scholarly journals On the History of Aleksandr Blok Party in Arzamas Society

Literary Fact ◽  
2021 ◽  
pp. 145-162
Author(s):  
Evgeniia V. Ivanova
Keyword(s):  
Public Performance ◽  
History Of ◽  
Aleksandr Blok ◽  
Anna Akhmatova

The paper traces the history of a short-lived Petrograd literary society “Arzamas” and analyses its connections with the Second Workshop of Poets. A special attention is paid to the Party organized by G. Ivanov and G. Adamovich on behalf of Arzamas society in May 1918. At the party L.D. Blok made her first public performance reciting Blok’s poem The Twelve. The scandal that took place during the party, demonstrated the overreaction of Blok’s contemporaries to the poem. Anna Akhmatova and Vladimir Piast refused to participate in the party  – for different reasons, as it is proved in paper. The paper also considers F. Sologub’s opinion of Blok’s works written on January 1918. An attempt is made to recreate Nikolay Gumilev’s attitude to the poem The Twelve.

Emotions in performance: Poetry and preaching

2017 ◽  
Vol 54 (1) ◽  
pp. 67-102
Author(s):  
Carla Petievich ◽  
Max Stille
Keyword(s):  
Cultural History ◽  
Rhetorical Analysis ◽  
Cultural Tradition ◽  
Public Performance ◽  
The Public ◽  
Collective Emotions ◽  
Performance Poetry ◽  
Performance Traditions ◽  
History Of ◽  
Modern Nation State

Emotions are largely interpersonal and inextricably intertwined with communication; public performances evoke collective emotions. This article brings together considerations of poetic assemblies known as ‘mushāʿira’ in Pakistan with reflections on sermon congregations known as ‘waʿz mahfil’ in Bangladesh. The public performance spaces and protocols, decisive for building up collective emotions, exhibit many parallels between both genres. The cultural history of the mushāʿira shows how an elite cultural tradition has been popularised in service to the modern nation state. A close reading of the changing forms of reader address shows how the modern nazm genre has been deployed for exhorting the collective, much-expanded Urdu public sphere. Emphasising the sensory aspects of performance, the analysis of contemporary waʿz mahfils focuses on the employment of particular chanting techniques. These relate to both the transcultural Islamic soundsphere and Bengali narrative traditions, and are decisive for the synchronisation of listeners’ experience and a dramaticisation of the preachers’ narratives. Music-rhetorical analysis furthermore shows how the chanting can evoke heightened emotional experiences of utopian Islamic ideology. While the scrutinised performance traditions vary in their respective emphasis on poetry and narrative, they exhibit increasingly common patterns of collective reception. It seems that emotions evoked in public performances cut across ‘religious’, ‘political’, and ‘poetic’ realms—and thereby build on and build up interlinkages between religious, aesthetic and political collectives.

scholarly journals Public charity as the activity of Ust-Sysolsk “local community” in the second half of XIX century

2018 ◽  
Vol 10 (3) ◽  
pp. 70-77
Author(s):  
Anna K. Gagieva
Keyword(s):  
Local Community ◽  
Research Area ◽  
Komi Republic ◽  
Provincial Government ◽  
Public Performance ◽  
Historical Sources ◽  
Central Russia ◽  
The Social ◽  
History Of ◽  
Xix Century

