It's the cultural information that never seems to make it into history books: strange stories, mystic rites, angry gods, vision quests, magic symbols. This series captures, culture by culture, the intersection of imagination, history, wisdom, dream, and reality.
The Nazis' use and misuse of Nietzsche is well known. In this pioneering book, Bernice Glatzer Rosenthal excavates the trail of long-obscured Nietzschean ideas that took root in late Imperial Russia, intertwining with other elements in the culture to become a vital ingredient of Bolshevism and Stalinism.
Pt. 1. Situating soul. Is soul a thing? O.M.S.K. -- pt. 2. Against and for dusha. In public transportation and in the soul : you call this life? A channel between worlds. The language of music and the Russian language. The baths : a celebration for soul and body. Story : For Anna Viktorovna -- pt. 3. Everyone wants something, but only through someone. Two stories : Decency, generosity. Do not have a hundred rubles, have instead a hundred friends. Story : Pulling something out of a hat. Like the Trojan Horse's gut : hospitality and nationalism. Standing bottles, washing deals, and drinking for the soul. If you want to live you've got to krutit'sia : crooked and straight -- pt. 4. Authority. Depth, openings and closings. Story : A second soul. If you want to know a man, give him power -- pt. 5. Togetherness. Those who poke into my soul : Bakhtin, Dostoevsky, love. We lost some neatness -- pt. 6. Conclusions. Two discussions : semantics and national character, homo sovieticus. Epilogue. Non-Russian souls.
This collective volume aims to highlight the philosophical and literary idea of apocalypse, within some key examples in the Slavic world during the nineteenth and twentieth century. From Russian realism to avant-garde painting, from the classic fiction of the nineteenth century to twentieth century philosophy, not omitting theatre, cinema or music, there is a specific examination of the concepts of "end of history" and "end of present time" as conditions for a redemptive image of the world. To understand this idea means to understand an essential part of Slavic culture, which, however divergent and variegated it may be in general, converges on a specific myth in a surprising manner.
Tsvetaeva's Orphic Journeys in the Worlds of the Word explores the rich theme of the myth of Orpheus as master narrative for poetic inspiration and creative survival in the life and work of Marina Tsvetaeva. Olga Peters Hasty establishes the basic themes of the Orphic Complex--the poet's longing to mediate between the embodied physical world and an "elsewhere," the poet's inability to do so, the primacy of the voice over the visual world, the insistence on concrete imagery, the costs of the poet's gift--and orders her arguments in the tragic shape of the Orpheus myth as it worked itself out organically in Tsvetaeva's own life. Hasty delineates the connections between the Orpheus myth and other key mythological and literary figures in the poet's life--including Alexander Blok, Anna Akhmatova, Alexander Pushkin, and Rainer Maria Rilke--to make an important and original critical contribution.
A scholarly work that aims to be both broad enough in scope to satisfy upper-division undergraduates studying folk belief and narrative and detailed enough to meet the needs of graduate students in the field. Each of the seven chapters in Part 1 focuses on one aspect of Russian folk belief, such as the pagan background, Christian personages, devils and various other logical categories of the topic. The author's thesis - that Russian folk belief represents a "double faith" whereby Slavic pagan beliefs are overlaid with popular Christianity - is persuasive and has analogies in other cultures. The folk narratives constituting Part 2 are translated and include a wide range of tales, from the briefly anecdotal to the more fully developed narrative, covering the various folk personages and motifs explored in Part 1.
