Religion Tatiana I Aleksander Pdf


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Borders and Memory Tatiana Zhurzhenko Introduction: A tale of two cities under the auspices of Aleksander Kwasniewski and the freshly elected Viktor . pdf>, accessed 4 November Revolution flyer FINAL FOR in Interwar Japan | Tatjana Jukic ( Zagreb): Revolu- Marie-Josée Lavallée (Montreal): The Reception ( FOY) 'Peaceful Revolution' in Russia | Aleksander Miłosz Panel 4: On. PDF | On Mar 29, , Thibaut Gérard and others published Graphical Abstract. Tatiana Budtova at MINES ParisTech Aleksandr Valerevich Podshivalov.

Tatiana I Aleksander Pdf

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Size Report. DOWNLOAD EPUB Tatiana and Alexander (The Bridge to Holy Cross) · Read more Tatiana Proskouriakoff: Interpreting the Ancient Maya. Tatiana and Alexander read online. Download link: To start the download or read Tatiana and Alexander you must register. Start your FREE month! Tatiana>. To cite this article: Tatiana Zhurzhenko (): The border as pain and remedy: .. In his article in Rzeczpospolita, the Polish minister of culture Aleksander.

Skip to main content. Log In Sign Up. The border as pain and remedy: Tatiana Zhurzhenko. This article was downloaded by: The Journal of Nationalism and Ethnicity Publication details, including instructions for authors and subscription information: To cite this article:

The Future of Revolu- Chair: Ulrich Schmid St. Insights of Critics of Lenin: The Formation of the Republic of Esto- torf Roskilde: The Phantom of Stalin: Friday, October 6 Panel 6: Revolutionizing Everyday Life U Chair: Panel 2: The Memory of the Revolution, and the Alphabet: Thomas Garrigue Masaryk and the Panel 3: Beyond the Horizon: Gallen Panel 9: Revolutionary Law: Lenin and the Event Carl David Mildenberger St.

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The Criminal Justice Context Christian Schmidt Leipzig: Revolution and Chair: Gallen Civil War: Reenact Revolution? Theatre Salvation Transformations in 20th-Century Europe? Lee Alexander McQueen, - Quand je t aime Didier barbelivien et tatiana. Sean Paul. Tatiana-Laurence Delarue vous donne la parole! Tatiana la Baby Flow letra. Petit message de Tatiana: Entretien avec One of its manifestations was petrarchism, which is presented in the assess- ments of modern researchers as one of the notable phenomena in the history of European literature Manero Sorolla, When petrar- chism is understood as a way of imitation of Canzoniere and as a follow-up to the Corresponding author: Russia, however, has never been mentioned in this context.

Does it mean that it escaped the pan-European fascination with the Italian poet? When and in what form did it appear in Russia?

(PDF) Was there petrarchism in Russia | Tatiana V Yakushkina -

These are the questions that the author aims to answer in this paper. Unlike other European countries where Petrarch, as a model creator of poetry, was accepted in the sixteenth and early seventeenth centuries, Russia became acquainted with the Italian poet only towards the end of the eighteenth century. Though the name of Petrarch was mentioned in some printed Russian books of the sixteenth century, and some of his main writings were registered in the library of Saint Petersburg Academy of Sciences in the early eighteenth century Furman, , it seems premature to say that Russian readers, with the exception of a few academics, were familiar with the Italian poet before the s.

The future director of the Saint Petersburg Academy of Sciences, Domashnev was in the early s a student at the Moscow University and a soldier of the Preobrazhensky regiment.

Another published work of the same decade was the Russian rendering from the French Imaginings of Petrarch, or His Letter to Laure The book was written by Aleksander Tinkov ,1 though signed in the French manner as Alexander Tinkav. The Italian language has never been popular in Russian society. In the eighteenth century, there were two dominant foreign languages in the country. As for Italian, it was spoken at that time by only a few well-educated individuals.

Among them, for example, were four out- standing Russian poets: Secondly, it gives us an idea of what an average Russian reader, not with the best of education but striving to learn about world culture, knew about Petrarch in the mid-eighteenth century. Strictly speaking, he knew almost nothing. He took all his information from a French book, which was itself a translation. It is curious to note the dynamics of the process: By the s, Petrarch had become known as a poet to whom the civilized world owed the revival of ancient Roman and Greek literature.

Petrarch was presented in a spacious, page article with the description of his life and works. The French interpretation would settle strongly in the Russian mind for quite a while. Gallant literature, emblematic in its essence, transformed proper names into par- ticular allegories and resorted to onomatology and toponymy to express a general idea or concept.

Thus the name of Petrarch became a reference to a sentimental lover who celebrated his lady-love in his rhymes; while that of Laura became a symbol of a beautiful lady-love, and the spring of Vaucluse came to denote a locus of tender passion and love laments. Such images were devoid of internal evolution and change. As references to certain ideas, they easily joined other images of a similar kind. Thus, on the one hand, due to Rousseau, Petrarch became one of the family of unhappy lovers with motifs of everlasting sep- aration and undying passion.

