Berdyaev's Moscow: a Philosophical Investigation of Local History
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Faith, Reason, and Social Thought in the Young Vladimir Segeevich
“A Foggy Youth”: Faith, Reason, and Social Thought in the Young Vladimir Segeevich Solov’ev, 1853-1881 by Sean Michael James Gillen A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History) at the UNIVERSITY OF WISCONSIN-MADISON 2012 Date of final oral examination: 2 May 2012 The dissertation is approved by the following members of the Final Oral Committee: David MacLaren McDonald, Professor of History Francine Hirsch, Professor of History Judith Deutsch Kornblatt, Professor of Slavic Languages and Literatures Rudy Koshar, Professor of History Jennifer Ratner-Rosenhagen, Professor of History © Copyright by Sean Michael James Gillen 2012 All Rights Reserved Table of Contents i Abstract Table of Contents i-ii Acknowledgments iii-iv Abreviations v Introduction: Vladimir Solov’ev in Historiography—The Problem of the “Symbolist Conceit” 1-43 Chapter 1: Solov’ev’s Moscow: Social Science, Civic Culture, and the Problem of Education, 1835-1873 44-83 Chapter 2: The Genesis of Solov’ev’s “Conscious Faith Founded on Reason:” History, Religion, and the Future of Mankind, 1873-1874 84-134 Chapter 3: Practical Philosophy and Solov’ev Abroad: Socialism, Ethics, and Foreign Policy—London and Cairo, 1875-1876 135-167 Chapter 4: The Russo-Turkish War and the Moscow Slavic Benevolent Committee: Statehood, Society, and Religion—June 1876-February 1877 168-214 Chapter 5: Chteniia o bogochelovechestve—Christian Epic in a Theistic Mode: Theism, Morality, and Society, 1877-1878 215-256 Conclusion: 257-266 Bibliography 267-305 ii Acknowledgments iii This dissertation has been supported by both individuals and institutions. -
Freedom from Violence and Lies Essays on Russian Poetry and Music by Simon Karlinsky
Freedom From Violence and lies essays on russian Poetry and music by simon Karlinsky simon Karlinsky, early 1970s Photograph by Joseph Zimbrolt Ars Rossica Series Editor — David M. Bethea (University of Wisconsin-Madison) Freedom From Violence and lies essays on russian Poetry and music by simon Karlinsky edited by robert P. Hughes, Thomas a. Koster, richard Taruskin Boston 2013 Library of Congress Cataloging-in-Publication Data: A catalog record for this book as available from the Library of Congress. Copyright © 2013 Academic Studies Press All rights reserved ISBN 978-1-61811-158-6 On the cover: Heinrich Campendonk (1889–1957), Bayerische Landschaft mit Fuhrwerk (ca. 1918). Oil on panel. In Simon Karlinsky’s collection, 1946–2009. © 2012 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Published by Academic Studies Press in 2013. 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com Effective December 12th, 2017, this book will be subject to a CC-BY-NC license. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/. Other than as provided by these licenses, no part of this book may be reproduced, transmitted, or displayed by any electronic or mechanical means without permission from the publisher or as permitted by law. The open access publication of this volume is made possible by: This open access publication is part of a project supported by The Andrew W. Mellon Foundation Humanities Open Book initiative, which includes the open access release of several Academic Studies Press volumes. To view more titles available as free ebooks and to learn more about this project, please visit borderlinesfoundation.org/open. -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) The poetics of personal behaviour : the interaction of life and art in Russian modernism (1890-1920) Ioffe, D. Publication date 2009 Document Version Final published version Link to publication Citation for published version (APA): Ioffe, D. (2009). The poetics of personal behaviour : the interaction of life and art in Russian modernism (1890-1920). General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:04 Oct 2021 The Poetics of Personal Behaviour. The Interaction of Life and Art in Russian Modernism (1890-1920) Dennis Ioffe Universiteit van Amsterdam Amsterdam School for Cultural Analysis Promoter: Prof. dr. Willem G. Weststeijn 2009 The Poetics of Personal Behaviour. The Interaction of Life and Art in Russian Modernism (1890-1920) Dennis Ioffe Universiteit van Amsterdam Amsterdam School for Cultural Analysis Promoter: Prof. -
