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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.
The Tsar's Happy Occasion shows how the vast, ornate affairs that were royal weddings in early modern Russia were choreographed to broadcast powerful images of monarchy and dynasty. Processions and speeches emphasized dynastic continuity and legitimacy. Fertility rites blended Christian and pre-Christian symbols to assure the birth of heirs. Gift exchanges created and affirmed social solidarity among the elite. The bride performed rituals that integrated herself and her family into the inner circle of the court. Using an array of archival sources, Russell E. Martin demonstrates how royal weddings reflected and shaped court politics during a time of dramatic cultural and dynastic change. As Martin shows, the rites of passage in these ceremonies were dazzling displays of monarchical power unlike any other ritual at the Muscovite court. And as dynasties came and went and the political culture evolved, so too did wedding rituals. Martin relates how Peter the Great first mocked, then remade wedding rituals to symbolize and empower his efforts to westernize Russia. After Peter, the two branches of the Romanov dynasty used weddings to solidify their claims to the throne. The Tsar's Happy Occasion offers a sweeping, yet penetrating cultural history of the power of rituals and the rituals of power in early modern Russia.
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.