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#andrei kurbski
milkyway-ashes · 10 months
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Ivan the Terrible pt. 1 (1944) crack video 💀
- I don't own any of the videos and audios. but please excuse my weird humour 😳
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elenarinya · 5 years
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These pictures have literally the same energy.
Andrei Kurbski by Mikhail Nazvanov in the film “Ivan the Terrible”
and
Andrei Kurbski by Karl Paquette in the ballet “Ivan the Terrible”
By the way, the music was written for the film first and then was rearranged to create the ballet :з
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stoertebeker · 2 years
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Aus Die erste Epistel des Fürsten Andrej Kurbskij, geschrieben an den Zaren und Großfürsten von Moskau, seiner gar grausamen Verfolgung wegen
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andreirublev1966 · 4 years
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Andrei, my friend? What more could he have wanted?
Nikolay Cherkasov and Mikhail Nazvanov as Ivan Vasilyevich and Andrei Kurbsky in Иван Грозный (Ivan the Terrible, Part I) (1944) dir. Сергей Эйзенштейн (Sergei Eisenstein)
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theodorebasmanov · 4 years
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 I was on the opera “Pskovityanka” (“The Maid of Pskov”) and so, I got back my favourite hyper fixation (I’ve learned this word just a few days ago, and I like it very much – it’s so relatable) – Ivan the Terrible. That’s why instead of a musical post this week we have a ballet post. I’ve rewatched “Ivan the Terrible” ballet from Bolshoy Theatre. And I’m not going to write a lot about it, let’s just watch some gifs I’ve made. The only thing I’d like to say about it – it has one strange detail: it doesn’t contain me and the person dancing in a mask is the Tsar himself.
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jgmail · 4 years
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EL PUEBLO Y EL ESTADO EN N. ALEKSEEV: LOS RAYOS DEL LOGOS APOLINEO
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Por Alexander Bovdunov
Traducción de Juan Gabriel Caro Rivera
Informe del seminario "Pueblo y Estado".
 Me gustaría continuar con el tema que comenzó en el último seminario. Durante la discusión sobre el eurasianismo como una forma de platonismo político ruso, se expresaron dos ideas:
 1. Que el eurasianismo es principalmente un platonismo político, incluso si no se expresó en tales términos.
2. Que es fundamentalmente importante para el modelo político platónico que el Estado existe en última instancia para el pueblo.
 En el eurasianismo, la evidencia de la última tesis es el concepto de demotia (1). Entonces N. Alekseev llama al sistema de tal Estado una ideocracia demótica o una demotia ideocrática (artículo "Sobre el Estado de Garantía") [1].
 La demotia de Alekseev es un principio en el que el Estado está llamado a servir al bien de todos, al conjunto y no a los intereses privados de cierto grupo político, estrato social, clase o partido. Tal Estado es de carácter nacional.
 Al mismo tiempo, la ideocracia y la nacionalidad están directamente conectadas: las personas, como comunidad orgánica holística y temporal, deben encontrar y reconocer su idea organizativa.
 “La ´voluntad general´ no es un creador, sino solo un órgano para percibir una idea. Al mismo tiempo, nadie sino el pueblo puede encontrar esta idea, solo él puede percibirla. Nadie, excepto al pueblo le pertenece el conocimiento del mundo cultural y el llamado a la implementación de su conocida misión histórica", señala Nikolai Alekseev [2].
 Es decir, en el marco del concepto euroasiático, el pueblo es percibido como un filósofo potencial, los ciudadanos de un estado ideal. Ese mismo Alekseev escribe sobre el principio del "demotismo" como uno de los pilares del concepto euroasiático del estado:
 "El Estado de garantía busca involucrar a la mayor cantidad posible de ciudadanos en la construcción económica, política, social y cultural (el principio del demotismo)".
El pueblo en el sentido estricto de la palabra: el pueblo como gente común, en contraste con las élites en este concepto, pueden ser percibidas como una especie de depósito, que sirve como fuente de reclutamiento de la capa dominante a través de la educación especial en el proceso de selección euroasiática. En este caso, la idea del gobierno debe ser orgánica para el pueblo, debe ser revelado por él y para él.
 "El pueblo ruso y el Estado": El Tyaglo (2) contra los volnitsy (3)  
 En este sentido, el conocido trabajo de Nikolai Alekseev "El pueblo ruso y el Estado" es fundamentalmente importante. En él, el autor realmente intenta hacer un análisis de este tipo, encontrar ideas orgánicas sobre el Estado para el pueblo ruso.
Es significativo que desde el principio Alekseev discutiera con K. Aksakov sobre la dicotomía entre el Estado y la existencia del Zemstvo (4). Partiendo de la idea de que "los eslavos no formaron un Estado por sí mismos", que el Estado no es su existencia primordial, que “el Estado es invocado por ellos solo posteriormente como un medio para preservar su vida". “El Estado, el sistema político no se convirtió en el objetivo de sus aspiraciones, ya que se separaban a sí mismos o la existencia del Zemstvo del Estado y pidieron a este último que protegiera al primero".
 Alekseev también sostenía la idea eslavófila de que "la paz y la unidad moral eran los principios originales del Estado ruso".
 En contraste, Alekseev argumenta que, en lugar de la paz y la unidad moral, las relaciones entre el Estado y el pueblo en Rusia se caracterizan por la dinámica y el conflicto, donde el punto fundamental para comprender la civilización rusa es la compleja relación entre estos dos principios: el "tyaglo" – la "organización del Estado como una sociedad militar construida como un gran ejército en armas, según el principio del servicio de reclutamiento impuesto" y los "hombres libres" (volnitsy), expresado en el autogobierno cosaco, en los movimientos armados del pueblo y los bandidos, en la fuga de la población hacia las fronteras.
 “Eliminando cualquier toque romántico de la historia rusa, debemos decir que sus fuerzas determinantes fueron, por un lado, las fuerzas que organizan el Estado, las fuerzas del orden y, por otro lado, las fuerzas anarquistas desorganizadoras que se expresaron externamente en diversas manifestaciones en las formas de disturbios rusos. Una característica de la historia rusa es que esta agitación no fue un intento de organizar hombres libres (volintzy) dentro del orden estatal, sino que representó una eterna fuga fuera del Estado hacia los campos salvajes y a los bosques oscuros. La huida del Estado es un hecho primordial de la historia rusa, que encontró su encarnación física en los cosacos y su justificación moral en varios puntos de vista políticos que justifican la fuga de las formas políticas organizadas de la vida social".
El segundo punto importante que crítica el eslavófilo eurasiático Alekseev es la afirmación de Aksakov de que "el Estado, el sistema político nunca fue el objetivo" del pueblo ruso. En la historia rusa, él encuentra al menos cinco ideologías particulares y orgánicas que han recibido un amplio apoyo popular:
 1. Josefinismo (5). La idea del Estado como un severo guardián de la piedad cristiana. Su base son el bizantismo, más las ideas "paganas" precristianas sobre la figura sagrada del rey (Zar), característica de las civilizaciones de Oriente (¿Irán?).
