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Childrens' Fashion of the Russian Empire by Alexander Vasiliev Pdf
'Children's Fashion of the Russian Empire' is a book of photographs that has been compiled by the famous Russian fashion historian Alexander Vasiliev. The book is all about children's clothing and fashion in Russia in the age of the Tsars, from the 1860s to 1917.
The 12 Apostles of Russian Law by Pavel Krasheninnikov Pdf
Pavel Krasheninnikov (born 1964) is a prominent Russian politician, state official, and professor of law. He studied at Sverdlovsk School of Law and then did graduate work there. He subsequently taught at the Ural State Law University. In the 1990s he served as an expert on legislation for the Supreme Soviet and worked in senior posts in various state authorities, including as head of Russia’s Ministry of Justice under Boris Yeltsin. He spent a decade as rector of the Russian School of Private Law in Moscow. At present Krasheninnikov is a deputy in the State Duma, and for 18 years he has led the Duma’s legislative committee. Krasheninnikov took part in the drawing up of a new Civil Code and other major legislation in modern Russia. He has played an active role in drafting and introducing legal reforms. He is responsible for over 150 publications in the field of private and public law, as well as legal theory and history. Krasheninnikov has authored a series of works in which he has traced the emergence and development of law as a key system for regulating interpersonal and social relations and as one of the sources of authority. His book The 12 Apostles of Law first saw publication in Russia in 2016 and is dedicated to the great legal minds who, through their scholarship and legislative activity, changed Russia’s law, government, and society over two centuries. For over thirty years Krasheninnikov has studied the lives and work of the men depicted in this book, and he was fortunate to personally work with four of them.
A Brown Man in Russia describes the fantastical travels of a young, colored American traveler as he backpacks across Russia in the middle of winter via the Trans-Siberian. The book is a hybrid between the curmudgeonly travelogues of Paul Theroux and the philosophical works of Robert Pirsig. Styled in the vein of Hofstadter, the author lays out a series of absurd, but true stories followed by a deeper rumination on what they mean and why they matter. Each chapter presents a vivid anecdote from the perspective of the fumbling traveler and concludes with a deeper lesson to be gleaned. For those who recognize the discordant nature of our world in a time ripe for demagoguery and for those who want to make it better, the book is an all too welcome antidote. It explores the current global climate of despair over differences and outputs a very different message – one of hope and shared understanding. At times surreal, at times inappropriate, at times hilarious, and at times deeply human, A Brown Man in Russia is a reminder to those who feel marginalized, hopeless, or endlessly divided that harmony is achievable even in the most unlikely of places.
The Secret History of my Sojourn in Russia by Jaroslav Hašek Pdf
Jaroslav Hašek is known by readers around the world as the author of The Good Soldier Švejk, one of the greatest comic novels of all time. Not all of his fans are aware of his six year anabasis in Russia, however, which began with his capture on the front lines of Galicia during the First World War. The Secret History of My Sojourn in Russia, translated by Charles S. Kraszewski, brings that fascinating period in Hašek's life to the attention of the English reader. Comprised of fifty-two short stories and other writings from Hašek's stay in Sovietising Russia, The Secret History collects the Bugulma stories, in which Hašek trains his satirical eye on the infant communist utopia, as well as non-fiction works by Hašek, who played a not insignificant role in the progress of the Soviet Revolution in Siberia, before his return to his native Czechoslovakia in the early 1920s. These include propagandistic pamphlets and newspaper articles, letters, and official scripts dating from his agitation as a communist operative among Austro-Hungarian citizens stranded in the Soviet Union, all of which provide a fascinating context for his good-humoured fiction, which rivals his great novel in rollicking fun. The Secret History of My Sojourn in Russia presents the reader with 52 of the most entertaining, and chilling, examples of his Russian period, containing both humorous fiction and deadly serious propaganda. Translation of this book was supported by the Ministry of Culture of the Czech Republic.
Edited, translated, and introduced by Anatoly Kudryavitsky, this bilingual anthology presents Russian short poems of the last half-century. It showcases thirty poets from Russia, and displays a variety of works by authors who all come from different backgrounds. Some of them are well-known not only locally but also internationally due to festival appearances and translations into European languages; among them are Gennady Aigi, Gennady Alexeyev, Vladimir Aristov, Sergey Biryukov, Konstantin Kedrov, Igor Kholin, Viktor Krivulin, Vsevolod Nekrasov, Genrikh Sapgir, and Sergey Stratanovsky. The next Russian poetic generation also features prominently in the collection. Such poets as Tatyana Grauz, Dmitri Grigoriev, Alexander Makarov-Krotkov, Yuri Milorava, Asya Shneiderman and Alina Vitukhnovskaya are the ones Russians like to read today. This anthology shows Russia looking back at itself, and reveals the post-World-War Russian reality from the perspective of some of the best Russian creative minds. Here we find a poetry of dissent and of quiet observation, of fierce emotions, and of deep inner thoughts.