The article discusses the social charity of “local community” in Ust -Sysolsk in the second half of the XIX century. We define “local community” as a voluntary, self-determining citizens association, designed or not properly executed legally for the solution of urgent problems of non-productive and non-commercial nature. The aim of the work is to study public charity as an activity of “local community” in Ust-Sysolsk in the second half of the XIX century. The provisions of the work can be used for educational and methodological materials on the subject “History of Finno-Ugric regions and countries”, “History of everyday life”, “History of the Komi Republic” and others. The research methodology is based on a systematic approach, which includes structural, legal, historical and other methods of research. The materials are based on published and unpublished historical sources, such as legislative materials, statistics, documentation, as well as archival materials. Central Russia and the Urals had already introduced charities in the mid of XX century, while in the research area public charity was just beginning and was manifested through the social work of the Russian Orthodox Church, amateur associations and companies. Forms of public charity varied: fundraising, purchase of tools, equipment and materials for events and others. Public charity, “local community”, in Ust-Sysolsk developed within the framework of modernization processes of the second half of the nineteenth century. It led to the evolution of «local community» into a civil society. The emergence of new public organizations and active public charity contributed to the development of new forms of self-organization. In the city of Ust-Sysolsk, there was an upsurge of public life and public performance. The appearance of self-governing organizations “local community” was facilitated by the loyal policies of the district and provincial government. As historical sources show that we can talk about mutual understanding and cooperation between the authorities and the “local community”. Carrying out public charity, it provided public functions of traditional culture maintenance, the organization of leisure, cultural and educational activities.

scholarly journals M.E. Levberg’s Play “Danton” as Perceived by А. Blok

Literary Fact ◽  
2021 ◽  
pp. 115-130
Author(s):  
Veronika B. Zuseva-Özkan
Keyword(s):  
Russian Literature ◽  
State Archive ◽  
Silver Age ◽  
Saint Petersburg ◽  
Critical Attitude ◽  
Russian State ◽  
History Of ◽  
Aleksandr Blok ◽  
First Time ◽  
The Relationship

The article considers the unpublished play by Maria Levberg, a little known female writer of the Silver Age. Aleksandr Blok praised this drama entitled Danton; thanks to his efforts, it was performed in the Bolshoi Drama Theater in 1919. Danton is discussed in several articles by Blok (Bolshoi Drama Theater in the Next Season, of 19 May 1919, Tribune (Tiberius Sempronius Gracchus)) and in his correspondence; it is also mentioned in Blok’s notebooks. The author of the article analyzes all these mentions, reconstructs the history of interactions between Blok and Levberg. Some of her letters to the poet are published here for the first time. Blok’s notes on the typed copy of Danton, preserved at the Manuscript Department of the Institute of Russian Literature in Saint Petersburg, are described. The relationship between this version of the play and the version, preserved at the Russian State Archive of Literature and Arts in Moscow, is revealed. The author analyzes the plot and the system of characters, characterizes the concept of history expressed in Danton, and proposes the hypothesis why this play turned out to be so dear to Blok. Blok’s reviews on Danton are compared to those written by A.M. Remizov (who also welcomed the play, as well as other dramas by Levberg — Stones of Death and The Chevalier’s Epee) and by M.A. Kuzmin who displayed a more critical attitude. Finally, the place of this drama among Levberg’s works and her main themes and ideas are considered.

scholarly journals Переводы Анны Ахматовой из осетинской поэзии

2018 ◽  
Author(s):  
Fatima Tasoltanovna Najfonova
Keyword(s):  
History Of ◽  
Belles Lettres ◽  
Anna Akhmatova

The article studies the history of translations of Ossetian poetry by Anna Akhmatova. It is known that Anna Akhmatova had to do translations after she had been banned to work by the official authorities. Among them are the translations of Ossetian poets, whose poems she translated for the first anthology of Ossetian literature - the collection of “Ossetian Literature.” We know that she was attracted to work on the collection by Sergey Shervinsky, one of the editors and translators. The article also notes that there are three versions of translation of Kosta Chetagurov’s poem “Who are you?” by Anna Akhmatova, and the article also addresses the issue of equivalence of the belles-lettres quality of these translations.

scholarly journals The “echo” of Edgar Poe in Anna Akhmatova’s “Poem without a Hero” and poems later period

Litera ◽  
2021 ◽  
pp. 1-14
Author(s):  
Anna Vladislavovna Lamzina ◽  
Lyubov' Gennad'evna Kikhnei
Keyword(s):  
Russian Literature ◽  
Research Material ◽  
History Of ◽  
The Subject ◽  
The Dead ◽  
The Cross ◽  
New Perspective ◽  
Different Parts ◽  
Anna Akhmatova