 La prueba del apoyo popular es Minin y Pozharsky (6), la restauración de este modelo en particular después del Tiempo de los Problemas y la ardiente devoción a esta idea de los Viejos Creyentes, que rápidamente se convirtió predominantemente en un movimiento religioso popular.
 "No reconozco a Alexander Nikolayevich como emperador, pero lo reconozco como rey", declaro un cismático arrestado (Fedoseyevite) (7) en 1855. – “El título de emperador significa Perún, Titán o el Diablo; reconoceré la piedad y la fidelidad del rey y de toda la familia real cuando comiencen a creer en el verdadero Jesús, y no en el Jesús del Anticristo, y cuando nos liberan a los creyentes en la antigua Iglesia y el sufriendo en el encierro, de su falso clero de tres dedos, que consiste en personas que contaminan la Iglesia y la fe... Las leyes civiles fueron creadas no por el rey, sino por las autoridades; el rey, por otro lado, solo firmó por miedo y aprensión por su vida; por lo tanto, considero que estas leyes son falsas y sin ley, y reconozco la ley de Stoglavy de Iván el Terrible. De las autoridades mundanas reconozco solo a quienes fueron designados por el rey, y no por el emperador. Ahora no hay comandantes sobre nosotros, los fieles, pero antes había boyardos y gobernadores. Su senado es un comité diabólico”.
 2. EL "Estado de derecho ortodoxo" – los no poseedores, los staretz (ancianos) del Transvolga (8), Vassian Patrikeev, el staretz Maxio el griego. Alekseev mismo simpatiza con esta corriente, la considera más apropiada para el "verdadero espíritu del cristianismo oriental". Considera la "teoría inaceptable de la autocracia humana, o, se podría decir, la democracia" y la autocracia del Zar. Una mayor atención a lo interno, al hesicasmo, a los principios de la misericordia. "Su programa no era rebajar la Iglesia al Estado, sino colocar al Estado bajo el liderazgo puramente moral de la Iglesia"- dicen los staretz del Transvolga. Sin embargo, el mismo Alekseev se ve obligado a admitir que fue este programa el que los representantes de la élite principesca boyarda (como Vassian Patrikeev o el príncipe Andrei Kurbsky) que solía ser odiada por el pueblo. La idea de representación.
 3. La idea de la dictadura de Ivan Peresvetov, expresada en parte en la oprichnina de Grozny. La diferencia fundamental con el josefinismo es la naturaleza extrareligiosa e incluso suprareligiosa de la "Verdad". "Dios no ama la fe, sino la Verdad". Además del Sultán Turco como rey-filósofo.
 Un ejemplo de tal estado de la verdad es el Imperio Otomano. Alekseev ve la influencia turca directa. Nosotros mismos podemos agregar: el concepto de verdad supra-religiosa puede estar directamente relacionado con el sufismo político, el concepto de unidad de lo existente de Ibn Arabi y la ideología del antiguo Imperio Otomano de Selim Primero y de Solimán el Magnífico, que está dominado por el Islam interno sufí, el bektasismo, el alevismo.
 4. Hombres libres (volnitzy) rusos, los Cosacos, el mundo de las epopeyas rusas. "Los hombres libres rusos se inspiraron en algunas otras ideas políticas y sociales, cuya esencia es muy difícil de entender, porque los hombres libres no tenían sus escribas y no tenían su propia ideología escrita". Esta es la democracia militar directa, que es ajena a la idea de representación. La prueba de que esta idea penetró profundamente en el estrato popular son las canciones populares y las epopeyas, la simpatía por los cosacos, los "bandidos". Sin embargo, no hay derechos individuales en tal democracia. Se combinan dos despotismos: el de la famosa Veche (9) y el del Atamán o el Príncipe. “Las comunidades cosacas, como los antiguos pueblos rusos, eran repúblicas que tenían sus propios príncipes y reyes; y al mismo tiempo se les puede llamar monarquías, en las cuales el poder pertenecía al pueblo. Cuando el campesino ruso en 1917 a veces afirmó que quería una república, pero solo con el Zar, él, a su manera, no dijo ningún absurdo. Simplemente todavía vivía en los ideales de los hombres libres rusos, los ideales de la "asociación libre" cosaca, porque este ideal estaba profundamente arraigado en el alma nacional rusa que se convirtió en uno de los elementos del pueblo ruso, un elemento también subterráneo, volcánico".
 5. La ideología del sectarismo místico:
A) El escape de la ciudad terrenal del "Anticristo" hacia el desierto. El extremo para buscar escapar del mundo es la muerte ("inmoladores", "quemadores", "los hacedores ataúdes") (10). Fue una reacción negativa a la crisis del Estado josefinista, más precisamente, al hecho de que el Estado ha dejado de ser josefinista. Básicamente - los consentimientos extremos del bespopovtsev (11).
 B) Las sectas proféticas (por ejemplo, los skoptsy) (12) - "un ejemplo de mezclar el mesianismo del Antiguo Testamento, con algunas opiniones cristianas sobre el Mesías y la adoración de la Rus Moscovita por la autoridad Zarista". La encarnación del nuevo "Redentor", el Juicio Final, el Imperio de los skopsty.
 C) “Un camino político algo diferente fue el ala racionalista de nuestro sectarismo ruso. Una interpretación puramente literal del Paraíso terrenal prevaleció entre ellos, sin embargo, este último ya no se representaba como el reino eterno del Redentor, reuniendo a todos los justos a su alrededor, sino como una especie de comunidad anarquista sin diferencias construida sobre la plena igualdad de la propiedad y viviendo sobre la base de un orden comunista ", señala Alekseev.
 Alekseev realiza esta excursión en la historia y en las ideas populares sobre el poder para comprender la catástrofe rusa de 1917. “¿Qué pasó realmente en 1917? Prevalecieron:
 1) las ideas de los hombres libres (volnitsy); 2) la idea de la dictadura; 3) la idea de una organización de la tierra sobre la base del comunismo. Lo que prevaleció fue el contenido de la ideología de los cosacos, de la ideología de Peresvetov, del Zar Iván y la oprichnina, la ideología de un paraíso terrenal sectario, construido sobre principios racionalistas". Por lo tanto, estos principios de “democracia (en un sentido especial ruso, por supuesto, teniendo en cuenta la génesis de los hombres libres, de la dictadura y la justicia social) deberían ser la base del Estado ruso.
 Según Alekseev, son verdaderamente del pueblo. Solo él sugiere corregirlas agregando otra dimensión religiosa: elegir entre el josefinismo y la idea de la monarquía legal ortodoxa.
