Jake Miller Tickets on Wednesday, 12/11/2013 in Portland, Oregon For Sale

Jake Miller Tickets
Roseland Theater
Portland, Oregon
Wednesday, 12/11/xxxx
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Science fiction and fantasy have been part of mainstream Russian literature since the 19th century. Russian fantasy developed from the centuries-old traditions of Russian mythology and folklore. Russian science fiction emerged in the mid-19th century and rose to its golden age during Soviet era, both in cinema and literature, with writers like Strugatsky brothers, Kir Bulychov, and Mikhail Bulgakov, among others. With the fall of Iron Curtain, modern Russia experienced a renaissance of fantasy.In Russian language, fantasy, science fiction, horror and all other related genres are considered a part of a larger umbrella term, fantastika (rus. ??????????), roughly equivalent to "speculative fiction", and are less divided than in the West. Russian term for science fiction is ??????? ?????????? (nauchnaya fantastika), which can be literally translated as "science fantastique". Since there was very few adult-oriented fantasy fiction in Soviet times, Russians did not use a specific term for this genre until Perestroika. Although Russian language has a literal translation for 'fantasy', that is ???????? (fantaziya), the word refers to a dream or imagination, not literary genre. Today, Russian publishers and literary criticians use direct English trascription, ??????? (fentezi). Gothic and supernatural stories are often referred to as ??????? (mistika, Russian for mysticism), a term with no direct equivalent in the West.Though secular literature was forming gradually in Russia since the 17th century, it was not until the late 18th century that European rhetoric genres were transplanted to native ground, with narrative fiction techniques open to complex interactions with new scientific and social ideas. While science fiction did not emerge as a coherent genre until the early 20th century, many aspects thereof, such as utopia or imaginary voyage, are found in earlier works by Russian authors.The first work which is considered a prototype to science fiction is Fedor Dmitriev-Mamonov's A Philosopher Nobleman («Dvoryanin-filosof», xxxx).[1] It is a voltairean conte philosophique influenced by Micromégas.Utopias were a major form of early Russian speculative fiction; the first generic utopia in Russia was a short story by Alexander Sumarokov, "A Dream of Happy Society" (xxxx). Two early examples of utopias in form of imaginary voyage are Vasily Levshin's Newest Voyage (xxxx, which is also the first Russian "flight" to the Moon) and Mikhail Shcherbatov's Journey to the Land of Ophir. Pseudo-historical heroic romances in classical settings (modeled on Fenelon's Telemaque) also had a strong utopian element; examples include works by Fyodor Emin, Mikhail Kheraskov, Pavel Lvov and Pyotr Zakharyin. Ancient Night of the Universe (xxxx), an epic poem by Semyon Bobrov, is the first work of Russian Cosmism.Some of Faddei Bulgarin's tales are set in the future, others exploited themes of hollow earth and space flight, as did Osip Senkovsky's Fantastic Voyages of Baron Brambeus. Aleksandr Bestuzhev with his Gothic stories with German couleur locale also was a bestselling author. Other writers to acquire a Gothic mode were Sergey Lyubetsky, Vladimir Olin, Alexey K. Tolstoy, Elizaveta Kologrivova, Mikhail Lermontov ("Stoss").Closer to mid-19th century a notion of imaginary voyage into outer space became trivialised enough to be used in popular chapbooks, such as Voyage to the Sun and Planet Mercury and All the Visible and Invisible Worlds (xxxx) by Dmitry Sigov, Correspondence of a Moonman with an Earthman (xxxx) by Pyotr Mashkov, Voyage to the Moon in a Wonderful Machine (xxxx) by Semyon Dyachkov and Voyage in the Sun (xxxx) by