circle of friends
Recently Published Documents


TOTAL DOCUMENTS

144
(FIVE YEARS 40)

H-INDEX

7
(FIVE YEARS 0)

Author(s):  
Larisa N. Anpilova

A novel detailed analysis of a page from Chukokkala , Korney Chukovsky's handwritten miscellany with drawings by Yuri Annenkov, dated March 1923, is given. Involvement of archival sources makes up the history of the drawing creation. It turns out that Annenkov worked at the page of the miscellany and the portrait of Leo Trotsky at the same time. The analysis of the stylistic features of the drawing reconstructs the elements of the literary life of the 1920s. The study of the depicted persons clarifies the circle of friends and associates of prominent cultural figures of the first post-revolutionary decade. The article provides little-known biographical information about the characters depicted in the drawing. It specifies how Annenkov met Gorky's closest associate, the prominent public figure Albert Pinkevich. The author highlights little-known facts of friendship of A. Pinkevich, Boris Pilnyak, a Soviet writer, and the avant-garde artist Boris Shaposhnikov. The history of the creation of graphic portraits of Soviet writers made by Annenkov is considered. In conclusion, the page of the handwritten miscellany, and Chukokkala as a whole, are presented as a unique monument that captures the living passage of time.


Author(s):  
Valeria Viktorovna Kurianova

This research is dedicated to the study of supertext in the works of the prominent writer of the white émigré – Ivan Sergeevich Shmelyov. The topic of supertexts is currently one of the most promising interdisciplinary trends in humanities. Despite the fact that literary studies feature quite a number of works dedicated to topological texts, there are virtually no research of supertext, to which Tolstoy's text is attributed to. Active creation of Tolstoy’s text falls on the turn of the XIX – XX centuries. The image of Tolstoy manifests in Shemlyov’s works of the early period, his last novel, diaries and correspondence. In literary texts, the writer creates the “protected” myth about L. Tolstoy, whole the “profane vector” can be observed in diaries and correspondence with the close circle of friends. Mythologemes that comprise Shmelyov’s myth are as follows: “Tolstoy is an outstanding Russian writer”, “Simplification of Tolstoy”, “Tolstoy is the Founder of the New Religion”. The latter is of particular significance, since Shmelyov positions himself, and is subsequently recognized by the readers, as the Orthodox writer irreconcilable with other religious pursuits. Having acknowledge the undisputable authority of L. Tolstoy as a writer, as a model for young authors, the heroes in Shmelyov’s works do not admit the spiritual leader and religious figure in the prominent Russian thinker.


2021 ◽  
Vol 5 (Supplement_1) ◽  
pp. 475-475
Author(s):  
Max Zubatsky ◽  
John Morley ◽  
Marla Berg-Weger

Abstract In response to the COVID-19 pandemic, Saint Louis University GWEP quickly pivoted service initiatives to online formats. Despite challenges of technology literacy and access, GWEP faculty, staff, and students creatively adapted in-person programming to online delivery and developed new virtually-delivered services. These service delivery adaptations provided opportunities for educating students, residents, faculty, community partners, and older adults and their caregivers to gain new knowledge and skills while continuing to participate in programming. This presentation will highlight innovations in the area of services to persons with dementia through Cognitive Stimulation Therapy, caregivers through education and support programs, older adults experiencing loneliness and social isolation through Circle of Friends, and older adults and caregivers through a virtual geriatric assessment clinic. We share highlights here of our efforts to pivot programming, access new funding streams, and, in some cases, create online delivery, including valuable lessons learned.


