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FEDOR POGODIN

: "Space and time are reborn to us today.... He who is busy today with the morrow is busy doing nothing.... The past we are leaving behind as carrion. The future we leave to the fortune-tellers. We take the present day."6 Anatolii Lunacharsky was less enthusiastic about the technological utopia: "Perhaps

JELENA HAHL-FONTAINE

, philosophers, and so on"" - something that the com- poser Boleslav Iavorsky organized, much to Kandinsky's satisfaction: "It went well yesterday.... I read to an enormously attentive audience for nearly two hours.... That really interesting lady, Briusova, was present (author of that booklet mentioned before

LAURENT SÉBILLOTTE and CLAIRE ROUSIER

nombre de publications consacrées à la danse dans no- tre langue est demeuré jusqu'à présent peu important tant au regard des at- tentes exprimées qu'au vu des ressources disponibles et encore non exploi- tées à ce jour. Beaucoup d'ouvrages publiés ailleurs dans le monde, en ef- fet, ne sont pas traduits

ALEXANDER GABRICHEVSKY

that are determined by a certain ocular content --and the ex- pression of this is painting. Content, on the other hand; is presented pri- marily as a totality and the meanings of the individual signs is compre- hended not independently, but artificially, depending upon the place that they occupy within

MARCUS C. LEVITT

formal introduction of ballet into Rus- sia to 1735 or 1736, when Anna Ioannovna hired a permanent Italian dance troupe at court and when the Russian pupils of the dancer and ballet-master Jean-Baptiste Lande presented their first court performance. I Notably, this is about the same time that literary

NADIA PODZEMSKAIA

Piper text was compared with the first German version, discovered by Vergo in the Munich archive and dated, at the end of the typed text, August 3, 1909, as well as with the Russian edition, which consisted of the text of a paper presented by Nikolai Kul'bin on December 29 and 31, 1911 at the Second All

NICOLETTA MISLER

Chernetskaia's Expressonist dances, and, if we can believe Sidorov, was often present at the Laboratory demonstrations. 54 Never- theless, in spite of, or, rather, because of, the MONO Decree, a flurry of clandestine dance activity ensured.55 The Laboratory itself was not im- mune to criticism and insinuation

NATALIA CHERNOVA

- ater, but at no other venue. Alexander Yakovlevich Tairov will ... also be requested to allow our Studio to present White Mass in his theater with music by Scriabin, and also the one act ballet, The Tam- ing of Pantalon or the Love of Harlequin, with music by Shaminad. It has been decided to petition

NICOLETTA MISLER

November 28, 1923, with Baranov-Rossine speaking "On the Dynamics of Painting" and illus- trating his remarks with his so-called "Chrono-Form."" But the apparatus was rejected outright as being "dilettante" by the historians, critics, and scientists present, who included the psychologist Pavel Karpov, the

NATASHA KURCHANOVA

unconsciously."25 Similar to Shklovsky, Polivanov was concerned with a hidden content be- hind a sound-image. Polivanov's article, "Sound Gestures in Japanese Lan- guage," explored onomatopoeia - an exception from the theory of the sign as presented by Saussure, an instance of a poetic application of language