F.M. DOSTOEVSKII IN THE ARTISTIC CONSCIENCE AND CRITICISM OF V.YA. BRYUSOV

2020 ◽  
pp. 40-52
Author(s):  
Nataliya A. Drovaleva ◽  
Keyword(s):  
19Th Century ◽  
Human Soul ◽  
Special Place ◽  
Attentive Reader ◽  
The Veil

The existing research is primarily dedicated to the reflections of motifs and images from Dostoevskii’s works in V.Ya. Bryusov’s art. This article focuses on Bryusov’s direct quotes about Dostoevskii and his art from the pages of his critical works, correspondence and diary entries, which lead the author to the conclusion that Bryusov was not only an attentive reader of Dostoevskii but also a researcher of his work. Unlike other notable authors of the late 19th and early 20th centuries (I.F. Annenskii, D.S. Merezhkovskii, A. Belyi etc.), Bryusov didn’t write a separate article on Dostoevskii, but he planned to write a monograph, a critical work, based on scientific foundations. However, he never finished it. This analysis leads the author to the conclusion that Dostoevskii held a special place in Bryusov’s artistic conscience. For him Dostoevskii’s literary craft was an art of mystery, capable of lifting the veil from the depths of a human soul. Additionally, the study of the features of Dostoevskii’s art became an important factor in the formation of Bryusov’s own poetics and in his approach to the traditions of poetics of the writers of 19th century.

Moscow: The Third Rome

2021 ◽  
Author(s):  
Nick Mayhew
Keyword(s):  
Early Modern ◽  
19Th Century ◽  
Early Modern Period ◽  
16Th Century ◽  
Human Soul ◽  
The Third ◽  
Modern Period ◽  
Imperial Ideology ◽  
The City ◽  
Modern Russian

In the mid-19th century, three 16th-century Russian sources were published that alluded to Moscow as the “third Rome.” When 19th-century Russian historians discovered these texts, many interpreted them as evidence of an ancient imperial ideology of endless expansion, an ideology that would go on to define Russian foreign policy from the 16th century to the modern day. But what did these 16th-century depictions of Moscow as the third Rome actually have in mind? Did their meaning remain stable or did it change over the course of the early modern period? And how significant were they to early modern Russian imperial ideology more broadly? Scholars have pointed out that one cannot assume that depictions of Moscow as the third Rome were necessarily meant to be imperial celebrations per se. After all, the Muscovites considered that the first Rome fell for various heretical beliefs, in particular that Christ did not possess a human soul, and the second Rome, Constantinople, fell to the Turks in 1453 precisely because it had accepted some of these heretical “Latin” doctrines. As such, the image of Moscow as the third Rome might have marked a celebration of the city as a new imperial center, but it could also allude to Moscow’s duty to protect the “true” Orthodox faith after the fall—actual and theological—of Rome and Constantinople. As time progressed, however, the nuances of religious polemic once captured by the trope were lost. During the 17th and early 18th centuries, the image of Moscow as the third Rome took on a more unequivocally imperialist tone. Nonetheless, it would be easy to overstate the significance of allusions to Moscow as the third Rome to early modern Russian imperial ideology more broadly. Not only was the trope rare and by no means the only imperial comparison to be found in Muscovite literature, it was also ignored by secular authorities and banned by clerics.

The ‘Nautch’, the Veil and the Bayadère: The Indian Dance as Musical Nexus

2019 ◽  
pp. 213-235
Author(s):  
Margaret E. Walker
Keyword(s):  
19Th Century ◽  
Real Life ◽  
Early Period ◽  
Art Music ◽  
Western Art ◽  
Artistic Production ◽  
History Of ◽  
Indian Dance ◽  
The Veil

