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Russian Mythology: more books (128)

Slovar slavianskoi mifologii (Russian Edition) by Elena Grushko, 1995
Heralds of Revolution : Russian Students and the Mythologies of Radicalism by Susan K. Morrissey, 1998-01-01
Essential Russian Mythology
Sleeping Beauty, Op. 66. For 2+1, 2+1, 2, 2 - 4, 2+2, 3, 1, Timpani, Percussion, Harp, Strings (2.2.1.1.1). Russian Mythology/legends Children's: Romantic. Full Score. Composed 1889. Duration 135 Minutes. by Peter Ilyich Tchaikovsky, 1000
Legends About the Titans (in Russian) by N. Golosovker, 1957
Russian Fairy Tales by William Ralston Shedden Ralston, 2006
Hearlds of Revolution, Russian Students and the Mythologies of Radicalism by Susan K. Morrissey, 1998-01-01
Songs of the Russian People As Illustrative of Slavonic Mythology and Russian Social Life by W. R. S. Ralston, 1980

lists with details

Links To Other Web Sites
Dazhdbog in russian mythology or His story article by Sergei Naumov aboutRussian pagan deity Dazhdbog. EN 7. Russian traditional culture - a lot of
http://folklora.lv/saites.en.shtml
This Month At Clemson
in the Ural Mountains with the imagery of its Indian and russian mythology toWilliam Christenberrys childhood home in Alabama and Alabamas landscape.
http://clemsonews.clemson.edu/thismonth/2005/august05/exhibits.html

Extractions: The screenprints in View were created in Russia or America in collaboration with Hand Print International. Hand Print as a workshop emphasizes collaboration and technical experimentation. The workshop fosters the vital expressions of the artists and executes prints with the highest standard of excellence. The screenprints within View utilize graphic, photographic and digital images. The many layers of translucent color were achieved by printing with water-based inks. The prints are complex layers of images, screen processes and colors built on history sometimes revealing and other times obscuring. The prints complex layering process creates the perfect equation for expressing a complex and paradoxical view. Free and open to the public. Contact Fleming Markel at 656-3883.
World Of Darkness: RUSSIA
by Nicholas V. Riasanovsky; Essential russian mythology, by Pyotr Simonov;RUS, by Mark Chapman; various White Wolf books and homepages, including
http://www.aspects.org/blue/WoD-RUS.html

Extractions: This is not, nor is it intended to be, World of Darkness canon. This is my interpretation of fictional Russia, based on materials identified in the References section. The GM reserves the right to say 'No' to any aspect of character design or any character action that he feels violates the intention of the game. Setting: Russia, circa 1868. This will be a Dark Ages/Sorcerers Crusade crossover World of Darkness campaign. Contact with the world outside of Russia will be minimal, except as history dictates, and the global influence of such World of Darkness groups as the Camarilla and the Sabbat will be ignored. For most of Russian history, there has been tension between the Tzimisce and the Silver Fangs. In some times and places, this was demonstrated by all-out warfare and, in other eras and locations, by a sort of cold war. Wraiths, the fae and mortal sorcerers attempt to be independent third parties, with only the best intentions for their mortal friends and family at heart, but more often than not find themselves drawn into an uneasy alliance with the Shape Shifters of the region. Kindred, for the most part, can be assumed to behave as described in Vampire the Dark Ages. True Mages hold themselves aloof from all and manipulate all parties for their own cryptic purposes. For Wraiths, the campaign era is a time between the Third and Fourth Great Maelstroms. Details of 'life' in the Shadowlands can be gleaned from Wraith, 2nd edition, pages 71-73.
Professor Elizabeth Warner
Heroes, Monsters and Other Worlds from russian mythology, Peter Lowe/Eurobook, 1987.In Memory (Coauthor), documentary film, BUFVC and Riga Film Studio,
http://www.dur.ac.uk/modern.languages/depts/russian/Warner/pubs.htm

