[Bulgakov] was a torchbearer for what was coming to be called Sophiology.... His championship for Sophia was clearly an attempt to revitalize Orthodoxy and to reestablish the spirit of the divine feminine so that the Church should not remain off-balanced by its Christocentric view." --Caitlin Matthews, Sophia, Goddess of Wisdom There is a great hunger to recover the feminine aspect of the Divinity. But much searching has left Christians disappointed and seeking the "Goddess" elsewhere. In this brave theological work, Bulgakov shows how the Divine Sophia, in whom all things are created, is present in the Holy Trinity itself and how, as the "creaturely Sophia," she works together with her divine counterpart in the work of the Holy Spirit for the redemption of the world.
The writings of Sergei Bulgakov (1871–1944), like those of other major social thinkers of Russia’s Silver Age, were obliterated from public consciousness under Soviet rule. Discovered again after eighty years of silence, Bulgakov’s work speaks with remarkable directness to the postmodern listener. This outstanding translation of Philosophy of Economy brings to English-language speakers for the first time a major work of social theory written by a critical figure in the Russian tradition of liberal thought. What is unique about Bulgakov, Catherine Evtuhov explains in her introduction to this book, is that he bridges two worlds. His social thought is firmly based in the Western tradition, yet some of his ideas reflect a specifically Russian way of thinking about society. Though arguing strenuously in favor of political and social liberty, Bulgakov repudiates the individualistic basis of Western liberalism in favor of a conception of human dignity that is compatible with collectivity. His economic theory stresses the spiritual content of life in the world and imagines national life as a kind of giant household. Bulgakov’s work, with its singularly postmodern balance between Western and non-Western, offers fascinating implications for those in the process of reevaluating ideologies in post-Soviet Russia and in America as well.
A collection of essays first published in Moscow in 1909. Writing from various points of view, the authors reflect the diverse experiences of Russia's failed 1905 revolution. Condemned by Lenin and rediscoverd by dissidents, this translation has relevance for discussions on contemporary Russia.
The writings of Sergei Bulgakov (1871–1944), like those of other major social thinkers of Russia’s Silver Age, were obliterated from public consciousness under Soviet rule. Discovered again after eighty years of silence, Bulgakov’s work speaks with remarkable directness to the postmodern listener. This outstanding translation of Philosophy of Economy brings to English-language speakers for the first time a major work of social theory written by a critical figure in the Russian tradition of liberal thought. What is unique about Bulgakov, Catherine Evtuhov explains in her introduction to this book, is that he bridges two worlds. His social thought is firmly based in the Western tradition, yet some of his ideas reflect a specifically Russian way of thinking about society. Though arguing strenuously in favor of political and social liberty, Bulgakov repudiates the individualistic basis of Western liberalism in favor of a conception of human dignity that is compatible with collectivity. His economic theory stresses the spiritual content of life in the world and imagines national life as a kind of giant household. Bulgakov’s work, with its singularly postmodern balance between Western and non-Western, offers fascinating implications for those in the process of reevaluating ideologies in post-Soviet Russia and in America as well.
This acclaimed twenty-first–century Russian novel is “a Dantean descent” into the abandoned Soviet gulags, written “with a clear poetic sensibility” (The Wall Street Journal). In Sergei Lebedev’s debut novel, an unnamed young man travels to the vast wastelands of the Far North to uncover the truth about a mysterious neighbor who once saved his life, and whom he knows only as Grandfather II. What he finds among the forgotten mines and decrepit barracks of former gulags is a world relegated to oblivion, where it is easier to ignore both the victims and the executioners than to come to terms with a terrible past. This disturbing tale evokes the great and ruined beauty of a land where man and machine work in tandem with nature to destroy millions of lives during the Soviet century. Emerging from today’s Russia, where the ills of the past are being forcefully erased from public memory, this masterful novel is an epic literary act of bearing witness, attempting to rescue history from the brink of oblivion. A Wall Street Journal Top 10 Novel of the Year “Not since Alexander Solzhenitsyn has Russia had a writer as obsessed as Sergei Lebedev with that country’s history or the traces it has left on the collective consciousness . . . The best of Russia’s younger generation of writers.” ―The New York Review of Books
[Bulgakov] was a torchbearer for what was coming to be called Sophiology.... His championship for Sophia was clearly an attempt to revitalize Orthodoxy and to reestablish the spirit of the divine feminine so that the Church should not remain off-balanced by its Christocentric view." --Caitlin Matthews, Sophia, Goddess of Wisdom There is a great hunger to recover the feminine aspect of the Divinity. But much searching has left Christians disappointed and seeking the "Goddess" elsewhere. In this brave theological work, Bulgakov shows how the Divine Sophia, in whom all things are created, is present in the Holy Trinity itself and how, as the "creaturely Sophia," she works together with her divine counterpart in the work of the Holy Spirit for the redemption of the world.
