1,720,979 research outputs found
Три шага к свободе (in Russian)
Get PDFГрачев, Слав. Три шага к свободе. Библиотекa университета Маршалла, Хантингтон, 2023.
Три шага к свободе — это первый роман исторической трилогии, которая перенесет вас в страшный мир разрушений и отчаянной борьбы за жизнь в Советском Союзе во время сталинских репрессий, Второй мировой войны, и жизни при коммунистическом режиме в 1980-х годах. События, описанные в романе, а также жесткая критика коммунизма, его бесчеловечного лица и его далекой от всякого гуманизма философии, привели бы автора к немедленному тюремному заключению, находись он в путинской России сегодня. К счастью, он не там, а значит, он сможет закончить свою работу и опубликовать все книги этой исторической трилогии.
Gratchev, Slav. Three Steps to Freedom. Marshall University Libraries, Huntington, 2023.
Three Steps to Freedom is the first novel of a historical trilogy based on true events that will draw you into the enormous devastation and struggle for life in the Soviet Union during Stalin’s “Great Purge,” Second World War, and life under the Communist regime in the 1980s. The events that are depicted in the novel, as well harsh criticism of communism, its inhumane face, and its philosophy, would result in immediate imprisonment of the author if he were in Putin’s Russia today. Luckily, he is not and, therefore, will be able to finish his work and publish all three books.https://mds.marshall.edu/mu_books/1004/thumbnail.jp
Красная секта
Get PDFГрачев, Слав. Красная секта. Библиотекa университета Маршалла, Хантингтон, 2025.
Этот роман рассказывает о многом: о войне, об огромной любви и верности долгу, о советских шахматистах и, наконец, о судьбе одной маленькой испанской девочки, которая по воле случая оказалась на чужбине и смогла вернуться домой только через пятьдесят дoлгих лет. Этот роман о стране, которой уже нет на картах мира, которая не позволяла своим гражданам жить и думать свободно. То, что она всегда делала с успехом - это отнимала у людей их будущее.
Gratchev, Slav. The Red Cult. Marshall University Libraries, Huntington, 2025.
This novel discusses many things: war, love, loyalty to duty, Soviet chess players, and ultimately the fate of one little Spanish girl who, by chance, found herself in foreign land and returned home only after fifty years. The book shines light on the country that can no longer be found on a map; the country that did not allow its citizens to live and think freely. Yet, it always managed to heartlessly shatter people’s future.
Slav Gratchev, West Virginia, USAhttps://mds.marshall.edu/mu_books/1005/thumbnail.jp
Don Quixote in Russia in the 18th and 19th Centuries: The problem of perception and interpretation
Get PDFThis paper examines the problem of the perception of Don Quixote in Russia in the XVIII and XIX centuries. The author wants to demonstrate that this process of appropriation has had a long and complex history, and there were specific reasons for this. Don Quixote, the first modern fiction novel, upon arrival in Russia, received minimal attention and was perceived as a very simple and comic book. Then, little by little, it began to gain importance. Most of the materials the author uses for this presentation are available only in Russian, and they are kept in the scientific libraries of St. Petersburg and Moscow. Up to this day the majority of those documents have never been translated into English, nor Spanish.
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Esta ponencia examina el problema de la percepción del Quijote en Rusia en los siglos XVIII y XIX. Mediante el uso de los materiales de difícil acceso para los estudiosos de habla inglés o español, quiero demostrar que este proceso de apropiación haya tenido una larga y compleja historia, y había razones específicas para ello. Don Quixote, la primera novela moderna, a su llegada a Rusia, recibió una atención mínima y fue percibido como un libro muy simple y cómico; luego, poco a poco, comenzó a ganar importancia. La mayoría de los materiales que el autor utiliza en esta ponencia sólo están disponibles en ruso, se mantienen en las bibliotecas científicas de San Petersburgo y Moscú, y nunca han sido traducidos al inglés
Review of \u3cem\u3eLa Bella España: El Teatro de Lope de Vega en la Rusia Soviética y Postsoviética\u3c/em\u3e by Veronika Ryjik
No full textThere are certain writers whose importance only grows with time, and the longer the distance that separates us from them, the more facets of their genius they demonstrate to us, the readers of the twenty-first century. One of these authors is Lope de Vega. The new book of Veronika Ryjik now makes another major contribution to the scholarship of a great master who was well known and admired in Soviet Russia. It is indeed a serious study and one that fermented in the mind of the scholar for more than ten years – the true symbol of a truly remarkable book. The introduction offers us a concise overview of the entire book, which is divided into seven chapters. The author starts by explaining the so-called ‘Russian canon’ – the tradition of representing works of Lope de Vega on the Russian scene – and the enormous popularity of all his works. The second chapter beautifully explains the development of the ‘Spanish theatre’ – from its origins to the moment of real Lope-mania in the 1940s in the Soviet Union
Reading Viktor Shklovsky's "Art as Technique" in the Context of Early Cinema