Extractions: Professor Elizabeth Warner - Publications Jenny Jones and Kostroma Folklore , Vol. 81/2, 276-279, 1970. The Russian Folk Play Tsar Maksimilian, Folklore , Vol. 82, 1971. O folklornom proiskhozhdenii nekotorykh episodov russkoi narodnoi dramy Tsar Maksimilian i ee skhodstve s narodnym teatrom Anglii, Sovetskaya etnografiya , Vol. 5, 51-59, Moscow The Role of Folk Songs in the Russian Folk Plays, Folklore , Vol. 84, 1973, 38-50. Pushkin in the Russian Folk Plays, Oral Literature :Seven Essays, ed. Joseph J. Duggan, Scottish Academic Press, Edinburgh The Russian Folk Theatre: The Growth of Urban Influences and the Role of the Army, Folklore , No. 2, 1976, 209-215. The Russian Folk Theatre , Mouton, The Hague Work and Play: Some Aspects of Folk Drama in Russia Comparative Drama Western Michigan University , Vol. 12, No. 2, 1978, 151-169. The Russian Folk Theatre, Exeter Tapes, 1979. Nekorye aspekty izucheniya i populyarizatsii narodnoi kultury v Velikobritanii, Sovetskaya etnografiya Moscow , 1980, Vol.3, 101-119.
The Richmond Review, Book Review, Prince Of Princes: The Life Of Potemkin By Sim
It was this dedicated classicist, so inspired by the prospect of the conquest ofConstantinople (Tsargrad in russian mythology) in the name of the Third
http://www.richmondreview.co.uk/books/prince_of_princes.html

Extractions: It is perhaps surprising that Prince Grigory Potemkin has not more often come under the magnifying glass of biographical scholarship. His name has been assimilated into contemporary parlance in a sense that has come to be associated with the Russian nation itself. He has become the embodiment of the brilliant and imposing facade, masking the squalor and dilapidation within, the rotten apple that has become of his old Empire. This has particularly been the case with the often referred to and little understood 'Potemkin villages'. The name of Potemkin has become legend, even having a titular role in the Revolution that was to scar Russia for 74 years. Like most legend he is rarely understood and has become couched in a mythology that only serves to further blur this most unique figure. This scholarly achievement is despite the fact that, in deconstructing the Prince's early life, Montefiore has to rely largely on the spurious accounts of figures such as Saint Jean and Georg von Helbig - figures that the author freely admits to being 'myth-writers'. While the ambiguity of his subject's early life is deftly handled by Montefiore and his account littered with caveats, it merely serves as a background to his later and more impressive rise to the very top of the Imperial hierarchy. The position of power held by Potemkin is almost unfathomable in the modern context of democratic control and the cult of checks and balances. It is likely that this is the reason his power has seemed to dilute with each re-telling and criticism, often founded on envious portrayals released after the Prince's death, colours many accounts. Montefiore falls into no such evidentiary traps.
The Australian: Reflections Of Russian Tumult [July 07, 2005]
Reflections of Russian tumult Miriam Cosic July 07, 2005 but seen through anew set of eyes interested in russian mythology, folk tales and nostalgia
http://www.theaustralian.news.com.au/common/story_page/0,5744,15844718%5E16947,0

Extractions: July 07, 2005 IN 1962, a book was published in New York that would have lasting influence on the art world. Camilla Gray's The Russian Experiment in Art 1863-1922 came out at the height of the Cold War, in the same year as the Cuban missile crisis. It was the first comprehensive analysis of the subject in the West. The author was only 26 and the book had taken her five years to research; she was not an art historian but her work was pioneering. She had trained as a Russian interpreter and was able to interview many emigre artists living in Paris. She was also a trained ballerina and included extensive analysis of Russian theatre design and practice, a cross-disciplinary effort unusual then in books about fine art. Nine years later, Gray was dead. Her book is the starting point for an exhibition, St Petersburg in 1900, which opens at the Art Gallery of Western Australia on Saturday. Alan Dodge, director of the AGWA and an American by birth, has had an interest in Russian art since he wrote his masters thesis on minimalist art in New York. He discovered that members of that movement made constant reference to Russian constructivism and to Gray's book, and it piqued a lasting curiosity.
Russian Folklore Expedition
Research project seeking volunteers to document traditional mythology, costumes and music. Features project description, goals, history, and contact details.
http://www.russianexpedition.net

