The Poet Takes Himself Apart on Stage: Vladimir Mayakovsky's
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Everyday Life of Jews in Mariampole, Lithuania (1894–1911)1
Chapter 1 Everyday Life of Jews in Mariampole, Lithuania 1 (1894–1911) INTRODUCTION The urge to discover one‘s roots is universal. This desire inspired me to reconstruct stories about my ancestors in Mariampole, Lithuania, for my grandchildren and generations to come. These stories tell the daily lives and culture of Jewish families who lived in northeastern Europe within Russian-dominated Lithuania at the turn of the twentieth century. The town name has been spelled in various ways. In YIVO, the formal Yiddish transliteration, the town name would be ―Maryampol.‖ In Lithuanian, the name is Marijampolė (with a dot over the ―e‖). In Polish, the name is written as Marjampol, and in Yiddish with Hebrew characters, the name is written from and pronounced ―Mariampol.‖ In English spelling, the town name ‖מאַריאַמפּאָל― right to left as is ―Marijampol.‖ From 1956 until the end of Soviet control in 1989, the town was called ―Kapsukas,‖ after one of the founders of the Lithuanian Communist party. The former name, Mariampole, was restored shortly before Lithuania regained independence.2 For consistency, I refer to the town in the English-friendly Yiddish, ―Mariampole.‖3 My paternal grandparents, Dvore Shilobolsky/Jacobson4 and Moyshe Zundel Trivasch, moved there around 1886 shortly after their marriage. They had previously lived in Przerośl, a town about 35 miles southwest of Mariampole. Both Przerośl and Mariampole were part of the Pale of Settlement, a place where the Russian empire forced its Jews to live 1791–1917. It is likely that Mariampole promised to offer Jews a better life than the crowded conditions of the section of the Pale where my grandparents had lived. -
The T Ransrational Poetry of Russian Futurism Gerald J Ara,Tek
The T ransrational Poetry of Russian Futurism E Gerald J ara,tek ' 1996 SAN DIEGO STATE UNIVERSilY PRESS Calexico Mexicali Tijuana San Diego Copyright © 1996 by San Diego State University Press First published in 1996 by San Diego State University Press, San Diego State University, 5500 Campanile Drive, San Diego, California 92182-8141 http:/fwww-rohan.sdsu.edu/ dept/ press/ All rights reserved. -', Except for brief passages quoted in a review, no part of thisb ook m b ay e reproduced in an form, by photostat, microfilm, xerography r y , o any other means, or incorporated into any information retrieval system, electronic or mechanical, withoutthe written permission of thecop yright owners. Set in Book Antiqua Design by Harry Polkinhorn, Bill Nericcio and Lorenzo Antonio Nericcio ISBN 1-879691-41-8 Thanks to Christine Taylor for editorial production assistance 9 8 7 6 5 4 3 2 1 Acknowledgements Research for this book was supported in large part by grants in 1983, 1986, and 1989 from the International Research & Ex changes Board (IREX), with funds provided by the National En dowment for the Humanities, the United States Information Agency, and the US Department of State, which administers the Russian, Eurasian, and East European Research Program (Title VIII). In addition, I would like to express my gratitude to the fol lowing institutions and their staffs for aid essential in complet ing this project: the Fulbright-Bayes Senior Scholar Research Program for further support for the trips in 1983 and 1989, the American Council of Learned Societies for further support for the trip in 1986, the Russian Academy of Sciences, and the Brit ish Library; iri Moscow: to the Russian State Library, the Rus sian State Archive of Literature and Art, the Gorky Institute of World Literature, the State Literary Museum, and the Mayakovsky Museum; in St. -
Futurism-Anthology.Pdf