Author(s):  
Любовь Николаевна Арбачакова

В данной статье на примерах рукописных текстов героических сказаний и самозаписей кайчи рассматривается собирательская деятельность фольклориста и исполнение эпоса в домашней обстановке. Исполнение сказания у себя дома — ситуация для кайчи прямо противоположная общепринятой традиции, когда следовало почетное приглашение и исполнение алыптыг ныбак в кругу друзей и односельчан, которые великолепно знали эпическую традицию кая. Сказителям была важна настоящая аудитория, эпическая среда, поддерживающая его в пути за алыпом. В случае одного собирателя-слушателя-гостя, кайчи больше как гостеприимный хозяин лично его благодарил, благословлял и одаривал удачей алыпа. Некоторые сказители (А. П. Напазаков) в присутствии одного собирателя или в самозаписях (В. Е. Таннагашев), вовсе упускали обращение к слушателям. В своем помещении сказители, отвыкнув от исполнения кая, чувствовали себя стесненным, долго настраивались и были вынуждены исполнять один эпос с утра до обеда, иногда до вечера, если они никуда не спешили. Однако, благодаря доверительному общению со сказителями в домашней обстановке, нам удалось прояснить некоторые темные места текстов, выяснить значение архаичных слов и выражений. Иногда собиратель мог вносить изменения в названия эпических произведений, а сказители, стараясь не обидеть в своем доме гостя, соглашались с мнением записывающего о переименовании сказания. Исполняя алыптыг ныбак для одного слушателя-собирателя в дневное время, сказители по разным причинам (настроение, спешка, приезд гостей и т. д.) сокращали исполнение, что, несомненно, сказывалось и на качестве содержания эпоса. В. Е. Таннагашев неоднократно сообщал, что из-за ограниченного времени он вынужден сокращать сказания, либо сказывать устным речитативом. Исполняя сказания в искусственной обстановке, специально для собирателя, кайчи оказавшись вне эпической среды, не чувствовали себя в единении со своими слушателями, что сказывалось на ремарках сказителей, на традиционной поэтике сказаний. In this article, using examples of handwritten texts of heroic legends and self-recordings by Shor storyteller (kaichi), the collecting activity of the folklorist and the performance of the epic at home are considered. Performing a legend at home is a situation for kaichi that is directly opposite to the generally accepted tradition, when an honorary invitation followed and the performance of alyptyg nybak in a circle of friends and fellow villagers, who perfectly knew the epic tradition of kai The storytellers needed a real audience, an epic environment that would support him on his way beyond the alyp. In the case of one collector-listener-guest, the kaichi, more like a hospitable host, personally thanked him, blessed and bestowed good luck on the alyp. Some storytellers (A. P. Napazakov), in the presence of one collector or in self-recordings (V. E. Tannagashev), completely missed the appeal to the audience. In their room, the storytellers, having lost the habit of performing kai, felt constrained, tuned in for a long time and were forced to perform one epic from morning to dinner, sometimes until evening, if they were in no hurry to go anywhere. However, thanks to confidential communication with storytellers at home, we managed to clarify some “dark places” of the texts, to find out the meaning of archaic words and expressions. Sometimes the collector could make changes to the names of epic works, and the storytellers, trying not to offend the guest in their home, agreed with the opinion of the person who wrote down about the renaming of the legend. Performing alyptyg nybak for one listener-collector in the daytime, the storytellers, for various reasons (mood, haste, arrival of guests, etc.), reduced the performance, which undoubtedly affected the quality of the content of the epic. V. E. Tannagashev has repeatedly reported that due to the limited time, he is forced to shorten the legends, or say it by recitative. Performing legends in an unusual situation, especially for the collector, the kaichi, finding themselves outside the epic environment, did not feel in unity with their listeners, which affected the narrators' remarks and the traditional poetics of legends.


Author(s):  
Eugene Ostashevsky

This article distinguishes the avant-garde group OBERIU and its predecessors, led by the poets Daniil Kharms, Alexander Vvedensky, and Nikolai Zabolotsky and performing openly in Leningrad between 1925 and 1930, from the informal circle of the 1930s, which also included the poet Nikolai Oleinikov and the philosophers Leonid Lipavsky and Yakov Druskin. Prevented from making their writings public, in 1933–1934 members of this underground circle of friends documented their interactions in Lipavsky’s Conversations. A history of the two overlapping groups, emphasizing their social aspects, is followed by a synopsis of the philosophy of the circle. The article argues that the montage-based composition paradigms of the avant-garde, replacing determinism, causality, and rationality with contiguity and the non sequitur, are reflected in Kharmsian play with numbers and in his concept of the “real,” as well as in the phenomenological methods of Druskin and Lipavsky, which seek perspectival, qualitative, and embodied knowledge that science cannot grant.