Extractions: Subscribe for Newsletter p Last Expedition p Add Website Welcome to the Unknown Russia T he s cholars from the Institute of World Literature (Russian Academy of Sciences) Yelena and Sergey Minyonok are delighted to welcome you to the research project Russian Folklore Expedition. Over six field seasons our program has been approved for Earthwatch Institute support (1995-2000). Thanks to generous inputs of 150 volunteers from 12 countries we successfully investigated more then 105 villages, and recorded 1415 songs, more then 4000 mythological stories, videotaped 36 folklore rituals, etc. But these six years were not enough to succeed in recording, regulating, systematizing, and explaining all the phenomena of spiritual and material culture, which we meet. Nowadays we again welcome volunteers to help us to continue our project. Thank you to all who are ready to help us! Through your efforts we have an opportunity to document unique Russian traditions from oblivion. Please, for any information about participation in the Russian Folklore Expedition send your e-mail directly to Principle Investigators Yelena and Sergey Minyonok at:
Russian Folklore--Links
russian Culture russian Folklore from The Mining Company Net Links FOLKLORE mythology at Harvard University General Folklore and mythology
http://www.bama.ua.edu/~adrozd/rus252/folklorelinks.html

Extractions: : What follows is a list of links to various sites on the WWW which deal in some way with Russian folklore. The content of each site is under the control of its creator and I in no way assume any responsibility for it or vouch for its accuracy. Students in my Russian folklore class are encouraged to peruse these resources but to do so critically. Russian Sunbirds: Stories.
Mythology's Mything Links: Eastern Europe / Pan Slavic Traditions & Beliefs
Slavic mythology has a strong focus on the sun, warmth, light, birds, Thirdly,a number of russian and Soviet scholars, more or less, accepted these
http://www.mythinglinks.org/euro~east~panSlavic.html

Extractions: (Courtesy of Tradestone International Author's Note: The Slavic world is an endlesly fascinating, troubling, dramatic, and dynamic one. Slavic mythology has a strong focus on the sun, warmth, light, birds, fire (and firebirds), epic victories, and brightly painted cosmic bird-eggs. The opposing polarity, the dark, the dead, the cold, the gloomy forests, snakes, drowned spirits (usually female or children), and ruthless hags are feared, even demonized (especially under the influence of Christianity), yet many fairy tales indicate that if this darker world is treated with cautious respect, one will fare well. . . . GENERAL REFERENCE SECTION
Zhivaia Starina
Article about the magazine, published in russian in 80s90s of the XIX century and was a source of information about folklore genres, beliefs, mythology, and other aspects of folk culture.
http://www.virginia.edu/~slavic/seefa/ZHIVSTAR.HTM

Extractions: SEEFA Newsletter From 1890 to 1918 the Russian Geographic Society (St. Petersburg) published the journal Zhivaia starina To the present day its publications offer a source of information about folklore genres, beliefs, mythology, and other aspects of folk culture. In 1994 the State Republican Center of Russian Folklore (Moscow) revived " Zhivaia starina ," the main editor being the recently deceased N. I. Tolstoy. The editorial board has taken into consideration the best traditions of its prerevolutionary predecessor. Together with articles on classical genres of folk literature, surveys and reviews, a chronicle of events, and bibliographies of new publications occupy an important place. As though in contradiction to the name of the journal, works about contemporary Russian folklore are given much space. Unlike the old " Zhivaia starina ," the new publication, which comes out four times a year, is richly illustrated. Zhivaia starina " serves as a link between the scholarship of the past and that of the present day. The journal pays particular attention to those scholars who have made the finest contributions to the study of Russian folklore. In the journal's first issue in 1994, articles were devoted to the centenary of the birth of P. G. Bogatyrev; in the second issue A. I. Nikiforov, who is known for his works about the Russian folk tale, is remembered; the third issue for 1995 is dedicated to Vl. Ia. Propp; and in the fourth issue for 1995 materials are presented about P. I. Riabinin-Andreev, one representative from the family of epic singers in Zaonezhia. The journal also strives to establish links between Russian and world scholarship. For example, B. N. Putilov writes about Albert Lord (1994, no. 2) and T. G. Ivanova offers a review of the Russian edition of Lord's book "
The School Of Russian And Asian Studies: Resources: Articles And Information: A
The School of russian and Asian Studies is a team of consultants and Folklorists call this the lower mythology of Russia and its importance has been
http://www.sras.org/news2.phtml?m=387
Russian Books Online - Books IS
russian Books Online Articles. 3 Myths and Myth-Makers Old Tales and SuperstitionsInterpreted by Comparative mythology - John Fiske
http://booksis.itopsites.com/russian-books-online.html
Spinning In Myths And Folktales
In Norse mythology the Norns and Valkyries work threads representing life. The magical spindle is also encountered in the russian tale Finist the White
http://www.thorshof.org/spinmyth.htm