Srđan Srdić’s collection of short stories, Combustions, establishes this author’s position as one of the best prose writers in Serbia and across the region. This book consists of nine stories in which the author brings the reader face to face with the seamy side of everyday life, where, somewhere in the province, hopelessness and despair of the endless Balkan transition meet one another in the most radical way. Devoid of illusions of social engagement and narrative tricks, Srdić linguistically demolishes the present and its numerous platitudes, either liberal or conservative, with which we have been overwhelmed for years, to the extent that we can no longer discern the depth of the twilight zone in which we live. Srdić’s stories are linguistically flawless, authentic and emblematically recognizable. The ironic distance that Srdić uses to talk about his characters, which are often socially marginalized and in disproportion to self-perception, combined with exquisite attention to detail, associativity and a number of intertextual references, makes this collection of short stories a genuine masterpiece, which uncompromisingly brings into light the bizarre quality of contemporary life.
A philosopher obstinately searching for truth in the 1700s, badgered by the church for speaking out on human rights and the hypocrisy of the ruling elite, Skovoroda was forced to live an unsettled life. Hryhoriy Skovoroda (1722–1794), dubbed a “wandering” philosopher, was one of the most colourful figures in 18th century Ukraine. He spent most of his life travelling about the country and spoke out in defence of justice and freedom for the common folk, often to his own detriment. His songs became folk songs, and his parables helped drive philosophical thought in many Slavic countries. Precursor is a panoramic, factually accurate novel, painting a realistic picture of life in the Russian Empire. It is an illustration of the epitaph on Skovoroda’s gravestone: “The world pursued me, but failed to catch me.”
Marietta Chudakova is an expert on Soviet literature and on the works of Mikhail Bulgakov in particular. Her biography of Bulgakov was first published in 1988 and remains the most authoritative and comprehensive study of the writer’s life ever produced. It has received acclaim for the journalistic style in which it is written: the author draws on unpublished manuscripts and early drafts of Bulgakov’s novels to bring the writer to life. She also explores archive documents and memoirs written by some of Bulgakov’s contemporaries so as to construct a comprehensive and nuanced portrait of the writer and his life and times. Marietta Chudakova casts light on Bulgakov’s life with an unrivalled eye for detail and a huge amount of affection for the writer and his works. Mikhail Bulgakov: The Life and Times will be of particular interest to international researchers studying Mikhail Bulgakov’s life and works, and is recommended to a broader audience worldwide. Translated from the Russian by Huw Davies Published by arrangement with ELKOST Intl. Literary Agency Published with the support of the Institute for Literary Translation, Russia Introduction by J.A.E. Curtis Proofreading by Kevin Bridge Publishers Maxim Hodak & Max Mendor
The events of the novel The Night Reporter take place in Lviv in 1938. Journalist Marko Krylovych, nicknamed the “night reporter” for his nightly coverage of the life of the city’s underbelly, takes on the investigation of the murder of a candidate for president of the city government. While doing this, he ends up in various love intrigues as well as criminal adventures, sometimes risking his life. Police Commissioner Roman Obukh, who was suspended by administrators from the murder investigation, aids him in an unofficial capacity. Meanwhile, German, and Soviet spies become involved, and Polish counterintelligence also takes an interest in the investigation. The picturesque and vividly described criminal world of Lviv of that time appears before us – dive bars, batyars, and establishments for women of ill repute. The reader will have to unravel riddle after riddle with the characters against the background of the anxious mood of Lviv’s residents, who are living in anticipation of war. The Night Reporter is a compelling journey into the world of the enthralling multicultural past of the city.
Can something that exists merely as a literary text, say a story, come about in real life? Can reality, to put it another way, steal something from literature, the same way literature steals from reality? Such is the question that Libor Hrach, the author of The Adventures of the Wise Badger, fields one evening over a hedonistic supper in a tony Brno restaurant from Kamil Modráček, himself a burrowing animal of sorts, in Jiří Kratochvil’s novel The Vow. ‘Quite simply, I said, everything that has been written either has already happened, or is about to. You write a story, and you can never be sure if what you’re writing isn’t actually taking place two streets away from where you sit...’ If this does not send chills down the spine of the reader of The Vow, they have got a high tolerance for the creepy. Set in 1950s Brno, at the height of Gottwald’s Stalinist reshaping of Czechoslovakia into a Communist prison, and partially in today’s independent Czech Republic, Kratochvil, alternating between the dry Czech humour of Jaroslav Hašek and the uncanny, chilling otherworldliness of Edgar Allan Poe, takes the reader on a journey such as they have never been on before: to geographic areas in the beautiful Moravian city where no foot has set since the Middle Ages, and... places deep inside all of us, where most of us would rather never venture... Translation of this book was supported by the Ministry of Culture of the Czech Republic.
