Ruslan & Lyudmila
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<<INSERT COVER HERE! >> 0 SCHOOLTIME CONCERTS CHECKLIST Important items to remember . Schooltime concerts are free of charge. You will be shown to your seating location upon entry into Heinz Hall. Please visit our website for registration instructions at pittsburghsymphony.org/reservations. Schooltime concerts are approximately 45 minutes to 1 hour in length, depending on grade level. Tours of Heinz Hall are not available on concert days. If you wish to schedule a tour on a non-performance day, please call 412-392-4850. Your group is responsible for arranging and coordinating your transportation to and from Heinz Hall. Before the concert . Make copies of the Bus Sign as needed to display in your bus’s front right window; all members of your group must know their bus number and school name. Use the Supplementary Materials to prepare your students for the concert. Review the Map of Exit Doors that can be found in your Supplementary Materials. Preview our concert by listening to our free Spotify Playlists, accessed through the concert registration resource page. The day of the concert . Arrive at Heinz Hall approximately 30 minutes prior to the concert. If the members of your group are arriving separately, please meet at a central location outside of Heinz Hall and enter together as a group to better facilitate the seating process. Place Bus Signs in the front right window of all buses. Remind all chaperones and students of their school name and bus number. Leave all food, drink, backpacks, music devices, cameras, electronic games, etc. on the bus. These items are not permitted inside Heinz Hall. -
Shamanic Wisdom, Parapsychological Research and a Transpersonal View: a Cross-Cultural Perspective Larissa Vilenskaya Psi Research
International Journal of Transpersonal Studies Volume 15 | Issue 3 Article 5 9-1-1996 Shamanic Wisdom, Parapsychological Research and a Transpersonal View: A Cross-Cultural Perspective Larissa Vilenskaya Psi Research Follow this and additional works at: http://digitalcommons.ciis.edu/ijts-transpersonalstudies Part of the Philosophy Commons, Psychology Commons, and the Religion Commons Recommended Citation Vilenskaya, L. (1996). Vilenskaya, L. (1996). Shamanic wisdom, parapsychological research and a transpersonal view: A cross-cultural perspective. International Journal of Transpersonal Studies, 15(3), 30–55.. International Journal of Transpersonal Studies, 15 (3). Retrieved from http://digitalcommons.ciis.edu/ijts-transpersonalstudies/vol15/iss3/5 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the Journals and Newsletters at Digital Commons @ CIIS. It has been accepted for inclusion in International Journal of Transpersonal Studies by an authorized administrator of Digital Commons @ CIIS. For more information, please contact [email protected]. SHAMANIC WISDOM, PARAPSYCHOLOGICAL RESEARCH AND A TRANSPERSONAL VIEW: A CROSS-CULTURAL ' PERSPECTIVE LARISSA VILENSKAYA PSI RESEARCH MENLO PARK, CALIFORNIA, USA There in the unbiased ether our essences balance against star weights hurled at the just now trembling scales. The ecstasy of life lives at this edge the body's memory of its immutable homeland. -Osip Mandelstam (1967, p. 124) PART I. THE LIGHT OF KNOWLEDGE: IN PURSUIT OF SLAVIC WISDOM TEACHINGS Upon the shores of afar sea A mighty green oak grows, And day and night a learned cat Walks round it on a golden chain. -
Folklore and the Construction of National Identity in Nineteenth Century Russian Literature
Folklore and the Construction of National Identity in Nineteenth Century Russian Literature Jessika Aguilar Submitted in partial fulfillment of the Requirements for the degree of Doctor of Philosophy In the Graduate School of Arts and Sciences Columbia University 2016 © 2016 Jessika Aguilar All rights reserved Table of Contents 1. Introduction……………………………………………………………………………..…..1 2. Alexander Pushkin: Folklore without the Folk……………………………….20 3. Nikolai Gogol: Folklore and the Fragmentation of Authorship……….54 4. Vladimir Dahl: The Folk Speak………………………………………………..........84 5. Conclusion……………………………………………………………………………........116 6. Bibliography………………………………………………………………………………122 i Introduction In his “Literary Reveries” of 1834 Vissarion Belinsky proclaimed, “we have no literature” (Belinskii PSS I:22). Belinsky was in good company with his assessment. Such sentiments are rife in the critical essays and articles of the first third of the nineteenth century. A decade earlier, Aleksandr Bestuzhev had declared that, “we have a criticism but no literature” (Leighton, Romantic Criticism 67). Several years before that, Pyotr Vyazemsky voiced a similar opinion in his article on Pushkin’s Captive of the Caucasus : “A Russian language exists, but a literature, the worthy expression of a mighty and virile people, does not yet exist!” (Leighton, Romantic Criticism 48). These histrionic claims are evidence of Russian intellectuals’ growing apprehension that there was nothing Russian about the literature produced in Russia. There was a prevailing belief that -
