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Masked and costume balls thrived in Russia in the late nineteenth and early twentieth centuries during a period of rich literary and theatrical experimentation. The first study of its kind, The Modernist Masquerade examines the cultural history of masquerades in Russia and their representations in influential literary works. The masquerade's widespread appearance as a literary motif in works by such writers as Anna Akhmatova, Leonid Andreev, Andrei Bely, Aleksandr Blok, and Fyodor Sologub mirrored its popularity as a leisure-time activity and illuminated its integral role in the Russian modernist creative consciousness. Colleen McQuillen charts how the political, cultural, and personal significance of lavish costumes and other forms of self-stylizing evolved in Russia over time. She shows how their representations in literature engaged in dialog with the diverse aesthetic trends of Decadence, Symbolism, and Futurism and with the era's artistic philosophies.
"'A Romanov diary' spans 50 years in the life of Royal Europe (1884-1934) during one of its most turbulent periods of history. Grand Duchess George (Marie) of Russia, writes of Emperors, Kings, Queens and Royal cousins in their everyday, private lives, as well as their intricate relationships which determined the course of history.
Russian playwright and historian Radzinsky mines sources never before available to create a fascinating portrait of the monarch, and a minute-by-minute account of his terrifying last days.
This book focuses on the city of St Petersburg, the capital of the Russian empire from the early eighteenth century until the fall of the Romanov dynasty in 1917. It uses the Russian court as a prism through which to view the various cultural changes that were introduced in the city during the eighteenth century.
This study of the flowering and the antecedents of the picaresque in 17th century Russia seeks to offer new insight into both the genre and its broad appeal to Russian readers. Morris resurrects 18th century picaresques, revealing their fusion of Western and indigenous aesthetics.
Prince Michael Tetov is a page for Nicholas II and is privy to wealthy Russian court society in early 1900s Russia. His mother, a lady-in-waiting to the Empress Alexander, socializes with the magnificently rich Usupovs. Michael meets Anna, a student revolutionary and servant to the family. The two fall passionately in love.When the Revolution of 1917 begins, Michael hides his mother with Anna. Anna surrenders her to the Bolsheviks and Michael, deeply betrayed, loses all hope. After another brief experience of love and loss, God is dead to him, as is his faith.Michael is sent to Siberia where he serves the “Monster of the Urals,” and participates in unimaginable horrors of war and carnage. He escapes to China, then joins a close friend, the Maharaja of Shandragar, in India during the Malabar Riots. Michael’s view of life is reinforced when he witnesses the ugliness of human behavior; the wealthy live as if the poverty that surrounds them is unimportant. Michael makes a decision that changes the course of his life and restores his faith in love. But fate takes another drastic turn threatening to destroy him once again. Will Michael find his happiness or will he face his worst tragedy yet?
Chadaga's ambitious study proceeds from the idea that glass - in its uses as a material object and as it was depicted in works of art - is a key to understanding the evolution of Russian identity from the eighteenth century to the middle of the twentieth.
A novel about the aberration and endurance of the human condition translated by Tiina Nunnally. Soerine, a deformed female dwarf from Denmark, is given as a gift to the Russian Tsar, Peter the Great because he is taken by her freakishness and intellect. Against her will Peter takes her to St. Petersburg where she becomes a jester in his court, Forced to live a life that both compels and repels her, she gives in to the attentions of the Tsar’s favorite dwarf, Lukas and carves out an existence for herself amidst the squalor and lice-ridden life of dwarfs in early 18th century. Disaster eventually strikes in the shape of a priest who wants to “save” her.
Deification in Russian Religious Thought considers the reception of the Eastern Christian (Orthodox) doctrine of deification by Russian religious thinkers of the immediate pre-revolutionary period. Deification is the metaphor that the Greek patristic tradition came to privilege in its articulation of the Christian concept of salvation: to be saved is to be deified, that is, to share in the divine attribute of immortality. In the Christian narrative of the Orthodox Church 'God became human so that humans might become gods'. Ruth Coates shows that between the revolutions of 1905 and 1917 Russian religious thinkers turned to deification in their search for a commensurate response to the apocalyptic dimension of the universally anticipated destruction of the Russian autocracy and the social and religious order that supported it. Focusing on major works by four prominent thinkers of the Russian Religious Renaissance--Dmitry Merezhkovsky, Nikolai Berdiaev, Sergei Bulgakov, and Pavel Florensky--Coates demonstrates the salience of the deification theme and explores the variety of forms of its expression. She argues that the reception of deification in this period is shaped by the discourse of early Russian cultural modernism, and informed not only by theology, but also by nineteenth-century currents in Russian religious culture and German philosophy, particularly as these are received by the novelist Fedor Dostoevsky and the philosopher Vladimir Soloviev. In the works that are analysed, deification is taken out of its original theological context and applied respectively to politics, creativity, economics, and asceticism. At the same time, all the thinkers represented in the book view deification as a project: a practice that should deliver the total transformation and immortalisation of human beings, society, culture, and the material universe, and this is what connects them to deification's theological source.