profound socio-economic change. In contrast to the 1860s, the market principle came to dominate all spheres of life, especially in the cities. In addition to this commercial goal, which was considered by the Association's founders as a precondition for the creative activity of its artists, there was
part illustrate the fear of death or wary anticipation of the afterlife, as in “The living fear death,” “Death without confession is a dog’s death,” and “Life on earth is not the end of all; death frees the soul.” 40) Death is a presence in folktales such as that of Koshchei the Deathless (Koshchei
children, concentrated almost entirely on group movement as a fundamen- tal preparation for livinga beautiful life rather than a professional career as a dancer (fig. 8). Improvisation was central to her aesthetic of group identity, but by improvisation, she meant a kind of flowing or meandering
housing complexes in space consisted of rings of living units with landing docks for the flying capsules. The housing ring was connected to labora- tories producing food and energy, i.e., the life-support system. In other words, here was a skylab complete with residential units and shuttle cap- sules, a
-14, embracing not only tango-related artides, but also specific body language (for instance, walking ä la tango)'2 and an entire life style. In a mock diary published in the magazine Satirikon (Satyriconj in early 1914. Evdokiia Nagrodskaiia chronicled the spread of tangomania in Russia during the last week of
Motivated by high idealism throughout his life, Ge started out as a follower of Karl Briullov, with whom he had studied at the Academy. He moved on to an infatuation with the liberal causes of the 1860s and ended up as a disciple of Tolstoi. Ge is recognized for having pro- duced the first critical history
new expressivity, creating a universal sign of tragedy as well as of the vital spirit of life. In Tenth Sonata Goleizovsky advanced towards a type of abstract ballet different from those of Alexander Gorsky or Michel Fokine. He also developed compositional principles that differed from those of Fe
. Kennedy. 1 No one of this caliber signed on for Madam Satan —perhaps due to the title?
DeMille turned to Theodore Kosloff, the ballet dancer-turned-silent-movie actor. By 1929, the two men’s nearly mirroring life spans (Kosloff, 1882-1956; DeMille, 1881-1959) included a thirteen-year stint of working
opposition offered only vague promises to improve the economy and better people’s living standards. They lacked specific plans to force the regime to make compromises and punish those who had attacked the first Euromaidan on November 29. A lack of clear, competent leadership of the Maidan thus made it very
Some tried to pursue a more peaceful path forward, marching on the Verkhovna Rada on January 19 to demonstrate outside parliament. They were confronted by titushky (armed toughs for hire), who were armed and ready to attack.
One activist was shot four times, his life