   "El futuro pertenece al Estado de derecho ortodoxo, que podrá combinar un poder sólido (el comienzo de la dictadura) con el gobierno del pueblo (народоправство, el principio de los hombres libres) y con el servicio de la verdad social", escribe.
 Las ideas de Nikolai Alekseev son extremadamente interesante para analizarlos desde el punto de vista del estudio Noológico y de la Noomajía. Entonces, ¿no surgen muchas preguntas?
 Así que las tres primeras ideologías (josefinismo, la ideología del Estado legal ortodoxo y la de Ivan Peresvetov, en la estructura de los pensamientos del propio Alekseev) corresponden al principio del "tyaglo".
Estos son los conceptos de la clase dominante rusa, la ideología del "sujeto principesco", el Logos de Apolo. Es significativo que la mitad de los conceptos "populares", la creación de la élite gobernante, con la influencia obvia de otras civilizaciones, de Bizancio, de Irán, de Turquía (sufismo iraní, neoplatonismo + cosmovisión turaniana de los turcos nómadas), sin embargo, se arraigaron profundamente en las ideas populares.
 Es decir, en su obra "El pueblo ruso y el Estado", más de la mitad del texto está dedicado a conceptos que no son completamente rusos y no son totalmente nacionales en su génesis, aunque son aceptados por el pueblo. Sin embargo, estos rayos del Logos Estatal Apolíneo están muy profundamente enraizados en el pueblo.
 El principio centrífugo de los "hombres libres" corresponde a la ideología de las epopeyas rusas y de los cosacos. Al mismo tiempo, se manifiestan características titánicas en él (muchos personajes de la epopeya tienen el carácter ateo [богоборческий, que luchan contra Dios, teomaquista], de insolencia), que se pueden observar en algunas variaciones de las sagas de los Nart (13). Una vez más, en la idea rusa de la voluntad subyacente a los hombres libres, uno puede observar tanto el apolinismo como el titanismo. Sin embargo, en general, este Gestalt cosaco también es una manifestación del Logos militar Sármata de Apolo. ¿Y en los problemas rusos y en el estatismo ruso no se manifiesta el mismo Logos, el Logos de Apolo?
 Ahora echemos un vistazo a la conclusión de Alekseev: la revolución de 1917 ganó porque prevalecieron las ideas populares (de los hombres libres y las dictaduras), sin embargo, ¿no es la expresión del Logos nacional campesino, el Logos Dionisíaco? ¿Su génesis no se remonta a los modelos apolíneos? Lo mismo sucede con las ideas de huida de los Viejos Creyentes de este mundo: este es el mismo Apolinismo, solo que negativo, aquí la oposición al Estado no es porque sea un Estado, sino porque niega su misión como guardián de la piedad.
 Parecen complementarse con una idea popular de igualdad, comunismo popular, pero Alekseev lo encuentra en sectas racionalistas como los Dukhobors (14), que surgieron no sin la influencia del protestantismo occidental. ¿Y qué es realmente ruso y nacional? ¿El bizantismo de los no poseedores o el bizantismo de los josefinistas (con la idea iraní de una monarquía sagrada), los sarmatianos, los hombres libres de Nart, el ejército estatal de Genghis Khan, el estado de verdad de Ivan Peresvetov, todo esto transferido al suelo ruso por parte del sufismo político de los primeros otomanos?
 ¿No lo observamos en la sociedad rusa actual? En el levantamiento ruso en el Donbass, uno puede ver el renacimiento del ideal de los hombres libres rusos y su compleja relación con el Estado ruso. En la sociedad rusa moderna, podemos encontrar toda radicalizada la idea de la justicia social, el deseo de igualdad, que Alekseev descubrió en el sectarismo racionalista ruso.
 La apología del Estado de Justicia de Peresvetov es la base del "estalinismo popular". Todos los mismos conceptos cuya genealogía acabamos de ser considerada.
 El trabajo de Alekseev se puede comprender de dos maneras: en primer lugar, se puede decir que muestra cuán profundamente arraigados en el pueblo ruso están los conceptos relacionados con la apología del Logos. El apolinismo ruso es mucho más de lo que parece, al menos en cuando se trata del Estado.
 Pero, en segundo lugar, si aceptamos la hipótesis del Logos Dionisíaco del campesinado ruso, debemos decir lo siguiente: mientras hablamos de la arqueo-modernidad como una situación en la que el principio arcaico es aplastado, pero no destruido por la Modernidad, y cualquier impulso, si lo hay, puede expresarse en el lenguaje moderno (torcidamente oblicuo), el campesinado ruso dionisíaco, tan pronto como entra en contacto con la política, habla un idioma extranjero: el lenguaje de los conceptos políticos importados por la élite o se refiere a los comportamientos pasados ​​aún más distantes de los héroes sármatas.
 No hay una dimensión media en esta imagen, el Logos de Dionisos. El Logos de Cibeles en forma de una utopía escatológica e incluso los proyectos estatales de los eunucos existen, pero no los de Dionisos. ¿Por qué? ¿Y qué puede decir el Dionisos ruso sobre la relación entre el pueblo y el Estado? Y si no puede, ¿por qué permanece mudo?
 Parece que se está escapando algo y no existe una clave para la dialéctica de los principios centrífugos y centrípetos en la historia rusa. ¿Es la huida de Dionisos, perseguido por los Titanes y la huida del campesinado ruso hacia las llanuras rusas, el nomadismo agrario, la huida de los impuestos (tyaglo) estatales, la huida del "Titán, del emperador" de los Viejos Creyentes rusos?
 Notas del autor:
 1. https://history.wikireading.ru/273924
2. Ibíd.
 Notas del traductor:
 1. La palabra demotia (демотии) fue un término introducido por los eurasiáticos rusos, junto con el término de ideocracia, para referirse a la “democracia orgánica”, basada en el pueblo y sus ideas sobre el autogobierno de los municipios, en contra del concepto de democracia como estaba siendo definido en Occidente como representación partidista en los parlamentos.
2. El tyaglo (тя́гло) era un sistema de pago de impuesto de los campesinos que existió en Rusia desde el siglo XV al siglo XVIII.
3. Los volnitzy (во́льница) eran una comunidad de personas que huían de la dureza de la servidumbre y se instalaban en las fronteras del Imperio ruso, por ejemplo, los cosacos eran conocidos por esta práctica.
4. El Zemstvo (Земство) fue una forma de gobierno local instituido durante las grandes reformas liberales realizadas en el Imperio ruso por el zar Alejandro II de Rusia. La idea de este sistema fue desarrollada por Nikolái Miliutin. Las primeras leyes sobre los zemstvos se promulgaron en 1864. Tras la Revolución de octubre de 1917 el sistema de zemstvos fue abolido y sustituido por el de soviets o consejos obreros provinciales.
