This article is from a series by the invaluable William Brumfield, (Wikipedia), Professor of Slavic Studies at Tulane University, New Orleans, USA.
Brumfield is the world’s leading historian of Russian architecture. He makes frequent trips to Russia, often to her remote regions, and records the most unusual examples of surviving architecture with detailed, professional photography.
His most recent book is a real treasure, Architecture At The End Of The Earth, Photographing The Russian North (2015). (Amazon). This truly beautiful book was made possible by the support of a US philanthropist, and its true cost is 3 times its retail price, and we can’t recommend it highly enough. Here is our 2015 review of it.
Bravo to RBTH for making Brumfield’s work possible, and providing such a great platform for his beautiful photography. We recommend visiting the RBTH page, which has a slide show for each article with many more pictures than we can fit in here.
Don’t believe in miracles? Well, we can assure you, Brumfield’s work is undoubtedly just that. You can find a complete list of his articles on RI here.
The original headline for this article was: St. Avraam Gorodetsky Monastery: Picturesque site with ties to Lermontov
On the way to Soligalich in the northern part of Kostroma Region lies one of Russia’s most picturesque monasteries, located on a steep bluff overlooking the deep blue Lake Chukhloma. The monastery is dedicated both to the Intercession of the Virgin and to its founder, St. Avraamy of Gorodets. Also known as Avraamy of Galich and Avraamy of Chukhloma, this venerable sage led a monastic existence for much of the 14th century until his death in July 1375.
Avraamy was tonsured at the Nizhny Novgorod Cave Monastery, but he soon moved to the renowned Trinity Monastery to the north of Moscow. Like other Russian monastic pioneers in the 14th century, Avraamy was a disciple of St. Sergius of Radonezh (1322?-1392), founder of the Trinity Monastery and the avatar of Muscovite monasticism.
At some point in the middle of the century, Sergius gave his blessing to Avraamy’s departure for the Galich principality, far to the northeast of Moscow. In the area of Lake Galich and its nearby town, Avraamy established three monasteries, all of which would be reduced to simple parishes during the monastic reforms of Catherine the Great.
Seeking greater isolation, Avraamy moved to the north shore of Lake Chukhloma, where he built a log chapel at the water’s edge. As other monks asked to join him, Avraamy gave his blessing to a community to be established on the bluff above his hermitag and a wooden church dedicated to the Intercession of the Virgin was built there. Sensing his impending death in the summer of 1375, Avraamy moved a short distance from the monastic community and passed away. His remains were interred at the Intercession Church.
During the 15th century, the monastery received donations from the region’s nobility, and from the princes of Galich and Moscow. Much of its income came from salt refining derived from the area’s many brine pools. Grand Prince Ivan III (the Great) also gave the monastery exclusive fishing rights in the late 15th century.
By 1553, Avraamy was locally venerated at what had become known as the Intercession-Avraamy Gorodetsky Monastery. (The Russian Orthodox Church has a system of locally venerated saints in addition to those whose sainthood is venerated throughout the Church.) In 1981, his sainthood was acknowledged by the church as a whole.
As was usual in Russia, the Gorodetsky Monastery for the first centuries of its existence was built entirely of wood. The monastery’s original masonry structure, the modest Church (Cathedral) of the Intercession, was begun in 1607 and consecrated in 1632. It is one of the few churches initiated during the brief reign (1606-1610) of Tsar Vasily Shuisky, who had the misfortune to rule during the dynastic crisis known as the Time of Troubles and died in 1612 as a prisoner of Polish King Sigismund III Vasa.
The Intercession Cathedral also contained a chapel dedicated to the Prophet Elijah, as well as the remains of the venerable Avraamy. Vandalized during the Soviet period, the church itself survived, and its interior has been sensitively restored both with wall paintings and with a new icon screen.
By the mid 17th century, the monastery gained another brick church, dedicated to St. Nicholas and built over the Holy Gates, or main entrance, on the west side of the monastic compound. This church, with an additional altar to St. Paraskeva-Pyatnitsa, has also been restored.
During the reign of Catherine the Great, the Avraamy Gorodetsky Monastery was stripped of its landholdings, but continued to survive on local donations. In the 19th century, it further benefited from the large trading fairs (the Avraamy Fairs) that were held near the monastery several times each year.