During the early period of mercantile contact with India, the exotic spectacle of the Bayadères or Nautch Girls seized the imagination of western sojourners and inspired an abundance of artistic production back in Europe. The ‘dancing girl’ is found everywhere in late 18th- and 19th-century orientalist paintings, poetry, novels, and of course, ballets, operas and other musical compositions. Although there are substantial studies exploring musical orientalisms in western art music, little attention has been paid to the role of real-life performances in such musical creation. This chapter explores the influence of the colonial interaction with Indian dance performances over the long 19th century. It argues not only for a nuanced and historicised approach to musical encounter but also, given the centrality of the Nautch in the Indian context, for the crucial inclusion of dance in the global history of music.

scholarly journals Nepali Intellectuals in Exile: The History of Nepali Printing in 19th- and 20th-Century Benares

2021 ◽  
Vol 3 (1) ◽  
pp. 34-59
Author(s):  
Alaka Atreya Chudal
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Freedom Of Speech ◽  
Centre Of Gravity ◽  
Special Place ◽  
History Of ◽  
19Th And 20Th Century ◽  
Local Traditions ◽  
The 19Th Century ◽  
Indian Cities

Abstract Restrictions on the freedom of speech and press, along with the unavailability of competitive printing solutions in Nepal under the Rana regime, caused the centre of gravity of scholarly activities to shift to India. A number of Nepali intellectuals, who came from a variety of backgrounds and had various reasons for having migrated to India, were involved in writing and publishing starting by the end of the 19th century. In those days Benares had few if any peers among Indian cities as a centre of local traditions of education and Sanskrit learning, and as a spiritual, economic and literary destination for Nepalis. Benares, which occupies a special place in Nepali history for its immense contribution to the country’s cultural, social, literary and political evolution, was also the main hub of Nepali print entrepreneurs. This article will delve into early such entrepreneurs and an array of Nepali printing activities in Benares before 1950.

scholarly journals "Journal of Obstetrics and Women's Diseases". Yesterday. Today. Tomorrow

1997 ◽  
Vol 46 (1) ◽  
pp. 4-5
Author(s):  
Y. V. Tsvelev
Keyword(s):  
19Th Century ◽  
Obstetrics And Gynecology ◽  
Special Place ◽  
Domestic Journal ◽  
The Creation ◽  
The 19Th Century

In domestic obstetrics and gynecology, the last quarter of the 19th century occupies a special place: the first obstetric-gynecological society in Russia appeared in St. Petersburg (03.03.1886) and the first domestic "Journal of Obstetrics and Women's Diseases" began to be published (trial issue was published on December 11 .1886). The initiator of the creation of the journal was the chairman of the St. Petersburg obstetric-gynecological society, professor A.Ya. Krassovsky, who believed that "society needs to have its own printed organ like a collection or a magazine, which would contain not only the works of society, but in general the work of domestic figures in obstetrics and gynecology ...".

scholarly journals Theorising Public and Private Spheres

2016 ◽  
Vol 15 (1) ◽  
pp. 60-73
Author(s):  
Remina Sima
Keyword(s):  
Public Space ◽  
19Th Century ◽  
Human Soul ◽  
Life Activity ◽  
Traditional Role ◽  
Public And Private ◽  
The Public ◽  
Form Part ◽  
The Public Sphere ◽  
The 19Th Century

Abstract The 19th century saw an expression of women’s ardent desire for freedom, emancipation and assertion in the public space. Women hardly managed to assert themselves at all in the public sphere, as any deviation from their traditional role was seen as unnatural. The human soul knows no gender distinctions, so we can say that women face the same desire for fulfillment as men do. Today, women are more and more encouraged to develop their skills by undertaking activities within the public space that are different from those that form part of traditional domestic chores. The woman of the 19th century felt the need to be useful to society, to make her contribution visible in a variety of domains. A woman does not have to become masculine to get power. If she is successful in any important job, this does not mean that she thinks like a man, but that she thinks like a woman. Women have broken through the walls that cut them off from public life, activity and ambition. There are no hindrances that can prevent women from taking their place in society.