5. El Josefinismo (Иосифля́не) se refiere a los seguidores de Joseph Volotsky , representantes de la Iglesia y del movimiento político en el Estado ruso, de finales del siglo XV a mediados del siglo XVI, que defendió el derecho de los monasterios a la propiedad de la tierra y la posesión con el fin de llevar a cabo actividades educativas y caritativas de los monasterios. Polemizaron fuertemente con otros grupos y movimientos. Los josefinistas actuaron como ideólogos oficiales de la Iglesia ortodoxa y el gobierno monárquico. La doctrina josefinista se basaba en la justificación teológica del surgimiento del Estado y el origen divino del poder real, así como en la afirmación de la continuidad del Estado ruso, que seguía siendo el único baluarte de la ortodoxia después de la caída de Constantinopla en 1453 . Sobre esta base, los josefinistas exigieron que el Metropolitano de Moscú obtuviera el estatus de patriarcado (esto sucedió solo en 1589).
6. Minin y Pozharsky  fueron los líderes de la Segunda Milicia del Pueblo durante el Tiempo de los Problemas.
7. Fedoseevtsy, también Fedoseyans (Федосеевцы, феодосиевцы) fue un movimiento religioso opositor en la Rusia imperial y una de las muchas denominaciones entre los Bespopovtsy (huidores, corredores). El movimiento de los Fedoseevtsy nació en medio de los Viejos Creyentes (en su mayoría campesinos y gente de la posad, es decir, de los asentamientos rusos fronterizos) en el noroeste de Rusia. Fue fundada por un ex diácono Feodosy Vasilyev (1661-1711). Los Fedoseevtsy estaban disgustados con ciertos grupos dentro de los Bespopovtsy, a saber, los Pomortsy, que habían comenzado divergir de los estrictos principios de los Viejos Creyentes y adoptaron la costumbre de orar por el Zar (моление за царя). Inicialmente, los Fedoseevtsy eran enemigos de la servidumbre en Rusia y observaban un estricto ascetismo, negando la institución del matrimonio. A fines del siglo XVIII, los Fedoseevtsy se centraron en un grupo dirigido por Ilya Kovylin (1731-1809) con su "cuartel general" ruso en el cementerio de Preobrazhenskoye en Moscú. Con el desarrollo de la desigualdad social entre los Fedoseevtsy, su doctrina gradualmente comenzó a perder sus elementos de protesta social. En 1848, adoptaron la costumbre de rezar por el Zar. En la segunda mitad del siglo XIX, un grupo de los llamados "recién casados" (новожёны) se separó del movimiento Fedoseevtsy, reconociendo la institución del matrimonio.
8. Los staretz del Trans-Volga fueron monjes de los monasterios de Belozersky y Vologda que no tenían ningún contacto exterior. A finales del siglo XV y principios del siglo XVI se les conoce como un partido separado de la Iglesia por su acuerdo con puntos de vista humanitarios, educativos y críticas claramente manifestadas en su lucha contra el partido opositor de Joseph Volotsky . Basados en la doctrina evangélica del amor y la limosna, los staretz del Trans-Volga exigieron en el concilio en 1490 y luego en dos epístolas (1504 y 1505), de las cuales la segunda no ha llegado a nosotros (la primera está impresa en la "antigua Vivliofica rusa, parte XVI"), por una actitud humana hacia los herejes (judaizantes): solo rechazada si los herejes persistentes fueran excomulgados, y los que se arrepintieran fueran perdonas por completo. El staretz German incluso argumentó que contra los herejes solo se necesita rezar, no juzgarlos o castigarlos. Esta intercesión, así como algunas otras similitudes entre los judaizantes y los staretz (crítica y denuncia de los vicios del monacato , educación comparativa) llevaron a los staretz a ser juzgados como herejes.
9. La Veche es una asamblea nacional de la Rusia antigua y medieval y de todos los pueblos de origen eslavo , hasta la formación del poder estatal de la sociedad feudal temprana, usada para discutir los asuntos comunes y abordar directamente cuestiones urgentes de la vida social, política y cultural; una de las formas históricas de democracia directa en el territorio de los estados eslavos.
10. Los moril'shchiki (морильщики, inmoladores), sozhigateli (сожигатели, quemadores) y los grobologateli (гробополагатели, hacedores de ataúdes), fueron sectas rusas que predicaban la muerte y el suicidio voluntario como medios para escapar al dominio del Anticristo y las autoridades terrenales corruptas. Los quemadores preparaban en el bosque cabañas grandes y luego ponían paja de los matorrales en ella para quemar todo con la gente adentro. Otra secta igualmente aterradora era la de los inmoladores; los quemadores persuadían a las personas para que practicaran la autoinmolación, y los inmoladores predicaban: ¿de qué sirve permanecer en esta vida? La fe en la tierra se ha ido. Los hacedores de ataúdes enseñaban que lo mejor era construir ataúdes con la madera de los bosques y enterrarse vivos para esperar la Resurrección.
11. Bespopovtsy (Безпоповцы, "sin sacerdotes") son Viejos Creyentes sin sacerdotes que rechazan a los sacerdotes nikonianos. Son una de las dos principales ramas de los Viejos Creyentes. Los Viejos Creyentes se han dividido en muchas ramas: los Pomortsy, los Fedoseyanos, los Filipinos, los Beguny (“huidores”), los Netovtsy / Netovshchina y muchos otros. Algunos rechazan a los sacerdotes y varios ritos de la iglesia, como la Eucaristía, creyendo que cualquier sacerdote o jerarquía que haya usado los ritos nikonianos ha perdido la sucesión apostólica. Otros todavía creen en la existencia de un sacerdocio, pero se encuentran sin sacerdotes. Muchas de estas sectas han recibido históricamente sacerdotes nikonianos que se han arrepentido públicamente de las reformas del Patriarca Nikon.
12. Los Skoptsy (Ско́пцы), eunucos o castrados, también llamados Blancas Palomas, fueron una secta cristiana fundada por Kondraty Selivanov, un campesino del distrito ruso de Oriol, en 1770. Practicaban la castración obligatoria, como medio de asegurar la castidad; para ellos había que escapar del envolvimiento corporal que simboliza el sexo para alcanzar la pureza absoluta. Originalmente la castración era realizada con un hierro candente aplicado a los testículos ("el bautismo del fuego"). Si la operación no lograba destruir totalmente la pasión de la carne, el pene mismo era cortado. A finales del siglo XIX empezaron a permitir que los adeptos tuvieran uno o dos hijos antes de amputarse. Sostenían que Cristo y los primeros cristianos seguían esta práctica. Las mujeres mutilaban sus órganos genitales, se seccionaban los pezones, y los pechos enteros les fueron amputados a veces. Para ellos, el pecado original no consistió en comer la fruta del árbol del conocimiento, sino en las relaciones íntimas entre los sexos. No comían carne por ser ésta fruto del acoplamiento sexual. Sostenían que la pureza era el único modo de restablecer el Reino de Dios y provocar el fin del mundo. Los skoptsy creían que cuando su número llegue a 144 mil, habrá un "Juicio Final", seguido por el triunfo de sus seguidores. El último testamento de Selivanov: “Espera a que la esclavitud se disuelva pronto; espera de hora en hora, como si el Padre misericordioso, salvado vivo, no se abriera de repente contigo”.