Extractions: Spinning is the art of transforming loose fibres such as wool and flax into thread. This is done by pulling out the fibres to the required width and introducing twist to fix and strengthen them. The ancient tools of the spinner were the distaff and the spindle. The distaff was a long staff to which the fibres were tied to keep them untangled. The spindle was a short shaft weighted with a stone whorl which was used like a suspended spinning top to provide momentum and the downward pull of gravity for the work. These same implements were the spinner's only tools until the late fourteenth century when early spinning wheels were developed. Because first wheels were large, inefficient, expensive and unpopular the spindle remained in common use until the eighteenth century. Foremost among the mythological spinners is the ancient German goddess Holda whose cult has persevered through fifteen centuries of Christianity. She is given many roles, control of the weather, giver of fertility, protector of unborn children, but foremost she is the patron of spinners. She travels through the land checking on spinners' handiwork, the industrious are rewarded and the idle punished. The most interesting account of Holda was collected by the brothers Grimm, the fairy tale 'Frau Holda'. A mother had two daughters, the eldest was spoilt and idle, the youngest unloved and overworked. The youngest daughter sat outside the cottage and span by the well every day. On one occasion she cut her hand on the point of the spindle. She dipped it into the well to wash it but the spindle fell from her hand and sank out of sight. Knowing her punishment for losing her mother's spindle would be severe the girl leapt into the well to end her miserable life. Instead of oblivion she finds herself in the land of Holda were she stays as Holda's housemaid for several weeks. Holda is impressed by the girls kindness and industry and sends her back to her family loaded with gold. The girls' mother sends the eldest daughter to get more gold from Holda. Copying her sister she bloodies a spindle and leaps into the well. The eldest daughter cannot hide her true nature for long and Holda is exasperated by her idleness. Eventually Holda sends her home covered in soot.
WebList! Russia - Mythology And Folklore
the list of russian web servers weblist mythology and Folklore æÏÌØËÌÏÒ É ÍÉÆÏÌÏÇÉÑ.
http://weblist.ru/english/Society_and_Culture/Mythology_and_Folklore/
ART-VOLGA Gallery - Only Russian Art: Original Paintings By Contemporary Russian
Buy oil paintings for sale russian art gallery online Story Composition Genre Scene Naive Folk Art Fantastical Art Surrealism mythology
http://www.paintingofrussia.com/index1.php
The City Of Glory: Sevastopol In Russian Historical Mythology -- Plokhy 35 (3):
The City of Glory Sevastopol in russian Historical mythology. Serhii Plokhy.University of Alberta, Canada. Ever since the dissolution of the USSR the fate
http://jch.sagepub.com/cgi/content/abstract/35/3/369