A collection of essays first published in Moscow in 1909. Writing from various points of view, the authors reflect the diverse experiences of Russia's failed 1905 revolution. Condemned by Lenin and rediscoverd by dissidents, this translation has relevance for discussions on contemporary Russia.
Sergei Dovlatov's subtle, dark–edged humor and wry observations are in full force in The Suitcase as he examines eight objects—the items he brought with him in his luggage upon his emigration from the U.S.S.R. These seemingly undistinguished possessions, stuffed into a worn–out suitcase, take on a riotously funny life of their own as Dovlatov inventories the circumstances under which he acquired them, occasioning a brilliant series of interconnected tales: A poplin shirt evokes the bittersweet story of a courtship and marriage, while a pair of boots (of the kind only the Nomenklatura can afford) calls up the hilarious conclusion to an official banquet. Some driving gloves—remnants of Dovlatov's short–lived acting career—share space with neon–green crepe socks, reminders of a failed black–market scam. And in curious juxtaposition, the belt from a prison guard's uniform lies next to a stained jacket that once belonged to Fernand Léger. Imbued with a comic nostalgia overlaid with Dovlatov's characteristically dry wit, The Suitcase is an intensely human, delightfully ironic novel from "the finest Soviet satirist to appear in English since Vladimir Voinovich.
Western theories of biopolitics focus on its liberal and fascist rationalities. In opposition to this, Stalinism is oriented more towards transforming life in accordance with the communist ideal, and less towards protecting it. Sergei Prozorov reconstructs this rationality in the early Stalinist project of the Great Break (1928-32) and its subsequent modifications during High Stalinism. He then relocates the question of biopolitics down to the level of the subject, tracing the way the 'new Soviet person' was to be produced in governmental practices and the role that violence and terror would play in this construction. Throughout, he engages with the canonical theories of Michel Foucault, Giorgio Agamben and Roberto Esposito, and the 'new materialist' theories of Michel Henry, Quentin Meillassoux and Catherine Malabou to critique the conventional approaches to biopolitics
Despite his prominent role in the formation of Christian thought, John Scottus Eriugena still remains an enigmatic figure whose background and potential arouse a great deal of scholarly interest. This is true especially today, when faith seeks to regenerate: his honesty and profundity encourage us in our search for the authentic teaching of Christ. As a theologian who strongly believes in human dignity as equal to that of the imago dei, Eriugena helps us meet Christ again and follow him towards a new horizon of being. What makes Eriugena's theology unique is his innovative approach to theological thinking, which is to be properly understood, as argued in this book, in terms of the paradigmatic shift from metaphysics to dialectic. The way we think, while trying to adopt and follow the truth of revelation so as to get freed from the world of finite things, cannot actually dispense with a dialectical treatment of contradiction. And Eriugena is explicit about this, which allows him to win a reputation as the "Hegel of the ninth century" and to make us look at our faith anew in coherence with such pivotal ideas as the divine unity, right reason, and return to the reality of creation.