The subject of this research is the hidden allusions to the novels of Edgar Poe in Anna Akhmatova’s “Poem without a Hero” and poems later period. The research material contains the framework text of the “Poem without a Hero” – the set of epigraphs to different parts of the poem, authorial commentaries, history of used and discarded epigraphs at various stages of revision of the poem, text of the “Poem without a Hero”, as well as the author's “Prose about the Poem” and a number of poems created during the work on the “Poem without a Hero” and afterwards. A. Akhmatova was interested in the works of Edgar Poe, and researched the references to Edgar Poe in the works of N. S. Gumilyov. The article employs comprehensive methodology, such as comparative-historical and biographical approaches, as well as intertextual and hermeneutic methods for determination of literary allusions and interpretation of meanings hidden by the author. The main conclusion lies in revelation of the profoundly concealed connection of the “Poem without a Hero” with the range of narratives of Edgar Poe, united by the cross-cutting motif of being buried alive and coming back from the dead: “The Black Cat”, “The Fall of the House of Usher”, “Morella”, “Ligeia”, “Berenice”, “The Oval Portrait”. This gives a new perspective on the literary characters that one after another appeared to the lyrical heroine in plot of the poem; and explains the fragment of one of the most mysterious works in Russian literature of the XX century, and some other poems of Anna Akhmatova.

The Oxford Handbook of Popular Music in the Nordic Countries

2017 ◽  
Keyword(s):  
Popular Music ◽  
North Atlantic ◽  
Nordic Countries ◽  
Northern Europe ◽  
Public Performance ◽  
Large Area ◽  
National Narratives ◽  
The North ◽  
Show Evidence ◽  
History Of

The Nordic countries, a group of countries spanning a large area of northern Europe and the North Atlantic, present unique natural and cultural environments in which popular music has come to play a significant role. Research on the region’s music has largely followed national narratives and ignored more complex geographies and transcultural issues. This first handbook of music in the Nordic countries explores the significance of popular music in the history of the region, with implications for broader debates about the region’s uniqueness and its future. The chapters highlight music’s place in media and tourism industries, in sustaining exotic images of the North, but also in more serious issues such as racism and environmentalism. Many of the chapters show evidence of nationalist and xenophobic responses to emerging transnational to emerging transnational developments. The handbook examines how these dynamics shape music and its place in history, education, and in public performance, from street performances to festivals, and beyond to mass media ceremonial events. The case studies illustrate popular music’s significance in evolving lifestyles, technologies, and institutions in modernity.

scholarly journals The Invention of Common Law Play Right

2017 ◽  
Author(s):  
Jessica Litman
Keyword(s):  
United States ◽  
Common Law ◽  
Case Law ◽  
The United States ◽  
Property Right ◽  
Public Performance ◽  
Dramatic Works ◽  
History Of ◽  
The Common ◽  
Theatrical Practice

In this paper, written for Berkeley’s symposium on the 300th birthday of the Statute of Anne, I explore the history of the common law public performance right in dramatic works. Eaton Drone dubbed the dramatic public performance right “playright” in his 1879 treatise, arguing that just as “copyright” conferred a right to make and sell copies, “playright” conferred a right to perform or “play” a script. I examine case law and customary theatrical practice in England, and find no trace of a common law play right before 1833, when Parliament established a statutory public performance right for plays. Similarly, in the United States, the first claims of a common law right to control public performances appeared only after Congress enacted a statutory dramatic public performance right in 1856. Courts and lawyers developed a common law literary property right to control public performances in order to permit the proprietors of dramatic works to recover even though there were formal defects in their U.S. copyright registrations. Eaton Drone then used those cases as a basis for embroidering a full-blown common law literary property right purportedly based in natural law. Courts adopted Drone’s version of common law play right and followed it for the next thirty years. (The breadth of the common law claim, however, made little difference to actual playwrights, who were deemed to have assigned their common law rights to the producers of their plays.) This history suggests that the rights that we perceive as inherent or natural are fundamentally contingent on what rights already have names and a path to enforcement.

