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Common Heritage Совместное Наследие
COMMON HERITAGE СОВМЕСТНОЕ НАСЛЕДИЕ The multicultural heritage of Vyborg and its preservation Мультикультурное наследие Выборга и его сохранение COMMON HERITAGE СОВМЕСТНОЕ НАСЛЕДИЕ The multicultural heritage of Vyborg and its preservation Proceedings of the international seminar 13.–14.2.2014 at The Alvar Aalto library in Vyborg Мультикультурное наследие Выборга и его сохранение Труды мeждународного семинара 13.–14.2.2014 в Центральной городской библиотеке А. Аалто, Выборг Table of contents Оглавление Editor Netta Böök FOREWORD .................................................................6 Редактор Нетта Бёэк ПРЕДИСЛОВИЕ Graphic design Miina Blot Margaretha Ehrström, Maunu Häyrynen: Te dialogical landscape of Vyborg .....7 Графический дизайн Мийна Блот Маргарета Эрстрëм, Мауну Хяйрюнен: Диалогический ландшафт Выборга Translations Gareth Grifths and Kristina Kölhi / Gekko Design; Boris Sergeyev Переводы Гарет Гриффитс и Кристина Кëлхи / Гекко Дизайн; Борис Сергеев Publishers The Finnish National Committee of ICOMOS (International Council for Monuments and Sites) and OPENING WORDS The Finnish Architecture Society ..........................................................12 Издатели Финляндский национальный комитет ИКОМОС (Международного совета по сохранению ВСТУПИТЕЛЬНЫЕ СЛОВА памятников и достопримечательных мест) и Архитектурное общество Финляндии Maunu Häyrynen: Opening address of the seminar ............................15 Printed in Forssa Print Мауну Хяйрюнен: Вступительное обращение семинара Отпечатано в типографии Forssa Print -
Town Twinning 5 of the Modern Gdańsk Shares Its Knowledge After EURO 2012 6 Twinning Areas
• AALBORG • AARHUS • ARENDAL • BERGEN • BOTKYRKA • CĒSIS • CHOJNICE • ELBLĄG • ELVA • ESPOO • FALUN • GARGŽDAI • GÄVLE • GDAŃSK • GDYNIA • GREIFSWALD • GULDBORGSUND • HAAPSALU • HALMSTAD • HELSINKI • HIIU • JĒKABPILS • JELGAVA • JÕGEVA • JÕHVI • JŪRMALA • JYVÄSKYLÄ • KALININGRAD • KALMAR • KARLSKRONA • KARLSTAD • KAUNAS • KEILA • KEMI • KIEL • KLAIPĖDA • KØGE • KOLDING • KOSZALIN • KOTKA • KRISTIANSAND • KRISTIANSTAD • KRYNICA M. • KURESSAARE • LAHTI • LIEPĀJA • LINKÖPING • LÜBECK • LULEÅ • ŁEBA • MAARDU • MALBORK • MALMÖ • MARIEHAMN • MIĘDZYZDROJE • MIELNO • NARVA • NÆSTVED • ÖREBRO • OSKARSHAMN • PALANGA • PALDISKI • PANEVĖŽYS • PÄRNU • PORI • PORVOO • PRUSZCZ GD. • RAKVERE • REDA • RIGA • ROBERTSFORS • ROSTOCK • ŠIAULIAI • SILLAMÄE • SŁUPSK • SÖDERHAMN • SOPOT • ST. PETERSBURG • SZCZECIN • TALLINN • TAMPERE • TARTU • TIERP • TRELLEBORG • TUKUMS • TURKU • UMEÅ • USTKA • VAASA • VÄSTERVIK • VÄXJÖ • VILJANDI • VILNIUS • VISBY • VORDINGBORG • VÕRU in the Baltic SeaRegion Baltic the in Town T winning winning Baltic Cities Bulletin Dear UBC Friends, The Union of the Baltic Cities is the biggest organisation grouping EDITOR IN CHIEF local authorities in the region. The potential is even greater if we add Paweł Żaboklicki all twin cities within the network and in the whole Baltic Sea Region. The majority of the UBC cities have at least two twin towns, many * have even several. This makes our organization a far larger network, with an enormous capabilities. But here many questions come up. Is EDITING & LAYOUT twinning fully exploited? Is it -
Ballet's Influence on the Development of Early Cinema
Ballet’s Influence on the Development of Early Cinema and the Technological Modification of Dance Movement Jennifer Ann Zale Abstract Dance is a form of movement that has captured the attention of cinema spectators since the medium’s inception. The question of the compatibility between dance, particularly ballet, and cinema has been fiercely debated since the silent era and continues to be discussed by scholars and practitioners in the twenty-first century. This topic was of particular interest in the Russian cinema industry of the 1910s, in a country where ballet was considered to be among the most prestigious of the art forms. This article explores ballet’s influence on the development of silent cinema in pre-revolutionary Russia and the ways in which cinema technologies alter dance as an art form. This topic is discussed