scholarly journals Из материалов для комментария к «Капитанской дочке»: 9–11 [Notes and Queries on _The Captain’s Daughter_ (9–11)]

2021 ◽  
Vol 8 ◽  
pp. 303-325
Author(s):  
Alexander Ospovat
Keyword(s):  
19Th Century ◽  
Russian Literature ◽  
Military Career ◽  
The Third ◽  
Prayer Book ◽  
In Memoriam ◽  
Train Of Thought

There are three sections in this article, all concerning The Captains Daughter (Kapitanskaia dochka, 1836) by Alexander Pushkin. The first section reconstructs the hidden yet crucial train of thought launched by the elder Grinev’s reading of The Court Almanach for 1772, which comes to drive the novel’s plot in a surprising direction. The second section investigates the protagonist’s failed military career. The third section discusses Pushkin’s linguistic lapse (na son griadushchii instead of na son griadushchim), a distortion of a liturgical phrase well known to Orthodox Christians. Keywords: 19th-Century Russian Literature, Alexander Pushkin (1799—1837), Kapitanskaia dochka (1836), Russo-Turkish Wars (1736—1739, 1768—1774), Military Careers, The Orthodox Prayer Book, In memoriam: Larisa Georgievna Stepanova (1941—2009).

scholarly journals Итальянские мотивы в поэме Пушкина «Анджело» [Italian Motifs in Pushkin’s Poem _Andzhelo_]

2021 ◽  
Vol 8 ◽  
pp. 289-302
Author(s):  
Alexander Dolinin
Keyword(s):  
William Shakespeare ◽  
19Th Century ◽  
Dante Alighieri ◽  
Russian Literature ◽  
Measure For Measure ◽  
In Memoriam

Pushkin’s poem Andzhelo (1833) is based on the plot of Shakespeare’s Measure for Measure (1623). However, Pushkin changed the location from Vienna to “happy Italy,” and the article offers some explanations of the change. Besides the location and names of characters, the poem has no Italian ethnographic details but instead includes several allusions to Dante absent in Shakespeare. It seems that through them Pushkin amalgamated Dante and Shakespeare, providing an intertextual substitute for the Italian couleur locale. Keywords: 19th-Century Russian Literature, Alexander Pushkin (1799—1837), Andzhelo (1833), Dante Alighieri (c. 1265—1321), William Shakespeare (1564—1616), Italy, Allusion, In memoriam: Larisa Georgievna Stepanova (1941—2009).

On the Performance of "Quia respexit ... omnes generationes" from J. S. Bach's Magnificat

2001 ◽  
Vol 18 (3) ◽  
pp. 458-489
Author(s):  
Robert M. Cammarota
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Dramatic Effect ◽  
Rhetorical Device ◽  
The Third ◽  
Musical Texture ◽  
Compositional Practice ◽  
Formed Part ◽  
Early 18Th Century

The modern-day custom of performing the 'omnes generationes' section from J. S. Bach's Magnificat twice as fast as the aria "Quia respexit" has its origins in Robert Franz's vocal and orchestral editions of 1864, the details of which were discussed in his Mittheilungen of 1863. Up until that time, 'omnes generationes' was inextricably connected to "Quia respexit" and formed part of the third movement of Bach's Magnificat. Moreover, when Bach revised the score in 1733, he added adagio to the beginning of "Quia respexit . . . omnes generationes," establishing the tempo for the whole movement. In this study I show that Bach's setting of this verse is in keeping with Leipzig tradition (as evidenced by the settings of Schelle, G. M. Hoffmann, Telemann, Kuhnau, and Graupner) and with early 18thcentury compositional practice; that he interpreted the verse based on Luther's 1532 exegesis on the Magnificat; that the verse must be understood theologically, as a unit; that the change in musical texture at the words 'omnes generationes' is a rhetorical device, not "dramatic effect"; and, finally, that there is no change in tempo at the words 'omnes generationes' either in Bach's setting or in any other from this period. An understanding of the early 18th-century Magnificat tradition out of which Bach's setting derives, with the knowledge of the reception of Bach's Magnificat in the mid 19th century, should help us restore Bach's tempo adagio for the movement.