African-American Entertainers in Jahrhundertwende: Vienna Austrian Identity, Viennese Modernism and Black Success

2006 ◽  
Vol 3 (1) ◽  
pp. 89-112 ◽  
Author(s):  
James Deaville
Keyword(s):  
African American ◽  
Performing Arts ◽  
Market Force ◽  
Late Nineteenth Century ◽  
Vocal Performance ◽  
Public Performance ◽  
The Public ◽  
African American Music ◽  
The Usa ◽  
History Of

According to jazz scholar Howard Rye, when considering public representations of African-American music and those who made it at the turn of the last century, ‘the average jazz aficionado, and not a few others, conjures up images of white folks in black face capering about’. We could extend this to include white minstrels singing so-called ‘coon songs’, which feature reprehensible racist lyrics set to syncopated rhythms. Traditional representations assign the blacks no role in the public performance of these scurrilous ‘identities’, which essentially banished them from the literature as participating in careers in the performing arts. As a result of the problems with the representation of blacks in texted music from the turn of the century, historians have tended to write vocal performance out of the pre-history of jazz, in favour of the purely instrumental ragtime. However, recent research reveals that African-American vocal entertainers did take agency over representations of themselves and over their careers, in a space unencumbered by the problematic history of race relationships in the USA. That space was Europe: beginning in the 1870s, and in increasing numbers until the ‘Great War’, troupes of African-American singers, dancers and comedians travelled to Europe, where they entertained large audiences to great acclaim and gained valuable experience as entrepreneurs, emerging as an important market force in the variety-theatre circuit. Above all, they performed the cakewalk, the late-nineteenth-century dance whose syncopated rhythms and simple form accompanied unnatural, exaggerated dance steps. By introducing Europe to the cakewalk, they prepared audiences for the jazz craze that would sweep through the continent after the war and enabled Europeans to experience the syncopated rhythms and irregular movements whether as dancers or as spectators.

The Senatus Consultum from Larinum

1983 ◽  
Vol 73 ◽  
pp. 97-115 ◽  
Author(s):  
Barbara Levick
Keyword(s):  
Sexual Misconduct ◽  
Public Performance ◽  
History Of

A bronze tablet found at Larinum (near modern Larino), in the territory of the Frentani, and published in 1978, carries part of an SC of A.D. 19 that embodies measures against public performance on stage or in the arena by members of the upper classes.This tablet poses a variety of interrelated problems which are the concern of this paper: it is itself incomplete; there are gaps in the history of the measures taken against public performance by members of the upper classes (the offence dealt with on the tablet); it is uncertain whether that was the only offence it dealt with or whether, as the testimony of Suetonius might suggest, it catered for the sexual misconduct of matrons; and there is a paradox about the penalty voluntarily incurred by would-be performers, in that it does not seem to have differed from the original penalty for performing. The solutions to each of the problems are mutually dependent, but I shall deal with them in the above order.

scholarly journals Collection of Autographs

2016 ◽  
Vol 1 (1) ◽  
pp. 55-59
Author(s):  
Irina L. Velikodnaya
Keyword(s):  
Educational Institutions ◽  
Russian Culture ◽  
Art Historians ◽  
History Of ◽  
Private Collections ◽  
Anna Akhmatova

The review considers two new editions, connected by the theme of autographs, - “The Bibliophile Garland to Anna Akhmatova. To the 125th Birth Anniversary: the Autographs in the Collection of M. Seslavinsky” and “The Art of Autograph. Inscriptions of Writers and Artists in the Private Collections of Russian Bibliophiles”, published in 2014-2015. Description and identification of the autograph, its introduction into scientific use, as well as its study are relevant problems of today, as the accumulated handwritten material of this kind requires samples of cataloguing. The Russian collectors propose to comprehend such material accumulated in private collections, publish previously unknown autographs, manuscripts, epistolary heritage of Russian poets, writers and artists. Peer-reviewed publications are required in the work of experts - literary critics, art historians, book historians, culturologists, students of specialized educational institutions, and all the interested in the history of the Russian culture.

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