through the career of Vera Karalli, Imperial ballerina of the Bolshoi Theater turned Russia's first film star. I question the legitimacy of the argument that film can only preserve a disfigured image of a dancer’s body in motion. Many critics of Karalli’s cinematic performance fail to take into consideration the direct influence of the cinematography, editing style, and overall conditions of the Khanzhonkov Studio of 1914-1917 on the finished product. This article explores the cinematic rendition of the moving (dancing) body, taking into account the technology responsible for producing the final image. The study draws upon primary sources found in Moscow’s libraries and archives. Keywords: Dance in cinema; film history; Russian cinema; silent cinema; Vera Karalli. he final years of the Czarist era were a fruitful time period in the history of Russian ballet that included a combination of both innovative and classical choreography. -
A Historical Guide to the German Camp in Płaszów 1942–1945
a historical guide to the german camp in płaszów 1942 płaszów in camp german the to guide historical a Ryszard Kotarba A HISTORICAL GUIDE TO THE GERMAN CAMP in płaszów 1942–1945 A map with a visiting route inside – 1945 Ryszard Kotarba A HISTORICAL GUIDE TO THE GERMAN CAMP in płaszów 1942–1945 © Copyright by Institute of National Remembrance – Commission of the Prosecution of Crimes against the Polish Nation, 2014 REVIEVER dr Joanna Lubecka EDITING Rafał Dyrcz TRANSLATION AND PROOFS Kamil Budziarz, Language Link Dorota Plutecka, Language Link PROOFREADING Tytus Ferenc GRAPHIC DESIGN, TYPESETTING AND PRINT Studio Actiff / www.actiff.pl Photos from the collection of the Institute of National Remembrance (1-6, 10, 12-15, 17-27, 29, 31-37, 42-43, 45-46, 48, 52, 55-57, 59), the National Archives in Kraków (7, 9, 11, 16) and Ryszard Kotarba (8, 28, 30, 38-41, 44, 47, 49-51, 53-54, 58). Photo on the cover from the collection of the Institute of National Remembrance. ISBN 978-83-932380-8-8 Foreword In 1939, the Republic of Poland was attacked by Germany (supported by Slovakia) and the Soviet Union. Although France and the UK declared war on Germany, they did not pursue any activities to provide their Polish ally with any real assistance. Despite its total defeat and its entire territory being occupied, Poland did not surrender. Escaping to France and then to the UK, the authorities of the Republic of Poland demonstrated legalism and maintained the continuity of the Polish state. Poland as a state continued to be an actor of international law, and within the Allied bloc, it was the legal representative of all the citizens of the Republic of Poland – regardless of their nationality, religion or political views. -
Family Tree Maker 2005
Stern and Löbl Family Genealogy Website - www.sternmail.co.uk/genealogy/ Name Name Birth location <Unnamed> Aida <Unnamed> Clara <Unnamed> Minna <Unnamed> Montoya ? Rosa ? ? Rabbi ? New York, USA ? Pauline ? ? Sarah ? ? Susie ? ? Tatiana ? ? Tina ? ? Walter ? ? Yael ? 1 Wife 1 3rd Thomas HERZ 3rd 3rd Charles WARREN 3rd Houston, TX, USA ABEL Marga Susanna Susie WERTHEIM ABEL Cologne, Germany ABEL Siegfried ABEL Cologne, Germany ABELES Rosi ABELES Waltsch ABELES Sara ABELES Waltsch Abenheimer Ruth Abenheimer Abenheimer Karl Abenheimer Mannheim Abraham Abraham Abraham Abraham ABRAHAM Feist ABRAHAM Meudt, Germany ABRAHAM Fraidgem ABRAHAM Quirnbach, Germany ABRAHAM Harry ABRAHAM ABRAHAM Ruth Helen ABRAHAM San Fransisco, Calif. ABRAHAM Lisette ABRAHAM ABRAHAM Hertz ABRAHAM ABRAHAM Nathan ABRAHAM Brandoberndorf, Germany Abraham Roeschen Abraham ABRAHAMOV Adva ABRAHAMOV Kibbutz Yakum, Israel ABRAHAMS Jaqueline ABRAHAMS Glasgow ABRAME Bernard ABRAME ABRAME Smadar ABRAME Afula, Israel Abrams Ellen Abrams ACKERMAN Hannchen ACKERMAN ACKERMANN Emma ACKERMANN Wiesloch ACKERMANN Simon ACKERMANN ADAMKIEWICZ Else ADAMKIEWICZ ADAMKIEWICZ Hugo ADAMKIEWICZ Adanso Isabel Jabat Adanso Adelson Eugene Adelson Adelson Lorraine Adelson Adelson Robert Adelson Adelson Robert Adelson ADLER Anselm ADLER Adler Berta Adler ADLER Eva ADLER ADLER Jette ADLER Edelfingen ADLER Gale ADLER ADLER Joel ADLER Floehau Adler Max Adler Wurzburg ADLER Meta ADLER Urspringen, Germany ADLER Rebeka ADLER Arnetz Gr Adler Josef Adler Adler Richard Adler ADLER Ruth ADLER ADLER Selig ADLER -