RUS421 Pushkin Professor Hilde Hoogenboom Spring 2011 LL420B, 480.965.4576 PEBE117, TR 12:00-1:15 [email protected] #18444 Office Hours: TR2-4 & by Appt
RUS421 Pushkin Professor Hilde Hoogenboom Spring 2011 LL420B, 480.965.4576 PEBE117, TR 12:00-1:15 [email protected] #18444 Office Hours: TR2-4 & by appt. Pushkin: The Invention of Russian Literature Alexander Pushkin (1799-1837) was an acknowledged genius , the No. 1 writer during his lifetime, not because he wrote best-sellers (although he did), but because his work, and his personality and life, exemplified qualities that brought him recognition and fame . Pushkin traced his lineage to noble families and was the great grandson of Peter the Great’s Abyssinian general, Abram Petrovich Gannibal, born an African prince . Pushkin was the Russian Byron , the Russian Mozart of poetry. After graduating from the elite Lycée, at age 21, the publication of his first major poem, Ruslan and Ludmila (1820), created a sensation , especially when he was exiled to the south at the same time for circulating poems about freedom . In 1826, back in St. Petersburg, where the Emperor Nicholas I was his personal censor, Pushkin became a professional man of letters and established a literary journal. His greatest work, the novel in verse Eugene Onegin (1833), was acclaimed as “an encyclopedia of Russian life ” and was made into a beloved opera by Petr Tchaikovsky in 1878. Students copied his bawdy poetry in their albums. His reputation with women made mothers fear for their daughters. His marriage to the beautiful Natalia Goncharova led to a duel over her honor, in which he was killed . Since then, his stature in Russian literature has only increased and he is Russia’s national poet , a literary saint with statues throughout Russia and streets named after him in every town. -
Shostakovich Symphony No
SHOSTAKOVICH SYMPHONY NO. 6 SYMPHONY NO. 14 VLADIMIR JUROWSKI conductor TATIANA MONOGAROVA soprano SERGEI LEIFERKUS baritone LONDON PHILHARMONIC ORCHESTRA SHOSTAKOVICH SYMPHONY NO. 6 | SYMPHONY NO. 14 Shostakovich’s cycle of 15 symphonies includes some works march over string trills; and the recapitulation is severely that conform in outline to expectations of symphonic form, truncated, little more than a coda eventually fading into but others that make their point by confounding those silence. expectations. The Sixth Symphony, composed in 1939 as a sequel to the conventionally shaped and career-saving The pattern of disappointed expectations is repeated when Fifth, has regularly attracted criticism for its apparently this serious opening movement is followed by two slighter unbalanced and unsymphonic structure. The Fourteenth, and more light-hearted movements. The first of these written 30 years later at a time of greater artistic freedom is a scherzo, initially light-textured but becoming more in the Soviet Union, is even less traditional in conception, a strident, followed by a strongly accented trio section and a song-cycle for two voices and chamber orchestra on poems shortened and varied reprise of the scherzo, incorporating by several authors unified by the theme of death. elements of the trio, but at a restrained dynamic level. The finale is a lightweight and balletic rondo, with a The Sixth Symphony is in three movements, beginning contrasting central episode in quick waltz time, initially with the longest, a slow movement. This begins at high heavy and ponderous but later with shrill and insistent voltage with an even slower introduction, anticipating repeated figures in the high treble. -
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. -
|What to Expect from Eugene Onegin