Music and Russian Identity in War and Revolution, 1914–22
Music and Russian Identity in War and Revolution, 1914–22 Rebecca Mitchell In January 1915 the weekly Moscow journal Muzyka unveiled a new cover logo: an unsheathed sword whose upright hilt formed the shape of a Christian cross and whose blade was framed by a musical lyre. This single image provided a visual encapsulation of three interlocking themes that dominated Russian- language discourse in the early months of the Great War: music, battle, and the spiritual mission of Holy Russia.1 (See fig. 47 in gallery of illustrations following page 178.) Immediately after the outbreak of war in 1914, Muzyka’s editor, Vladimir V. Derzhanovskii, asserted that music was to play an active role in the conflict. How, he asked, were his readers (as Russian musicians) to “react to these great events experienced by the motherland” and “fulfill their duty” to society? How would they defend “Russian national culture”? While some might be called to “exchange their lyre for a sword,” Derzhanovskii intimated that the vast majority faced the difficult mission of redoubling their important cultural work amid total war.2 The problem of Russian musical identity in the context of a multiethnic empire was to play a central role in defining just what that mission was to be. While the role of nationalism in Russian music has long been a topic of study, the relationship between Russian national (russkii) and imperial (ros- siiskii) identity, particularly in the midst of war and revolution, deserves closer consideration.3 With the outbreak of war, loyalty to one’s ethnic background, one’s country of citizenship, or to a universal, shared culture of humanity emerged as an urgent problem for musicians, music critics, and audiences.4 1 The original logo employed by Muzyka at the journal’s inception in 1910 was a lyre; in 1914 this was altered to Russian folk instruments. -
Providential Empire: Russia's Religious Intelligentsia And
PROVIDENTIAL EMPIRE: RUSSIA’S RELIGIOUS INTELLIGENTSIA AND THE FIRST WORLD WAR A DISSERTATION SUBMITTED TO THE DEPARTMENT OF HISTORY AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN HISTORY AND HUMANITIES Christopher A. Stroop May 2012 © 2012 by Christopher Alan Stroop. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/fm654bm2833 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Robert Crews, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Gregory Freidin I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Nancy Kollmann Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format. An original signed hard copy of the signature page is on file in University Archives. iii Abstract “Providential Empire: Russia’s Religious Intelligentsia and the First World War” analyzes and contextualizes controversial commentary on the First World War by Russian religious philosophers, primarily Nikolai Aleksandrovich Berdiaev, Vladimir Frantsevich Ern, Sergei Nikolaevich Bulgakov, Prince Evgenii Nikolaevich Trubetskoi, and the Symbolist Vyacheslav Ivanovich Ivanov. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age Permalink https://escholarship.org/uc/item/92f9x7r2 Author Rowen, Ryan Isao Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Musicology by Ryan Isao Rowen 2015 © Copyright by Ryan Isao Rowen 2015 ABSTRACT OF THE DISSERTATION Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age by Ryan Isao Rowen Doctor of Philosophy in Musicology University of California, Los Angeles, 2015 Professor Mitchell Bryan Morris, Chair The Silver Age has long been considered one of the most vibrant artistic movements in Russian history. Due to sweeping changes that were occurring across Russia, culminating in the 1917 Revolution, the apocalyptic sentiments of the general populace caused many intellectuals and artists to turn towards esotericism and occult thought. With this, there was an increased interest in transcendentalism, and art was becoming much more abstract. The tenets of the Russian Symbolist movement epitomized this trend. Poets and philosophers, such as Vladimir Solovyov, Andrei Bely, and Vyacheslav Ivanov, theorized about the spiritual aspects of words and music. It was music, however, that was singled out as possessing transcendental properties. In recent decades, there has been a surge in scholarly work devoted to the transcendent strain in Russian Symbolism.