scholarly journals India-Ethiopia in the Educational Sector: It’s Cooperation in the Past and the Present

2021 ◽  
pp. 64-67
Author(s):  
Ivy Handique
Keyword(s):  
Higher Education ◽  
Secondary Schools ◽  
East Africa ◽  
19Th Century ◽  
Academic Staff ◽  
Rapid Expansion ◽  
Indian Community ◽  
The Past ◽  
Special Place ◽  
The 19Th Century

Historical linkages between India and Ethiopia go back around 2,000 years of recorded history. A sizeable Indian community consisting of merchants and artisans settled down in Ethiopia in the latter part of the 19th century. Indians are immigrants into Ethiopia and in entire East Africa. The majority have come from the Gujarati- speaking areas. There is tremendous goodwill that Indians enjoy in Ethiopia. Indian influence on education, small trade, and cuisine is as real as the influence of Bollywood in Ethiopia. The rapid expansion of higher education in Ethiopia has increased the demand for qualified academic staff and these included many Indian academicians. Now, aside from Bollywood, Ethiopians' principal contact with Indians is as teachers/lecturers in secondary schools or universities, particularly in the provinces. Teachers from India have carved a special place in Ethiopia with their open-handed efforts across generations.

A Case of Religious Architecture in Elymais: The Tetrastyle Temple of Bard-e Neshandeh

2017 ◽  
Vol 77 (1-2) ◽  
pp. 134-180
Author(s):  
Davide Salaris
Keyword(s):  
19Th Century ◽  
Structural Elements ◽  
Zagros Mountains ◽  
New Approach ◽  
Religious Architecture ◽  
Special Place ◽  
Lower Terrace

This study provides a new approach and interpretation of a remote Elymaean tetrastyle temple found in the course of excavations conducted at the sacred terraces of Bard-e Neshandeh in the mid-19th century. Perched on the heights of the Zagros mountains in the current province of Khuzestan (swIran), the shrine on the lower terrace reflects an innovative synthesis of structural elements engaging both Mesopotamian and Iranian templates and it occupies a special place in the records of temple architecture of the Iranian world before the Sasanid conquest. According to this investigation, a re-evaluation of the tetrastyle temple is proposed in order that it will yield new insights and progress of understanding on the cultic monumental apparatus in Hellenistic and Parthian Elymais.1

The Scope of Philanthropic Activity by the “Greeks” of Hungary (18th–19th Century). An Initial Critical Presentation and Assessment of the Phenomenon

2018 ◽  
Vol 2 (1) ◽  
pp. 1-24
Author(s):  
Ikaros Mantouvalos
Keyword(s):  
Social Environment ◽  
19Th Century ◽  
Central Europe ◽  
Country Of Origin ◽  
Host Society ◽  
Special Place ◽  
National Body

In the organization, operation and growth of Greek communities and companies in the Hungarian hinterlands during the 18th and 19th century, a special place was held by the philanthropy of the expatriates who chose Hungary as their new homeland. These activities were expressed through legacies, bequests and charitable works in the host society and country of origin alike. The aim of this paper is not to deal with this topic as a whole, but rather to identify a number of issues associated with the personal philanthropy of the Görögök in Central Europe, a subject that still preoccupies historians who describe the phenomenon of beneficence. Among their concerns are: since the practice of bequests was widespread in all the newcomers’ social strata, what were the aims and uses of legacies and donations in the various periods, and how was the practice of philanthropy expressed in the adopted country as well as in their homeland? Also, to what degree does this benevolence reflect the internal discord and antagonisms between the members of a community, as well as the migrant subject’s entrance into the different religious and social environment of the Hapsburg Empire, and their eventual incorporation and/or assimilation into the national body of Hungary?

scholarly journals Velum ormiańskie ze zbiorów Muzeum Uniwersytetu Jagiellońskiego

