Cultural Mythologies of Russian Modernism: From the Golden Age to the Silver Age

1994 ◽  
Vol 53 (1) ◽  
pp. 127
Author(s):  
Evelyn Bristol ◽  
Boris Gasparov ◽  
Robert P. Hughes ◽  
Irina Paperno
Keyword(s):  
Golden Age ◽  
Silver Age ◽  
Russian Modernism ◽  
Cultural Mythologies

Introduction

2019 ◽  
pp. 1-36
Author(s):  
Stanley J. Rabinowitz
Keyword(s):  
Golden Age ◽  
Initial Phase ◽  
New Age ◽  
Modern History ◽  
Silver Age ◽  
The World ◽  
Original Works ◽  
Broad Scale

HISTORIANS OF CULTURE LOOK at Russia’s Silver Age—the period of aesthetic activity roughly between 1895 and 1915—as one of the great artistic revivals of modern history, the initial phase of what eventually became more generally known as modernism. Even more than the previous Golden Age of Pushkin, Lermontov, and other Romantic poets some sixty years earlier, this period reveals a flowering of cultural refinement rarely seen on such a broad scale. Not only writers and poets but musicians, painters, and figures in the world of theater and dance cultivated a greater sensitivity to art, which placed a premium as much on the artists’ unique personalities as on the variety and quality of the original works they produced. An early and defining emblem of the new age was Sergei Diaghilev’s lavishly illustrated ...

scholarly journals A nők ellen vagy a nők ellen is?

2018 ◽  
pp. 23-36
Author(s):  
Gergő Gellérfi
Keyword(s):  
Golden Age ◽  
Human History ◽  
Silver Age ◽  
The World ◽  
Different Sources ◽  
Looking Back

The opening of Juvenal’s longest and maybe the most well-known poem, Satire 6, is based on the ancient concept of the “Ages of Man”, starting from the reign of Saturn and ending with the flight of the two sisters, Pudicitia and Astraea. The first part of this 24-line-long passage depicts the Golden Age making use of two different sources: the idealized Golden Age appearing in Vergil’s poetry among others and the prehistoric primitive world from the Book 5 of Lucretius. The Juvenalian Golden Age, presented briefly in a naturalistic way, is a curious amalgam of these two traditions, being the only time in human history according to the poet when marital fidelity was unblemished. However, while reading Satire 6, it seems far from obvious that the lack of adultery should be attributed to higher morals. Albeit Juvenal presents a great variety of women’s sins in Satire 6, the poem’s central motif is infidelity beyond doubt, which is called the most ancient of all sins by the poet, being the only one that appeared in the Silver Age already. This is his cause for looking back to the mythological past in the introductory lines of the “Women’s Satire”; but as his words reveal it, the return to this state of the world and humanity seems neither possible nor desirable to him...

THE FEMALE VOICE OF JUSTICE IN ARATUS' PHAENOMENA

2015 ◽  
Vol 62 (1) ◽  
pp. 75-86
Author(s):  
Andrew Faulkner
Keyword(s):  
Bronze Age ◽  
Golden Age ◽  
Female Voice ◽  
Silver Age ◽  
Men And Women ◽  
Technical Description

Aratus' striking mythical digression (96–136) in the Phaenomena on the constellation of the Maiden (Παρθένος), whom he identifies with the virginal Justice (Δίκη), stands out against the preceding technical description of star groups. The passage has unsurprisingly received the frequent notice of critics, with particular attention paid to the episode's relation to and refashioning of the Myth of Ages in Hesiod's Works and Days 106–201: one tale that circulates among men, so the narrator informs us (λόγος γε μὲν ἐντρέχει ἄλλος | ἀνθρώποις, 100–1), has the constellation qua Dike live among men and women in a Golden Age (101–14), withdraw to the mountains but still visit humans in a Silver Age (115–29), and then withdraw permanently to the sky (where, however, she is still visible) in a Bronze Age (129–36).

scholarly journals “Not a Golden Antique”: Experience of Negative Reception of the “Estate Culture” at the Turn of the 19th–20th Centuries

2020 ◽  
Vol 5 (3) ◽  
pp. 252-269
Author(s):  
Olga A. Bogdanova
Keyword(s):  
20Th Century ◽  
Golden Age ◽  
Early 20Th Century ◽  
Silver Age ◽  
Russian Culture ◽  
Organic Part ◽  
Andrey Bely ◽  
The One ◽  
Number Of Authors