2021 ◽  
Author(s):  
Abigail Brundin

This paper considers the question of Vittoria Colonna’s readership beyond the poet’s intimate circle of friends and associates. It asks who was reading Vittoria Colonna in print in the sixteenth century and how they were reading her. It examines in particular the passage from ‘high’ to ‘low’ in the print circulation of rime spirituali, and the role played by Colonna’s work in defining the reception of the genre, both during its formative period in her lifetime, and in the later sixteenth century, when it had become one of the dominant lyric traditions of the age.


2021 ◽  
Vol 51 (3-4) ◽  
pp. 217-227
Author(s):  
Claudia Olk

This article focuses on Virginia Woolf and Bloomsbury in and after 1918. It looks at the ways in which the Woolfs, together with members of their circle of friends and family, recorded their experience, their political views, and their attitudes towards Germany, the US and Russia during the final months of the First World War and how they received the arrival of peace. Part of the overall argument will be devoted to tracing the means by which Bloomsbury and the various societies and clubs that were related to it tried to maintain continuity during the war years in London, Richmond and Sussex. A main part of the article will then analyse the development of Bloomsbury’s literary and artistic production and the new connections between art, literature and politics that were forged in the aftermath of the founding of the Hogarth Press in 1917.


2021 ◽  
pp. 306-333
Author(s):  
A.S. Vinogradova ◽  

This paper is dedicated to a creative personality from P.I. Tchaikovsky’s friendly circle, Konstantin Nikolaevich De-Lazari (stage name Konstantinov). Throughout the composer’s life, this artist of almost all theatrical genres (from drama and opera to vaudeville and operetta) maintained friendly relations with Pyotr Ilyich himself, then with his brothers and father. Serving alternately in the troupes of the opera (Bolshoi Theater, Moscow) and drama theaters (Alexandrinsky Theater, St. Petersburg), he did not lose touch with either the musical or dramatic environment and was considered “his own man” behind the scenes of the theaters of both capitals. He was a friend of Pyotr Ilyich’s friends: N.G. Rubinstein, G.A. Laroche; patronized talented actresses who played prominent roles in the destinies of M.I. Tchaikovsky (M.G. Savina) and A.I. Tchaikovsky (A.Ya. Glama-Meshcherskaya). K.N. De-Lazari left several memoir texts; their exact number and significance for the biography of P.I. Tchaikovsky has not yet received a scientific assessment. These texts and their interpretation will help to expand our understanding of the composer’s circle of friends and the synthetism of perception of musical and dramatic theater, characteristic of P.I. Tchaikovsky, his natural artistry, in a broad sense.


2021 ◽  
Vol 51 (1) ◽  
pp. 50-57
Author(s):  
Hermann F. Weiss

Felix Mendelssohn Bartholdy's activities in Leipzig and his circle of friends and acquaintances in that city have not yet been fully explored. On the basis of hitherto unknown sources new information is provided concerning the performances of his <Antigone> at the Leipzig Theatre in March, 1842, as well as a performance at the Leipzig home of Johann Paul von Falkenstein on November 28, 1841. The reactions of two Leipzig professors, Moritz Wilhelm Drobisch and Gottfried Hermann, to these events are of particular interest.


2021 ◽  
Vol 4 (1) ◽  
Author(s):  
Max Falkenberg

AbstractNode copying is an important mechanism for network formation, yet most models assume uniform copying rules. Motivated by observations of heterogeneous triadic closure in real networks, we introduce the concept of a hidden network model—a generative two-layer model in which an observed network evolves according to the structure of an underlying hidden layer—and apply the framework to a model of heterogeneous copying. Framed in a social context, these two layers represent a node’s inner social circle, and wider social circle, such that the model can bias copying probabilities towards, or against, a node’s inner circle of friends. Comparing the case of extreme inner circle bias to an equivalent model with uniform copying, we find that heterogeneous copying suppresses the power-law degree distributions commonly seen in copying models, and results in networks with much higher clustering than even the most optimum scenario for uniform copying. Similarly large clustering values are found in real collaboration networks, lending empirical support to the mechanism.


Sign in / Sign up

Export Citation Format

Share Document