Last Year at Betty and Bob's: An Actual Occasion

2021 ◽  
Author(s):  
Sher Doruff
Keyword(s):  
19Th Century ◽  
Fairy Tale ◽  
The Third ◽  
Writing Practice

Last Year at Betty and Bob’s: An Actual Occasion is the third in a series of three novellas emerging from a writing practice that taps the cusp of consciousness between dreaming and waking. An Actual Occasion revisits the viral transitioning of the becoming rat-woman from Last Year at Betty and Bob's: A Novelty (vol. 1 in the trilogy). The adventure focuses on the Gritta’s, a gang of artists on retreat in the Dolomite Mountains, as they engage with the idiosyncratic, keeper of the keys, Roberta. Her other-worldly Café Arcadia, a magical cathedral of voluminous aphorism, is an archival refuge and durational homage to Benjaminian storytelling. This futurist fairy-tale is tinged with a curious mix of 19th-century feminist idioms and a queer, post-pandemic sanguinity.

The Third Wave: Russian Literature in Emigration

1986 ◽  
Vol 81 (3) ◽  
pp. 814
Author(s):  
M. G. Basker ◽  
Olga Matich ◽  
Michael Heim
Keyword(s):  
Russian Literature ◽  
Third Wave ◽  
The Third

scholarly journals Un paisaje sacralizado por grabados rupestres protohistóricos e históricos en las hoces del río Mesa (Calmarza, Zaragoza) = A Sacralized Landscape by Protohistoric and Historical Rock Engravings in the Gorges of the River Mesa (Calmarza, Zaragoza)

2020 ◽  
pp. 105
Author(s):  
José Ignacio Royo Guillén ◽  
Francisco José Navarro Cabeza ◽  
Serafín Benedí Monge
Keyword(s):  
19Th Century ◽  
Iron Age ◽  
Rock Art ◽  
Archaeological Remains ◽  
The Third ◽  
Christian Iconography ◽  
Siglo Xix ◽  
Del Rio ◽  
The 19Th Century

Los estudios sobre grabados rupestres al aire libre de cronología postpaleolítica, adolecen de importantes carencias que, en el valle medio del Ebro, se han visto superadas con la llegada del tercer milenio. Con la presentación de este trabajo se pretende dar a conocer un nuevo núcleo de grabados rupestres, localizado en el extremo suroeste de la provincia de Zaragoza, en las gargantas calcáreas del río Mesa. Entre los nuevos enclaves rupestres, destacan los abrigos con grabados protohistóricos, pero muy especialmente los de cronología medieval andalusí y los de iconografía cristiana entre los siglos XIV y XVIII, con perduraciones hasta mediados del siglo XIX y algunas escenas relacionadas con la primera Guerra Carlista en Aragón. La distribución de los hallazgos, su tipología e iconografía y los restos arqueológicos asociados, permiten documentar una importante ocupación del territorio desde la Iª Edad del Hierro y la sacralización del paisaje a través del arte rupestre, con pervivencias que se perpetúan a lo largo de la Edad Media y Moderna, destacando como novedad la presencia de un importante conjunto de inscripciones epigráficas islámicas que deben situarse entre los siglos XI y XII. AbstractThe studies on open-air rock engravings in post-Paleolithic chronology suffer from important deficiencies, which in the middle valley of the Ebro, have been overcome with the arrival of the third millennium.With the presentation of this work, the aim is to make known a new nucleus of rock engravings, located in the extreme southwest of the province of Zaragoza, in the limestone gorges of the River Mesa. Among the new rock engravings, the shelters with protohistoric engravings stand out, but especially those with a medieval Andalusian chronology and those with Christian iconography between the 14th and 18th centuries, which lasted until the middle of the 19th century and some scenes related to the first Carlist War in Aragon. The distribution of the findings, their typology and iconography and the associated archaeological remains, allow us to document an important occupation of the territory since the First Iron Age and the sacralization of the landscape through rock art, with survivals that are perpetuated throughout the Middle and Modern Ages, highlighting as a novelty the presence of an important set of Islamic epigraphic inscriptions that must be located between the 11th and 12th centuries.

scholarly journals Deux fragments de portraits funéraires romains de Deir el-Bahari

2011 ◽  
pp. 259-266
Author(s):  
Zsolt Kiss ◽  
Keyword(s):  
19Th Century ◽  
The Other ◽  
General Context ◽  
Small Fragment ◽  
Intermediate Period ◽  
The Third ◽  
The Temple ◽  
Third Intermediate Period

