Russian literature has its roots in medieval epics and chronicles written in Old Russian. It flourished in the 19th century Golden Age under Pushkin and experienced a split after the 1917 Revolution between Soviet and émigré writers. Russian authors have made significant contributions across many genres and Russia has had five Nobel Prize in Literature laureates. Themes in Russian literature include suffering, Christianity, and the exploration of suffering as both a means of redemption and mechanism of evil.
A novel is a fictitious prose narrative or tale presenting a picture of real life. The term ‘novel’ comes from Italian ‘novella’ meaning ‘new’, ‘news’, or ‘a short story on something new’. It is the latest form of literary genre in English.The length of the narrative shouldn’t be less than 70,000 words. The roots of novel may be traced in medieval romances.
A novel is a fictitious prose narrative or tale presenting a picture of real life. The term ‘novel’ comes from Italian ‘novella’ meaning ‘new’, ‘news’, or ‘a short story on something new’. It is the latest form of literary genre in English.The length of the narrative shouldn’t be less than 70,000 words. The roots of novel may be traced in medieval romances.
Here is my second uploaded presentation, Marxist Approach in literary criticism. There are instructions herein. Should you need the activities, please contact me via my email address: fgbulusan_gmail@yahoo.com or my pm me via my FB account. I am always willing to lecture about this topic. Contact me via my cellular number 0935-918-3854. Thanks!
This Presentation is about Modern Century literaure, Modernism, Poetry and Modern Novel. and Stream of Consiousness. also discuss about Poets and Novelists. This era started from 1900 to 1961
Characteristics of the neoclassical ageRinkal Jani
This presentation is a part of my academic presentation of The Noe-Classical Literature Semester 1 of Department of English MA English, MKBU and it is submitted to Prof. Dr. Dilip Barad Sir.
Here is my second uploaded presentation, Marxist Approach in literary criticism. There are instructions herein. Should you need the activities, please contact me via my email address: fgbulusan_gmail@yahoo.com or my pm me via my FB account. I am always willing to lecture about this topic. Contact me via my cellular number 0935-918-3854. Thanks!
This Presentation is about Modern Century literaure, Modernism, Poetry and Modern Novel. and Stream of Consiousness. also discuss about Poets and Novelists. This era started from 1900 to 1961
Characteristics of the neoclassical ageRinkal Jani
This presentation is a part of my academic presentation of The Noe-Classical Literature Semester 1 of Department of English MA English, MKBU and it is submitted to Prof. Dr. Dilip Barad Sir.
It is about the history of Japanese Literature. Literature made and its author, the books evolution, the kinds of books made long ago, and the trends before can be added towards your knowledge and learning.
Business travel does not simply entail getting on a plane and going to a meeting. Often there are unforeseen cultural barriers, and with prior knowledge, these can be overcome to make your trip a success.
This Russia PowerPoint will teach you about the country’s culture, customs, family life, gender roles, cuisine, etiquettes for dining, social and business interactions, and much more to assist you in your travels.
Did you know that Russia is the largest country in the world, covering 1/7th of the planet? Or that Russia’s Ural mountains are the oldest in the world?
This Russia Power Point highlights these facts and much more including: 17 Points on General Information, 11 Points on Family Life, 6 Points on Food, 16 Points on Food Etiquette, 9 Points on Social Etiquette, 33 Points on Business Etiquette, and 10 Points on Trivia.