Extractions: This Article Full Text (PDF) Alert me when this article is cited Alert me if a correction is posted Services Similar articles in this journal Alert me to new issues of the journal Download to citation manager Serhii Plokhy University of Alberta, Canada Ever since the dissolution of the USSR the fate of the Black Sea fleet and its main base, the port and city of Sevastopol, remains at the centre of Russian-Ukrainian relations. The current dispute between the two largest of the former Soviet republics is deeply rooted in history, as the Russian side often uses historical arguments in its attempts to claim the Russian Federation's jurisdiction over the Crimea in general and the city of Sevastopol in particular. In doing so the Russian politicians often make use of highly developed historical mythology that presents Sevastopol as a symbol of Russian national glory and portrays Ukrainian jurisdiction over the city as a historical misunderstanding.
Library_RussiaEasternEurope
NOTES Based on elements in russian Folklore/mythology, a young huntsman is helpedby a golden mare when he tries to perform the seemingly impossible feats
http://ias.berkeley.edu/orias/library/library_easterneurope.htm
Ivantis3
Ivanits, Linda J. Review of Essays on russian Folklore and mythology by Felix J.Oinas, in Canadian Slavonic Papers, 28, no. 4 (1986), 44849.
http://german.la.psu.edu/slavicfaculty3/ivantis3.htm
Russian Folk Literature And Ritual
Emphasis on Slavic mythology, byliny (epic poetry), skazki (folktales) and calendar In class Curses as charms; typical russian gestures rooted in
http://academics.hamilton.edu/russian/home/courses/russian298/default.html

Extractions: An introduction to the folk literature and rituals of the East Slavic peoples. Emphasis on Slavic mythology, byliny (epic poetry), skazki (folktales) and "calendar" songs; traditions of the Russian Orthodox Church; puppetry, witchcraft rituals and masking traditions. Course texts available in Campus Store and on reserve in Burke Library: Afanas'ev, Aleksandr Russian Fairy Tales (Pantheon) Ivanits, Linda Russian Folk Belief (M. E. Sharpe) Reeder, Roberta Russian Folk Lyrics (Indiana) Tian-Shanskaia, Olga Village Life in Late Tsarist Russia (Indiana) My office hours are Monday and Wednesday, 2:30-4 PM. Please make a habit of stopping by to chat and continue our discussions. I am always delighted to accept your invitations to lunch. Internet Resources This is a writing-intensive course. You should anticipate writing intensively throughout the semester. On some occasions there will be opportunity for peer review, conferences with me, and/or group work. The success of this course depends on your willingness to read critically and to commit yourselves to the process of collaborative learning. We will work to create a supportive and friendly classroom atmosphere, in which all will feel comfortable to participate eagerly and actively.
EDU2 : Level 3
Thor s Home Page ginnungagapnorse mythology. *SLAV/russian*; Andrey s travelpage russian Backcountry Dracula s Homepage - Fact and fiction.
http://www.my-edu2.com/EDU/cult5.htm

Extractions: EDU2 :CULTURE - MYTHOLOGY ABCentral Search Helpers Submit a Link ... SLAV/RUSSIAN *ARTHUR* Arthuriana Mystical-WWW - The Arthurian A2Z knowledge Bank Terra's Arthurian Legend Page The Mystic Realm of King Arthur ... the holy grail *ASIAN MYTH* Chinese Myths and Fantasies Culture of West bengal JAPANESE MYTH Japanese old tales ... The Descent of the Tibetan people from a monkey and a rock-ogress *CELTIC* Celtic Deities and Myth Irish/Celtic Ghost Stories! The Adventures of Beowulf The Sacred Fire - A Celebration of Ancient Celtic History and Lore ... Tome of Celtic Mythology *CLASSICAL MYTH* Biblioteca Arcana :greek rituals Bulfinch's Mythology, 'The Age of Fable or Stories of Gods and Heroes' CLASSICS 315:greek and roman mythology CLASSICS COURSE CLA 212 MYTHOLOGY Home Page ... mythography: exploring greek, roman, and celtic mythology and art *CREATURES* Alt.mythology.mythic-animals FAQ[s] An Exploration of Modern Monsters Animals, Myths and Legends Gareth Long's Encyclopedia of Monsters, Mythical Creatures and Fabulous Beasts ... werewolfpage.com *FAIRY TALES-WEST* 19th-century German Stories A Field Guide to Irish Fairies Aesop's Fables - Online Collection - 655+ fables - American Fairy Tales ... D. L. Ashliman:and folktales

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