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Fifteen Russian Fairy Tales and What They Mean to Me Contents: 1
Fifteen Russian Fairy Tales and What They Mean to Me Contents: 1. Vasilisa the Priest’s Daughter (on challenging stereotypes) 2. The Cat Who Became Head-Forester (on the dangers of a single narrative) 3. Vasilisa the Beautiful (on ambiguous villains) 4. The Death of Koschei the Deathless (on untold stories) 5. The Tale of the Silver Saucer and the Transparent Apple (on injustice and resilience) 6. Sadko (on the power of music) 7. Ruslan and Ludmila (on layered stories) 8. Baba Yaga (on kindness) 9. The Lime Tree (on magic in the natural world) 10. The Crane and the Heron (on seizing the day) 11. The Gigantic Turnip (on community) 12. The Snow Maiden (on love and happiness) 13. The Armless Maiden (on the transformative power of fairy tales) 14. Vasilisa the Beautiful (on metaphors) 15. The Fool of the World and the Flying Ship (on friendship) These posts were written for The House with Chicken Legs Blog Tour, April 2018, by Sophie Anderson 1. Vasilisa the Priest’s Daughter (on challenging stereotypes) ‘In a certain land, in a certain kingdom…’ In this Russian fairy tale, collected and published by Alexander Afanasyev in 1855, Vasily the Priest has a daughter named Vasilisa Vasilyevna. Vasilisa wears men’s clothing, rides horseback, is a good shot with a rifle and does everything in a ‘quite unmaidenly way’ so that most people think she is a man and call her Vasily Vasilyevich (a male version of her name) … ‘… all the more so because Vasilisa Vasilyevna was very fond of vodka, and this, as is well known, in entirely unbecoming to a maiden.’ One day King Barkhat meets Vasilisa while out hunting, and thinks she is a young man. -
Between Linguistic Indecency and Religious Blasphemy
religions Article Gogol’s “The Nose”: Between Linguistic Indecency and Religious Blasphemy Igor Pilshchikov 1,2 1 Department of Slavic, East European and Eurasian Languages and Cultures, University of California, Los Angeles, CA 90095, USA; [email protected] 2 School of Humanities, Tallinn University, 10120 Tallinn, Estonia Abstract: Focused on Nikolai Gogol’s absurdist tale, “The Nose” (1835), this article is an investiga- tion into the concealed representation of suppressed and marginalized libertine and anti-religious discourses in nineteenth-century Russian literature. The author identifies overlooked idiomatic phraseology, forgotten specificities of the Imperial hierarchy (the Table of Ranks), and allusions to religious customs and Christian rituals that would have been apparent to Gogol’s readers and shows how some were camouflaged to escape censorship in successive drafts of the work. The research builds on the approaches to Gogol’s language, imagery and plot developed earlier by the Russian Formalists, Tartu-Moscow semioticians, and a few other scholars, who revealed the latent obscenity of Gogol’s “rhinology” and the sacrilegious meaning of the tale’s very specific chronotope. The previous scholars’ observations are substantially supplemented by original findings. An integrated analysis of these aspects in their mutual relationship is required to understand what the telling details of the story reveal about Gogol’s religious and psychological crisis of the mid-1830s and to demonstrate how he aggregated indecent Shandyism, social satire, and religious blasphemy into a single quasi-oneiric narrative. Citation: Pilshchikov, Igor. 2021. Keywords: The Nose (tale); Gogol; religious crisis; sacrilege; blasphemy; linguistic indecency Gogol’s “The Nose”: Between Linguistic Indecency and Religious Blasphemy. -
Glassford-Rachel-Thesis.Pdf