University of Minnesota Press Chapter Title The Cult.docxgibbonshay
University of Minnesota Press
Chapter Title: The Cultural Renaissance
Chapter Author(s): GLEB STRUVE
Book Title: Russia Under the Last Tsar
Book Editor(s): THEOFANIS GEORGE STAVROU
Published by: University of Minnesota Press. (1969)
Stable URL: https://www.jstor.org/stable/10.5749/j.cttttdh0.12
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
https://about.jstor.org/terms
University of Minnesota Press is collaborating with JSTOR to digitize, preserve and extend
access to Russia Under the Last Tsar
This content downloaded from 209.50.140.132 on Tue, 24 Mar 2020 02:33:12 UTC
All use subject to https://about.jstor.org/terms
GLEB S T R U V E
The Cultural Renaissance
IN S P E A K I N G of Russian literature of the first decade and
a half of the present century, it has become usual to refer to the
Silver Age. I do not know who was the first to use this appellation,
on whom the blame for launching it falls, but it came to be used
even by some leading representatives of that very literature — for
example, by the late Sergei Makovskii, the founder and editor of
that important and excellent periodical, Apollon,1 and even by the
last great poet of that age, Anna Akhmatova (1889-1966).
I regard this usage as very unfortunate and never tire of pointing
this out when I deal with this period of Russian literature in my
lectures and writing. I greatly prefer the designation of the late
Prince Dmitry Svyatopolk-Mirsky (D. S. Mirsky), who also be-
longed himself to this period — namely, "the Second Golden Age
of Russian Poetry."2 This description certainly fits the poetry of
1 One of Makovskii's books about this period is even entitled Na Parnase
Serebrianogo Veka (On the Parnassus of the Silver Age), Miinchen, 1962.
2 Mirsky wrote: "Apart from everything else, in spite of their limitations
and mannerism, the Symbolists combined great talent with conscious crafts-
manship, and this makes their place so big in Russian literary history. One
may dislike their style, but one cannot fail to recognize that they revived
Russian poetry from a hopeless state of prostration and that their age
was a second golden age of verse inferior only to the first golden age of
Russian poetry —the age of Pushkin." (Contemporary Russian Literature,
1881-1925, ed. Francis J. Whitfield (London: Routledge, 1926), p. 183; or,
A History of Russian Literature, ed. Francis J. Whitfield (rev. ed.; New
This content downloaded from 209.50.140.132 on Tue, 24 Mar 2020 02:33:12 UTC
All use subject to https://about.jstor.org/terms
G L E B S T R U V E
this period: between the first Go ...
University of Minnesota Press Chapter Title The Cult.docxouldparis
University of Minnesota Press
Chapter Title: The Cultural Renaissance
Chapter Author(s): GLEB STRUVE
Book Title: Russia Under the Last Tsar
Book Editor(s): THEOFANIS GEORGE STAVROU
Published by: University of Minnesota Press. (1969)
Stable URL: https://www.jstor.org/stable/10.5749/j.cttttdh0.12
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
https://about.jstor.org/terms
University of Minnesota Press is collaborating with JSTOR to digitize, preserve and extend
access to Russia Under the Last Tsar
This content downloaded from 209.50.140.132 on Tue, 24 Mar 2020 02:33:12 UTC
All use subject to https://about.jstor.org/terms
GLEB S T R U V E
The Cultural Renaissance
IN S P E A K I N G of Russian literature of the first decade and
a half of the present century, it has become usual to refer to the
Silver Age. I do not know who was the first to use this appellation,
on whom the blame for launching it falls, but it came to be used
even by some leading representatives of that very literature — for
example, by the late Sergei Makovskii, the founder and editor of
that important and excellent periodical, Apollon,1 and even by the
last great poet of that age, Anna Akhmatova (1889-1966).
I regard this usage as very unfortunate and never tire of pointing
this out when I deal with this period of Russian literature in my
lectures and writing. I greatly prefer the designation of the late
Prince Dmitry Svyatopolk-Mirsky (D. S. Mirsky), who also be-
longed himself to this period — namely, "the Second Golden Age
of Russian Poetry."2 This description certainly fits the poetry of
1 One of Makovskii's books about this period is even entitled Na Parnase
Serebrianogo Veka (On the Parnassus of the Silver Age), Miinchen, 1962.