FUTURISM FUTURISM AN ANTHOLOGY Edited by Lawrence Rainey Christine Poggi Laura Wittman Yale University Press New Haven & London Disclaimer: Some images in the printed version of this book are not available for inclusion in the eBook. Published with assistance from the Kingsley Trust Association Publication Fund established by the Scroll and Key Society of Yale College. Frontispiece on page ii is a detail of fig. 35. Copyright © 2009 by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Nancy Ovedovitz and set in Scala type by Tseng Information Systems, Inc. Printed in the United States of America by Sheridan Books. Library of Congress Cataloging-in-Publication Data Futurism : an anthology / edited by Lawrence Rainey, Christine Poggi, and Laura Wittman. p. cm. Includes bibliographical references and index. ISBN 978-0-300-08875-5 (cloth : alk. paper) 1. Futurism (Art) 2. Futurism (Literary movement) 3. Arts, Modern—20th century. I. Rainey, Lawrence S. II. Poggi, Christine, 1953– III. Wittman, Laura. NX456.5.F8F87 2009 700'.4114—dc22 2009007811 A catalogue record for this book is available from the British Library. This paper meets the requirements of ANSI/NISO Z39.48–1992 (Permanence of Paper). 10 9 8 7 6 5 4 3 2 1 CONTENTS Acknowledgments xiii Introduction: F. T. Marinetti and the Development of Futurism Lawrence Rainey 1 Part One Manifestos and Theoretical Writings Introduction to Part One Lawrence Rainey 43 The Founding and Manifesto of Futurism (1909) F. -
Pushkin and the Futurists
1 A Stowaway on the Steamship of Modernity: Pushkin and the Futurists James Rann UCL Submitted for the Degree of Doctor of Philosophy 2 Declaration I, James Rann, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Acknowledgements I owe a great debt of gratitude to my supervisor, Robin Aizlewood, who has been an inspirational discussion partner and an assiduous reader. Any errors in interpretation, argumentation or presentation are, however, my own. Many thanks must also go to numerous people who have read parts of this thesis, in various incarnations, and offered generous and insightful commentary. They include: Julian Graffy, Pamela Davidson, Seth Graham, Andreas Schönle, Alexandra Smith and Mark D. Steinberg. I am grateful to Chris Tapp for his willingness to lead me through certain aspects of Biblical exegesis, and to Robert Chandler and Robin Milner-Gulland for sharing their insights into Khlebnikov’s ‘Odinokii litsedei’ with me. I would also like to thank Julia, for her inspiration, kindness and support, and my parents, for everything. 4 Note on Conventions I have used the Library of Congress system of transliteration throughout, with the exception of the names of tsars and the cities Moscow and St Petersburg. References have been cited in accordance with the latest guidelines of the Modern Humanities Research Association. In the relevant chapters specific works have been referenced within the body of the text. They are as follows: Chapter One—Vladimir Markov, ed., Manifesty i programmy russkikh futuristov; Chapter Two—Velimir Khlebnikov, Sobranie sochinenii v shesti tomakh, ed. -
Cubo-Futurism
Notes Cubo-Futurism Slap in theFace of Public Taste 1 . These two paragraphs are a caustic attack on the Symbolist movement in general, a frequent target of the Futurists, and on two of its representatives in particular: Konstantin Bal'mont (1867-1943), a poetwho enjoyed enormouspopu larityin Russia during thefirst decade of this century, was subsequentlyforgo tten, and died as an emigrein Paris;Valerii Briusov(18 73-1924), poetand scholar,leader of the Symbolist movement, editor of the Salles and literary editor of Russum Thought, who after the Revolution joined the Communist party and worked at Narkompros. 2. Leonid Andreev (1871-1919), a writer of short stories and a playwright, started in a realistic vein following Chekhov and Gorkii; later he displayed an interest in metaphysicsand a leaning toward Symbolism. He is at his bestin a few stories written in a realistic manner; his Symbolist works are pretentious and unconvincing. The use of the plural here implies that, in the Futurists' eyes, Andreev is just one of the numerousepigones. 3. Several disparate poets and prose writers are randomly assembled here, which stresses the radical positionof the signatories ofthis manifesto, who reject indiscriminately aU the literaturewritt en before them. The useof the plural, as in the previous paragraphs, is demeaning. Maksim Gorkii (pseud. of Aleksei Pesh kov, 1�1936), Aleksandr Kuprin (1870-1938), and Ivan Bunin (1870-1953) are writers of realist orientation, although there are substantial differences in their philosophical outlook, realistic style, and literary value. Bunin was the first Rus sianwriter to wina NobelPrize, in 1933.AJeksandr Biok (1880-1921)is possiblythe best, and certainlythe most popular, Symbolist poet. -