"Slavic Traditions & Mythology" is the fourth book by Stefan Cvetkovic which sums up his research in the field of Slavic mythology. The book explores the pre-Christian Slavic customs, symbols and myths from the deepest parts of prehistory up to our contemporary folklore. As such it is a book valuable not only to people of Slavic descent who wish to find out more about their roots, but to all European people as it shows that most of the symbols and mythical motifs are actually common to all of Europe, and stem from the same prehistoric root. It is a book which explains all the essential symbols related to the Slavic pre-Christian culture and separates them from the many New Age inventions. Furthermore, this book can serve as a practical tool to anyone who wants to apply the knowledge in his daily life, going through all the major festivals of the calendar and showing how to properly celebrate them, as our ancestors once did. The deities are also explored, clearly defining those of them which were really honoured by the ancient Slavic people, and which ones are results of the misinterpretations of various scholars through history. The myths related to the deities and other mythical beings are explained in detail through a microcosmic and macrocosmic perspective, with a special emphasis on the Slavic ancestral cult as an inseparable element from them. It is a book full of illustrations representing the different chronological variations of the symbols, archaeological finds related to the Slavic cultures, embroidery motifs, tombstones, representations of the deities, and much more. It is not a book which leaves open questions and doubts regarding the Slavic mythology, but provides insight, depth and meaning for one who truly wishes to know the primordial culture of our forebears.
"Let's go!" With that, the boyish, grinning Yuri Gagarin launched into space on April 12, 1961, becoming the first human being to exit Earth's orbit. The twenty-seven-year-old lieutenant colonel departed for the stars from within the shadowy world of the Soviet military-industrial complex. Barbed wires, no-entry placards, armed guards, false identities, mendacious maps, and a myriad of secret signs had hidden Gagarin from prying outsiders—not even his friends or family knew what he had been up to. Coming less than four years after the Russians launched Sputnik into orbit, Gagarin's voyage was cause for another round of capitalist shock and Soviet rejoicing. The Cosmonaut Who Couldn't Stop Smiling relates this twentieth-century icon's remarkable life while exploring the fascinating world of Soviet culture. Gagarin's flight brought him massive international fame—in the early 1960s, he was possibly the most photographed person in the world, flashing his trademark smile while rubbing elbows with the varied likes of Nehru, Castro, Queen Elizabeth II, and Italian sex symbol Gina Lollobrigida. Outside of the spotlight, Andrew L. Jenks reveals, his tragic and mysterious death in a jet crash became fodder for morality tales and conspiracy theories in his home country, and, long after his demise, his life continues to provide grist for the Russian popular-culture mill. This is the story of a legend, both the official one and the one of myth, which reflected the fantasies, perversions, hopes and dreams of Gagarin's fellow Russians. With this rich, lively chronicle of Gagarin's life and times, Jenks recreates the elaborately secretive world of space-age Russia while providing insights into Soviet history that will captivate a range of readers.
This book examines the relationship between medieval European mythologies of the non-Western world and the initial Portuguese and Spanish voyages of expansion and exploration to Africa, Asia and the Americas. From encounters with the Mongols and successor states, to the European contacts with Ethiopia, India and the Americas, as well as the concomitant Jewish notion of the Ten Lost Tribes, the volume views the Western search for distant, crusading allies through the lens of stories such as the apostolate of Saint Thomas and the stories surrounding the supposed priest-king Prester John. In doing so, Knobler weaves a broad history of early modern Iberian imperial expansion within the context of a history of cosmologies and mythologies.
A glorious retelling of the Russian folktale Marya Morevna and Koschei the Deathless from Catherynne M. Valente, set in a mysterious version of St. Petersburg during the first half of the 20th century Koschei the Deathless is to Russian folklore what devils or wicked witches are to European culture: a menacing, evil figure; the villain of countless stories which have been passed on through story and text for generations. But Koschei has never before been seen through the eyes of Catherynne Valente, whose modernized and transformed take on the legend brings the action to modern times, spanning many of the great developments of Russian history in the twentieth century. Deathless, however, is no dry, historical tome: it lights up like fire as the young Marya Morevna transforms from a clever child of the revolution, to Koschei's beautiful bride, to his eventual undoing. Along the way there are Stalinist house elves, magical quests, secrecy and bureaucracy, and games of lust and power. All told, Deathless is a collision of magical history and actual history, of revolution and mythology, of love and death, which will bring Russian myth back to life in a stunning new incarnation. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.