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DMITRII SARAB'IANOV

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

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Jeffrey Brooks

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

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KARL TOEPFER

children, concentrated almost entirely on group movement as a fundamen- tal preparation for living a 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

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MILKA BLIZNAKOV

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

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YURI TSIVIAN

-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

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NATALIA CHERNOVA

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

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ROSALIND P BLAKESLEY

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

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Debra Levine

. 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

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Mikhail Lifshitz

Translator David Riff

organise the whole world, just like one’s life; after all, he, Schmidt, was convinced that he was living more rationally and beautifully in his doghouse on sixty marks than any millionaire. He could be a nationalist, a supporter of the Kaiser, and a socialist all at once. After all, it was all one and the

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Gerol’d I. Vzdornov, Valerii G. Dereviagin and Marybeth Sollins

a cosmopolitan attitude to life. He was a genuinely Russian man and always cherished an affinity for the Russian folk element. Buslaev died in 1897 at the age of eighty-one. He was long considered a living embodiment of the humanities in Russia in the nineteenth century, and all subsequent