DEATH OBJECTIFIED, LIFE AFFIRMED: MORTALITY AND MATERIALISM IN RUSSIAN FOLKTALES FEATURING KOSCHEI THE DEATHLESS HONORS THESIS Presented to the Honors College of Texas State University in Partial Fulfillment of the Requirements for Graduation in the Honors College by Rachel Glassford San Marcos, Texas November 2018 DEATH OBJECTIFIED, LIFE AFFIRMED: MORTALITY AND MATERIALISM IN RUSSIAN FOLKTALES FEATURING KOSCHEI THE DEATHLESS by Rachel Glassford Thesis Supervisor: ________________________________ Teya Rosenberg, Ph.D. Department of English Approved: ____________________________________ Heather C. Galloway, Ph.D. Dean, Honors College TABLE OF CONTENTS I. ABSTRACT……………………………………………………………...iv II. A STATEMENT OF RELEVANCE: WHY SHOULD WE CARE?...........1 III. INTRODUCTION……………………………………………………….10 IV. BACKGROUND & METHODOLOGY…………………………………13 V. LITERATURE REVIEW………………………………………………...22 i. Koshchey the Deathless ii. Maria Morevna iii. Tsarevich Ivan and Elena the Beautiful iv. Prince Ivan and Princess Martha VI. CONTEMPORARY ADAPTATIONS…………………………………..41 VII. ANALYSIS………………………………………………………………45 i. Transactional Relationships ii. Materialism iii. Treatment of Immortality VIII. CONCLUSION…………………………………………………………57 IX. BIBLIOGRAPHY………………………………………………………60 iii Death Objectified, Life Affirmed: Mortality and Materialism in Russian Folktales Featuring Koschei the Deathless Koschei the Deathless, a stock villain of Russian folklore, is a powerful sorcerer who achieves immortality by physically hiding his death, which is treated as an object rather than an event. This project investigates the objectification of Koschei’s death as a product of cultural anxieties about the uncertainties of peasant life in the Late Tsarist period. The project has two parts, the first a literary analysis of the portrayal of Koschei the Deathless in early English translations of Russian folktales and their subsequent adaptations, and the second investigates how specific social factors (including literacy and mortality rates) may have influenced particular narrative attributes. -
Vladimir-Nabokov-And-The-Fictions-Of
Vladimir Nabokov and the Fictions of Memory Vladimir Nabokov and the Fictions of Memory edited by Irena Księżopolska and Mikołaj Wiśniewski Warsaw, 2019 Board of reviewers: Yannicke Chupin Irene Delic Galya Diment Siggy Frank Monica Manolescu Eric Naiman Marek Paryż Natalia Pervukhina Andrea Pitzer Christine Raguet Matthew Roth Thomas John Seifrid Andrzej Weseliński Barbara Wyllie Cover design: Marta Pokorska Titlepage design: Jacek Malik Co ‑financed by SWPS University of Social Sciences and Humanities Copyright © Fundacja Augusta hr. Cieszkowskiego ISBN 978-83-65787-12-5 Fundacja Augusta hr. Cieszkowskiego ul. Mianowskiego 15/65, 02 -044 Warszawa e -mail: [email protected] First edition, Warsaw 2019 Text layout: Studio Artix, Jacek Malik, [email protected] Printing: Drukarnia Sowa, Warsaw TABLE OF CONTENTS Irena Księżopolska, Mikołaj Wiśniewski INTRODUCTION .............................. 7 Leona Toker NABOKOV’S FACTOGRAPHY ................. 21 Stephen H. Blackwell NABOKOV’S CRYPTIC TRIPTYCH: GRIEF AND JOY IN “SOUNDS,” “THE CIRCLE,” AND “LANTERN SLIDES” ..................... 51 Péter Tamás VISION AND MEMORY IN NABOKOV’S “A FORGOTTEN POET” ....................... 82 Dana Dragunoiu TIME, MEMORY, THE GENERAL, AND THE SPECIFIC IN LOLITA AND À LA RECHERCHE DU TEMPS PERDU .......................... 100 David Potter PARAMNESIA, ANTICIPATORY MEMORY, AND FUTURE RECOLLECTION IN ADA .................................... 123 Adam Lipszyc MEMORY, IMAGE, AND COMPASSION: NABOKOV AND BENJAMIN ON CHILDHOOD ............ 156 6 Vladimir Nabokov and the Fictions of Memory Gerard de Vries MEMORY AND FICTION IN NABOKOV’S SPEAK, MEMORY ................................... 173 Mikołaj Wiśniewski MEMORY’S INVISIBLE MANAGERS: THE CASE OF LUZHIN ................................ 184 Andrzej Księżopolski TIME, HISTORY, AND OTHER PHANTOMS IN THE REAL LIFE OF SEBASTIAN KNIGHT ..... 203 Irena Księżopolska BIOGRAPHER AS IMPOSTOR: BANVILLE AND NABOKOV ............................ 226 Akiko Nakata MEMORIES TRICK – MEMORIES MIX: TRANSPARENT THINGS ...................... -