2 Mirsky wrote: "Apart from everything else, in spite of their limitations
and mannerism, the Symbolists combined great talent with conscious crafts-
manship, and this makes their place so big in Russian literary history. One
may dislike their style, but one cannot fail to recognize that they revived
Russian poetry from a hopeless state of prostration and that their age
was a second golden age of verse inferior only to the first golden age of
Russian poetry —the age of Pushkin." (Contemporary Russian Literature,
1881-1925, ed. Francis J. Whitfield (London: Routledge, 1926), p. 183; or,
A History of Russian Literature, ed. Francis J. Whitfield (rev. ed.; New
This content downloaded from 209.50.140.132 on Tue, 24 Mar 2020 02:33:12 UTC
All use subject to https://about.jstor.org/terms
G L E B S T R U V E
this period: between the first Go ...
International Journal of Humanities and Social Science Invention (IJHSSI)inventionjournals
is an international journal intended for professionals and researchers in all fields of Humanities and Social Science. IJHSSI publishes research articles and reviews within the whole field Humanities and Social Science, new teaching methods, assessment, validation and the impact of new technologies and it will continue to provide information on the latest trends and developments in this ever-expanding subject. The publications of papers are selected through double peer reviewed to ensure originality, relevance, and readability. The articles published in our journal can be accessed online.
36 Literary Journalism Studies
Svetlana Alexievich, Oct. 14, 2013. Elke Wetzig/Wikipedia Creative Commons
37
Literary Journalism Studies
Vol. 7, No. 2, Fall 2015
The Literature in the Journalism of Nobel
Prize Winner Svetlana Alexievich
John C. Hartsock
State University of New York at Cortland, United States
Abstract: For the first time the Nobel Prize in Literature has been awarded
for literary journalism as revealed in the work of Belarusian author Svetlana
Alexievich. Fundamentally, her approach has been to juxtapose the every-
day details of life against the secular mythologies of the state. Moreover, she
makes it clear that the intention of her journalism is to be literary. As such,
she is part of a larger Russian tradition, as well as a tradition practiced in
the Soviet Union and other communist countries during the Cold War. The
following is excerpted and adapted from the author’s forthcoming book,
Literary Journalism and the Aesthetics of Experience, to be published by the
University of Massachusetts Press in 2016. Permission to reprint passages
from the volume is gratefully acknowledged.
There is a scene in Svetlana Alexievich’s account about the Soviet war in
Afghanistan in the 1980s when a wife recalls how she and her soldier-
husband got married. They go to the marriage registry office in their village:
They took one look at us in the Village Soviet and said, “Why wait two
months. Go and get the brandy. We’ll do the paperwork.” An hour later we
were husband and wife. There was a snowstorm raging outside.
“Where’s the taxi for your new wife, bridegroom?”
“Hang on!” He went out and stopped a Belarus tractor for me.1
Such is how one wife recalls the nature of their admittedly modest nuptials,
riding away with her husband not in a limousine (much less a taxi) as one might
today, but in a snowstorm on a farm tractor. But the scene takes on a powerful
poignancy, because we know that her husband has died in Afghanistan.
And such is the nature of Alexievich’s literary method, to explore how
38 Literary Journalism Studies
larger ambitions in the form of secular mythologies—in this case, the Soviet Af-
ghanistan venture—had, in the details, so devastatingly scarred people’s psyches.
The announcement in October that Alexievich had received the Nobel
Prize for Literature was, of course, a validation for scholars of a narrative
literary journalism. A review of past recipients since the award was established
in 1901 reveals that she is the first journalist, and indeed literary journalist, to
receive what is undoubtedly the most distinguished recognition in the world
for literary endeavor.2 This is not to suggest that earlier recipients did not
engage in journalism. But the award is given for an author’s collected works,
and what we can detect is that most recipients have been primarily authors
of fiction, drama, and poetry. Ernest Hemingway was awarded the Nobel,
but despite his work as a jour.
