Nikolay Karamzin in the context of "Simbirsk"

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⭐ Core Definition: Nikolay Karamzin

Nikolay Mikhailovich Karamzin (12 December [O.S. 1 December] 1766 – 3 June [O.S. 22 May] 1826) was a Russian historian, writer, poet and critic. He is best remembered for his fundamental History of the Russian State, a 12-volume national history.
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👉 Nikolay Karamzin in the context of Simbirsk

Ulyanovsk, known as Simbirsk until 1924, is a city and the administrative center of Ulyanovsk Oblast, Russia, located on the Volga River 705 kilometers (438 mi) east of Moscow. Ulyanovsk has been the only Russian UNESCO City of Literature since 2015.

The city was the birthplace of Vladimir Lenin (born Ulyanov), for whom it was renamed after his death in 1924; and of Alexander Kerensky, the leader of the Russian Provisional Government which Lenin overthrew during the October Revolution of 1917. It is also famous for its writers such as Ivan Goncharov, Nikolay Yazykov and Nikolay Karamzin, and for painters such as Arkady Plastov and Nikas Safronov.

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Nikolay Karamzin in the context of Poor Folk

Poor Folk (Russian: Бедные люди, Bednye lyudi), sometimes translated as Poor People, is the first novel by Fyodor Dostoevsky, written over the span of nine months between 1844 and 1845. Dostoevsky was in financial difficulty because of his extravagant lifestyle and his developing gambling addiction; although he had produced some translations of foreign novels, they had little success, and he decided to write a novel of his own to try to raise funds.

Inspired by the works of Gogol, Pushkin and Karamzin, as well as English and French authors, Poor Folk is written in the form of letters between the two main characters, Makar Devushkin and Varvara Dobroselova, who are poor third cousins twice removed. The novel showcases the life of poor people, their relationship with rich people, and poverty in general, all common themes of literary naturalism. A deep but odd friendship develops between them until Dobroselova loses her interest in literature, and later in communicating with Devushkin after a rich widower Mr. Bykov proposes to her. Devushkin, a prototype of the clerk found in many works of naturalistic literature at that time, retains his sentimental characteristics; Dobroselova abandons art, while Devushkin cannot live without literature.

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Nikolay Karamzin in the context of Mikhail Pogodin

Mikhail Petrovich Pogodin (Russian: Михаи́л Петро́вич Пого́дин; 23 November [O.S. 11 November] 1800 – 20 December [O.S. 8 December] 1875) was a Russian historian and journalist who, jointly with Nikolay Ustryalov, dominated the national historiography between the death of Nikolay Karamzin in 1826 and the rise of Sergey Solovyov in the 1850s. He is best remembered as a staunch proponent of the Normanist theory of Russian statehood.

Pogodin's father was a serf housekeeper of Count Stroganov, and the latter ensured Mikhail's education at Moscow University. As the story goes, Pogodin the student lived from hand to mouth, because he spent his whole stipend on purchasing new volumes of Karamzin's history of Russia.

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Nikolay Karamzin in the context of Boris Godunov (opera)

Boris Godunov (Russian: Борис Годунов, romanized: Borís Godunóv listen) is an opera by Modest Mussorgsky (1839–1881). The work was composed between 1868 and 1873 in Saint Petersburg, Russia. It is Mussorgsky's only completed opera and is considered his masterpiece. Its subjects are the Russian ruler Boris Godunov, who reigned as Tsar (1598 to 1605) during the Time of Troubles, and his nemesis, the False Dmitriy (reigned 1605 to 1606). The Russian-language libretto was written by the composer, and is based on the 1825 drama Boris Godunov by Aleksandr Pushkin, and, in the Revised Version of 1872, on Nikolay Karamzin's History of the Russian State.

Among major operas, Boris Godunov shares with Giuseppe Verdi's Don Carlos (1867) the distinction of having an extremely complex creative history, as well as a great wealth of alternative material. The composer created two versions—the Original Version of 1869, which was rejected for production by the Imperial Theatres, and the Revised Version of 1872, which received its first performance in 1874 in Saint Petersburg.

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