13. Las sagas de los Nart  son una serie de cuentos originarios del Cáucaso. Forman la mitología básica de las tribus del área; algunas son simplemente historias, pero otras tienen valor como mitos de creación y la antigua teología. Los abjasos, circasianos, osetas y ubijé tienen versiones de las sagas de Nart.
14. Los dujobori, dujobory o dujobores ('luchadores espirituales', Духоборы) fueron los miembros de un movimiento religioso y social pacifista que existió en Rusia entre los siglos XVIII y XIX, extendiéndose a Canadá en 1898. Los dujobory fueron uno de los varios movimientos religiosos inconformistas que surgieron en el Sur de Rusia. Se llamaban a sí mismos "Pueblo de Dios" o simplemente "los cristianos", para indicar que los miembros de las iglesias no lo eran. Su creencia básica consiste en que el Espíritu divino que se encuentra como una chispa divina en cada persona o ser viviente, es por ello que se hicieron vegetarianos, se negaban a matar cualquier criatura viviente con principios éticos de la no violencia. Rechazan en consecuencia a los sacerdotes, los iconos y los rituales y aunque consideran a la Biblia como la fuente de su fe y a las enseñanzas de Jesucristo como la verdad fundamental y la guía de su vida como embajadores de paz de Dios, creen que la Biblia por sí sola no es suficiente para llegar a la revelación divina y que los conflictos doctrinales en realidad puede interferir con la fe. Consideraron como su objetivo interiorizar el Espíritu viviente de Dios, para que el Espíritu de Dios se revela dentro de cada individuo. ​ "Dujobory" como se les llegó a conocer, significa "luchadores del Espíritu" o "luchadores espirituales".
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LAW # 31 : CONTROL THE OPTIONS: GET OTHERS TO PLAY WITH THE CARDS YOU DEAL
JUDGEMENT
The best deceptions are the ones that seem to give the other person a choice: Your victims feel they are in control, but are actually your puppets. Give people options that come out in your favor whichever one they choose. Force them to make choices between the lesser of two evils, both of which serve your purpose. Put them on the horns of a dilemma: They are gored wherever they turn.
OBSERVANCE OF THE LAW I
From early in his reign, Ivan IV, later known as Ivan the Terrible, had to confront an unpleasant reality: The country desperately needed reform, but he lacked the power to push it through. The greatest limit to his authority came from the boyars, the Russian princely class that dominated the country and terrorized the peasantry.
In 1553, at the age of twenty-three, Ivan fell ill. Lying in bed, nearing death, he asked the boyars to swear allegiance to his son as the new czar. Some hesitated, some even refused. Then and there Ivan saw he had no power over the boyars. He recovered from his illness, but he never forgot the lesson: The boyars were out to destroy him. And indeed in the years to come, many of the most powerful of them defected to Russia’s main enemies, Poland and Lithuania, where they plotted their return and the overthrow of the czar. Even one of Ivan’s closest friends, Prince Andrey Kurbski, suddenly turned against him, defecting to Lithuania in 1564, and becoming the strongest of Ivan’s enemies.
When Kurbski began raising troops for an invasion, the royal dynasty seemed suddenly more precarious than ever. With émigré nobles fomenting invasion from the west, Tartars bearing down from the east, and the boyars stirring up trouble within the country, Russia’s vast size made it a nightmare to defend. In whatever direction Ivan struck, he would leave himself vulnerable on the other side. Only if he had absolute power could he deal with this many-headed Hydra. And he had no such power.
Ivan brooded until the morning of December 3, 1564, when the citizens of Moscow awoke to a strange sight. Hundreds of sleds filled the square before the Kremlin, loaded with the czar’s treasures and with provisions for the entire court. They watched in disbelief as the czar and his court boarded the sleds and left town. Without explaining why, he established himself in a village south of Moscow. For an entire month a kind of terror gripped the capital, for the Muscovites feared that Ivan had abandoned them to the bloodthirsty boyars. Shops closed up and riotous mobs gathered daily. Finally, on January 3 of 1565, a letter arrived from the czar, explaining that he could no longer bear the boyars’ betrayals and had decided to abdicate once and for all.
The German Chancellor Bismarck, enraged at the constant criticisms from Rudolf Virchow (the German pathologist and liberal politician), had his seconds call upon the scientist to challenge him to a duel. “As the challenged party, I have the choice of weapons,” said Virchow, “and I choose these.” He held aloft two large and apparently identical sausages. “One of these,” he went on, “is infected with deadly germs; the orher is perfectly sound. Let His Excellency decide which one he wishes to eat, and I will eat the other.” Almost immediately the message came back that the chancellor had decided to cancel the duel.
THE LITTLE. BROWN BOOK OF ANECDOTES. CLIFTON FADIMAN, FD., 1985
Read aloud in public, the letter had a startling effect: Merchants and commoners blamed the boyars for Ivan’s decision, and took to the streets, terrifying the nobility with their fury. Soon a group of delegates representing the church, the princes, and the people made the journey to Ivan’s village, and begged the czar, in the name of the holy land of Russia, to return to the throne. Ivan listened but would not change his mind. After days of hearing their pleas, however, he offered his subjects a choice: Either they grant him absolute powers to govern as he pleased, with no interference from the boyars, or they find a new leader.
Faced with a choice between civil war and the acceptance of despotic power, almost every sector of Russian society “opted” for a strong czar, calling for Ivan’s return to Moscow and the restoration of law and order. In February, with much celebration, Ivan returned to Moscow. The Russians could no longer complain if he behaved dictatorially—they had given him this power themselves.
Interpretation
Ivan the Terrible faced a terrible dilemma: To give in to the boyars would lead to certain destruction, but civil war would bring a different kind of ruin. Even if Ivan came out of such a war on top, the country would be devastated and its divisions would be stronger than ever. His weapon of choice in the past had been to make a bold, offensive move. Now, however, that kind of move would turn against him—the more boldly he confronted his enemies, the worse the reactions he would spark.
The main weakness of a show of force is that it stirs up resentment and eventually leads to a response that eats at your authority. Ivan, immensely creative in the use of power, saw clearly that the only path to the kind of victory he wanted was a false withdrawal. He would not force the country over to his position, he would give it “options”: either his abdication, and certain anarchy, or his accession to absolute power. To back up his move, he made it clear that he preferred to abdicate: “Call my bluff,” he said, “and watch what happens.” No one called his bluff. By withdrawing for just a month, he showed the country a glimpse of the nightmares that would follow his abdication—Tartar invasions, civil war, ruin. (All of these did eventually come to pass after Ivan’s death, in the infamous “Time of the Troubles.”)