Checklist of the Exhibition Checklist of the Exhibition Note: All Objects Are
Checklist of the exhibition Note: All objects are from the collections of the Getty Research Institute, unless otherwise noted. When “photograph” is listed as the medium, the item is a documentary photograph of an original design or artwork. Futurist Beginnings 1. El Lissitzky Cover of Solntse na izlete (Spent sun) Poems by Konstantin Bolshakov Moscow: Tsentrifuga, 1916 88-B24323 2. Natalia Goncharova Cover of Vtoroi sbornik Tsentrifugi (Second Centrifuge collection) Poems by eleven authors Moscow: Tsentrifuga, 1916 90-B4642 3. Natalia Goncharova Cover of Serdtse v perchatke (Heart in a glove) Poems by Konstantin Bolshakov Moscow: Mezonin poezii, 1913 88-B24316 4. Natalia Goncharova Cover of Vetrogradari nad lozami (Gardeners on the vines) Poems by Sergei Bobrov Moscow: Lirika, 1913 88-B24275 1 4a. Natalia Goncharova Pages from Vetrogradari nad lozami (Gardeners on the vines) Poems by Sergei Bobrov Moscow: Lirika, 1913 88-B24275 Yiddish Book Design 5. El Lissitzky Dust jacket from Had gadya (One goat) Children’s illustrated book based on the Jewish Passover song Kiev: Kultur Lige, 1919 1392-150 6a. El Lissitzky Cover of Had gadya (One goat) Children’s illustrated book based on the Jewish Passover song Kiev: Kultur Lige, 1919 1392-150 6b. El Lissitzky Page from Had gadya (One goat) Children’s illustrated book based on the Jewish Passover song Kiev: Kultur Lige, 1919 1392-150 7. El Lissitzky Cover of Sihas hulin: Eyne fun di geshikhten (An everyday conversation: A story) Tale by Moses Broderson Moscow: Ferlag Chaver, 1917 93-B15342 8. El Lissitzky Frontispiece from deluxe edition of Sihas hulin: Eyne fun di geshikhten (An everyday conversation: A story) Tale by Moses Broderson Moscow: Shamir, 1917 93-B15342 2 9. -
UNIVERSITY of CALIFORNIA Los Angeles Fillia's Futurism Writing
UNIVERSITY OF CALIFORNIA Los Angeles Fillia’s Futurism Writing, Politics, Gender and Art after the First World War A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Italian By Adriana Marie Baranello 2014 © Copyright by Adriana Marie Baranello 2014 ABSTRACT OF THE DISSERTATION Fillia’s Futurism Writing, Politics, Gender and Art after the First World War By Adriana Marie Baranello Doctor of Philosophy in Italian University of California, Los Angeles, 2014 Professor Lucia Re, Co-Chair Professor Claudio Fogu, Co-Chair Fillia (Luigi Colombo, 1904-1936) is one of the most significant and intriguing protagonists of the Italian futurist avant-garde in the period between the two World Wars, though his body of work has yet to be considered in any depth. My dissertation uses a variety of critical methods (socio-political, historical, philological, narratological and feminist), along with the stylistic analysis and close reading of individual works, to study and assess the importance of Fillia’s literature, theater, art, political activism, and beyond. Far from being derivative and reactionary in form and content, as interwar futurism has often been characterized, Fillia’s works deploy subtler, but no less innovative forms of experimentation. For most of his brief but highly productive life, Fillia lived and worked in Turin, where in the early 1920s he came into contact with Antonio Gramsci and his factory councils. This led to a period of extreme left-wing communist-futurism. In the mid-1920s, following Marinetti’s lead, Fillia moved toward accommodation with the fascist regime. This shift to the right eventually even led to a phase ii dominated by Catholic mysticism, from which emerged his idiosyncratic and highly original futurist sacred art. -
„Lef“ and the Left Front of the Arts
