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Osip Mandel'shtam's poetry has been interpreted abundantly by scholars and it might be seen as preposterous to return to one of the most discussed poems in general: “Chut' mertsaet prizrachnaia stsena” dealing with Gluck's opera Orpheus and Eurydice . My approach will be an intermedial one and I will analyse it in relation to the famous productions at the Mariinskii Opera in 1910 and in 1919. The task will be to scrutinize the relationship between the text of the poem and various paratexts, or, in the words of Derrida (1987) and broader, the relation between ergon and parergon. The focus is on the aesthetic impact of these relations more than on the question of genesis or influence. The basis for the interpretation will be the opposition between the period of the performance and the post-performance time, as well as the notion of liminality. The poem will be analysed against the background of the motif of the exit from the theatre in Russian 19th century Russian culture both in relation to literature and to a lithography from 1843 made by Rudol'f Zhukovskii. I will, however, use in particular material concerning the opera performance alluded to in the poem.

Опираясь на положения, разработанные в эссе Цветаевой 1930-х гг., статья рассмативает комплекс отношений между поэтом и временем в широком смысле. В центре исследования—цикл Лебединый стан, состоящий из 62 стихотворений, написанных в период с марта 1917 г. по декабрь 1920 г. Цикл написан в форме дневника в стихах, в нем отражаются исторические события данного периода и биография Цветаевой. Для анализа и интерпретации выбрано третье стихотворение цикла (второе в хронологическом порядке) «Царю—на Пасху», датированное первым днем Пасхи 1917 г., которое рассмативается в контексте всего цикла. Историчность стихотворения анализируется с точки зрения жанра пасхального стихотворения, времени его написания, биографии поэта, ситуации, в которой Цветаева читала стихотворение в различных аудиториях, а также с учетом отношения самой Цветаевой к связи поэта с историей.

Among the most remarkable coincidences of 1917 were the simultaneous Bolshevik coup and the meetings of the All-Russian Church Council. In November Tikhon was elected Patriarch. Mandelʼstamʼs poem “Kto znaet, mozhet bytʼ ne khvatit mne svechi…” is a response to these events. A complex web of images, such as a mitre, light, incense, poppies, is examined that links the poet and the patriarch, equating the formerʼs vulnerability with the newly elected latterʼs precarious situation. A discussion of the manuscript and first publication of the poem further links it to the political reality. Its most salient meaning has to do with the poetʼs mission, compared to that of the patriarch in a Russia on the brink of disintegration.

Making Martyrs East & West: Canonization in the Catholic and Russian Orthodox Churches. By Cathy Caridi

This chapter analyzes the enthronement ritual of Patriarch Kirill, its accompanying television coverage and commentary, and to a lesser extent also the comments in the press. The current patriarch's complete and magnificent title is: 'Great lord and our father the Holy Patriarch of Moscow and All Rus' Kirill'. The Moscow Patriarchate has the same geographic extent today. Kirill highlighted this in his speech during the solemn ceremony, and preached about the Patriarchate's borders and his own duty to defend them. In the enthronement ceremony two forms of aesthetics met: on the one hand, the Byzantine form with robes, bowing, kneeling, hymns, prayers, and processions, and on the other, the modern, male, political reality aesthetics with suit and tie, handshakes, and speeches. The actual enthronement of the Patriarch was an impressive manifestation of church power, and the participation of the secular power was very important given the Russian historical context. Keywords: Byzantine form; enthronement ritual; hymns; Moscow; Patriarch Kirill; prayers; Russian historical context

One poem by the nineteenth-century Russian poet Fedor Tiutchev begins with the line ‘Я помню время золотое’ (or ‘Ia pomniu vremia zolotoe’) [I remember a golden time]. It is about the poet’s early youth, a meeting with a young woman, a spring outing to castle ruins on the Danube. The poem has led to many attempts to determine the exact time and place of this moment and the identity of the young woman. The aim of the article is to show the complex relationship that exists between fiction, reality, and the scholars’ or critics’ meta-level narrative about fiction and reality. I will attempt to demonstratehow three distinct narratives (a romantic, a Gothic, and a visual) can originate in this poem, thereby illuminating and perhaps changing our aesthetic appreciation of the poem. The first two narratives have been established by literary historians. The third and last narrative emerges from a compilation of the paintings and photographs preserved by the woman presumed to be the subject of the poem.

Introduction 1. Dimensions of Russia: Developments after the USSR Klaus von Beyme 2. Never Show Weakness: How Faking Autocracy Legitimates Putin's Hold on Power Stephen Holmes 3. Legitimizing the Russian Executive: Identity, Technocracy, and Performance Eugene Huskey 4. Legitimacy of Power and Security of Property Stefan Hedlund 5. Capitalism and Russian Democracy Boris Kapustin 6. Democracy in Russia: Problems of Legitimacy Boris Mezhuev 7. Power and Society in Russia: A Value Approach to Legitimacy Ruben Apressyan 8. Powerful Rationality or Rationality of Power? Reflections on Russian Scepticism towards Human Rights Elena Namli 9. The 'Cultural/Civilizational Turn' in Post-Soviet Identity Building Jutta Scherrer 10. Conservative Political Romanticism in Post-Soviet Russia Andrey Medushevsky 11. Bez stali i leni: Aesopian Language and Legitimacy Irina Sandomirskaia 12. Medvedev's New Media Gambit: The Language of Power in 140 Characters or Less Michael Gorham 13. Legitimacy and Symphony: On the Relation between State and Church in Post-Soviet Russia Per-Arne Bodin

(1991). The promised land—desired and lost. An analysis of andrej platonov's short story “Džan”. Scando-Slavica: Vol. 37, No. 1, pp. 5-25.

(1987). The silent scene in Nikolaj Gogol's the inspector general. Scando-Slavica: Vol. 33, No. 1, pp. 5-16.

(1985). Understanding the signs. An analysis of Osip Mandel'stam's poem “Sredi svjascennikov”. Scando-Slavica: Vol. 31, No. 1, pp. 31-39.

(1981). The barbarian and the mirror. An analysis of one poem in Zbigniew Herbert's poetical cycle Pan Cogito. Scando-Slavica: Vol. 27, No. 1, pp. 15-25.