| WHAT TO EXPECT FROM EUGENE ONEGIN A TIMELESS STORY OF LOVE, YEARNING, AND THE TRAGIC CONSEQUENCES THE WORK: of youthful pride, Eugene Onegin holds the dual honor of being one of the most EUGENE ONEGIN An opera in three acts, sung in beloved works of both Russian opera and Russian literature. Tchaikovsky’s Russian expressive lyricism gives a fitting voice to the emotional turmoil at the heart Music by Pyotr Tchaikovsky of Alexander Pushkin’s famous verse novel. Pushkin’s stature in Russian Libretto by the composer and literature can only be compared to Shakespeare’s in the English canon, and Konstantin Shilovsky the opera represents a fortuitous meeting of two of Russia’s great creative Based on the verse novel Eugene Onegin by Alexander Pushkin minds. With roughly half a century separating them, Tchaikovsky stands First performed March 19, 1879 at as the tortured creator of highly personal, semi-autobiographical works of the Maly Theater, Moscow, Russia (with students from the Moscow art while Pushkin is the sly and subversive social critic. But it is these differ- Conservatory); professional premiere ences that make the operatic version of Eugene Onegin so thrilling: it’s both on January 29, 1881 at the Bolshoi Theater, Moscow, Russia a kaleidoscopic portrait of Russian society and a philosophical reflection on the human condition. PRODUCTION Deborah Warner’s Met production places the action in the late 19th Robin Ticciati, Conductor century, around the time of the opera’s premiere and several decades after Deborah Warner, Production Pushkin’s own setting in the 1820s. This shift emphasizes the autumnal Tom Pye, Set Designer quality of aristocratic life at the end of Russia’s imperial age, highlighting Chloe Obolensky, Costume Designer the sharp divisions between country life, rural gentry, and aristocratic St. -
Romanticism.Pdf
Romanticism 1 Romanticism Caspar David Friedrich, Wanderer Above the Sea of Fog, 1818 Eugène Delacroix, Death of Sardanapalus, 1827, taking its Orientalist subject from a play by Lord Byron Romanticism 2 Philipp Otto Runge, The Morning, 1808 Romanticism (also the Romantic era or the Romantic period) was an artistic, literary, and intellectual movement that originated in Europe toward the end of the 18th century and in most areas was at its peak in the approximate period from 1800 to 1850. Partly a reaction to the Industrial Revolution,[1] it was also a revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature.[] It was embodied most strongly in the visual arts, music, and literature, but had a major impact on historiography,[2] education[3] and the natural sciences.[4] Its effect on politics was considerable and complex; while for much of the peak Romantic period it was associated with liberalism and radicalism, in the long term its effect on the growth of nationalism was probably more significant. The movement validated strong emotion as an authentic source of aesthetic experience, placing new emphasis on such emotions as apprehension, horror and terror, and awe—especially that which is experienced in confronting the sublimity of untamed nature and its picturesque qualities, both new aesthetic categories. It elevated folk art and ancient custom to something noble, made spontaneity a desirable characteristic (as in the musical impromptu), and argued for a "natural" epistemology of human activities as conditioned by nature in the form of language and customary usage. -
Echoing Their Lives: Teaching Russian Language and Culture Through the Music of Vladimir S
Copyright by Ruby Jean Jones 2008 The Dissertation Committee for Ruby Jean Jones Certifies that this is the approved version of the following dissertation: Echoing Their Lives: Teaching Russian Language and Culture Through the Music of Vladimir S. Vysotsky Committee: Thomas J. Garza, Supervisor Cynthia J. Buckley Elaine K. Horwitz John S. Kolsti Gilbert C. Rappaport Echoing Their Lives: Teaching Russian Language and Culture Through the Music of Vladimir S. Vysotsky by Ruby Jean Jones, B.A.; M.S.S.M.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2008 Dedication For my mother who first taught me the value of questioning, and my sister who believed. Acknowledgements The grounding and heart of this dissertation were laid long ago when a former teacher and colleague, Dr. Anna V. Orlenko, willingly shared with me her full collection of the music of Vysotsky, in the days before such music was commercially available. There are no words to acknowledge fully the debt I owe her generosity. Without that impetus and her influence, my interest in this area of Russian culture and this dissertation would never have seen fruition. I wish to express gratitude to my dissertation committee, especially my supervisor, Thomas Garza, without whose guidance in keeping me focused not only on reaching the end of the road, but on acquiring the technical expertise required to navigate it. I would never have completed the dissertation without such guidance, which includes both intellectually challenging classes and stimulating conversations with all members of my committee. -