Slavistische Beiträge ∙ Band 142 (eBook - Digi20-Retro) Halina Stephan „Lef“ and the Left Front of the Arts Verlag Otto Sagner München ∙ Berlin ∙ Washington D.C. Digitalisiert im Rahmen der Kooperation mit dem DFG-Projekt „Digi20“ der Bayerischen Staatsbibliothek, München. OCR-Bearbeitung und Erstellung des eBooks durch den Verlag Otto Sagner: http://verlag.kubon-sagner.de © bei Verlag Otto Sagner. Eine Verwertung oder Weitergabe der Texte und Abbildungen, insbesondere durch Vervielfältigung, ist ohne vorherige schriftliche Genehmigung des Verlages unzulässig. «Verlag Otto Sagner» ist ein Imprint der Kubon & Sagner GmbH. Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access S la v istich e B eiträge BEGRÜNDET VON ALOIS SCHMAUS HERAUSGEGEBEN VON JOHANNES HOLTHUSEN • HEINRICH KUNSTMANN PETER REHDER JOSEF SCHRENK REDAKTION PETER REHDER Band 142 VERLAG OTTO SAGNER MÜNCHEN Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 HALINA STEPHAN LEF” AND THE LEFT FRONT OF THE ARTS״ « VERLAG OTTO SAGNER ■ MÜNCHEN 1981 Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access Bayerische Staatsbibliothek München ISBN 3-87690-186-3 Copyright by Verlag Otto Sagner, München 1981 Abteilung der Firma Kubon & Sagner, München Druck: Alexander Grossmann Fäustlestr. 1, D -8000 München 2 Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 To Axel Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 CONTENTS Introduction ................................................................................................ -
Utopia and Reality in the Art of the October Revolution HISTOREIN
HISTOREIN VOLUME 7 (2007) A critical examination of the artistic tools of Utopia and Reality the October Revolution, particularly in the crucial early years of the civil war up until in the Art of the the establishment of the USSR, promotes a reconsideration of the relation between October Revolution reality and utopian thought in the field of representation. The Revolution naturally encountered many obstacles before finally prevailing. From April 1918 to November 1920 the Bolsheviks fought against foreign mili- tary intervention and the domestic coun- ter-revolution, striving to secure the nec- essary resources that would enable them to achieve their goals. Their military supe- riority was largely based on the organi- sation of the Red Army, while, economi- cally speaking, the militarisation of the economy and the army’s seizure of crops – leading to the impoverishment of the ru- ral population – played a decisive role. On an ideological level, the Bolsheviks strove to spread socialist ideas in order to mobi- lise the population and lead them to join Syrago Tsiara the revolution. State Museum of Contemporary Art, Thessaloniki Red propaganda was largely directed at il- literate peasants1 and its effectiveness was dependent on the internal organisation and leadership of the Bolshevik party over the working classes and peasants, social forc- es on which Lenin especially relied during the harsh years of the civil war. An attempt to approach the ideologies and emotions of the weaker masses through the strict- ly scientific terms of dialectical material- ism would not have been wise at all. Visual propaganda – with deep routes in Russian culture – did not require the ability to com- 87 HISTOREIN VOLUME 7 (2007) prehend the written word, thus offering an adequate means of attracting broader strata of the population with revolutionary messages. -
[email protected]
President, Kasia Metkowski Editor-in-Chief, John Dethlefsen Lead Designer, Leo Elyon Editor, Anashe Barton Editor, Ionela Maria Ciolan Editor, Caitlin Cozine Designer, Alexandra Dubinin Designer, Kylen Gensurowsky Editor, Alexandru Groza Administrative Assistant, Kevin Lasek Editor, Elizabeth Levinson Interested in submitting? Contact us at: [email protected] 1 now, Before We Begin a Letter from the President, This publication is ate career. Our grad- curacy of the content. made possible by sup- uate students partic- The opinions and Dear reader, port from the Institute ipate in the life of the views expressed in of Slavic, East Europe- Department (study- this publication are For this edition, we at Troika distinguished ourselves by picking a an, and Eurasian Stud- ing, teaching, run- those of the authors, theme that directly addresses the embittered temperament that, over ies at the University ning the library, and do not necessarily the past year, has crept into our lives. By “celebrating disillusion- of California, Berkeley, organizing film reflect the opinions ment,” we challenge this temperament. with funding from series, perfor- and views of the Troi- the US Department mances, colloquia, ka editors. Troika of Education Title conferences), in the does not endorse any This year, Berkeley students have grown especially weary, faced VI National Resource life of the Universi- opinions expressed by with constant protests and security measures surrounding both con- Centers Program. ty, and in the pro- the authors in this troversial speakers and unpopular election results, as well as the fession (reading pa- journal and shall not continual struggle against an unresponsive bureaucracy. Additionally, University of Cal- pers at national and be held liable for any millennials across the country have continued to experience decreas- ifornia, Berkeley, international- losses, claims, expens- ing job prospects, increasing debt, and a political system that is dis- Graduate Program conferences). -