Lehahayer ◽  
2019 ◽  
Vol 5 ◽  
pp. 195-243
Author(s):  
Joanna Sławińska ◽  
Jakub Osiecki
Keyword(s):  
19Th Century ◽  
Cotton Fabric ◽  
October Revolution ◽  
The Veil ◽  
University Museum ◽  
The 19Th Century

The Armenian Veil of the Jagiellonian University Museum RepertoryThe Jagiellonian University Museum stores an Armenian liturgical veil made of thin cotton fabric decorated with silk and metal thread embroidery. Before the veil came into the possession of the Museum in 1945, it had been stored in Schlesisches Museum für Kunstgewerbe und Altertümer in Wrocław which had previously purchased it from dr Dorothea Willers in 1936. The analysis of the inscription on the fabric gave the following results: the veil was a gift from townsfolk, probably from Chars (Moush province), for St John the Baptiser Monastery in Moush (in Taron, an ancient Armenian province). For Armenians the Monastery used to be one of the most frequently visited pilgrimage sites before it was destroyed during genocide in 1915. Some of its possessions were moved to Ejmiatsin and later to Moscow. There they got dissipated after the October Revolution and have never returned to their rightful owners. The veil shows the following iconography: an image of light ray-crowned Agnus Dei typical for Armenian chalice veils, Salvor Mundi image of enthroned Christ, images of St Stephen and St John the Baptiser widely worshipped in the Armenian Church, and St Hripsime. The form is typical for Eucharist-themed Christ images (the chalice and Arma Christi symbols). Stylistically, the embroidery reflects the Eastern Armenian art characteristic in its decorative and ornamentation qualities. There are formal parallels between the veil and Armenian chalice veils from the 19th century, which allows to date the Jagiellonian Museum veil at that century.

scholarly journals On the artistic singularity of the play by A.N. Ostrovsky “The Snow Maiden” in the context of the mythopoetic worldview

Neophilology ◽  
2021 ◽  
pp. 297-307
Author(s):  
Kirill V. Smirnov
Keyword(s):  
Research Methods ◽  
19Th Century ◽  
Russian Literature ◽  
Concept Analysis ◽  
Literary Studies ◽  
Russian History ◽  
Special Place ◽  
Literary Device ◽  
The 19Th Century ◽  
The Grotesque

The work is devoted to the character and contextual levels analysis of A.N. Ostrovsky’s play “The Snow Maiden”. The Berendey country as the embodiment of the pagan world is not only a place for the major events development, but it also symbolizes a special era in Russian history: the contact of two mutually exclusive principles – monotheism and polytheism. Evidences of these principles are the gospel parallels presented by A.N. Ostrovsky through a love sense, which the in-habitants of the Berendey country interpret in a pagan, but not in the Orthodox aspect. Using syn-thesis and analogy, which are the leading research methods of this work, it is possible to prove the contextual closeness of Snow Maiden and Mizgir, characters, originally isolated from the society of the Berendey country, and also to identify the specifics of application of the grotesque, the main literary device used by A.N. Ostrovsky. It is proved that A.N. Ostrovsky’s play is close to V. Hugo’s novel “Notre Dame de Paris” as a work where the grotesque seriously determines the author’s intention. The idea of the play is also analyzed in the format of continuity, as evidenced by the parallelism between “The Snow Maiden” and “Thunderstorm” – in these works the characters sometimes have similar formulations, that is why typification concept analysis is seems acceptable, which allows to analyze the characters in the context of the theory of K.G. Jung’s archetypes. Therefore, the considered task of this work is searching for bringing together contextual beginnings and analysis of the play’s chronotope – system-forming aspects that allow us to characterize the work not only as an extravaganza, but also as a text that occupies a special place in the playwright’s creative heritage. This research will be of great interest to everyone who studies the work of A.N. Ostrovsky in the format of literary studies, as well to researchers of pagan and orthodox motives in Russian literature of the 19th century.

Sign in / Sign up

Export Citation Format

Share Document