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Two Captains by Veniamin Kaverin

By Veniamin Kaverin

Captains is the main well known novel of the Russian author Veniamin Kaverin. The plot spans from 1912 to 1944. For greater than part a century the publication has been enjoyed via youngsters and adults alike. the unconventional has passed through greater than a hundred printings, together with translations into different languages. in response to its tale, performs were staged and an opera has been written. The plot of the publication additionally turned the foundation of 2 video clips of a similar identify in 1955 and 1976. In 1995 in Pskov, the house city of the writer, a monument was once erected to the characters of the e-book and a "Two Captains" museum was once opened. the genuine prototype for Captain Tatarinov was once Lieutenant Georgii Brusilov, who in 1912 prepared a privately funded day trip looking a west-to-east Northern sea path. The steamship "St. Anna," especially outfitted for the day trip, left Petersburg on 28 July 1912. close to the shorelines of Yamal peninsula it used to be seized via ice and carried within the ice flow to the north of the Kara Sea. The excursion survived not easy winters. Of the 14 those that left the stranded steamship in 1914, simply made it to at least one of the islands of Frants-Joseph Land and have been noticed and brought aboard "St. Foka", the send of the day trip of G. Y. Sedov. The send log that they had saved with them contained crucial of the medical facts, after the examine of which Sedov's day trip chanced on the formerly unknown island within the Kara Sea, Vize Island. the last word destiny of "St.Anna" and its last team continues to be unknown. Veniamin Kaverin (1902-1989) wrote novels, brief tales, fairy stories, memoirs, and biographies. within the early Nineteen Twenties, Veniamin Kaverin was once a member of experimental literary crew "Serapionovi bratya". In 1946 his novel Captains turned the winner of the USSR kingdom Literature Award.

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In the culture of the nineteenth-century intelligentsia, Ilia E. Repin’s Barge Haulers on the Volga (1870–73) (figure 3), for example, was democratic, progressive, and Russian, while works such as the Execution by the French of Russian Patriots in Moscow in 1812 were aristocratic, autocratic, and European. Ragged, dirty, and beaten down, Repin’s barge haulers find degradation and oppression in a reality that resembles a desert wasteland. They strain against the weight of a traditional barge while a modern steamship and its labor-saving potential plies the river far off in the distance.

They needed to define the role of art and artists in a place where the aristocratic institutions and neoclassical aesthetics of the early nineteenth century, the public structures, moral values, and political ideologies of the nineteenth-century intelligentsia, and the new commercialized mass culture all coexisted by the early twentieth century. What should art represent in an age of political strife, social turmoil, and cultural transformation? Who was an artist, and which 18 | The Wars against Tradition public should the artist serve?

Boundaries between art groups were not etched in stone, for smaller groups formed and dissolved, and artists often belonged to several groups at once, attracted by ties of kin, professional obligation, or friendship. The milieu was a less well-defined subculture made up of groups and individuals who shared similar aesthetic values. 9 Imperial Russia’s art groups served to mediate between individual artists and the public. In an evolving art culture, they provided the institutional structure, common culture, and professional community to identify and ensure access to an art-appreciating audience that was often fragile, undeveloped, or changing rapidly in the nineteenth and early twentieth centuries.

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