Whilst serving in the Soviet army in 1973, Sergei Ovsiannikov was arrested and imprisoned for acts of disobedience under military command. It was while in prison, like Solzhenitsyn and Dostoevsky, that he began to ponder deeper issues and on release trained to be a Russian orthodox priest. This extraordinary but short book is about his search for true freedom. The issues he wrestles with are profound and, like any confrontation with truth, it caused him great anguish and pain. As Ovsiannikov wrote: 'It was in my prison cell that I lost fear. I realised that if they sent me to a labour camp with a long sentence, it did not matter because I was free. Of course subsequently I came to realise that Freedom is not given, you have to take responsibility for it.' It was during this time that he discovered Christianity and decided that this was the real meaning of his life. Later, after a spell as head of the Russian Orthodox community in London, Ovsiannikov lived for the last twenty years of his life in Amsterdam in charge of the Russian Orthodox community. Drawing heavily on Tolstoy, Dostoevsky and Pushkin and translated from the original Russian by celebrated translators Richard Pevear and Larissa Volokhonsky with an introduction by Rowan Williams, this brief spiritual book is a small masterpiece of its kind.
I.B.Tauris is delighted to announce the reissue in paperback in three volumes of the definitive, most comprehensive edition, in the finest translations and fully annotated, of the writings of this great filmmaker, theorist and teacher of film - and one of the most original aesthetic thinkers of the twentieth century. The name of Sergei Eisenstein (1898-1948) is synonymous with the idea of montage, as exemplified in his silent classics such as "The Battleship Potemkin" (1925) and "October" (1927). In the 1930s his style changed, partly to accommodate the arrival of sound, and his ideas on audio-visual counterpoint developed. Between 1937 and 1940 he elaborated his ideas on montage in a series of essays, most of which remained unpublished until after his death and which are published in English for the first time in this volume. They present the essence of Eisenstein's thinking on cinema and aesthetics more generally and reveal him as one of the most significant philosophers of art of the twentieth century.
Translated from the Russian. These essays were written over the course of more than 40 years. Their authors--Pushkarev, Rusak, and Yakunin--have all been exiled or imprisoned for their outspoken views.
First Published in 2000. The Simpleton, which was written in 1968 and could not be performed for political reasons, saw the light of day only in 1994. Its complex games of power and identity, played out among a group of actors, remain entirely contemporary today. Set in a theatre, The Simpleton, in the age-old tradition of Russian drama, tackles the timeless problems of personal freedom and inner independence. It is anything but a simple play with its complicated chameleon-like nature new levels of reality continually moving in to push their predecessors out of the way. The mystification begins at the outset with the future arsonist, the Fop, prowling through the gall grumbling about the presence of spectators... The Simpleton is unlike anything else that was being written in the Soviet Union at the time and aside from its searing thematic content, it is astonishingly inventive in its theatricality.
This book deals with one of the most important sources of the Stanislavsky System - Yoga, its practice and philosophy. Sergei Tcherkasski carefully collects records on Yoga in Stanislavsky's writings from different periods and discusses hidden references which are not explained by Stanislavsky himself due to the censorship in his day. Vivid examples of Yoga based training from the rehearsal practice of the Moscow Art Theatre and many of Stanislavsky's studios (the First Studio in 1910s, the Second Studio and Opera Studio of the Bolshoi Theatre in 1920s, Opera-Dramatic Studio in 1930s) are provided. The focus of Tcherkasski's research consists of a comparative reading of the Stanislavsky System and Yogi Ramacharaka's books, which were a main source for Stanislavsky. Accordingly, Tcherkasski analyzes elements of the System based on Yoga principles. Among them are: relaxation of muscles (muscular release), communication and prana, emission of rays and reception of rays, beaming of aura, sending of prana, attention, visualizations (mental images). Special attention is paid to the idea of the superconscious in Yoga, and in Ramacharaka's and Stanislavsky's theories. Tcherkasski's wide-ranging analysis has resulted in new and intriguing discoveries about the Russian master. Furthermore, he reveals the extent to which Stanislavsky anticipated modern discoveries in neurobiology and cognitive science. In this book Tcherkasski acts as a researcher, historian, theatre director, and experienced acting teacher. He argues that some forty per cent of basic exercises in any Stanislavsky based actor training program of today are rooted in Yoga. Actors, teachers, and students will find it interesting to discover that they are following in the footsteps of Yoga in their everyday Stanislavsky based training and rehearsals.
