Editor a t averchenko (2 resultados)
Más imágenesIdioma: Ruso
Editorial: M. G. Kornfeld, St. Petersburg, Russia 1912
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Librería: Meir Turner, New York, NY, Estados Unidos de AmericaMeir Turner
Contactar con el vendedorVendedor de 5 estrellasCondición: Usado - Bueno
EUR 362,63
Envío por EUR 8,80Se envía dentro de Estados Unidos de AmericaCantidad disponible: 1 disponibles
Paper Wrappers. Condición: Very Good. In Russian.16 pages including the color front and back covers and the advertising leaves. 36 x 26 cm. In color. In acid free Mylar sleeve. Paper is NOT brittle. Issue: No. 24, 8 July 1912. Main office address: St Petersburg, Fontanka 80. Editorial office: St Petersburg, Liteiny Prospect 57.…The issue opens with a powerful cover cartoon titled "They've Smelled It." A flock of ominous black birds descends on a gigantic money-sack marked in hundreds of millions, while two politicians discuss it. The caption has warning "Be careful with the billions!", and an Octobrist deputy replying that a trap has been prepared. The image satirizes parliamentary squabbles over colossal state funds and corruption around military and railway appropriations. page 2 mixes light verse and social satire. A poem, "Shoes and Fashion" by P. Potemkin on the absurdities of women's footwear and fashion fads. A feuilleton "A Life of Luxury (continued)" caricatures nouveaux-riches lifestyles, servants, and eroticized bourgeois leisure. Pages 3-4 verse and illustration. Short poems and epigrams frame a large colored panel on page 4 entitled "The Man in Love." A. Radakov's drawing shows a portly, aging lover in a series of romantic mishaps; the accompanying poem ironizes middle-aged passion and sentimentality. Page 5 A key political piece: a sequence of 3 color cartoons headed "The Tauride Cinematograph." Set in the Duma's Tauride Palace, it depicts deputies discussing gargantuan military credits, railway schemes etc, rendered like frames from a newsreel. The satire targets gluttonous government and compliant legislators who rubber-stamp vast expenditures. Pages 6-7: narrative prose and courtroom satire, including a story about a murder case and provincial justice. The layout combines dense columns of text with a decorative garden-scene illustration on page 7, matching the gently mocking tone. Page 8: blue-toned illustration by V. Bykhov with the title "Pirates." The accompanying poem describes hardened sea-robbers, then focuses on "Bob," a pirate haunted by memories and guilt, who ultimately puts aside his pistol. Page 9: Full-page drawing, "Peaceful Life," shows a petty-bourgeois couple packing belongings-gramophone, cage, bundles - under the commentary of a landlord. It satirizes cramped urban existence, debt, and small comforts on the eve of a move or eviction. Page 10 includes column "On Mr Lenin's Arrival in Petersburg." In small cartoon form it treats Lenin as news item to be marketed to curious citizens; the text mocks both the sensationalist press and political hero-worship. The rest of the page: anecdotes, critiques of provincial newspapers and a poem about city noise .Page 11 dialogue The Primitive (In the Editorial Offices of ''Perseus')" lampoons literary fashions and naïve symbolism. Beneath the large drawing of a boy selling a bedraggled rose the caption explains the price dispute, ending with the proverb that "There is no rose without thorns". Pages 12-15: correspondence, humorous replies, extensive advertising. One full page advertises the children's illustrated magazine "The Little Jackdaw," listing an impressive roster of contemporary authors. Others promote cameras, photographic equipment, theatrical encyclopedias, novels and creams, all carefully targeted at Satirikon's urban middle-class readership. The back cover is another large color cartoon by A. Yakovlev titled "Out Sketching." A painter, ostensibly doing a village portrait, instead fills his canvas with stylized ornament and boots, while the peasants look on. The caption notes that peasants are very talented, once one understands that nature is "connected with the most profitable orders" - a final joke about art, commerce and rural simplicity. The issue blends political satire about the Duma and Lenin, mock-heroic poetry, domestic caricature and consumer advertising.