Withdrawal and disappearance are classic ways of controlling the options. You give people a sense of how things will fall apart without you, and you offer them a “choice”: I stay away and you suffer the consequences, or I return under circumstances that I dictate. In this method of controlling people’s options, they choose the option that gives you power because the alternative is just too unpleasant. You force their hand, but indirectly: They seem to have a choice. Whenever people feel they have a choice, they walk into your trap that much more easily.
THE LIAR
Once upon a time there was a king of Armenia, who, being of a curious turn of mind and in need of some new diversion, sent his heralds throughout the land to make the following proclamation: “Hear this! Whatever man among you can prove himself the most outrageous liar in Armenia shall receive an apple made of pure gold from the hands of His Majesty the King!” People began to swarm to the palace from every town and hamlet in the country, people of all ranks and conditions, princes, merchants, farmers, priests, rich and poor, tall and short, fat and thin. There was no lack of liars in the land, and each one told his tale to the king. A ruler, however, has heard practically every sort of lie, and none of those now told him convinced the king that he had listened to the best of them. The king was beginning to grow tired of his new sport and was thinking of calling the whole contest off without declaring a winner, when there appeared before him a poor, ragged man, carrying a large earthenware pitcher under his arm. “What can I do for you?” asked His Majesty. “Sire!” said the poor man, slightly bewildered “Surely you remember? You owe me a pot of gold, and I have come to collect it.” “You are a pet feet liar, sir!’ exclaimed the king ”I owe you no money’” ”A perfect liar, am I?” said the poor man. ”Then give me the golden apple!” The king, realizing that the man was Irving to trick him. started to hedge. ”No. no! You are not a liar!” ”Then give me the pot of gold you owe me. sire.” said the man. The king saw the dilemma, He handed over the golden apple.
ARMENIAN FOLK-IALES AND FABLES. REIOLD BY CAHARLES DOWNING. 1993
OBSERVANCE OF THE LAW II
As a seventeenth-century French courtesan, Ninon de Lenclos found that her life had certain pleasures. Her lovers came from royalty and aristocracy, and they paid her well, entertained her with their wit and intellect, satisfied her rather demanding sensual needs, and treated her almost as an equal. Such a life was infinitely preferable to marriage. In 1643, however, Ninon’s mother died suddenly, leaving her, at the age of twenty-three, totally alone in the world—no family, no dowry, nothing to fall back upon. A kind of panic overtook her and she entered a convent, turning her back on her illustrious lovers. A year later she left the convent and moved to Lyons. When she finally reappeared in Paris, in 1648, lovers and suitors flocked to her door in greater numbers than ever before, for she was the wittiest and most spirited courtesan of the time and her presence had been greatly missed.
Ninon’s followers quickly discovered, however, that she had changed her old way of doing things, and had set up a new system of options. The dukes, seigneurs, and princes who wanted to pay for her services could continue to do so, but they were no longer in control—she would sleep with them when she wanted, according to her whim. All their money bought them was a possibility. If it was her pleasure to sleep with them only once a month, so be it.
Those who did not want to be what Ninon called a payeur could join the large and growing group of men she called her martyrs—men who visited her apartment principally for her friendship, her biting wit, her lute-playing, and the company of the most vibrant minds of the period, including Molière, La Rochefoucauld, and Saint-Évremond. The martyrs, too, however, entertained a possibility: She would regularly select from them a favori, a man who would become her lover without having to pay, and to whom she would abandon herself completely for as long as she so desired—a week, a few months, rarely longer. A payeur could not become a favori, but a martyr had no guarantee of becoming one, and indeed could remain disappointed for an entire lifetime. The poet Charleval, for example, never enjoyed Ninon’s favors, but never stopped coming to visit—he did not want to do without her company.
As word of this system reached polite French society, Ninon became the object of intense hostility. Her reversal of the position of the courtesan scandalized the queen mother and her court. Much to their horror, however, it did not discourage her male suitors—indeed it only increased their numbers and intensified their desire. It became an honor to be a payeur, helping Ninon to maintain her lifestyle and her glittering salon, accompanying her sometimes to the theater, and sleeping with her when she chose. Even more distinguished were the martyrs, enjoying her company without paying for it and maintaining the hope, however remote, of some day becoming her favori. That possibility spurred on many a young nobleman, as word spread that none among the courtesans could surpass Ninon in the art of love. And so the married and the single, the old and the young, entered her web and chose one of the two options presented to them, both of which amply satisfied her.
Interpretation
The life of the courtesan entailed the possibility of a power that was denied a married woman, but it also had obvious perils. The man who paid for the courtesan’s services in essence owned her, determining when he could possess her and when, later on, he would abandon her. As she grew older, her options narrowed, as fewer men chose her. To avoid a life of poverty she had to amass her fortune while she was young. The courtesan’s legendary greed, then, reflected a practical necessity, yet also lessened her allure, since the illusion of being desired is important to men, who are often alienated if their partner is too interested in their money. As the courtesan aged, then, she faced a most difficult fate.
Ninon de Lenclos had a horror of any kind of dependence. She early on tasted a kind of equality with her lovers, and she would not settle into a system that left her such distasteful options. Strangely enough, the system she devised in its place seemed to satisfy her suitors as much as it did her. The payeurs may have had to pay, but the fact that Ninon would only sleep with them when she wanted to gave them a thrill unavailable with every other courtesan: She was yielding out of her own desire. The martyrs’ avoidance of the taint of having to pay gave them a sense of superiority; as members of Ninon’s fraternity of admirers, they also might some day experience the ultimate pleasure of being her favori. Finally, Ninon did not force her suitors into either category. They could “choose” which side they preferred—a freedom that left them a vestige of masculine pride.
Such is the power of giving people a choice, or rather the illusion of one, for they are playing with cards you have dealt them. Where the alternatives set up by Ivan the Terrible involved a certain risk—one option would have led to his losing his power—Ninon created a situation in which every option redounded to her favor. From the payeurs she received the money she needed to run her salon. And from the martyrs she gained the ultimate in power: She could surround herself with a bevy of admirers, a harem from which to choose her lovers.
The system, though, depended on one critical factor: the possibility, however remote, that a martyr could become a favori. The illusion that riches, glory, or sensual satisfaction may someday fall into your victim’s lap is an irresistible carrot to include in your list of choices. That hope, however slim, will make men accept the most ridiculous situations, because it leaves them the all-important option of a dream. The illusion of choice, married to the possibility of future good fortune, will lure the most stubborn sucker into your glittering web.