Download Russian Folktales a Reader 2Nd Edition Free Ebook
RUSSIAN FOLKTALES A READER 2ND EDITION DOWNLOAD FREE BOOK Jason Merrill | --- | --- | --- | 9781585104895 | --- | --- Russian Fairy Tales Fairy tales were not confined to a particular socio-economic class and appealed to mass audiences, which resulted in them becoming a trademark of Russian culture. The Fairytale and Plot Structure. After elements are identified, a structuralist can propose relationships between those elements. Translated by Norbert Guterman Illustrated by Alexander Alexeieff In this most comprehensive collection of classic Russian tales available in English we meet both universal fairy-tale figures—thieves and heroes, kings and peasants, beautiful damsels and terrifying witches, enchanted children and crafty animals—and such uniquely Russian characters as Koshchey the Deathless, B Translated by Norbert Guterman Illustrated by Alexander Alexeieff In this most comprehensive collection of classic Russian tales available in Russian Folktales A Reader 2nd edition we meet both universal fairy-tale figures—thieves and heroes, kings and peasants, beautiful damsels and terrifying witches, enchanted children and crafty animals—and such uniquely Russian characters as Koshchey the Russian Folktales A Reader 2nd edition, Baba Yaga, the Swan Maiden, and the glorious Firebird. Best of all, there are more exercises that deal with basic issues of case usage, which is what the students most need at the 2nd and 3rd levels. The illustrations are by Ivan Bilibin, who was a well known Russian illustrator and stage designer around Showing Russians know how tough life can be, and they're not afraid to show it. Ou appelez-nous : 78 Oh and she is also often followed by spirits. Hidden categories: CS1 maint: multiple names: authors list Articles containing Russian-language text. -
Russian Folktales from the Collection of A. Afanasyev: a Dual-Language Book Free Download
RUSSIAN FOLKTALES FROM THE COLLECTION OF A. AFANASYEV: A DUAL-LANGUAGE BOOK FREE DOWNLOAD Sergey Levchin,Alexander Afanasyev | 240 pages | 21 May 2014 | Dover Publications Inc. | 9780486493923 | English | New York, United States Russian Folktales from the Collection of A. Afanasyev: A Dual-Language Book This Book have some digital formats such us :paperbook, ebook, kindle, epub, fb2 and another formats. Cambridge Texts in the History of Philosophy. The New York Times. He was buried at the Pyatnitskoye cemetery. Kleine Bibliothek der Weltweisheit. Pushkin gained his love for Russian fairy tales from his childhood nurse, Ariana Rodionovna, who told him stories from her village when he was young. Here comes the sexton, asking the baker: why she broke the breads and threw them away? The rediscovery of Russian folklore through written text led to a generation of great Russian authors to come forth. Jan 19, Jr rated it really liked it Shelves: russian-lit. So she told him the whole of the trouble from the start; the sexton ran up the bell tower and smashed all the bells. They hadn't any bread, you see; so they drove out to the woods, gathered some acorns, brought them home, and that's what they ate. In such an interpretation, he regarded the fairy tale Vasilisa the Beautiful as depicting the conflict between the sunlight Vasilisathe storm her stepmotherand dark clouds her stepsisters. Then the fish pleaded with him in human tongue: "Don't take me, old man! The term can be used in many different forms to determine the type of tale or story being told.