scholarly journals Women of the bohemian circles of Paris in establishment of French theatricality of “Belle Epoque”

2020 ◽  
pp. 69-77
Author(s):  
Mariya Vadimovna Vyrodova
Keyword(s):  
World War I ◽  
Mass Culture ◽  
Personal Growth ◽  
Russian Language ◽  
Life Strategy ◽  
Special Role ◽  
Belle Epoque ◽  
World War ◽  
Belle Époque ◽  
The Russian Language

The period of last quarter of the XIX – beginning of the XX century in France after the World War I receives a name “Belle Epoque”. It is the time of development of entertainment industry, origination of mass culture, where women play a special role. The object of this research is the life strategies of women of the bohemian circles of Paris of “Belle Epoque”. The subjects is the women in French theatricality of the late XIX – early XX century. The goal of the work consists in determining the role played by thre women with a new female life strategy in formation of the phenomenon of French theatricality of “Belle Epoque”. Methodology is based on the sociocultural approach towards the problem, and suggests detailed analysis of the rare memoires of the performers, actresses and dancers, which were not published in Russian or translated into the Russian language. It is noted that women in the bohemian circles reconsidered their strategies in achieving life goals, putting the questions of career and personal growth to the forefront. They also were able to respond to the desires of audience of the late XIX – early XX century, attracting attention to the art of dance, pantomime, theatre, bringing their personal outlook upon the manner of performing. Women performed equal to men, often superseding them in some fields of art due to their natural femininity and talent.

La Belle Epoque

Costume ◽  
1967 ◽  
Vol 1 (sup1) ◽  
pp. 3-4
Author(s):  
James Laver
Keyword(s):  
World War I ◽  
Good Time ◽  
Belle Epoque ◽  
World War ◽  
Look Back ◽  
Points Of View ◽  
Belle Époque

It was a happy notion on the part of the Costume Society to devote a symposium to La Belle Epoque. The phrase is now generally accepted as covering a period of about twenty-five years, from 1890 to the outbreak of World War I, and although it was by no means "belle" in some of its aspects, it does appear, from many points of view, to have been one of those "enchanted islands in the sea of Time" to which we look back with nostalgia. It has been called the triumph of "High Life", the last good time of the upper classes, the "Garden Party and Casino Period" when English summers were without a cloud and when winter came — well! there was always "Monty".

Carmen’s Music-Hall Embrace

2018 ◽  
Author(s):  
Michael Christoforidis
Keyword(s):  
Twentieth Century ◽  
World War I ◽  
Final Stage ◽  
Early Years ◽  
Belle Epoque ◽  
World War ◽  
Popular Entertainment ◽  
Music Hall ◽  
Belle Époque

The fluidity between the worlds of opera and popular entertainment during the Belle Époque admitted Carmen and her Spanish impersonators into music hall and popular theatrical spectacle in the early years of the twentieth century. Chapter 8 explores the hybrid Franco-Spanish entertainment scene in Paris, examining the presence of Carmenesque themes in the chanson market, in the context of a significant subgenre of Spanish-styled songs. During the years leading up to World War I, this new Spanish fashion extended onto the stage in dance-focused Spanish spectacles, which blended new and old styles and often played with references to Bizet’s famous opera. Carolina “la Belle” Otero reached the final stage of her stellar career with a rare—although not unprecedented—transition from music-hall Carmen to operatic protagonist, performing the role at the Opéra-Comique in 1912.

O. O. Gruzenberg. Yesterday: Memoirs of a Russian-Jewish Lawyer. Edited by Don C. Rawson. Berkeley: University of California Press. 1981. Pp. xxx, 235.

2004 ◽  
pp. 369-370
Author(s):  
Robert M. Seltzer
Keyword(s):  
World War I ◽  
Russian Language ◽  
University Of California ◽  
World War ◽  
Ritual Murder ◽  
Wide Range ◽  
Language And Literature ◽  
Political Trials ◽  
Murder Trial ◽  
The Russian Language

This chapter discusses O. O. Gruzenberg's Yesterday: Memoirs of a Russian-Jewish Lawyer (1981). This book is a nostalgic reminiscence of selected episodes from the life of Oskar Gruzenberg (1866–1940), a noted Russian-Jewish attorney whose courtroom successes in a wide range of political trials during the last two decades of the tsarist regime culminated in his brilliant defence of Mendel Beiliss in the notorious 1913 ritual murder trial in Kiev. Gruzenberg recounts scenes of his youth and of legal dramas in which he was a participant. He also describes some of the well-known writers he knew and relates several successful interventions with Russian bureaucrats during World War I in order to avert miscarriages of justice. Gruzenberg comes across in these memoirs as a skilful lawyer, eloquent advocate, humanitarian liberal, and passionate lover of the Russian language and literature.

scholarly journals Establishment of Russian Studies at the Victoria University of Manchester and Russia Abroad

2020 ◽  
Vol 162 (6) ◽  
pp. 134-142
Author(s):  
P.A. Tribunskii ◽  
Keyword(s):  
World War I ◽  
Subsequent Development ◽  
Russian Language ◽  
Business Community ◽  
World War ◽  
Level Of Education ◽  
The World ◽  
The University ◽  
University Of Manchester ◽  
The Russian Language