Demokrit Terpinovich. Authors of popular literature often used fantastic motifs like magic demons (Rafail Zotov's Qin-Kiu-Tong), invisibility (Ivan Shteven's Magic Spectacles), shrinking men (Vasily Alferyev's Picture).Hoffmann's fantastic tales caused great impact upon many Russian writers including Nikolay Gogol, Antony Pogorelsky, Nikolay Melgunov, Vladimir Karlgof, Nikolai Polevoy, Aleksey Tomofeev, Konstantin Aksakov, Vasily Ushakov. Folklore supernatural tall-tales are stylized by Orest Somov, Vladimir Olin, Mikhail Zagoskin, Nikolay Bilevich. Alexander Pushkin's The Queen of Spades (xxxx) was called "a masterpiece of fantastic art" by Dostoyevsky. A central figure of the early 19th century is Vladimir Odoevsky, a romantic writer influenced by E.T.A. Hoffmann, who combined his vision of the future with faith in scientific and technological progress.[2] He was also an author of many Gothic tales.Perhaps the first true science fiction author in Russia was Alexander Veltman. Along with pseudo-historical romances set in Old Russia and heavily peopled by fairy-tale characters (Koschei the Immortal, xxxx) and modern day hoffmanesque tales blended with satiric moralising (New Yemelya or, Metamorphoses, xxxx), in xxxx he published Predki Kalimerosa: Aleksandr Filippovich Makedonskii (The forebears of Kalimeros: Alexander, son of Philip of Macedon), which has been called the first original Russian science fiction novel and the first novel to use time travel.[3] In it the narrator rides to ancient Greece on a hippogriff, meets Aristotle, and goes on a voyage with Alexander the Great before returning to the 19th century. Year xxxx (xxxx), a Heliodoric love romance set in the far future, is also science-fictional; in it a traveler visits the imaginary Balkan country of Bosphorania, ruled by the righteous Ioann, who devotes all his time and effort to the good of his people. There are descriptions of the social and technological advances of the 35th century, including popular festivals and expeditions to the South Pole.The second half of the century, particularly the xxxx-80s are defined by a growing interest in realism. However, literary fantasies with a scientific rationale by Nikolai Akhsharumov and Nikolai Vagner stand out during this period, as well as Ivan Turgenev's "mysterious tales" and Vera Zhelikhovsky's occult fiction.Mikhail Mikhailov's story "Beyond History" (published posthumously in xxxx), a pre-Darwinian fantasy on the descent of man, is an early example of prehistoric fiction. Later fictional accounts of prehistoric men were often written by anthropologists and popular science writers ("Prehistoric Man", xxxx, by Wilhelm Bitner, The First Artist, xxxx, by Dmitry Pakhomov, Tale of a Mammoth and an Ice-Man, xxxx, by Pyotr Dravert, Dragon's Victims, xxxx, by Vladimir Bogoraz). Mikhail Saltykov-Shchedrin's satires use a fantastic and grotesque element (The History of a Town and prose fables). The plot of Animal Mutiny (published xxxx) by historian Nikolay Kostomarov is built on the assumption similar to Orwell's Animal Farm.Some of Fyodor Dostoevsky's shorter works also use fantasy: The Dream of a Ridiculous Man (a story about the corruption of the utopian society on another planet), a doppelgänger novella The Double: A Petersburg Poem, mesmeric The Landlady, a comic horror story Bobok. Dostoevsky's magazine Vremya was first to publish Russian translation of Edgar Allan Poe's The Narrative of Arthur Gordon Pym of Nantucket in xxxx; three other stories by Poe were published with Dostoevsky's own foreword (defining Poe's method as "material fantastic"). Many prose works of Symbolist Valery Bryusov may be classified as science fictionSome of Fyodor Dostoevsky's shorter works also use fantasy: The Dream of a Ridiculous Man (a story about the corruption of the utopian society on another planet), a