Technical-Economic Substantiation of The
PROJECT PART-FINANCED BY THE EUROPEAN UNION Technical-economic substantiation of the development of tourist route(-s) in the section: Ivangorod (The Narova River) – The Rosson River (Children sanitary centre) – Silent Lake Saint-Petersburg January 2008 The Leningrad regional state institution «Information – Tourist Center» - 1 - PROJECT PART-FINANCED BY THE EUROPEAN UNION Plan 1. Studying the present situation 1.1. Development of water tourism in Leningrad region 1.1.1. General situation 1.1.2. Present infrastructure 1.1.3. Existent routes 1.1.3.1. Camp routes 1.1.3.2. Cruise lines 1.1.3.3. Regular communication 1.1.4. Sail-motor tourism development 1.1.5. Sports fishing in the region 1.1.6. Perspectives for the development of water tourism in Leningrad region 1.2. Investigation of potentially suitable places for water tourism along the route 1.2.1. Description of the rivers 1.2.2. Present recreation areas and parking places on the banks of the Narova River, Rosson River and lake Silent (Vaikne) 1.2.3. Historical places upon the Narova and the Rosson rivers. 1.2.4. History of navigation along the Narova and Rosson Rivers, Silent lake. 1.2.5. Existent mooring constructions along the route 1.2.6. Existent ships on the rivers that. 1.2.7. Approaches to Parking places 1.2.8. Resume concerning apt places for water tourism 1.3. Legal regulations of the development of the route(-s) along the rivers Narova, Rosson and lake Silent 1.3.1. Boundary regime rules. 1.3.2. Rules of the use of ships of small size and constructions for their berthing 1.3.3. -
Reform Or Consensus? Choral Synagogues in the Russian Empire
arts Article Reform or Consensus? Choral Synagogues in the Russian Empire Vladimir Levin The Center for Jewish Art, the Hebrew University of Jerusalem, Jerusalem 9190501, Israel; [email protected] Received: 5 May 2020; Accepted: 15 June 2020; Published: 23 June 2020 Abstract: Many scholars view the choral synagogues in the Russian Empire as Reform synagogues, influenced by the German Reform movement. This article analyzes the features characteristic of Reform synagogues in central and Western Europe, and demonstrates that only a small number of these features were implemented in the choral synagogues of Russia. The article describes the history, architecture, and reception of choral synagogues in different geographical areas of the Russian Empire, from the first maskilic synagogues of the 1820s–1840s to the revolution of 1917. The majority of changes, this article argues, introduced in choral synagogues were of an aesthetic nature. The changes concerned decorum, not the religious meaning or essence of the prayer service. The initial wave of choral synagogues were established by maskilim, and modernized Jews became a catalyst for the adoption of the choral rite by other groups. Eventually, the choral synagogue became the “sectorial” synagogue of the modernized elite. It did not have special religious significance, but it did offer social prestige and architectural prominence. Keywords: synagogue; Jewish history in Russia; reform movement; Haskalah; synagogue architecture; Jewish cultural studies; Jewish architecture 1. Introduction The synagogue was the most important Jewish public space until the emergence of secular institutions in the late nineteenth century. As such, it was a powerful means of representation of the Jewish community in its own eyes and in the eyes of the non-Jewish population. -
The Bolshoi Meets Bolshevism: Moving Bodies and Body Politics, 1917-1934