This paper considers the formation of Russian studies at the Victoria University of Manchester and the participation of A.S. Mindel, a representative of Russia abroad, in it. Teaching the Russian language at the Victoria University of Manchester started in 1907 in the wake of interest in the events in Russia (the war with Japan, the revolution). However, the exotic and difficult language lessons taught by the teacher of English W.J. Sedgefield quickly began to fall out of the public’s favor. Another “Russian boom” in Great Britain occurred during the World War I, when the two countries became allies in the fight against Germany. Due to the increasing interest in Russia in that period, A.S. Mindel, a clerk of the commercial firm, was in demand as a teacher of the Russian language. In addition to teaching, A.S. Mindel gave lectures on Russia, mainly on economic topics, because the Manchester business community, which financially supported the development of Russian studies at the university, was willing to forge contacts with Russia. The pinnacle of A.S. Mindel’s achievements as a teacher was the preparation and publication of a reference book on Russian commercial correspondence (1918). The funds collected by the university authorities in conjunction with the business community of Manchester made it possible to organize a chair of the Russian language, a post for which A.S. Mindel, with his level of education, could not apply. He was not involved in the subsequent development of Russian studies in Manchester.

“Ballad for Americans”

2017 ◽  
Author(s):  
Peter Gough ◽  
Peggy Seeger
Keyword(s):  
Social Movements ◽  
World War Ii ◽  
World War I ◽  
Mass Culture ◽  
Political Activism ◽  
Music Programs ◽  
Musical Expression ◽  
World War ◽  
Post World War Ii ◽  
Cultural Productions

This chapter argues that overtly political themes never dominated Federal One productions. Yet, some of the beliefs espoused by the 1930s Left took root and found appeal among subsequent generations of Americans. Much as pre-World War I bohemians saw many of their ideas absorbed into the mass culture of the 1920s, so did the goals and convictions of the 1930s Left enter mainstream social movements of the post-World War II period. These causes found inspiration to varying degrees in musical expression, as well as particular elements of the radical political activism of the 1930s. Though notably less contentious than other WPA cultural productions, the Federal Music programs in the regional West should also be viewed as harbingers of these later social developments.

“Soul Is But Harmony”: David Josef Bach and the Workers' Symphony Concert Association, 1905–1918

2008 ◽  
Vol 39 ◽  
pp. 66-91 ◽  
Author(s):  
Jonathan Koehler
Keyword(s):  
World War I ◽  
Mass Culture ◽  
Art Music ◽  
Cultural Hegemony ◽  
World War ◽  
Public Performance ◽  
High Culture ◽  
Cultural Divide ◽  
Mass Politics ◽  
Great Attraction

Ifhigh culture, asTheodorAdornoonce proposed, promises a reality that does not exist, why, at the fin de siècle, did it hold such great attraction for Central Europe's populist politicians who were most attuned to the realities of everyday life? The answer, at least for imperial Austria, is that those politicians believed high culture to possess an integrative social function, which forced them to reconcile notions of “high” culture with “mass” culture. This was particularly true in Vienna, where the city's public performance venues for art, music, stage theater, and visual art stood as monuments to the values that the liberal middle classes had enshrined in the 1867 Constitution. A literate knowledge of this cultural system—its canon of symphonic music; the literature of tragedy, drama, and farce; and classical and contemporary genres of painting—was essential for civic participation in an era of liberal political and cultural hegemony. This article examines one cultural association that attempted to exploit the interaction between German high culture and two spheres, which are commonly thought to stand at odds with elite, high culture: popular culture and mass politics. Rather than a simple, cultural divide, this relationship created a contested “terrain of political and social conflict” in the decades preceding World War I. This terrain was of enormous consequence for Viennese of every social class.

scholarly journals The Perception of Literary Discourse by Slovak Students

2021 ◽  
Vol 3 (2) ◽  
pp. 67-79
Author(s):  
Andrea Grominová ◽  
Josef Dohnal
Keyword(s):  
Foreign Language ◽  
Personal Growth ◽  
Russian Literature ◽  
Russian Language ◽  
Literary Discourse ◽  
Literary Critic ◽  
Language And Literature ◽  
Literature Culture ◽  
Theoretical Foundations ◽  
The Russian Language

Based on the authors’ experience in analyzing and interpreting Russian works of art in a Slovak university, the paper identifies some of the difficulties that arise in the process of teaching Russian literature, culture and the Russian language. The conducted research pays attention to the discursive factors of the study of works of fiction, while relying on the theoretical foundations of the world-famous researchers of discourse. First of all, the authors focus on five codes highlighted by one of the representatives of structuralism and poststructuralism, the French philosopher, literary critic, esthetician and semioticist – R. Bart. Deciphering individual codes of literary works can motivate students of the Russian language and literature to read independently, which develops their critical thinking, broadens the horizons of knowledge, and also contributes to their professional and personal growth. In classes on the interpretation of texts of fiction in the framework of teaching Russian as a foreign language, various difficulties are often encountered, in particular, with the decoding of the named codes. The purpose of this paper is to comment on these difficulties, highlight the factors associated with the interpretation of the elements of literary discourse, and also offer some solutions which teachers can implement to help Slovak students studying Russian as a foreign language get rid of these difficulties. The article can become an incentive for further observations in this area, contribute to an increase in the effectiveness of teaching Russian literature of the 18th – 21st centuries in Slovak universities.

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