Indeed, the monastery’s regional prominence and favored location led to a surge of construction in the latter half of the 19th century. The first phase began in 1857 with the dismantling of the Chapel of the Prophet Elijah attached to the north wall of the Intercession Cathedral. In its place, a large cathedral dedicated to the locally revered Tenderness Icon of the Virgin was built during the decade from 1857 to 1867. Fortunately, the 17th-century Intercession Cathedral was preserved, and the two structures were connected by a passage.
The design of the new cathedral followed the Russo-Byzantine style developed by the prominent architect Constatine Thon, author of the original Cathedral of Christ the Savior in Moscow. The structure, crowned with four large cupolas, has extensive paintings on its white facade. The interior is well illuminated and has a new icon screen.
After the completion of the Tenderness Icon Cathedral, work began in the 1870s on a grand four-tiered bell tower over the North Gate. Together with new cloisters, the 19th-century buildings transformed the monastery’s appearance.
Following the Russian revolution, the monastery was subject to harassment throughout the 1920s and closed in 1929. During the Soviet period, the buildings were used for various purposes, including as a village school, but vandalism and lack of maintenance took their toll. The monastery walls and part of the St.Nicholas Gate Church were dismantled for brick by local villagers. An attempt to conserve the monastery in the early 1970s had only limited effect. Under these circumstances, it is something of a miracle that the historic structures were preserved at all.
A sustained revival of the Avraamy Gorodetsky Monastery began in 1990, and in 1991, the first liturgy was held. Since then, the monastery has regained its active status and attracts numerous pilgrims. Its three churches have been beautifully restored and the cloisters refurbished. Parts of the monastery cemetery, which was desecrated during the Soviet period, have also been reclaimed.
One of the most interesting discoveries in the cemetery is a wooden chapel consecrated in 1997 to honor the 400thanniversary of the birth of George Learmonth, a Scottish mercenary who entered the service of Polish King Sigismund III Vasa during the Polish-Muscovite War (1609-1618). Captured by Prince Dmitry Pozharsky at the siege of the Bely Fortress in 1613, George Learmonth decided to enter Russian service, and after years of loyalty, was granted land in the Chukhloma area. Killed in battle against Polish forces in 1633, he was buried at the Avraamy Gorodetsky Monastery.
George Learmonth’s most famous descendant was one of Russia’s greatest writers, Mikhail Lermontov (1814-1841). There is no evidence that the young poetic genius and author of the psychological masterpiece A Hero of Our Time (1838-1840) visited the monastery, yet its connection to his courageous Scottish forefather is now commemorated.
Thanks to the efforts of the “Lermontov Heritage” Association (which includes Lermontov family descendants in the United States) as well as the support of the Diocese of Kostroma and Galich, a chapel-monument to the Lermontovs now stands on the sacred territory of the Intercession-Avraamy Gorodetsky Monastery.
Rule number one of ‘Fight Club’ in China: The police always win | USA
The first rule of Fight Club in China is that the police always beat the criminals. The second rule is that buildings are not demolished. And the third is that if the ending is considered unsuitable, change it.
David Fincher’s 1999 cult film, which was shown just once in Chinese theaters during an edition of the Shanghai Film Festival, is now available on tech giant Tencent’s streaming services in China. But with a different outcome. Warning this article contains spoilers.
In the original, the narrator, played by Edward Norton, has just “killed” his imaginary alter ego, Tyler Durden, played by Brad Pitt, and watches the explosion of several nearby buildings with his girlfriend Maria, played by Helena Bonham-Carter. The anarchist revolution advocated by Durden is underway.
In Tencent’s version, on the other hand, there are no explosions and no scenes of Tyler and Maria holding hands as they watch the destruction. Instead, the screen turns black and writing appears, explaining that the police “arrested all the criminals, successfully preventing the bomb from exploding.” According to this alternative ending, Durden is sent to a psychiatric hospital, from which he is released in 2012. Screenshots of the new ending went viral last weekend in China, with comments mocking the changes. Although the film was shown just briefly in movie theaters, many fans have been able to watch pirated versions of the original over the past two decades, and considered the ending one of the film’s fortes.