Get PDFThis chapter argues that Viktor Shklovsky’s key text “Art as Technique”, which revolves around the famous key term ostran(n)enie (“making strange”), points at two related phenomena: (1) the way in which the early film show exploited the expressive potential of the new cinema machine to make humans and objects look “strange” (if not “grotesque”), as Maxim Gorky had aptly argued in 1896; and (2) the ways in which “strangeness” inspired the avant-garde performances celebrated by Shklovsky’s Futurist friends.“Art as a Technique” is reread within the historical context of the effects of the early film shows and the question how the new cinema machine functioned to make Maxim Gorky label it as a “grotesque creation” is addressed. This chapter attempts to create an understanding of Gorky and Shklovsky’s relation to the “strangeness” of the early film shows. Therefore, it will present specific fragments of a cultural archaeology of the then new medium and an excavation of its novelty effects. This method is chosen in an attempt to avoid the misunderstandings created by the retrospective perspective, from which one tends to overlook the novelty experiences triggered by a new medium. As is so aptly explained by Shklovsky in “Art as Technique”, novelty/strangeness experiences vanish overtime. Thus, excavations such as in this chapter are needed to remind us of them and to reinvigorate the context from which “Art as Technique” emerged
Reading Viktor Shklovsky's "Art as Technique" in the Context of Early Cinema
Get PDFThis chapter argues that Viktor Shklovsky’s key text “Art as Technique”, which revolves around the famous key term ostran(n)enie (“making strange”), points at two related phenomena: (1) the way in which the early film show exploited the expressive potential of the new cinema machine to make humans and objects look “strange” (if not “grotesque”), as Maxim Gorky had aptly argued in 1896; and (2) the ways in which “strangeness” inspired the avant-garde performances celebrated by Shklovsky’s Futurist friends.“Art as a Technique” is reread within the historical context of the effects of the early film shows and the question how the new cinema machine functioned to make Maxim Gorky label it as a “grotesque creation” is addressed. This chapter attempts to create an understanding of Gorky and Shklovsky’s relation to the “strangeness” of the early film shows. Therefore, it will present specific fragments of a cultural archaeology of the then new medium and an excavation of its novelty effects. This method is chosen in an attempt to avoid the misunderstandings created by the retrospective perspective, from which one tends to overlook the novelty experiences triggered by a new medium. As is so aptly explained by Shklovsky in “Art as Technique”, novelty/strangeness experiences vanish overtime. Thus, excavations such as in this chapter are needed to remind us of them and to reinvigorate the context from which “Art as Technique” emerged
Reading Viktor Shklovsky's "Art as Technique" in the Context of Early Cinema
Get PDFThis chapter argues that Viktor Shklovsky’s key text “Art as Technique”, which revolves around the famous key term ostran(n)enie (“making strange”), points at two related phenomena: (1) the way in which the early film show exploited the expressive potential of the new cinema machine to make humans and objects look “strange” (if not “grotesque”), as Maxim Gorky had aptly argued in 1896; and (2) the ways in which “strangeness” inspired the avant-garde performances celebrated by Shklovsky’s Futurist friends.“Art as a Technique” is reread within the historical context of the effects of the early film shows and the question how the new cinema machine functioned to make Maxim Gorky label it as a “grotesque creation” is addressed. This chapter attempts to create an understanding of Gorky and Shklovsky’s relation to the “strangeness” of the early film shows. Therefore, it will present specific fragments of a cultural archaeology of the then new medium and an excavation of its novelty effects. This method is chosen in an attempt to avoid the misunderstandings created by the retrospective perspective, from which one tends to overlook the novelty experiences triggered by a new medium. As is so aptly explained by Shklovsky in “Art as Technique”, novelty/strangeness experiences vanish overtime. Thus, excavations such as in this chapter are needed to remind us of them and to reinvigorate the context from which “Art as Technique” emerged
Reading Viktor Shklovsky's "Art as Technique" in the Context of Early Cinema
Get PDFThis chapter argues that Viktor Shklovsky’s key text “Art as Technique”, which revolves around the famous key term ostran(n)enie (“making strange”), points at two related phenomena: (1) the way in which the early film show exploited the expressive potential of the new cinema machine to make humans and objects look “strange” (if not “grotesque”), as Maxim Gorky had aptly argued in 1896; and (2) the ways in which “strangeness” inspired the avant-garde performances celebrated by Shklovsky’s Futurist friends.“Art as a Technique” is reread within the historical context of the effects of the early film shows and the question how the new cinema machine functioned to make Maxim Gorky label it as a “grotesque creation” is addressed. This chapter attempts to create an understanding of Gorky and Shklovsky’s relation to the “strangeness” of the early film shows. Therefore, it will present specific fragments of a cultural archaeology of the then new medium and an excavation of its novelty effects. This method is chosen in an attempt to avoid the misunderstandings created by the retrospective perspective, from which one tends to overlook the novelty experiences triggered by a new medium. As is so aptly explained by Shklovsky in “Art as Technique”, novelty/strangeness experiences vanish overtime. Thus, excavations such as in this chapter are needed to remind us of them and to reinvigorate the context from which “Art as Technique” emerged
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