The ‘Belgrade Circle’ : Pushkin, Lermontov, Gogol and Tolstoy in Serbian interwar comics

As not everyone knows, the ‘Belgrade Circle’, the collective of comics authors who ushered in the so-called ‘Golden Age of Serbian comics’ (from the 1930s until WW II), had many Russian émigrés among its members. This contribution mainly deals with their practice of adapting the nineteenth-century literary classics of their home country into the comics medium

Cynthia Raim and David Allen Wehr in a Faculty and Guest Artist Recital

This is the program for the recital of guest artist Cythina Raim and artist-in-residence and pianist David Allen Wehr, featuring works by Rachmaninoff. This recital took place on March 3, 1997, in the W. Francis McBeth Recital Hall

Одиночество как один из ведучих мотивов лірики М. Ю. Лермонтова

В статье анализируется один из основных мотивов лирики известного русского поэта-романтика М. Ю. Лермонтова – мотив одиночества, рассматривается эволюция смысла этого понятия, на протяжении разных этапов творчества в интерпретации автора

O problema da subjetividade na lírica de M. I. Lérmontov

O presente artigo pretende elucidar alguns aspectos do desenvolvimento do herói lírico na poesia de Mikhail Lérmontov (1814-1841), entendido no contexto maior da problemática romântica e da poesia russa na década de 1830. Pretende-se demonstrar, em linhas gerais, que em sua curta trajetória literária o poeta russo partiu de uma postura radicalmente individualista para concluir suas obras criticando suas posições anteriores, fosse pela ironia, fosse pela melancolia. Para tanto, apresentaremos uma breve discussão sobre a poesia de Lérmontov, sobre o papel da subjetividade no Romantismo e sobre as relações destecom o contexto histórico russo e com o contexto europeu em geral, de modo a dimensionar tanto a inserção do poeta na cultura de seu tempo quanto a ruptura que ele realizaria na última fase de sua produção. Conforme veremos, tal operação não apenas joga uma luz reveladora sobre a obra de Lérmontov, ao apontar para a sua singularidade no panorama cultural da época, como também pode contribuir para um estudo da transição entre Romantismo e Realismo e para uma compreensão histórico-comparativa da problemática do mal na obra de Fiódor Dostoiévski

Ориентализм в музыкальном творчестве М.И. Глинки

Цель данной статьи – изучение творчества русских композиторов первой половины ХIХ века с точки зрения дальнейшего проникновения (и окончательного утверждения) ориентального элемента в русскую классическую музыку

Origins of Mikhail Vrubel's Demoniana series

The Demoniana series is the most researched of all of Mikhail Vrubel's work, yet the origins of the series' imagery remain neglected. Scholars have attributed Demoniana's imagery to a literary origin - the poem Demon by Mikhail Lermontov. Focusing on the relationship between the painted material of the series, Demon seated (1890), Demon in-flight (1899), Demon downcast (1902), and Six-Winged Seraph (Azrael) (1904) in addition to the illustrations to the poem in the Jubilee edition of Lermontov's poetry published in 1899-1891, my research challenges the assumptions of the continuity of the Demoniana series and shows that the basis for its imagery can be found in Vrubel's earlier works. In his Demoniana series, Vrubel is searching for a new kind of hero, one that he felt certain would make his name immortal. The character of the fallen angel, in Vrubel's view, a tortured soul, not necessarily evil, was an interesting choice considering the influence of the church in the society at that time. In many ways, the artist identified personally with this character. Demoniana was not only a quest for artistic immortality but also an attempt to determine a contemporary representation of a kind of spirituality, a search for the path to salvation. Setting the Demoniana series imagery in the context of a broader field of Vrubel's works, I am planning to contrast his borrowed and invented imagery from earlier sketches and murals with the literary inspiration of Lermontov's poem in the illustrations. I shall argue that Mikhail Vrubel’s version of the character of the Demon is different from Mikhail Lermontov's. Exploring issues of Vrubel's religious painting tradition and the origins of his unique technique I attempt to show how the artist accomplished his own interpretation and embodiment of the character of the Demon