The book is a first person account of a soldier’s journey, and is based on Artem Chekh’s diary that he wrote while and after his service in the war in Donbas. One of the most important messages the book conveys is that war means pain. Chekh is not showing the reader any heroic combat, focusing instead on the quiet, mundane, and harsh soldier’s life. Chekh masterfully selects the most poignant details of this kind of life.
A passionate intensity moves through the subjective, intimate voice of the poems of Natalka Bilotserkivets. Through translation, Subterranean Fire continues their mysterious pilgrimage to their second lives. From one of the true inheritors – touchstones like Anna Akhmatova, Gabriela Mistral, and Louise Bogan – the poems of Bilotserkivets inhabit us as they include us in their transcendent borderland. – American poet James Brasfield With great depths of feeling, Natalka Bilotserkivets’s poetry guides us into that uncharted territory where word meets heart. The poems, spare and often questioning, redeem that land between what is most difficult to grasp and most difficult to forget. – Dzvinia Orlowsky, American poet and translator Natalka Bilotserkivets’s poetry ...is characterized by tight form and elegiac feelings ... this reader was impressed by the liquid cascade of alliterations in her ... poems. – Professor Andrew Wachtel ...contemporary Ukrainian literature has been enriched by the unique pearl of [Natalka Bilotserkivets’s] intellectual and lyrical poetry. – Ukrainian prose writer, poet, and essayist Kost Moskalets I am certain that this first-rate modern Ukrainian poet could become a star of world lyric poetry... – Ukrainian poet and prose writer Ludmyla Taran
This book features people from one of the most closed countries of today's world, where the passage of time resembles the passage of a caravan through the waterless desert. This world has been recreated by a true-born son of that mysterious country, a Turkmen who, at the will of fate, has now been living for a quarter of a century in snowy Scandinavia. Is that not why two different worlds come together in Ryazan horseradish and Tula gingerbread, to come apart in Love in Lilac, in which a student from the non-free world falls in love with a girl from the West? In the story Death of the Snake Catcher, an old snake catcher meets one on one with a giant cobra in the heart of the desert. In the dialogue between them the author unveils the age-old interdependence of Man and untamed nature, where the fear and mistrust of the strong and the hopes and apprehensions of the weak change places but co-exist as ever. Egyptian night of fear, in which a boy goes to an Eastern bazaar and falls into the clutches of depraved forces, is created in the writer's characteristic style of magical realism, while the novella Altynai celebrates first love, radiant and sad, pure as virgin snow. Now mythical, now lyrical, Welsapar's characters face life's injustice with a surprising optimism and fortitude. The intense Asiatic colour not only of nature but of human feelings and relationships, is expressed by the author in striking, expressive language making the reader unable to close the book until the last page.
‘Perhaps some day I’ll disappear forever,’ muses the master-builder Psymmachus in Cyprian Kamil Norwid’s Cleopatra and Caesar, ‘Becoming one with my work...’ Today, exactly two hundred years from the poet’s birth, it is difficult not to hear Norwid speaking through the lips of his character. The greatest poet of the second phase of Polish Romanticism, Norwid, like Gerard Manley Hopkins in England, created a new poetic idiom so ahead of his time, that he virtually ‘disappeared’ from the artistic consciousness of his homeland until his triumphant rediscovery in the twentieth century. Chiefly lauded for his lyric poetry, Norwid also created a corpus of dramatic works astonishing in their breadth, from the Shakespearean Cleopatra and Caesar cited above, through the mystical dramas Wanda and Krakus, the Unknown Prince, both of which foretell the monumental style of Stanisław Wyspiański, whom Norwid influenced, and drawing-room comedies such as Pure Love at the Sea Baths and The Ring of the Grande Dame which combine great satirical humour with a philosophical depth that can only be compared to the later plays of T.S. Eliot. All of these works, and more, are collected in Charles S. Kraszewski’s English translation of Norwid’s Dramatic Works, which along with the major plays also includes selections from Norwid’s short, lyrical dramatic sketches — something along the order of Pushkin’s Little Tragedies. Cyprian Kamil Norwid’s Dramatic Works will be a valuable addition to the library of anyone who loves Polish Literature, Romanticism, or theatre in general.
Moscow, during the collapse of the Soviet system: In a hospital, young people awaiting heart operations and possible death, live just for today with mischief-making and even love affairs, under the stringent gaze of the old matron, Baba Nastya. Here one of the patients, a young Turkmen, meets a Greek Comsomol boy, a Russian Stalinist with a ‘robotic’ heart, and the lovely but tragic Mary. To whom does the future belong – to the soulless robots or the poetical souls?