Russians, enthu- siastic about sentimental literature, became familiar with Petrarch and Laura in the same way that they felt about Julia and Saint-Preux. This was the way Petrarch was enshrined into the Russian mind by Nikolay Karamzin — , a great Russian sentimentalist. His story Yulia Julia , Pisma russkogo puteshestvennika Letters of a Russian Traveler , as well as some of his articles and verses have many references to the triad Petrarch—Laura—Vaucluse or its components: With tender sentiments you are leaving the tower to enter a nice grove dedicated to muses and tranquility.

This is where there is an inscription in a cool rock shelter: Regardless of whether he was interpreted as sweet, poor or sentimental, Petrarch always remained a lover.

They were free interpretations with only one original stanza incorporated in a new text, or two sonnets combined into one. M Kaysarov. I Dmitriyev. Poverit li kto mnye?. Can anybody trust me? Another variant of the above-mentioned shift is when a lyrical hero speaks of himself with some detachment, i. On the other hand, it is also obvious that the sentimentalist aesthetic system with its com- mitment to the motif of unhappy love had not been completely adopted yet.

The latter explains why almost all Russian translators were balancing between subjective and objective positions in perceiving reality. The freedom which early Russian translators enjoyed in interpreting Petrarch and the easiness with which they incorporated him into their aesthetic and ethics system were not groundless. They were determined by the general principles of European poetry translation worked out by the Russian poets like Antioh Kantemir, Mikhail Lomonosov and Vasiliy Tredyakovsky, active in Russian literature up until the s.

In accordance with this concept, a translator, rather than recreating in his native language a foreign text, used it for creating an impersonal aesthetic model. It should also be borne in mind that the turn of the eighteenth and nineteenth centuries was a period in Russian literature remarkable for its intention to close a kind of development gap in the creative reconstruction of European accomplish- ments on Russian soil.

This process started with the selection of the texts for trans- lation. Of foreign writings, only those were selected that could be integrated harmoniously into the world of Russian poetry. Petrarch entered Russian literature when it was adopting sentimentalist and pre-romantic aesthetics, and he became subjected to its laws. His own style can hardly be recognized any more. The dominance of the French and English styles in poetry spared only a few motifs along with the names of Petrarch, Laura and the Vaucluse spring, which through the titles of the translations and publications became rooted in the Russian mind as the signs of unhappy or sentimental love.

A new image of a Russian Petrarch appeared mostly due to Konstantin Batyushkov — , who contributed greatly to its appearance. He is also the author of some verse translations and of imitations to the Italian poets: He also translated a letter by Bernardo Tasso.

In , he thought about writing a two-volume critical work on Italian literature and planned its design. In his lectures on the history of literature — , Schlegel praised Petrarch as a true poet who had expressed his personal feelings at a universal level.

In Italy, the beginning of the Risorgimento saw the emergence of a new wave of interest in national history. His article about Petrarch, published in volume 2 , contained 22 Italian texts with renderings in French.

Petrarch existed in his mind as a part of the Italian lyrical tradition along with Dante, Ariosto and Tasso. In , Batyushkov published three articles, which appeared one after another in the journal Vestnik Evropi European Mercury: Ariosto and Tasso no. He compared Italian to the sound of a harp while Russian to that of a bagpipe or balalaika Batyushkov, In his letter to Gnedich, Batyushkov wrote Guess what gets me angry?

Guess what? The Russian language and our writers who treat it so mercilessly. The language itself, though, is rather bad, a bit rough and has a Tartar stink. Oh, barbarians! Batyushkov, Yakushkina 25 The beauty of the Italian and the lack of perfection in the Russian language were so acutely felt by Batyushkov that he considered inherently impossible to render the outstanding sounding of the one by means of the other.

He did the same in his article Ariosto and Tasso, where he demonstrated all the beauty of the Italian poetic lan- guage by providing his illustrations in prose. It is interesting to note that the idea of a striking dissonance between the two languages was not a new one. Alexander Shishkov — , who was famous for his conservatism in literature, attempting to preserve Russian in its old Slavonic forms, expressed the idea almost in the same words.

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In prose, in spite of the loss of the sweet sound, the meaning could be rendered better. And the violations either by abridgement or by expansion would naturally diminish their power and beauty.

Shishkov, But here the importance is not in the authorship. Batyushkov always keeps in mind that the language of Petrarch is a poetical language. Petrarch succeeded in revealing and enriching the sonority and expressive- ness of his language particularly as a poet.

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It inspires Batyushkov to reiterate the remarkable role of poets in language development and to notice the opportunities for reforming his native language based on the achievements of Petrarch. The notion of the artist poet acquired an exceptional role in the European Romantic literature at the turn of the eighteenth and nineteenth centuries.

A poet is bestowed with a sensitive soul which is likened to an iron-melting furnace in moments of inspiration, unrecognized and persecuted by his contemporaries; he is imagined as a lonely exile, as a talent that often perishes in poverty and starvation.

The motif of madness becomes relevant in this connection. In search of good illustrations, Romantic poets looked back into the past, and history provided them with a great number of biographies which symbolized the lot of a poet in the human world. The purpose of the author was to show that poets, being the idea generators in human society, were nonetheless continuously persecuted by their contemporaries, especially when they aspired to teach rather than entertain.

The book gained wide readership in Russia and evoked a vivid discussion in the press. The social coverage of the problem resonated especially well with the Russian wri- ters. Of the Italian poets, Dante and Tasso are mentioned regularly. Dante is pictured as a patriot and an exile from his native Florence. Tasso was especially popular.

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