THE BOLSHOI MEETS BOLSHEVISM: MOVING BODIES AND BODY POLITICS, 1917-1934 By Douglas M. Priest A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of History – Doctor of Philosophy 2016 ABSTRACT THE BOLSHOI MEETS BOLSHEVISM: MOVING BODIES AND BODY POLITICS, 1917- 1934 By Douglas M. Priest Following the Russian Revolution in 1917, the historically aristocratic Bolshoi Ballet came face to face with Bolshevik politics for the first time. Examining the collision of this institution and its art with socialist politics through the analysis of archival documents, published material, and ballets themselves, this dissertation explains ballet’s persisting allure and cultural power in the early Soviet Union. The resulting negotiation of aesthetic and political values that played out in a discourse of and about bodies on the Bolshoi Theater’s stage and inside the studios of the Bolshoi’s Ballet School reveals Bolshevik uncertainty about the role of high culture in their new society and helped to define the contentious relationship between old and new in the 1920s. Furthermore, the most hostile attack on ballet coming from socialists, anti- formalism, paradoxically provided a rhetorical shield for classical ballet by silencing formalist critiques. Thus, the collision resulted not in one side “winning,” but rather in a contested environment in which dancers embodied both tradition and revolution. Finally, the persistence of classical ballet in the 1920s, particularly at the Ballet School, allowed for the Bolshoi Ballet’s eventual ascendancy to world-renowned ballet company following the second World War. This work illuminates the Bolshoi Ballet’s artistic work from 1917 to 1934, its place and importance in the context of early Soviet culture, and the art form’s cultural power in the Soviet Union. -
Musicians Blend Jazz Rhythms Across Estonia- Russia Border
United States Source: The Washington Post Retrieved from https://www.washingtonpost.com/world/musicians-blend-jazz-rhythms-across- estonia-russia-border/2021/04/30/fc90791e-a9d0-11eb-a8a7-5f45ddcdf364_story.html on 6 May, 2021 World Musicians blend jazz rhythms across Estonia- Russia border Russian saxophonist Alexey Kruglov performs in the Ivangorod Fortress on the Russian-Estonian border in Ivangorod, 130 km (80 miles) west of St.Petersburg, Russia, Friday, April 30, 2021. Musicians on the Estonian- Russian border held an unusual concert on Friday, with Estonian guitarist Jaak Sooaar and Russian saxophonist Alexey Kruglov performing from the castles on the opposing banks of the Narva river that marks the border between the two countries. The concert was held on the International Jazz Day by the two musicians as an act of friendship despite the deteriorating relations between the two countries and as cross-border contacts have been limited due to the corona-virus pandemic. (AP Photo/Dmitri Lovetsky) By Maris Hellrand | AP April 30, 2021 at 12:27 p.m. EDT NARVA, Estonia — Two jazz musicians gave an unusual concert Friday on the Estonia-Russia border, where Estonian guitarist Jaak Sooäär and Russian saxophonist Alexey Kruglov performed from castles on the opposing banks of the river that separates their countries. The musicians combined rhythms on International Jazz Day as an act of friendship, despite the deteriorating relations between Russia and Estonia. The coronavirus pandemic has limited opportunities for cross-border contact. “As the border stayed closed, I have friends on the other side of the border with whom I wanted to play with, so we decided to do it,” Sooäär said before the concert. -
JOINT OPERATIONAL PROGRAMME for the Estonia-Russia Cross-Border Cooperation Programme 2014-2020
JOINT OPERATIONAL PROGRAMME of Estonia-Russia Cross-Border Cooperation Programme 2014-2020 Table of Contents JOINT OPERATIONAL PROGRAMME of Estonia-Russia Cross-Border Cooperation Programme 2014-2020 ........................................................................................................................ 3 INTRODUCTION ............................................................................................................................... 3 1. DESCRIPTION OF THE PROGRAMME AREA .......................................................................... 6 1.1. Programme area map .................................................................................................... 7 1.2. Core regions .................................................................................................................. 7 1.3. Adjoining regions ......................................................................................................... 7 1.4. Participation of the adjoining regions in Finland and Latvia ........................................ 9 2. PROGRAMME STRATEGY ....................................................................................................... 11 2.1. Strategic and thematic objectives and priorities ......................................................... 11 2.2. A justification of the chosen strategy .......................................................................... 14 2.2.1. Socio-Economic and environmental analysis of the programme area ........ 14 2.2.1.1. Business and SME development -