A monumental feat . . . a book of rare elemental power that lays bare the dark forces driving Putin's Russia today."—Catherine Belton, author of Putin's People: How the KGB Took Back Russia and Then Took on the West The mystical laundress at the center of this novel is obsessed with purity. Her task is formidable as she stands guard over a sealed shaft at a Ukrainian coal mine that hides terrible truths. The bodies of dead Jews lying in its depths seem to attract still more present-day crimes. Acclaimed Russian author Sergei Lebedev portrays a ghostly realm riven by lust and fear just as the Kremlin invades the same part of Ukraine occupied by the German Wehrmacht in World War II. Then corpses rain from the sky when a jetliner is shot down overhead, scattering luxury goods along with the mortal remains. Eerie coincidences and gruesome discoveries fill this riveting exploration of an uncanny place where the geography exudes violence, and where the sins of the past are never all that in the past. Lebedev, who has won international praise for his soul-searching prose and unflinching examination of history’s evils, shines light on the fault line where Nazism met Soviet communism, evolving into the new fascism of today’s Russia.
As readers of classic Russian literature know, the nineteenth century was a time of pervasive financial anxiety. With incomes erratic and banks inadequate, Russians of all social castes were deeply enmeshed in networks of credit and debt. The necessity of borrowing and lending shaped perceptions of material and moral worth, as well as notions of social respectability and personal responsibility. Credit and debt were defining features of imperial Russia’s culture of property ownership. Sergei Antonov recreates this vanished world of borrowers, bankrupts, lenders, and loan sharks in imperial Russia from the reign of Nicholas I to the period of great social and political reforms of the 1860s. Poring over a trove of previously unexamined records, Antonov gleans insights into the experiences of ordinary Russians, rich and poor, and shows how Russia’s informal but sprawling credit system helped cement connections among property owners across socioeconomic lines. Individuals of varying rank and wealth commonly borrowed from one another. Without a firm legal basis for formalizing debt relationships, obtaining a loan often hinged on subjective perceptions of trustworthiness and reputation. Even after joint-stock banks appeared in Russia in the 1860s, credit continued to operate through vast networks linked by word of mouth, as well as ties of kinship and community. Disputes over debt were common, and Bankrupts and Usurers of Imperial Russia offers close readings of legal cases to argue that Russian courts—usually thought to be underdeveloped in this era—provided an effective forum for defining and protecting private property interests.
A tour de force—exquisite and gripping."—Philippe Sands, author of East West Street The Soviet and post-Soviet world, with its untold multitude of crimes, is a natural breeding ground for ghost stories. No one writes them more movingly than Russian author Sergei Lebedev, who in this stunning volume probes a collective guilty conscience marked by otherworldliness and the denial of misdeeds. These eleven tales share a mystical topography in which the legacy of totalitarian regimes is ever-present—from Katyn to Chechnya, from Lithuanian KGB documents to the streetscape of unified Berlin, from the fragments of family history to the echoes of foot soldiers in Russia’s wars of aggression. In these stories, as in Lebedev’s acclaimed novels, the voices of things, places, animals, and people seek justice for a restless past, where steel claws scrape just beneath the surface and where the heredity of evil is uninterrupted, unacknowledged, unnamed.
In this timely and incisive book, Sergei Medvedev argues that Russia’s war in Ukraine was not merely a whim of Putin’s obsession: rather, it was the result of two decades of authoritarian degradation and post-imperial ressentiment, a culmination of Putin’s regime and of Russia’s entire imperial history. Building on his prize-winning book The Return of the Russian Leviathan, Medvedev argues that it was not only Putin that started this war, but Russia itself, which, by and large, has imagined and embraced it with enthusiasm, seeking to relive its own military glory and colonial past.