doppelgänger novella The Double: A Petersburg Poem, mesmeric The Landlady, a comic horror story Bobok. Dostoevsky's magazine Vremya was first to publish Russian translation of Edgar Allan Poe's The Narrative of Arthur Gordon Pym of Nantucket in xxxx; three other stories by Poe were published with Dostoevsky's own foreword (defining Poe's method as "material fantastic"). Many prose works of Symbolist Valery Bryusov may be classified as science fictionProse of Alexander Kondratyev who was close to Symbolism included "mythological novel" Satyress (xxxx) and collection of "mythological stories" White Goat (xxxx), both based on Greek myths. Journeys and Adventures of Nicodemus the Elder (xxxx) by another minor Symbolist Aleksey Skaldin is a Gnostic fantasyNikolai Chernyshevsky's influential What Is to Be Done? (xxxx) included an utopian dream of the far future, which became a prototype for many socialist utopias. A noted example of those is the duology by Marxist philosopher and Lenin's adversary Alexander Bogdanov, Red Star and Engineer Menni. Some plays of another eminent Marxist, Anatoly Lunacharsky, propone his philosophical ideas in fantastic disguise (collection of his plays was called Ideas in Masques). Other examples of socialist utopias include Diary of André (xxxx) by pseudonymous A. Va-sky, On Another Planet (xxxx) by Porfiry Infantyev, Spring Feast (xxxx) by Nikolay Oliger. Alexander Kuprin's short story of the same kind, Toast (xxxx), became very well known.Among others, Vladimir Solovyov wrote Tale of the Anti-Christ (xxxx), an ecumenical utopia. Earthly Paradise (xxxx) by Konstantin Mereschkowski is an anthropological utopia which pays no attention to technical progress or social justice. * Great War Between Men and Women (xxxx) by Sergey Solomin and Women Uprisen and Defeated (xxxx) by Polish writer Ferdynand Antoni Ossendowski (written and published in Russian) tell stories of a feminist revolution. Other feminist utopias include short farces Women on Mars (xxxx) by Victor Bilibin and Women Problem (xxxx) by Nadezhda Teffi. In Half a Century (xxxx) by Sergey Sharapov is a patriarchal Slavophile utopia, and Land of Bliss (xxxx) by Crimean Tatar educator Ismail Gasprinski is a Muslim utopia.Among others, Vladimir Solovyov wrote Tale of the Anti-Christ (xxxx), an ecumenical utopia. Earthly Paradise (xxxx) by Konstantin Mereschkowski is an anthropological utopia which pays no attention to technical progress or social justice. * Great War Between Men and Women (xxxx) by Sergey Solomin and Women Uprisen and Defeated (xxxx) by Polish writer Ferdynand Antoni Ossendowski (written and published in Russian) tell stories of a feminist revolution. Other feminist utopias include short farces Women on Mars (xxxx) by Victor Bilibin and Women Problem (xxxx) by Nadezhda Teffi. In Half a Century (xxxx) by Sergey Sharapov is a patriarchal Slavophile utopia, and Land of Bliss (xxxx) by Crimean Tatar educator Ismail Gasprinski is a Muslim utopia.Entertainment fiction adopts scientistic themes. Among them, resurrection of an ancient Roman (Extraordinary Story of a Resurrected Pompeian by Vasily Avenarius), global disaster (Struggle of the Worlds, xxxx, by N. Kholodny; Under the Comet, xxxx, by Simon Belsky), mindreading devices (a recurring theme in works by Andrey Zarin), Antarctic city-states (Under the Glass Dome, xxxx, by Sergey Solomin), an elixir of longevity (Brothers of the Saint Cross, xxxx, by Nikolay Shelonsky), Atlantis ("Atlantis", xxxx, bySpaceflight remained a central science fiction topic since the xxxxs in In the Ocean of Stars (xxxx) by Anany Lyakide, In the Moon (xxxx) and Dreams of Earth and Skies (xxxx) by Konstantin Tsiolkovsky, Voyage to Mars (xxxx) by Leonid Bogoyavlensky, "In Space" (xxxx) by Nikolay Morozov, Sailing Ether (xxxx) by Boris Krasnogorsky with its sequel, Islands of