36 Literary Journalism Studies
Svetlana Alexievich, Oct. 14, 2013. Elke Wetzig/Wikipedia Creative Commons
37
Literary Journalism Studies
Vol. 7, No. 2, Fall 2015
The Literature in the Journalism of Nobel
Prize Winner Svetlana Alexievich
John C. Hartsock
State University of New York at Cortland, United States
Abstract: For the first time the Nobel Prize in Literature has been awarded
for literary journalism as revealed in the work of Belarusian author Svetlana
Alexievich. Fundamentally, her approach has been to juxtapose the every-
day details of life against the secular mythologies of the state. Moreover, she
makes it clear that the intention of her journalism is to be literary. As such,
she is part of a larger Russian tradition, as well as a tradition practiced in
the Soviet Union and other communist countries during the Cold War. The
following is excerpted and adapted from the author’s forthcoming book,
Literary Journalism and the Aesthetics of Experience, to be published by the
University of Massachusetts Press in 2016. Permission to reprint passages
from the volume is gratefully acknowledged.
There is a scene in Svetlana Alexievich’s account about the Soviet war in
Afghanistan in the 1980s when a wife recalls how she and her soldier-
husband got married. They go to the marriage registry office in their village:
They took one look at us in the Village Soviet and said, “Why wait two
months. Go and get the brandy. We’ll do the paperwork.” An hour later we
were husband and wife. There was a snowstorm raging outside.
“Where’s the taxi for your new wife, bridegroom?”
“Hang on!” He went out and stopped a Belarus tractor for me.1
Such is how one wife recalls the nature of their admittedly modest nuptials,
riding away with her husband not in a limousine (much less a taxi) as one might
today, but in a snowstorm on a farm tractor. But the scene takes on a powerful
poignancy, because we know that her husband has died in Afghanistan.
And such is the nature of Alexievich’s literary method, to explore how
38 Literary Journalism Studies
larger ambitions in the form of secular mythologies—in this case, the Soviet Af-
ghanistan venture—had, in the details, so devastatingly scarred people’s psyches.
The announcement in October that Alexievich had received the Nobel
Prize for Literature was, of course, a validation for scholars of a narrative
literary journalism. A review of past recipients since the award was established
in 1901 reveals that she is the first journalist, and indeed literary journalist, to
receive what is undoubtedly the most distinguished recognition in the world
for literary endeavor.2 This is not to suggest that earlier recipients did not
engage in journalism. But the award is given for an author’s collected works,
and what we can detect is that most recipients have been primarily authors
of fiction, drama, and poetry. Ernest Hemingway was awarded the Nobel,
but despite his work as a jour.
Students, digital devices and success - Andreas Schleicher - 27 May 2024..pptxEduSkills OECD
Andreas Schleicher presents at the OECD webinar ‘Digital devices in schools: detrimental distraction or secret to success?’ on 27 May 2024. The presentation was based on findings from PISA 2022 results and the webinar helped launch the PISA in Focus ‘Managing screen time: How to protect and equip students against distraction’ https://www.oecd-ilibrary.org/education/managing-screen-time_7c225af4-en and the OECD Education Policy Perspective ‘Students, digital devices and success’ can be found here - https://oe.cd/il/5yV
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Ethnobotany and Ethnopharmacology:
Ethnobotany in herbal drug evaluation,
Impact of Ethnobotany in traditional medicine,
New development in herbals,
Bio-prospecting tools for drug discovery,
Role of Ethnopharmacology in drug evaluation,
Reverse Pharmacology.
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
This is a presentation by Dada Robert in a Your Skill Boost masterclass organised by the Excellence Foundation for South Sudan (EFSS) on Saturday, the 25th and Sunday, the 26th of May 2024.