Based on the author's experience of the suprasensory being behind spiritual science (Anthroposophy), this volume is the culmination of Sergei Prokofieff's twenty-five years of work on Rudolf Steiner's spiritual impulse. He shows that the being Anthroposophia is not merely a poetic image or an abstract concept, but an actual spiritual entity who works in the higher worlds to benefit earthly evolution and bring to humanity "the new revelation of the heavenly Sophia, the divine wisdom." In the first part of the book, Prokofieff describes the path that led him to experience the being Anthroposophia--a path that is clearly outlined so that it can be followed by the reader as well. In the second part, beginning with Steiner's relatively few statements on the subject, the author considers the position of the living Anthroposophia in the cosmic hierarchy--specifically her relationship to Christ, to the heavenly Sophia, and the to Archangel Michael. Finally available in paperback, this work will be of special interest to all those who have a close connection to Rudolf Steiner's Anthroposophy.
Bertensson's observations of life in Hollywood on the eve of the talkies revolution provide us with a compelling snapshot of movie history in the making, seen from the unusual perspective of an outsider.
When Sergei Tretyakov’s ground-breaking play, I Want a Baby, was banned by Stalin’s censor in 1927, it was a signal that the radical and innovative theatre of the early Soviet years was to be brought to an end. A glittering, unblinking exploration of the realities of post-revolutionary Soviet life, I Want a Baby marks a high point in modernist experimental drama. Tretyakov’s plays are notable for their formal originality and their revolutionary content. The World Upside Down, which was staged by Vsevolod Meyerhold in 1923, concerns a failed agrarian revolution. A Wise Man, originally directed by the great film director and Tretyakov’s friend, Sergei Eisenstein, is a clown show set in the Paris of the émigré White Russians. Are You Listening, Moscow?! and Gas Masks are ‘agit-melodramas’, fierce, fast-moving and edgy. And Roar, China!dramatises an actual incident in the West’s oppression of China, when a British gunboat captain threatened to blow the city of Wanxien to bits. Roar, China! was translated into many languages and produced in cities across the world. The nerve this play touched may be gauged from the fact that it was staged in Yiddish translation in the Czestochowa concentration camp by Jewish prisoners during World War II. These plays are not only stirring in their themes, they are also hugely significant in their construction. Tretyakov’s early plays led directly to Eisenstein’s highly influential theory of ‘the montage of attractions’, while later his ideas were crucial in the formation of Bertolt Brecht’s theory of epic theatre. The reason why is evident in his plays, now collected and published for the first time.
This publication is devoted to the natural feature – the Black Sea and its littoral states. At the same time the Azov Sea is also considered here. This region is the focus of many geopolitical, economic, social and environmental issues that involve not only the countries coming out to the Black and Azov Seas, but other world countries, too. This publication contains over 1500 articles and terms providing descriptions of geographical and oceanographic features, cities, ports, transport routes, marine biological resources, international treaties, national and international programs, research institutions, historical and archaeological monuments, activities of prominent scientists, researchers, travelers, military commanders, etc. who had relation to the Black Sea. It includes a multi-century chronology of the events that became the outstanding milestones in the history of development of the Black Sea – Azov Sea region.
A man obsessively investigates the mysteries of his family’s past in this “brave and unflinching” novel by the acclaimed Russian author of Oblivion (The Financial Times). Sergei Lebedev’s first two novels, The Year of the Comet and Oblivion, established him as one of Russia’s most important contemporary novelists. Now he reaffirms that status with this third work of fiction. The Goose Fritz tells the story of a young Russian named Kirill, the sole survivor of a once numerous clan of German origin, who delves relentlessly into the unresolved past. When Krill’s ancestor, Balthasar Schwerdt, migrated to the Russian Empire in the early 1800s, he brought with him the practice of alternative medicine. He was then taken captive by an erratic nobleman who supplied entertainment to Catherine the Great in the form of dwarves, hunchbacks, and magicians. S earches archives and cemeteries across Europe, Kirill’s investigation takes us through centuries of turmoil during which none of Schwert’s descendants can escape their adoptive country’s cruel fate. Illuminating both personal and political history, “Lebedev muses in Tolstoyan fashion about [how] the actions of distant ancestors can fix the destinies of people hundreds of years later" (The Wall Street Journal).