J. P. Morgan Sr. once told a jeweler of his acquaintance that he was interested in buying a pearl scarf-pin. Just a few weeks later, the jeweler happened upon a magnificent pearl. He had it mounted in an appropriate setting and sent it to Morgan, together with a bill for $5,000. The following day the package was returned. Morgan’s accompanying note read: “I like the pin, but I don’t like the price. If you will accept the enclosed check for $4,000, please send back the box with the seal unbroken.” The enraged jeweler refused the check and dismissed the messenger in disgust. He opened up the box to reclaim the unwanted pin, only to find that it had been removed. In its place was a check for $5,000.
THE LITTLE, BROWN BOOK OF ANECDOTES. CLIFTON FADIMAN, ED.. 1985
KEYS TO POWER
Words like “freedom,” “options,” and “choice” evoke a power of possibility far beyond the reality of the benefits they entail. When examined closely, the choices we have—in the marketplace, in elections, in our jobs—tend to have noticeable limitations: They are often a matter of a choice simply between A and B, with the rest of the alphabet out of the picture. Yet as long as the faintest mirage of choice flickers on, we rarely focus on the missing options. We “choose” to believe that the game is fair, and that we have our freedom. We prefer not to think too much about the depth of our liberty to choose.
This unwillingness to probe the smallness of our choices stems from the fact that too much freedom creates a kind of anxiety. The phrase “unlimited options” sounds infinitely promising, but unlimited options would actually paralyze us and cloud our ability to choose. Our limited range of choices comforts us.
This supplies the clever and cunning with enormous opportunities for deception. For people who are choosing between alternatives find it hard to believe they are being manipulated or deceived; they cannot see that you are allowing them a small amount of free will in exchange for a much more powerful imposition of your own will. Setting up a narrow range of choices, then, should always be a part of your deceptions. There is a saying: If you can get the bird to walk into the cage on its own, it will sing that much more prettily.
The following are among the most common forms of “controlling the options”: 
Color the Choices. This was a favored technique of Henry Kissinger. As President Richard Nixon’s secretary of state, Kissinger considered himself better informed than his boss, and believed that in most situations he could make the best decision on his own. But if he tried to determine policy, he would offend or perhaps enrage a notoriously insecure man. So Kissinger would propose three or four choices of action for each situation, and would present them in such a way that the one he preferred always seemed the best solution compared to the others. Time after time, Nixon fell for the bait, never suspecting that he was moving where Kissinger pushed him. This is an excellent device to use on the insecure master.
Force the Resister. One of the main problems faced by Dr. Milton H. Erickson, a pioneer of hypnosis therapy in the 1950s, was the relapse. His patients might seem to be recovering rapidly, but their apparent susceptibility to the therapy masked a deep resistance: They would soon relapse into old habits, blame the doctor, and stop coming to see him. To avoid this, Erickson began ordering some patients to have a relapse, to make themselves feel as bad as when they first came in—to go back to square one. Faced with this option, the patients would usually “choose” to avoid the relapse—which, of course, was what Erickson really wanted.
This is a good technique to use on children and other willful people who enjoy doing the opposite of what you ask them to: Push them to “choose” what you want them to do by appearing to advocate the opposite.
Alter the Playing Field. In the 1860s, John D. Rockefeller set out to create an oil monopoly. If he tried to buy up the smaller oil companies they would figure out what he was doing and fight back. Instead, he began secretly buying up the railway companies that transported the oil. When he then attempted to take over a particular company, and met with resistance, he reminded them of their dependence on the rails. Refusing them shipping, or simply raising their fees, could ruin their business. Rockefeller altered the playing field so that the only options the small oil producers had were the ones he gave them.
In this tactic your opponents know their hand is being forced, but it doesn’t matter. The technique is effective against those who resist at all costs.
The Shrinking Options. The late-nineteenth-century art dealer Ambroise Vollard perfected this technique.
Customers would come to Vollard’s shop to see some Cézannes. He would show three paintings, neglect to mention a price, and pretend to doze off. The visitors would have to leave without deciding. They would usually come back the next day to see the paintings again, but this time Vollard would pull out less interesting works, pretending he thought they were the same ones. The baffled customers would look at the new offerings, leave to think them over, and return yet again. Once again the same thing would happen: Vollard would show paintings of lesser quality still. Finally the buyers would realize they had better grab what he was showing them, because tomorrow they would have to settle for something worse, perhaps at even higher prices.
A variation on this technique is to raise the price every time the buyer hesitates and another day goes by. This is an excellent negotiating ploy to use on the chronically indecisive, who will fall for the idea that they are getting a better deal today than if they wait till tomorrow.
The Weak Man on the Precipice. The weak are the easiest to maneuver by controlling their options. Cardinal de Retz, the great seventeenth-century provocateur, served as an unofficial assistant to the Duke of Orléans, who was notoriously indecisive. It was a constant struggle to convince the duke to take action—he would hem and haw, weigh the options, and wait till the last moment, giving everyone around him an ulcer. But Retz discovered a way to handle him: He would describe all sorts of dangers, exaggerating them as much as possible, until the duke saw a yawning abyss in every direction except one: the one Retz was pushing him to take.
This tactic is similar to “Color the Choices,” but with the weak you have to be more aggressive. Work on their emotions—use fear and terror to propel them into action. Try reason and they will always find a way to procrastinate.
Brothers in Crime. This is a classic con-artist technique: You attract your victims to some criminal scheme, creating a bond of blood and guilt between you. They participate in your deception, commit a crime (or think they do—see the story of Sam Geezil in Law 3), and are easily manipulated. Serge Stavisky, the great French con artist of the 1920s, so entangled the government in his scams and swindles that the state did not dare to prosecute him, and “chose” to leave him alone. It is often wise to implicate in your deceptions the very person who can do you the most harm if you fail. Their involvement can be subtle—even a hint of their involvement will narrow their options and buy their silence.
The Horns of a Dilemma. This idea was demonstrated by General William Sherman’s infamous march through Georgia during the American Civil War. Although the Confederates knew what direction Sherman was heading in, they never knew if he would attack from the left or the right, for he divided his army into two wings—and if the rebels retreated from one wing they found themselves facing the other. This is a classic trial lawyer’s technique: The lawyer leads the witnesses to decide between two possible explanations of an event, both of which poke a hole in their story. They have to answer the lawyer’s questions, but whatever they say they hurt themselves. The key to this move is to strike quickly: Deny the victim the time to think of an escape. As they wriggle between the horns of the dilemma, they dig their own grave.
Understand: In your struggles with your rivals, it will often be necessary for you to hurt them. And if you are clearly the agent of their punishment, expect a counterattack—expect revenge. If, however, they seem to themselves to be the agents of their own misfortune, they will submit quietly. When Ivan left Moscow for his rural village, the citizens asking him to return agreed to his demand for absolute power. Over the years to come, they resented him less for the terror he unleashed on the country, because, after all, they had granted him his power themselves. This is why it is always good to allow your victims their choice of poison, and to cloak your involvement in providing it to them as far as possible.
