检索结果

Louise Hardiman

adaptation of designs in the process of converting them to worked pieces creates further difficulties in linking the two. Despite the absence of precise dating, Polenova’s designs can be grouped by their subject-matter, which allows them to be situated within the context of the neo-national movement. She

Giannandrea Poesio

’arte traditions of the sixteenth, seventeenth, and eighteenth centuries, they also had a personal repertoire of visually effective narrative poses and gestures, derived from subjective adaptations of those same codes. Enrico Cecchetti too, like his father Cesare, had learned how to break free from the constraints

Marie Turbow Lampard

only minor adaptations to local geography or ethnicity, graced the farthest provinces, as they did the central cities. They were put up with great haste and enthusiasm by inexperienced monumentalists and were, with the fall of the Soviet Union, toppled with equal, if not greater fervor. 5) Even after

Vladimir Stasov

tastes and religious conceptions, as well as the whole naïve mentality of fantasy, scheming considerations, clever calculations, adaptations, and an adroit combination of the various component parts. If we look at Russian folk designs from the purely artistic, esthetic point of view, then it is

Georgy Kovalenko

theater and, indeed, after a long period of collaborative work and after going through many redactions, Jouvet did stage his own adaptation, i.e. Siegfried , at the Théâtre des Champs-Élysées in Paris. “From that moment on…. the names of Jouvet and Giraudoux became inseparable. In fact, Jouvet would

编者 John E. Bowlt

Chicago, and appearances in J.M. Barrie’s play The Truth About the Russian Dancers (1920) and the film adaptation of Arnold Bennett’s novel The Old Wives Tale (1921). Her spirited Polka , which she first performed in 1921, was to music of Alexander Glazunov. Ernst Oppler was a German painter and

Russian Artists in the United States

The Case of Nicholas Remisoff (1887-1975)

Oleg Minin

effectively portrayed Solocha, the witch. Ruth and Thomas Martin made an English adaptation of Iakov Polonsky’s libretto. Press reviews of the production were uneven although Remisoff was credited for making it pictorially attractive and for creating imaginative sets and costumes which “expressed the inherent

丛编:

编者 Olga Voronina

A Companion to Soviet Children’s Literature and Film offers a comprehensive and innovative analysis of Soviet literary and cinematic production for children. Its contributors contextualize and reevaluate Soviet children’s books, films, and animation and explore their contemporary re-appropriation by the Russian government, cultural practitioners, and educators.
Celebrating the centennial of Soviet children’s literature and film, the Companion reviews the rich and dramatic history of the canon. It also provides an insight into the close ties between Soviet children’s culture and Avant-Garde aesthetics, investigates early pedagogical experiments of the Soviet state, documents the importance of translation in children’s literature of the 1920-80s, and traces the evolution of heroic, fantastic, historical, and absurdist Soviet narratives for children.

The Poetics and Aesthetics of Otherness

Orientalism and Identity at Abramtsevo

Maria Taroutina

“Orient,” no doubt conditioned and mediated by the artist’s own reading of the One Thousand and One Nights , where magic and the supernatural abound. 23 Consequently, the ostensibly Neo-national works of Repin, Vasnetsov, and Vrubel were not simply straightforward adaptations of Slavic folklore, but

SHARON MARIE CARNICKE

the ballet, we deconstructed its elements - music, choreography, and design. Thus, we dis- covered exactly how each element depends upon the others. In reconstructing the elements, we also found ourselves recreating the ballet by making neces- sary adaptations in the historical work to the material