In contrast to passeistic and neo-mythological trends in the representation of the “estate culture” in the so-called Silver age, a number of works of that time follow another line — the one of aesthetic, civilizational, and socio-psychological critique. The latter tendency dates back to the serfdom period (A.I. Herzen, N.S. Leskov, L.N. Tolstoy, etc.). Pan-aesthetics, one of the main trends of Russian culture of the early 20th century, prompted the mentioned aesthetic critique. A number of authors questioned and rejected the idealization of the Golden age of “estate culture”, which in the Silver age claimed to be the “national ideal.” This is how the polemical image of “not a golden antique” appears in the works of I.F. Annensky, Andrey Bely, N.S. Gumilev, G.I. Chulkov, A.N. Tolstoy, etc. In addition, the structure of the “estate topos” includes civilizational critique of the “estate culture” as organic part of the Russian national-patriarchal world (A.I. Ertel, A.P. Chekhov, I.S. Shmelev, etc.). The article examined the mentioned negative connotations of the “estate topos” on the example of the story by Alexey N. Tolstoy “Mishuka Nalymov (Zavolzhye).”

Athens in the Age of Alexander

1965 ◽  
Vol 12 (2) ◽  
pp. 189-204 ◽  
Author(s):  
Fordyce Mitchel
Keyword(s):  
Golden Age ◽  
The Other ◽  
Major Portion ◽  
Indelible Mark ◽  
Silver Age ◽  
Athenian History ◽  
The City

The course of Athenian history during the fifteen or twenty years after the battle at Chaeronea was strongly influenced by the dominating spirits of two men, one of whom was ever present and the other far away. The latter, of course, is Alexander, whose departure from Europe with the major portion of Macedon's fighting strength afforded the opportunity for the Greek states to develop resistance and opposition to Macedonian control which the fiery young king, had he been present, would hardly have tolerated. The former is Lycurgus son of Lycophron, the only Athenian after Pericles who so successfully dominated his city's policies and left such an indelible mark upon the city, its institutions and buildings, that his twelve-year period of influence rightly bears his name. Furthermore, so many of the things that were accomplished or attempted during this period seem to have been initiated in conscious imitation of the Golden Age, that we are justified in calling it the Silver Age of Lycurgus. His is the comprehensive programme of reconstruction, reform, and revitalization that the present paper proposes to describe.

scholarly journals “The Heterotopia of Estate” in the Novel by Z. N. Gippius “Roman-Tsarevich” (1913)

2020 ◽  
Vol 27 (1) ◽  
pp. 294-314
Author(s):  
Olga A. Bogdanova
Keyword(s):  
Golden Age ◽  
Russian Literature ◽  
Russian Revolution ◽  
The Other ◽  
The Novel ◽  
Silver Age ◽  
Russian Symbolism ◽  
Western European ◽  
Different Parts ◽  
The Revolution

<p>The article studies the space-semiotic organization of one of the central symbolist novels of the Silver age, associated with the &ldquo;estate topos&rdquo; in Russian literature. Most of the action in the &ldquo;Roman-Prince&rdquo; by Z.&nbsp;N.&nbsp;Gippius takes place in the 1910s on the territory of country estates in different parts of Russia, as well as in the Western European castle near the Pyrenees, where Russian revolutionaries live. The duality of the Russian revolution manifested as late as in Decembrist movement (the &ldquo;autocratic&rdquo; dictatorship of P.&nbsp;I.&nbsp;Pestel and the Christian democratism of S.&nbsp;I.&nbsp;Muravyov-Apostol) echoed in Gippius&rsquo;s novel in the form of the opposition between Roman Smentsev and Mikhail Rzhevsky, along with his supporters Florenty and Litta. Gippius&rsquo;s discovery consists in the fact that she found in the field of &ldquo;estate topos&rdquo; a meaning that goes back to the activities of the Decembrists-noble revolutionaries of the first quarter of the 19th&nbsp;century, often large landowners. The &ldquo;Estate topos&rdquo; appears in the &ldquo;Roman-Prince&rdquo; as the topos of the Russian religious revolution in a number of local variations. The ideological and artistic circulation between its three loci unites the Western European castle, reminiscent of the educationist roots of the Russian &ldquo;estate culture&rdquo; with its ideal of a free personality, a noble estate of the Golden age, which brings Russia&rsquo;s first apostles of religious revolution, and eclectic intelligent-landowner estate of the Silver age, the inhabitants of shich are under the evil power of the Antichrist of the revolution, genetically ascending to Stavrogin of the novel &ldquo;Demons&rdquo; by F.&nbsp;M.&nbsp;Dostoevsky. At the same time, they maintain the ability to break the fatal circle outlined by Smentsev thanks to the heterotopic connection with the other two estate projections presented in the novel. So, the scientific novelty of the article is that: here, in the material of the Gippius&rsquo;s novel is identified and discussed an important modification of the &ldquo;estate topos&rdquo; in the literature of Russian symbolism&nbsp;&mdash; a landowner&rsquo;s rural estate as a topos of the religious revolution, and for understanding of its structure a new category&nbsp;&mdash; &ldquo;heterotopia of the estate&rdquo;&nbsp;&mdash; is used.</p>

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