Aleksandra Balashova Papers 1912-1975
AMHERST CENTER FOR RUSSIAN CULTURE Aleksandra Balashova Papers 1912-1975 Summary: The Aleksandra Balashova Papers reflect a short period of life of a well known Russian ballerina. They consist of photographs and letters mostly from her life in exile. Quantity: 0.25 linear feet Containers: 1 document manuscript box Processed: August 2012 By: Tanya Chebotarev Listed: September 2012 By: Tanya Chebotarev Finding Aid: September 2012 Prepared by: Tanya Chebotarev Edited by: Stanley Rabinowitz, Director, Center for Russian Culture Access: There is no restriction on access to the Aleksandra Balashova Papers for research use. Particularly fragile items may be restricted for preservation purposes. Copyright: Requests for permission to publish material from the Aleksandra Balashova Papers should be sent to the Director of the Amherst Center for Russian Culture. It is the responsibility of the researcher to identify and satisfy the holders of all copyrights. © 2012 Amherst Center for Russian Culture Page 1 Aleksandra Balashova Papers INTRODUCTION Historical Note Alexandra Balashova was born in Moscow in 1887. She graduated from the Bolshoi Ballet School in 1905. She was a beautiful and dramatically expressive dancer and made her debut at the age of 19 as Tsar-Maiden in Humpbacked Horse. She soon became a principal dancer in such roles like Aurora (Sleeping Beauty), Medora (Le Corsaire), Kitri (Don Quixote), Swanilda (Coppelia), Raymonda (Raymonda), Nikia (La Bayadere) and Odette-Odile (Swan Lake). Her partner in many performances was Mikhail Mordkin. She was married to a wealthy Moscow capitalist A.K. Ushkov and left Russia in 1921. Their mansion at Prechistenka 20 in Moscow soon became home of the Isadora Duncan Dance School. -
Eva Evdokimova (Western Germany), Atilio Labis
i THE CUBAN BALLET: ITS RATIONALE, AESTHETICS AND ARTISTIC IDENTITY AS FORMULATED BY ALICIA ALONSO A Dissertation Submitted to the Temple University Graduate Board in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY by Lester Tomé January, 2011 Examining Committee Members: Joellen Meglin, Advisory Chair, Dance Karen Bond, Dance Michael Klein, Music Theory Heather Levi, External Member, Anthropology ii © Copyright 2011 by Lester Tomé All Rights Reserved iii ABSTRACT In the 1940s, Alicia Alonso became the first Latin American dancer to achieve international prominence in the field of ballet, until then dominated by Europeans. Promoted by Alonso, ballet took firm roots in Cuba in the following decades, particularly after the Cuban Revolution (1959). This dissertation integrates the methods of historical research, postcolonial critique and discourse analysis to explore the performative and discursive strategies through which Alonso defined her artistic identity and the collective identity of the Cuban ballet. The present study also examines the historical context of the development of ballet in Cuba, Alonso’s rationale for the practice of ballet on the Island, and the relationship between the Cuban ballet and the European ballet. Alonso defended the legitimacy of Cuban dancers to practice ballet and, in specific, perform European classics such as Giselle and Swan Lake. She opposed the notion that ballet was the exclusive patrimony of Europeans. She also insisted that the cultivation of this dance form on the Island was not an act of cultural colonialism. In her view, the development of ballet in Cuba consisted, instead, of an exploration of a distinctive Cuban voice within this dance form, a reformulation of a European legacy from a postcolonial perspective.