The Curving Shore of Time and Space: Notes on the Prologue to Pushkin's Ruslan and Ludmila
The Curving Shore of Time and Space: Notes on the Prologue to Pushkin’s Ruslan and Ludmila The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Russell, James R. 2012. The Curving Shore of Time and Space: Notes on the Prologue to Pushkin’s Ruslan and Ludmila. In Shoshannat Yaakov: Jewish and Iranian Studies in Honor of Yaakov Elman, ed. Shai Secunda and Steven Fine, 323–370. Leiden and Boston: Brill Academic Publishers. Published Version doi:10.1163/9789004235458_018 Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:34257918 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Open Access Policy Articles, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#OAP 1 THE CURVING SHORE OF TIME AND SPACE: NOTES ON THE PROLOGUE TO PUSHKIN’S RUSLAN AND LUDMILA. By James R. Russell, Harvard University, Cambridge, Mass. Золотое руно, где же ты, золотое руно? Всю дорогу шумели морские тяжёлые волны, И, покинув корабль, натрудивший в морях полотно, Одиссей возвратился, пространством и временем полный! (“Golden fleece, where are you now, golden fleece? All the journey long roared the heavy sea waves, And, leaving the ship that had worked a canvas of the seas, Odysseus returned, replete with time and space!”) —Osip Mandelstam (1891-1938).1 “As lucid as you like or as deep as you choose to dive.” —Adam Gopnik, on the Alice books of Lewis Carroll.2 PREFACE. -
Teacher Workbook
Teacher Workbook TABLE OF CONTENTS Letter from North Carolina Symphony Education Department ........................2 Information about the 2013/14 Education Concert Program ............................3 Education Programs of the North Carolina Symphony ......................................4 Author Biographies ..............................................................................................6 Leonard Bernstein (1918-1990) ............................................................................7 Overture to Candide Georges Bizet (1838-1875) .................................................................................13 Mvt. 1, “Pastorale”, from L’Arlesienne Suite No. 2 Nikolai Rimsky-Korsakov (1844-1908) ...............................................................19 Flight of the Bumblebee Wolfgang Amadeus Mozart (1756-1791) ..........................................................25 Mvt. 1 from Symphony No. 35 Johannes Brahms (1833-1897) ...........................................................................27 Mvt. III from Symphony No. 3 AUTHORS Giuseppe Verdi (1813-1901) ...............................................................................35 Christine Eason Ballet Music from Aida Brier Creek Elementary School, Raleigh, NC Traditional/arr. Terry Mizesko (b. 1954) ............................................................43 Kathy Hopkins “Comin’ Roun’ the Mountain” Aversboro Elementary School, “The Products of Our State” - Words by Madge McCannon Patton (b. 1949) Garner, NC Bill Rashleigh Mikhail -
Russian Conversation-Grammar
1 /f M' CORNELL UNIVERSITY LIBRARY Gift of the CHARLES M. TAYLOR ESTATE Cornell University Library PG 2111.M92 1922 Russian conversation-grammar 3 1924 026 616 890 Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924026616890 METHOD GASPEY-OTTO-SAUER. RUSSIAN CONVERSATION-GRAMMAR BY PIETRO jtfOTTl, KNIGHT OP THB CROWN OF ITALY, FORMERLY PROFESSOR OF MODERN LANGUAGES AT THE BOYAL PIACENZA TECHNICAL IN8TITDTI0N. FOUETH mPROVED EDITION. LONDON. lAVm HOTT (A. G.' Berry), 212 Shaftesbury Avenae, W.C. 2. SULAD <k 00., 34—36 Maritaret Street, Cavendish Square W. 1. NEW YORK: BREKTANU'S, Fifth Avenue and 27"' Street. THE INTERNATIONAL NEWS COMPANY, 83 and 83 Dnane Street G. E. STECHERT & CO, 151—1SS West 25* Street E. STEIGER & CO., 49 Murray Street ' BOSTON: G. REUSCHEL, 1 10 Tremont Street SCHOENHOF BOOK COMPANY, 128 Tremont Street HEIDELBERG. JTJILiIXTS GXIOOS. 1922. V-tt The Gaspey-OttO-Seuer Method has become my sole properl:^ by right of purchase. These books are continually revised. All lights especially those of adaptation and translation into any language, are reser- ved. Imitations and copies are forbidden by law. Suitable communications always thankf^ly received. Heidelberg. aTuIIus Oroos. r^^7o?d lU PREFACE. In strict adherence "to the Gaspey-Otto-Sauer method, I have divided this Conversation Grammar into two parts. The first of them, preceded by an introduction exhibiting the theory and practice of correct pronunciation, ofifers in as clear and scientific a form as possible the roles of the accidence and the elements of the language in general, including the irregular verbs.