Más imágenesThe New Satirikon [Novyy Satirikon] Special "Historical" Issue No. 6 March 1918
Editor: A. T. Averchenko. Contributors: Gurevich, Isidor et al
Idioma: Ruso
Editorial: New Satiricon Publishing House, Petrograd, Nevsky Prospect [=Avenue] 88 , Russia 1918
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Librería: Meir Turner, New York, NY, Estados Unidos de AmericaMeir Turner
Contactar con el vendedorVendedor de 5 estrellasCondición: Usado - Bueno
EUR 362,63
Envío por EUR 8,80Se envía dentro de Estados Unidos de AmericaCantidad disponible: 1 disponibles
Paper Wrappers. Condición: Very Good. In Russian. Uncut: One large sheet 1 meter and 6 cm x 73 cm., folded 3 times into 8 sections forming 16 pages, each 36 x 26 cm. In color. In acid free Mylar sleeve. Paper is NOT brittle. Title: (Novyi Satirikon / New Satiricon) • Special issue: Spetsial'nyi nomer "Istoricheskii" - "Special '…Historical' number" • Issue: No. 6 • Date on cover: March 1918 (15 March 1918 in the digitized state copy) • Editor: A. T. Averchenko • Publisher: Izdatel'stvo «Novyi Satirikon» - "New Satirikon Publishing House • "Petrograd, Nevsky Prospect [=Avenue] 88 • Printer: Tipografiia T-va "Gramotnost'", 5 Rozhdestvenskaia, 44. • Pagination: 16 pages including color covers. The whole number is built around a wry "people's history" of Russia and Europe, written at the very end of the First World War and a few months before Novyi Satirikon was shut by the Bolsheviks. Cover by A. Radakov: Caption above the image: - "The window on Europe - now"). Peter the Great stands in front of a big boarded-up window in the wall of a ship or fortress. In the speech balloon he says: Well, now I see that the window to Europe has been nailed tightly shut!"). The cartoon comments bitterly on Russia's self-isolation after revolution and Brest-Litovsk. On page 2, Radakov's poem Eto bylo! - "So it was!" combines verse with small vignettes that jump through key episodes of Russian history, from legendary princes to the recent war, showing how supposedly glorious "turning points" led to present collapse. Arkadij Búhov's feuilleton Istoriia. . . - "The History of Oleg's Shield") retells the tale of Prince Oleg hanging his shield on the gates of Constantinople, but in a tone that mocks heroic myths and hints that modern politicians still trade in empty symbols. Valentin Goryánskiy's long poem Opyt . . . - "An Experiment in Historical Perspective") surveys czars, generals and revolutions, constantly undercutting them with ironic rhymes and up-to-date references. The implied question is whether any of these rulers ever changed the basic fate of "little people". Short aphorisms under the rubric Melochi - "Small Things", signed "Mr. Poker", provide epigrammatic comments on history, power and cowardice. A large two-page color cartoon by K. Grus titled Krug. . . "The circle of history is complete") shows three victorious soldiers of different nations (Austrian, German and Ottoman / Asian) manhandling a barefoot, rag-clothed figure representing defeated Russia. The suggestion is that historic abuses are returning in a new guise. Another full-page color plate by Re-mi bears the caption Zaklyuchitel'nyi. . . - "The final chord"). A fat demagogue waves a flayed animal skin (or metaphorical "trophy") towards a crowd of grasping hands. Beneath, the legend Vsem! Vsem! Vsem! - "For all! For all! For all!" mocks populist promises. The four-panel strip - "Historical quotations - by the way", again by K. Grus, links famous patriotic lines to grim scenes of 1917-18: Gorit'. . . - "The East burns with a new dawn": a tiny bearded man flees a blazing landscape watched by a brutal soldier. 1. Tikhav. . . - "The Ukrainian night is quiet": a violent struggle in the dark evokes civil war in Ukraine. 2. Otsel . . . - "From here we shall threaten the Swede": a ragged man with a rifle stands among ruins. 3. Kto tsar. . . - Who will lift the Tsar Bell, who will turn the Tsar Cannon?": the huge, fallen emblems of imperial power lie useless. Prose and verse pieces by Isidor Gurevich "The War of the Red and White Rose"), Bor. Mirsky, L. Arkadskii, Teffi and others jump between English, Scandinavian and Russian history, drawing satirical parallels to contemporary factions, provisional governments and Bolshevik rule. The issue is a bitterly humorous meditation on how "great histories" end in social chaos and hunger, written by liberal satirists who see themselves squeezed between reaction and radicalism. No Jewish reference. Contributors include Jews (e.g. Isidor Gurevich.). Radakov, A.; K. Grus (ilustrador).
