literature Press publishing a book about the past, publică acum o carte despre trecut, written by a visionary writer who, scrisă de un vizionar care, împreună cu along with Jules Verne, is considered Jules Verne, este considerat a fi creat to be the father of science fiction. genul science fiction. H. G. Wells’s Short History of the Scurtă istorie a lumii a fost World was published in 1922, the peak publicată de H.G. Wells în anul 1922, year of Modernism—the year when anul modernist prin excelenţă, având în James Joyce’s Ulyssses and T.S. Eliot’s vedere că exact atunci au apărut Ulysses The Waste Land appeared. Its author de James Joyce şi The Waste Land de T.S. was a novelist who also wrote books Eliot. Autorul acestui volum de istorie a about the future, such as The Time scris şi cărţi despre viitor, cum ar fi Machine, The Invisible Man, The First Maşina timpului, Omul invizibil, Primii Men in the Moon. Partly, the scientific oameni pe lună. Unele descoperiri and technical future imagined by ştiinţifice şi tehnice imaginate de Wells Wells at the beginnig of the 20th la începutul secolului XX chiar au fost Century has already happened. ulterior făcute cu adevărat. This clearly written and amply Cartea aceasta scrisă limpede şi illustrated book provides both bogat ilustrată aduce, pentru profesori teachers and students with possible şi elevii lor, tot felul de istorii despre stories about life on earth. -
RUSSIAN COSSACKS Fact Sheet
RUSSIAN COSSACKS Fact Sheet Russian Cossacks in the Service of the German Reich – 1941 to 1945 During the summer of 1941, numerous Red Army soldiers, prisoners and deserters, joined the ranks of the German Army to fight in the war against the Soviet Union and Stalin. With various motives, often ideological, these men were formed into a multiplicity of smaller units spread all over the eastern front. Their numbers continued to grow from 1941 through 1944. Among these volunteers were the Russian Cossacks led by their Atamans, (chiefs). They enjoyed a certain historical independence which originated from within the confines of the Russian Imperial Armies of the Czars whose task it was to guard the vast frontiers of the Russian empire. During the Russian Civil War, (The Bolshevik Revolution - 1917 to 1923) a majority of the Cossacks fought on the side of the White Russians, (those allied with the Czar and opposed to the communists). During the 1920’s and 30’s, they were defeated by the Bolsheviks, persecuted by Stalin and deprived of their land and liberties. In the summer of 1942, the arrival of German military forces in the Cossack regions of Russia, (southern Russia and the Caucasus) were regarded by the Cossacks as an unexpected chance to topple the communist regime and regain their ancient rights. The great wave of Cossack recruitment took place that summer when General von Kleist’s First Panzer Army penetrated into the Cossack lands. As soon as the Germans arrived in the Southern Russian regions of the Don, Kuban and Terek, numerous Cossacks presented themselves spontaneously to German units with great enthusiasm.