574100 Itunes Shostakovich
SHOSTAKOVICH The Bedbug • Love and Hate WORLD PREMIERE RECORDINGS Deutsche Staatsphilharmonie Rheinland-Pfalz Mark Fitz-Gerald Mannheim Opera Choir • Dani Juris Dmitry Shostakovich (1906–1975) Dmitry Shostakovich (1906–1975) The Bedbug, Op. 19 on this production also brought him into a close, but The Bedbug, Op. 19 (1929) somewhat unbalanced friendship with Meyerhold himself, Incidental Music to the comedy The Bedbug by Vladimir Mayakovsky (1893–1930) The first performance of The Bedbug , sarcastically who adored his new young protégé but always wanted to entitled a ‘faerie comedy in nine scenes’ (anything further dominate the relationship, as hilariously documented by Part One – The Year 1929 Part Two – Fifty Years Later: The Year 1979 1 0 from ‘faerie’ than this knockabout farce it would be hard to Shostakovich in several letters of the period. 2 March 2:33 ! Scene in the Public Garden 2:50 imagine), took place on 12 February 1929 at the By his own account, the composer was less Meyerhold Theatre in Moscow. The occasion was an impressed by the flamboyant figure of Mayakovsky, 3 Foxtrot (orch. M. Fitz-Gerald) 2:26 @ March of the Pioneers 2:12 Galop (orch. M. Fitz-Gerald) 2:22 Flourish 0:09 event, not least because it involved the collaboration of privately telling friends later in life that he couldn’t bear the 4 # some of the most prominent Soviet artists of the time. The famous poet’s vanity and hypocrisy. In public, he Waltz No. 1 (orch. M. Fitz-Gerald) 0:58 March of the City Elders 0:49 5 $ author, Vladimir Mayakovsky (1893–1930), was the most contented himself with a well-honed anecdote about how 6 Intermezzo 3:11 % Waltz No. -
Theatrical Spectatorship in the United States and Soviet Union, 1921-1936: a Cognitive Approach to Comedy, Identity, and Nation
Theatrical Spectatorship in the United States and Soviet Union, 1921-1936: A Cognitive Approach to Comedy, Identity, and Nation Dissertation Presented in Partial Fulfillment of the Requirements for the Doctor of Philosophy in the Graduate School of The Ohio State University By Pamela Decker, MA Graduate Program in Theatre The Ohio State University 2013 Dissertation Committee: Lesley Ferris, Advisor Jennifer Schlueter Frederick Luis Aldama Copyright by Pamela Decker 2013 Abstract Comedy is uniquely suited to reveal a specific culture’s values and identities; we understand who we are by what and whom we laugh at. This dissertation explores how comic spectatorship reflects modern national identity in four theatre productions from the twentieth century’s two rising superpowers: from the Soviet Union, Evgeny Vakhtangov’s production of Princess Turandot (1922) and Vsevolod Meyerhold’s production of The Bedbug (1929); from the United States, Eubie Blake and Noble Sissle’s Broadway production of Shuffle Along (1921) and Orson Welles’ Federal Theatre Project production of Horse Eats Hat (1936). I undertake a historical and cognitive analysis of each production, revealing that spectatorship plays a participatory role in the creation of live theatre, which in turn illuminates moments of emergent national identities. By investigating these productions for their impact on spectatorship rather than the literary merit of the dramatic text, I examine what the spectator’s role in theatre can reveal about the construction of national identity, and what cognitive studies can tell us about the spectator’s participation in live theatre performance. Theatre scholarship often marginalizes the contribution of the spectator; this dissertation privileges the body as the first filter of meaning and offers new insights into how spectators contribute and shape live theatre, as opposed to being passive observers of an ii already-completed production.