Image: The Horns of the Bull. The bull backs you into the corner with its horns—not a single horn, which you might be e able to escape, but a pair of horns that trap you within their hold. Run right or run left—either way you move into their piercing ends and are gored.
Authority: For the wounds and every other evil that men inflict upon themselves spontaneously, and of their own choice, are in the long run less painful than those inflicted by others. (Niccolò Machiavelli, 1469-1527)
REVERSAL
Controlling the options has one main purpose: to disguise yourself as the agent of power and punishment. The tactic works best, then, for those whose power is fragile, and who cannot operate too openly without incurring suspicion, resentment, and anger. Even as a general rule, however, it is rarely wise to be seen as exerting power directly and forcefully, no matter how secure or strong you are. It is usually more elegant and more effective to give people the illusion of choice.
On the other hand, by limiting other people’s options you sometimes limit your own. There are situations in which it is to your advantage to allow your rivals a large degree of freedom: As you watch them operate, you give yourself rich opportunities to spy, gather information, and plan your deceptions. The nineteenth-century banker James Rothschild liked this method: He felt that if he tried to control his opponents’ movements, he lost the chance to observe their strategy and plan a more effective course. The more freedom he allowed them in the short term, the more forcefully he could act against them in the long run.
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siumerghe · 7 years
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Sergei Eisenstein’s “Ivan the Terrible”: Part I vs Part II
Even though Part III wasn't finished (and what had been filmed was destroyed), Part I and II still form a rounded, coherent narrative, with a lot of parallel scenes. Part I features victorious war with enemies outside the country borders. Part II is about dealing with enemies within: within the country, within the family - and about demons lurking in every human soul.
Part I places Ivan upon a pedestal. Part II presents a brutal deconstruction of everything built up in Part I. The leitmotif of Part II is inversion, masquerade, chaotic carnival: mock wedding feast, mock coronation, mock tsar... Carnival is a reversal ritual, in which social roles are reversed and norms about desired behavior are suspended.
Part I begins in the cathedral, with a close-up shot of the crown. By the end of Part II we see the same crown in the same cathedral, now cradled by a grieving mother. Joyous, smiling, brightly dressed people at the beginning - and the silent, ominous Oprichniki with their faces hidden under black cowls in the end. Two mothers, fighting for the sake of their children - Anastasia and Efrosinia...
Both parts include the coronation scenes:
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Both parts feature a murder: Anastasia and Vladimir. And in both cases the victim is inadvertently killed by the one who loves them the most: Ivan gives poison to Anastasia, Vladimir is stabbed by the assassin sent by his mother.
(Initially I wrote here that "both parts feature a murder of an innocent", but in fact there are no truly innocent people in the world of Ivan the Terrible, no black and white, only shades of grey. The characters are not cardboard cutouts, but humans, with their own shortcomings: 
Anastasia encourages Ivan to deal with the boyar by heating his anger against them - so much that they believe that removing her would be enough to change the tsar's politics. During Ivan's illness Anastasia is not above exploiting Andrei Kurbsky’s feelings, if it can help to win over Efrosinia, secure Andrei's loyalty and establish Ivan’s son as the next tsar.
Vladimir's sole motivation is sloth. He doesn't sin much not due to his inherent goodness but because sinning is too much of a bother. Vladimir is against sending Pyotr as an assassin to Ivan - but only because he can't bear to see Pyotr’s face afterwards. Efrosinia consoles him by saying that they'll execute Pyotr as a scapegoat after the deed is done - and Vladimir is totally fine with that.)
Anastasia smiles at white swans in Part I - Vladimir reacts to black swans with the same childish amusement:
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Both parts include the banquet scenes: the marriage celebration in Part I, the Oprichniki feast in Part II. White swans with silver crowns vs black swans with golden crowns, the festive hymn for the newlywed vs Fyodor's song about murder. The lyrics of these songs echo each other: "Open the gates, greet the newlywed..." vs "Hack the gates with axes, chop the boyars' heads off..."
Fyodor sings about breaking into a boyar mansion, slaughtering everyone, taking the valuables and burning down the place. The film doesn't include any gruesome scenes of bloodshed or tortures, but this song is enough to demonstrate how trivial the violence is for the Oprichniki: mass murder is treated as a casual and amusing activity.
During the wedding feast Anastasia wears pearl temple pendants. In Part II these pendants are tellingly attached to Fyodor’s mask, hinting at him replacing Anastasia: holy union blessed by church vs unholy, "unnatural" union with Fyodor.
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However, it's Vladimir who takes the bride's place at the feast in Part II. Both Alexei and Fyodor are shown jealous to the attention Vladimir receives. Alexei's outburst sets the ground for the future conflict in Part III and foreshadows Alexei's downfall: he doesn't understand Ivan as Malyuta does, and he isn't trusted as Fyodor. Alexei attempts to impose his will on the tsar, just as boyars did; he wants more power for himself. Fyodor's jealousy is triggered by Ivan's words "No one loves me...". He stops dancing and removes the mask, and Ivan reassures him with a glance.
The tsar and his accomplices display almost supernatural understanding, akin to a hive-mind: after Fyodor notices the would-be assassin, Ivan immediately realizes what’s going on, and he doesn't need words or gestures to give Malyuta the order to act. This whole sequence is played as if they are communicating by means of telepathy.
The Oprichinki feast is filmed in color. The high-contrast red lighting makes this scene surreal as if the action takes place in hell. It is during this episode that Ivan wholly assumes the role of devil, displaying almost supernatural ability to manipulate his followers and enemies alike. The feast reminds a witches' sabbath, a devilish hallucination. This impression is strengthened when the colorful sequence is interrupted by a brief black-and-white scene with Pyotr waiting inside the church: as if Vladimir for a moment has managed to shake off the hypnosis or to awaken from a nightmare.
The Oprichniki in the finale represent the realm Ivan is building: dark, voiceless, faceless, featureless:
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At the same time, this scene also shows Ivan’s loneliness, an absolute solitude of an autocrat ruler. There are no people anymore near Ivan since the Oprichniki are nothing but the tsar’s shadows. Instead of feeling safe, Ivan only sinks deeper into despairing isolation.
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ellicler · 11 years
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pretty accurate
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siumerghe · 7 years
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Sergei Eisenstein’s “Ivan the Terrible”: chess
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Chess pieces on the board, black and white world of European intrigues and political games. After fleeing Russia, Andrei Kurbsky makes himself yet another piece on this board.
This is a generalized image of Europe, and the throne room is deliberately constructed like a theatrical decoration. Polish king Sigismund II Augustus looks more like effeminate Henry III of France. The group of ladies resembles dowager queen Catherine de' Medici with her female retinue.
Chess motif as a symbol of European politics appears also when Ivan instructs his ambassador before sending him to England: he should present a set of chess pieces to queen Elizabeth I:
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