He discussed the concept of quality improvement, emphasizing its applicability to various aspects of life, including personal, project, and program improvements. He defined quality as doing the right thing at the right time in the right way to achieve the best possible results and discussed the concept of the "gap" between what we know and what we do, and how this gap represents the areas we need to improve. He explained the scientific approach to quality improvement, which involves systematic performance analysis, testing and learning, and implementing change ideas. He also highlighted the importance of client focus and a team approach to quality improvement.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
2. • Russian literature refers to the literature of Russia or
its émigrés, and to the Russian-language literature of
several independent nations once a part of what was
historically Russia or the Soviet Union.
• Roots of Russian literature can be traced to middle Ages,
when epics and chronicles in Old Russian were composed.
In the Age of enlightenment, literature had grown in
importance, and from the early 1830s, Russian literature
underwent an astounding golden age in poetry, prose, and
drama. After the Revolution of 1917, Russian literature split
into Soviet and white émigré parts. Soviet Union
assured universal literacy and highly developed book
printing industry, but also carried out ideological
censorship.
3. • Russian authors significantly contributed
almost too all known genres of the literature.
Russia had five Nobel Prize in
literature laureates. As of 2011, Russia was
the fourth largest book producer in the
world in terms of published titles. A popular
folk saying claim Russians are "the world's
most reading nation".
4. Early history
• Old Russian literature consists of several
masterpieces written in the Old Russian
language (not to be confused with the
contemporaneous Church Slavonic). Anonymous
works of this nature include The Tale of Igor's
Campaign and Praying of Daniel the
Immured. Hagiographies (Russian: жития
святых, zhitiya svyatykh, "lives of the saints")
formed a popular genre of the Old Russian
literature. Life of Alexander Nevsky offers a wellknown example.
5. Golden Age
• The 19th century is traditionally referred to as
the "Golden Era" of Russian
literature. Romanticism permitted a flowering
of especially poetic talent: the names of Vasily
Zhukovsky and later that of his
protégé Alexander Pushkin came to the fore.
Pushkin is credited with both crystallizing the
literary Russian language and introducing a
new level of artistry to Russian literature.
6. • In the second half of the century Anton
Chekhov excelled in writing short stories and
became perhaps the leading dramatist
internationally of his period
7. • Nineteenth century Russian literature
perpetuated disparate ideas of suicide; it
became another facet of culture and society in
which men and women were regarded and
treated differently. A woman could not commit
the noble, heroic suicide that a man could; she
would not be regarded highly or as a martyr, but
as a simple human who, overcome with feelings
of love gone unfulfilled and having no one to
protect her from being victimized by society,
surrendered herself.
8. New Realism of the 21st century
• In the 21st century, a new generation of Russian
authors appeared differing greatly from the
postmodernist Russian prose of the late 20th century,
which lead critics to speak about “new
realism”.[23]Having grown up after the fall of the Soviet
Union, the "new realists" write about everyday life, but
without using the mystical and surrealist elements of
their predecessors.
• The "new realists" are writers who assume there is a
place for preaching in journalism, social and political
writing and the media, but that “direct action” is the
responsibility of civil society.
9. Popular genres
• Children's literature in Soviet Union was
considered a major genre, because of its
educational role.
• While fairy tales were relatively free from
ideological oppression, the realistic children's
prose of the Stalin era was highly ideological
and pursued the goal to raise children as
patriots and communists
10. Themes in Russian books
• Suffering, often as a means of redemption, is a
recurrent theme in Russian literature. Fyodor
Dostoyevsky in particular is noted for
exploring suffering in works such as Notes
from Undergroundand Crime and Punishment.
Christianity and Christian symbolism are also
important themes, notably in the works of
Dostoyevsky, Tolstoy and Chekhov.
11. • In the 20th century, suffering as a mechanism
of evil was explored by authors such as
Solzhenitsyn in The Gulag Archipelago. A
leading Russian literary critic of the 20th
century Viktor Shklovsky, in his book, Zoo, or
Letters Not About Love, wrote, "Russian
literature has a bad tradition. Russian
literature is devoted to the description of
unsuccessful love affairs."