Ethereal Ocean (xxxx, co-authored by prominent astronomerIn the xxxxs Russian audience grew interested in horror fiction. Fire-Blossom, a supernatural thriller by prolific writer Alexander Amfiteatrov became a success. Vera Kryzhanovsky's occult romances that combined science fiction and reactionary elitist utopia enjoyed enormous popularity at the time. Bram Stoker's Dracula was imitated by pseudonymous "b. Olshevri" (= "more lies" in Russian) in Vampires, even before the original was translated to Russian. Early Alexander Grin's stories are mostly psychological horror (he borrowed much from Ambrose Bierce), though later on his writing drifted to less conventional and more literary kinds of fantasy.Possible miracles of technical progress were regularly described in form of fiction by scientists: "Wonders of Electricity" (xxxx) by electric engineer Vladimir Chikolev, Automatic Underground Railway (xxxx) by Alexander Rodnykh, "Billionaire's Testament" (xxxx) by biology professor Porfiry Bakhmetyev. Future war stories (indistinguishable from their English, German, and French analogues) were produced mostly by the military (Cruiser "Russian Hope", xxxx, and Fatal War of 18.., xxxx, by retired navy officer Alexander Belomor; Big Fist or Chinese-European War, xxxx, by K. Golokhvastov, Queen of the World (xxxx) and Kings of the Air (xxxx) by another retired navy officer Vladimir Semyonov; "War of Nations xxxx-xxxx" (xxxx) by Ix, War of the "Ring" with the "Union" (xxxx) by P. R-tsky, The End of the War, xxxx, by Lev Zhdanov). Threat to the World (xxxx) by Ivan Ryapasov (who styled himself "Ural Jules Verne") is very much alike Jules Verne's The Begum's Fortune, but the arch-enemy is an Englishman. Jules Verne was so widely read that Anton Chekhov has written a parody on him, and Konstantin Sluchevsky produced a sequel - "Captain Nemo in Russia" (xxxx).Soviet era was the golden age of Russian science fiction. Soviet writers were innovative, numerous and prolific,[5] despite limitations set up by state censorship. Both Russian and foreign writers of science fiction enjoyed mainstream popularity in the Soviet Union, and many books were adapted for film and animation.Birth of Soviet science fiction was spurred by scientific revolution, industrialisation, mass education and other dramatic social changes that followed the Russian Revolution. Early Soviet authors from xxxx's, such as Alexander Belayev, Grigory Adamov, Vladimir Obruchev, Alexey N. Tolstoy, stack to hard science fiction.[6] They openly embraced influence from genre's western classics, such as Jules Verne, Arthur Conan Doyle and especially H. G. Wells, who was a socialist and sympathizer of Soviet Russia. Science fiction books from xxxxs included science predictions, adventure, space travel, often with a hue of working class agenda and satire against capitalism.[7][8][9] Alexey N. Tolstoy's Aelita (xxxx), one of the most influential books of the era, featured two Russians raising a revolution on Mars. Tolstoy's Engineer Garin's Death Ray (xxxx) follows a mad scientist who plans to take over the world, and he's eventually welcomed by capitalists. Similarly, main antagonist of Belayev's The Air Seller (xxxx) is a megalomaniac capitalist who plots to steal all the world's atmosphere. Belayev's Battle in Ether (xxxx) is about a future world war, fought between communist Europe and capitalist America. Soviet authors were also interested in the distant past. Belayev described his view of "historical" Atlantis in The Last Man from Atlantis (xxxx), and Obruchev is best known for Plutonia (written in xxxx, before Revolution, but only published in xxxx), set inside hollow Earth where dinosaurs and other extinct species survived, as well as foTwo notable exclusions from Soviet 'Wellsian' tradition were Yevgeny Zamyatin, author of dystopian novel We (xxxx),