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The Princess Tarakanova is a biography by Grigorii Danilevski. Princess Tarakanova was an 18th century pretender to the Russian throne, later arrested as a fraudster and forced to exile in a monastery for the rest of her life.
A storm has been raging for already three days. We have been so tossed about that it has been impossible to write. Our frigate, the Northern Eagle, is not far from Gibraltar. We have lost our rudder, and our sails are all torn, and now the current is carrying us south-eastwards. Where shall we land? what will become of us? It is night; the wind has fallen, and the sea is calmer. I am writing in my cabin. All that I have time to write of what I have seen and undergone, I will place in a bottle, and cast it upon the waters; and you who may chance to find it I entreat, by all that is sacred, to send it to its address. Ah! all-powerful God, grant me powers of memory; enlighten my poor soul, so torn with doubt! I am a sailor, Pavel Konsov, an officer in the navy of our most gracious Majesty, Empress of all the Russias, Ekaterina II. Five years ago, by the mercy of God, I succeeded in distinguishing myself at the famous battle of Chesma. All the world knows of our brave companions, Lieutenant Elien and Lieutenant Klokachov, who, on the night of the twenty-sixth of June, 1770, with four fire-ships and a few Grecian boats, hastily equipped, bravely advanced upon the Turkish fleet at Chesma, and rendered valuable assistance in its destruction. I, though so insignificant, had the good fortune, under cover of the fire-ships and the dark, to throw with my own hand, from our ship, January, the first fire-ball at the enemy. It was this fire-ball which, falling into and igniting the powder magazine, caused the explosion near the ship of the Turkish admiral from which the whole fleet took fire. Next morning, of over a hundred formidable men-of-war, some of sixty and some of ninety guns, frigates, galliots, and galères,—not one remained! On the surface of the waters were visible only wreckage and numbers of dead bodies. Our victory was sung in odes by the celebrated poet Heraskov, and several lines were dedicated to my humble self, until then unknown to the world. This poem was in every one’s mouth. The English in the Russian service—for instance, Mackenzie and Dugdale, who served on one of the fire-ships—took to themselves the credit for the greater part of the glory won at the battle of Chesma. But they did not really much surpass our own officers and men, who all distinguished themselves by their courage and gallantry. After this event I was found worthy of receiving the rank of lieutenant, and the Count Alexis Orloff, the hero of Chesma, having honoured me by his preference, I became his aide-de-camp. My career was thus, so far, very fortunate. Life, on the whole, smiled upon me. But sometimes a fatal destiny pursues man. Suddenly fortune ceased to favour me, angry maybe, at my abrupt, albeit forced, departure from my native land.
The appearance of Princess Tarakanova shakes the foundations of the throne of the Russian empress Catherine II the Great. The odyssey experienced by the princess pretending to the throne encloses a mystery that is practically unknown in our days.
Little is known outside of Russia about the nation's musical heritage prior to the nineteenth century. Western scholarship has tended to view the history of Russian music as not beginning until the end of the eighteenth century. Marina Ritzarev's work shows this interpretation to be misguided. Starting from an examination of the rich legacy of Russian music up to 1700, she explores the development of music over the course of the eighteenth century, a period of especially intense Westernization and secularization. The book focuses on what is characteristic and crucial to Russian music during this period, rather than seeking to provide a comprehensive survey. The musical culture of the time is discussed against the rich background of social, political and cultural life, tying together many of the phenomena that used to be viewed separately. The book highlights the importance of previously marginalized sectors - serf culture, choral sacred culture, the contribution of foreign musicians, the significant influence of Freemasonry, the role of Ukrainian and West-European cultures and so on - as well as casting new light on the well-researched topic of Russian opera. Much new archival material is introduced, and revised biographies of the two leading eighteenth-century Russian composers, Maxim Berezovsky and Dmitry Bortniansky, are provided, as well as those of the serf composer Stepan Degtyarev and the Italian Giuseppe Sarti. The book places eighteenth-century Russian music on the European map, and will be of particular importance for the study of European musical cultures remote from such centres as Italy, Germany-Austria and France. Eighteenth-century Russian music is organically linked with its past and future and its contributory role in forming the Russian national identity and developing the Russian idiom is clarified.
"'Dew on the Grass : The Poetics of Inbetweenness in Chekhov' is the first comprehensive and systematic study to focus on the poetic dimensions of Anton Chekhov's prose and drama. Using the concept on "inbetweenness," this book reconceptualizes the central aspects of Chekhov's style, from his use of language to the origins of his artistic worldview. Radislav Lapushin offers a fresh interpretive framework for the analysis of Chekhov's individual works and his oeuvre as a whole." -- Book cover.
The most comprehensive reference text of theoretical and historical discourse on the biopic film The biopic, often viewed as the most reviled of all film genres, traces its origins to the early silent era over a century ago. Receiving little critical attention, biopics are regularly dismissed as superficial, formulaic, and disrespectful of history. Film critics, literary scholars and historians tend to believe that biopics should be artistic, yet accurate, true-to-life representations of their subjects. Moviegoing audiences, however, do not seem to hold similar views; biopics continue to be popular, commercially viable films. Even the genre’s most ardent detractors will admit that these films are often very watchable, particularly due to the performance of the lead actor. It is increasingly common for stars of biographical films to garner critical praise and awards, driving a growing interest in scholarship in the genre. A Companion to the Biopic is the first global and authoritative reference on the subject. Offering theoretical, historical, thematic, and performance-based approaches, this unique volume brings together the work of top scholars to discuss the coverage of the lives of authors, politicians, royalty, criminals, and pop stars through the biopic film. Chapters explore evolving attitudes and divergent perspectives on the genre with topics such as the connections between biopics and literary melodramas, the influence financial concerns have on aesthetic, social, or moral principles, the merger of historical narratives with Hollywood biographies, stereotypes and criticisms of the biopic genre, and more. This volume: Provides a systematic, in-depth analysis of the biopic and considers how the choice of historical subject reflects contemporary issues Places emphasis on films that portray race and gender issues Explores the uneven boundaries of the genre by addressing what is and is not a biopic as well as the ways in which films simultaneously embrace and defy historical authenticity Examines the distinction between reality and ‘the real’ in biographical films Offers a chronological survey of biopics from the beginning of the 20th century A Companion to the Biopic is a valuable resource for researchers, scholars, and students of history, film studies, and English literature, as well as those in disciplines that examine interpretations of historical figures
Danilevski (1829-90) was a Russian historical novelist. This fictionalised account of the life of Princess Tarakanova (c. 1745-75), a pretender to the Russian throne who claimed to be the daughter of Elizabeth of Russia, was first published in the original Russian language edition in 1883.
A history of one of Russia's greatest leaders explores the life and career of Potemkin, lover of Catherine the Great and architect of Russian imperial power.