Prisoners of Hope: The Silver Age of the Italian Jews, 1924-1974

1984 ◽  
Vol 89 (3) ◽  
pp. 802
Author(s):  
Armand Patrucco ◽  
H. Stuart Hughes
Keyword(s):  
Silver Age ◽  
Italian Jews

Prisoners of Hope: The Silver Age of the Italian Jews 1924-1974

1983 ◽  
Vol 57 (3) ◽  
pp. 441
Author(s):  
Maddalena Kuitunen ◽  
H. Stuart Hughes
Keyword(s):  
Silver Age ◽  
Italian Jews

The Spanish Reception of Le Sacre du Printemps (1913–1936)

2018 ◽  
Vol 36 (1) ◽  
pp. 48-66
Author(s):  
Idoia Murga Castro
Keyword(s):  
Nineteenth Century ◽  
Civil War ◽  
Spanish Civil War ◽  
Original Work ◽  
Silver Age ◽  
Avant Garde ◽  
Ballets Russes ◽  
Rite Of Spring ◽  
Le Sacre Du Printemps ◽  
Cultural Expansion

Centenary celebrations are being held between 2016 and 2018 to mark the first consecutive tours of Diaghilev's Ballets Russes in Spain. This study analyses the Spanish reception of Le Sacre du Printemps (The Rite of Spring) (1913), one of its most avant-garde pieces. Although the original work was never performed in Spain as a complete ballet, its influence was felt deeply in the work of certain Spanish choreographers, composers, painters and intellectuals during the so-called Silver Age, the period of modernisation and cultural expansion which extended from the end of the nineteenth century to the beginning of the Spanish Civil War.

“The last chord of the Silver Age”: science and culture in Crimea in 1920

2020 ◽  
Vol 2020 (10-4) ◽  
pp. 4-14
Author(s):  
Vladimir Kalinovsky ◽  
Alexander Puchenkov
Keyword(s):  
Civil War ◽  
The South ◽  
Silver Age ◽  
Russian Culture ◽  
Short Period ◽  
The Crimea ◽  
Science And Culture ◽  
History Of ◽  
Russian Intelligentsia

This article is devoted to the development of science and culture in the short period of the Wrangel Crimea - 1920. At this time, the brightest figures of Russian culture of that time worked on the territory of the small Peninsula: O. E. Mandelstam, M. A. Voloshin, B.D. Grekov, G.V. Vernadsky, V.I. Vernadsky and others. The article provides an overview of the life and activities of the Russian intelligentsia in 1920 in the Crimea, based on materials of periodicals as the most important source for studying the history of the Civil war in the South of Russia whose value is to be fully evaluated.

Androgyny and the Russian Silver Age

1979 ◽  
Vol 14 ◽  
pp. 42 ◽  
Author(s):  
Olga Matich
Keyword(s):  
Silver Age

Yevgeny Zamyatin’s “Hypertext” About the Female Warrior. Article I

2021 ◽  
pp. 18-38
Author(s):  
Veronika B. Zuseva-Ozkan ◽  
Keyword(s):  
Short Story ◽  
Male Character ◽  
Female Agency ◽  
Silver Age ◽  
Woman Warrior ◽  
Horse Riding ◽  
Marina Tsvetaeva ◽  
Rural World ◽  
Physical Abilities ◽  
The Woman Warrior

This article deals with Yevgeny Zamyatin’s “hypertext” about the female warrior, i.e. with the totality of her manifestations in the works of the writer and the semantic continuum that they form. This type of character is defined as a heroine with outstanding physical abilities (such as strength, horse-riding and shooting skills, etc. - and also great beauty), a strong, proud personality, persistence, ability to fight back, determination to gain the upper hand, to win at all costs - especially in the game of power and armed conflict with the male character that is in love with the heroine and/or is loved by her. The author identifies Zamyatin’s works in which the woman warrior appears, analyzes the plot functions and the characteristic motif complex associated with this image. The author demonstrates that the female warrior represents a very frequent type of heroine in Zamyatin’s works: the image appears at the beginning of his career as a writer, in the short story “Kryazhi” (1915), and accompanies him until the end, manifesting itself in the screenplays written in the 1930s. The author reveals that a specific variant of the plot featuring the female warrior is implemented in Zamyatin’s works: the heroine is shown as equal in strength with the male character, and the test of power happens, in particular in the form of a literal duel. Whatever its outcome is and whoever wins, the storyline usually finishes with the death of one or both characters - either during the combat or as its remote consequence. While the type of the plot is usually the same, the female character itself shows a wide variety: there are Valkyrie-like heroines (Ildegonda in the play Atilla), polenitsas from Russian bylina songs (such as Nastasya Mikulishna in the screenplay “Dobrynya” or Marya in “Kryazhi”), Mongolian women warriors (Borte, Ulek), and even contemporary heroines of this type (Zinaida in the screenplay “The God of Dance”). Usually such characters are attributed in Zamyatin to the legendary epic past or rooted in “folk archaics”; they belong to the rural world, to the Russian village. The constant topoi and the evolution of the female warrior in Zamyatin’s artistic works are revealed; in particular, such motifs as love-hate, test of strength (in the form of a duel or a competition), mutual intendedness of two “strong ones” and their tragic non-encounter are considered. The author notes that the supervalue of the female warriors in Zamyatin’s works is love, while for some other writers of the Silver Age, for instance, for Marina Tsvetaeva or Lyubov Stolitsa, such values were female agency, independence, control over one’s life, freedom, or even spiritual salvation. The play Atilla and its heroine Ildegonda are analyzed in this article in particular detail; the sources of this image are revealed.

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