‘And however paradoxical it may seem today, the “Grail mood” is in the fullest sense to be found in Russia. And the future role that Russia will play in the sixth post-Atlantean epoch... rests firmly upon this unconquerable “Grail mood” in the Russian people.’ – Rudolf Steiner Although Eastern Europe has been part of the Christian world for more than a thousand years, its spiritual identity remains a mystery. This mystery, says Sergei Prokofieff, can only fully be solved by looking behind external events and seeking spiritual – meta-historical – dimensions of reality. In illuminating the maya of outer history, Prokofieff reveals the forces that have been at work to hinder the progress of mankind: the materialistic Brotherhoods of the West and the occult aspects of both Jesuitism and Bolshevism. These adversary groups have created a ‘karma of materialism’, that the eastern Slavic peoples have taken upon themselves out of their ‘exalted willingness for sacrifice’. Prokofieff shows how, from the earliest times, the future ‘conscience of humanity’ flowed from hidden mystery centres in Hibernia, to the eastern Slavic peoples. As a result, qualities of ‘compassion, patience and willingness for sacrifice’ developed in their souls, creating a truly Christian ‘Grail mood’. Despite incalculable suffering – from the persecutions of the Mongol hordes to the Bolshevik experiment of the last century – this quality has become an unconquerable force. Will humanity be able to use the present opportunity granted by this sacrifice to fulfil the primary purposes of the present cultural epoch? Can the future mysteries of the Holy Grail be fulfilled? In this momentous work, breathtaking in its scope and detail, the author attempts a truly esoteric approach, penetrating to the spiritual wellsprings of Eastern Europe in the light of Rudolf Steiner’s research.
A thriller dipped in poison ... shares some of le Carré’s fascination with secret worlds and the nature of evil." —The New York Times The terrifying, lengthening list of Russia’s use of lethal poisons against its critics has inspired acclaimed author Sergei Lebedev’s latest novel. With uncanny timing, he examines how and why Russia and the Soviet Union have developed horrendous neurotoxins. At its center is a ruthless chemist named Professor Kalitin, obsessed with developing an absolutely deadly, undetectable and untraceable poison for which there is no antidote. But Kalitin becomes consumed by guilt over countless deaths from his Faustian pact to create the ultimate venom. When the Soviet Union collapses, the chemist defects and is given a new identity in Western Europe. After another Russian is murdered with Kalitin's poison, his cover is blown and he's drawn into an investigation of the death by Western agents. Two special forces killers are sent to silence him―using his own undetectable poison. In this fast-paced, genre-bending tale, Lebedev weaves suspenseful pages of stunningly beautiful prose exploring the historical trajectories of evil. From Nazi labs, Stalinist plots and the Chechen Wars, to present-day Russia, Lebedev probes the ethical responsibilities of scientists supplying modern tyrants and autocrats with ever newer instruments of retribution, destruction and control.
Throughout his career as composer, conductor, and pianist, Sergei Rachmaninoff (1873-1943) was an intensely private individual. When Bertensson and Leyda's 1956 biography appeared, it lifted the veil of secrecy on several areas of Rachmaninoff's life, especially concerning the genesis of his compositions and how he was affected by their critical reception.These pages are fabulously peopled. Here we find the Tchaikovsky brothers, Rimsky-Korsakov, Scriabin, Glazunov, and Stravinsky, as well as Chekhov, Stanislavsky, Chaliapin, Fokine, Hofmann, and Horowitz.This biography reflects direct consultation with a number of people who knew Rachmaninoff, worked with him, and corresponded with him. Even with the availabilty of such sources and full access to the Rachmaninoff Archive at the Library of Congress, Bertensson, Leyda, and Satina (Rachmaninoff's cousin and sister-in-law) were tireless in their pursuit of privately held documents, particularly correspondence. The wonderfully engaging product of their labours masterfully incorporates primary materials into the narrative. Almost half a century after it first appeared, this volume remains essential reading.
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