Two fragments of painted Roman funerary portraits on wooden panels of the Fayum type, discovered in 2001 during a revisiting of the Third Intermediate Period shaft tombs inside the Chapel of Hatshepsut in the Royal Mortuary Cult Complex at the Temple of Hatshepsut in Deir el-Bahari, come from 19th century excavations, hence are without anything but a general context. The pieces are very small—fragment of a robe, sliver of a face with one eye—but in a brilliant analysis of iconography and style Kiss identifies one as a depiction of a female, possibly a priestess of Isis, from the second half of the 2nd century AD, and the other as a male portrait from the 2nd century. The portraits may belong to what some scholars have called “Theban” painted funerary portraits and they must have come from a Roman necropolis in West Thebes, possibly Deir el-Medineh. On any case, they are proof that mummies with painted portraits of the deceased on wooden panels fitted into the cartonnages were not unknown in ancient Thebes.

scholarly journals Ритм и смысл стихотворения Пушкина «Буря» [Pushkin’s “Buria”: The Meaning of Rhythm]

2021 ◽  
Vol 8 ◽  
pp. 48-55
Author(s):  
Sergei Dotsenko
Keyword(s):  
19Th Century ◽  
Russian Literature ◽  
Rhythmic Structure ◽  
Verse Form

This article addresses the meaning of the verse form of Alexander Pushkin’s poem “Buria” (1825). The poem’s monotonous rhythm corresponds to the theme of waves hitting the seashore and the rock in the same monotonous manner. The rhythmic structure of the poem implies that it can be divided into four three-line sections, each of which alternates between two rhythmic forms of iambic tetrameter (IV—IV—I, IV—IV—I, etc.). The stanzaic structure of the poem, which is a monostrophe, helps one to sense that pattern. KEYWORDS: 19th-Century Russian Literature, Alexander Pushkin (1799—1837), Buria (1825), Russian Iambic Tetrameter, Semantics of Rhythm, Verse Theory.

scholarly journals Jeden z herezjarchów? Przedstawienia ikonograficzne Mahometa w rękopisie Рнб, f.IV.151 w kontekście staroruskich narracji na jego temat

Vox Patrum ◽  
2018 ◽  
Vol 70 ◽  
pp. 449-469
Author(s):  
Zofia Brzozowska
Keyword(s):  
Roman Empire ◽  
Russian Literature ◽  
Byzantine Empire ◽  
Extensive Sequence ◽  
Old Russian ◽  
The Third ◽  
Russian State ◽  
Identical Manner ◽  
History Of ◽  
Ivan The Terrible

The РНБ, F.IV.151 manuscript is the third volume of a richly illustrated his­toriographical compilation (so-called Лицевой летописный свод – Illustrated Chronicle of Ivan the Terrible), which was prepared in one copy for tsar Ivan IV the Terrible in 1568-1576 and represents the development of the Russian state on the broad background of universal history. The aforementioned manuscript, which contains a description of the history of the Roman Empire and then the Byzantine Empire between the seventies of the 1st century A.D and 919, includes also an extensive sequence devoted to Muhammad (Ѡ Бохмите еретицѣ), derived from the Old Church Slavonic translation of the chronicle by George the Monk (Hamartolus). It is accompanied by two miniatures showing the representation of the founder of Islam. He was shown in an almost identical manner as the creators of earlier heterodox trends, such as Arius or Nestorius. These images therefore become a part of the tendency to perceive Muhammad as a heresiarch, a false pro­phet, and the religion he created as one of the heresies within Christianity, which is also typical of the Old Russian literature.

scholarly journals Cities and Ideologies in 19th Century Cyprus: A Traditional Capital and a Modern Port City

Chronos ◽  
2019 ◽  
Vol 22 ◽  
pp. 85-106
Author(s):  
Michalis N Michael
Keyword(s):  
19Th Century ◽  
Social Groups ◽  
Port City ◽  
The Third ◽  
The 19Th Century

The 19th century could be described as the bourgeoisie century since it is generally acknowledged that the European bourgeoisie, which reached its apex during the third quarter of the century (Hobsbawm 2000:346), was both financially strong and having a political say, and was successful in leading societies and their political states to radical changes. The rivalry of the bourgeoisie against other social groups, and mainly those attached to power or in many cases in power, led to ideological conflicts resulting in power changing hands or in some cases led the traditional aristocratic power being controlled by elements of the bourgeoisie.

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