A Confession and Other Religious Writings by Leo Tolstoy

By Leo Tolstoy

Tolstoy's passionate and iconoclastic writings—on problems with religion, immortality, freedom, violence, and morality—reflect his highbrow look for fact and a faith firmly grounded actually. the choice features a Confession," "Religion and Morality," "What Is faith, and of What Does Its Essence Consist?," and "The legislation of affection and the legislation of Violence."

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By Leo Tolstoy

Tolstoy's passionate and iconoclastic writings—on problems with religion, immortality, freedom, violence, and morality—reflect his highbrow look for fact and a faith firmly grounded actually. the choice features a Confession," "Religion and Morality," "What Is faith, and of What Does Its Essence Consist?," and "The legislation of affection and the legislation of Violence."

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Leyda, Kino, p. 358. Sergei Zemlianukhin and Miroslava Segida, Domashniaia sinemateka: otechestvennoe kino 1918–1996 (Moscow, 1996), p. 60. V. Ognev, ‘O sovremennosti’, Iskusstvo kino 7 (1956), pp. 17–18. 3. Analysis Characters In this drama of a woman’s betrayal, unhappiness and redemption, Soviet audiences responded first of all to the film’s characters. Five of them merit particular analysis: the pair of cousins who are in their mid-twenties, engineer Boris (Batalov) and pianist Mark (Alexander Shvorin); Boris’s physician-father, Fiodor Ivanovich Borozdin (Vasili Merkurev); his sister Irina (Svetlana Kharitonova), also a doctor; and Veronika (Tatiana Samoilova).

The captain who sends his men into a daylight attack, in effect a suicide mission (and many men died in precisely such missions), is subsequently reprimanded, stripped of his authority and remanded for trial. ‘You will answer for this crime,’ the hero tells him, and he actually does. For all its merits, Soldiers quickly forfeited its pre-eminence as a bold and original treatment of the war. The Cranes are Flying supplanted 20 The Cranes are Flying it. From the first screening of Cranes at Mosfilm in late August 1957, where it moved to tears most of the professionals in the hall, to its triumph at Cannes in 1958, where it garnered the Golden Palm Award as Best Film, Cranes quickly became a landmark in Soviet cinema.

9. Ilia Erenburg, ‘Uroki Stendalia’, Inostrannaia literatura 6 (1957); English tr. in Ilya Ehrenburg, Chekhov, Stendhal, and Other Essays (London, 1962). 10. The worst attacks appeared in Literaturnaia gazeta, 22 August 1957, and Znamia 10 (1957). 11. Irina Shilova, … i moe kino (Moscow, 1992), p. 46. 12. Joshua Rubenstein, Tangled Loyalties: The Life and Times of Ilya Ehrenburg (New York, 1996), p. 302. 13. Maia Turovskaia, ‘Marlen Khutsiev’, in N. R. ), Molodye rezhissery sovetskogo kino: sbornik statei (Leningrad-Moscow, 1962), pp.

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