“When a director comes to present his film in China, people will ask: director, why is your film so avant-garde that it completely dispenses with audiovisual language, ending it instead with just a poster and a story about respecting the law? Is it a satire on censorship in your country? And the director will answer: What? I filmed that?” wrote one user of Weibo, the Chinese version of Twitter. “Probably everyone in Ocean’s Eleven would also get arrested. And the whole Godfather family, too,” scoffed another. “But the ending was great! A bunch of foreigners in a terrible situation setting off terrorist bombs – a perfect scene to encourage [Chinese] nationalism,” joked another.
It is unclear whether it was Tencent or the film’s original producers who made the changes. On the Chinese movie review platform Douban, the original film is rated nine out of 10 and has 744,000 comments.
China currently has a flourishing movie market, one in which just over 30 foreign films are released on the big screen each year. In fact, it overtook the US market for the first time in 2020, due in part to a quicker recovery from the pandemic. And, according to research portal researchandmarkets.com, it is expected to gross $16.5 billion by 2026, annual growth of 30.1%, with respect to the $3.4 billion in 2020.
Within this market, Fight Club is not the only Hollywood movie to be changed. In 2019, scenes from Bohemian Rhapsody that alluded to Freddie Mercury’s homosexuality were carefully cut out in the Chinese version. While same-sex relationships are not illegal in the world’s second-largest economy, it is considered a sensitive issue and scenes portraying it are often, but not always, removed. Theoretically, they have been banned on television and also on streaming platforms since 2017.
Lord of War (2005) endured a similar fate to that of Fight Club. In its original version, the main character, an arms dealer played by Nicholas Cage, manages to escape prison and resume business. The film alludes to the fact that the five permanent members of the UN Security Council – the US, the United Kingdom, France, Russia and China – are the planet’s main arms dealers. But the version for the Chinese market, which is half an hour shorter than the international version, removes the original ending and replaces it with a text stating that the Cage “confessed to all the crimes of which he was officially accused during the trial, and was sentenced to life imprisonment.”
High Court orders man to repay €30,000 awarded over fall on slippery tiles
The High Court has ordered a man who fell on slippery tiles on the porch of his rented council home to pay back €30,000 he received in part compensation.
Mr Justice John Jordan also ordered solicitors who acted for Thomas Keegan (53) to repay €20,000 received in part payment of fees.
The judge made the order in relation to monies paid by Sligo County Council as a condition of being allowed to appeal a €105,000 award made by the High Court in 2017 to Mr Keegan over the accident at his home at McNeill Drive, Cranmore, Co Sligo.
Mr Keegan, who previously worked as a paver, had claimed the slippiness of the terracotta tiling originally installed in the porch, as well as the angle of the porch to face the prevailing wind and rain in Sligo, created a particular hazard.
In 2017, the court found the council was liable and there was no contributory negligence on Mr Keegan’s part.
However, the council was permitted to appeal on the basis of paying €50,000, including the monies to Mr Keegan’s solicitors on his behalf.
Failed to prove
The Court of Appeal (CoA) ordered a retrial and, earlier this month, Mr Justice Jordan found that the plaintiff had failed to prove the council was “in any way responsible” for the accident. He also found it “artificial” for Mr Keegan to suggest he was a visitor to his home, which he rented and occupied.
The case came back before Mr Justice Jordan on Friday for the matter of costs in relation to the second High Court hearing.
Peter Bland SC, for the council, argued his client was entitled to those costs but he had no objection to a stay in the event of another appeal to the CoA. He sought the repayment of the €30,000 for Mr Keegan and the €20,000 for his solicitors given the outcome had been overturned.
John Finlay SC, for Mr Keegan, said he could not oppose the costs order or an order for the return of the monies.
Mr Justice Jordan granted the council its costs for the retrial with the exception of one day’s costs related to the evidence of an expert introduced by the council “who made a difference” to the case.
It was unfortunate the council did not engage this expert at an initial stage in the case and Mr Keegan might have been spared all of this time and expense that followed, he said.
He also ordered the return of the monies paid out but noted that if the council had difficulties with that money being paid as a condition of it being allowed to appeal, it could have appealed that matter itself but it did not.
The court heard the accident occurred on November 18th, 2013, when Mr Keegan was returning home sometime after 5pm after visiting a number of pubs in which he had consumed five pints of Guinness.
He suffered a significant injury to his left ankle, with X-rays revealing a fracture to his left distal tibia and fibula.
The council did not argue the consumption of this level of drink was an act of contributory negligence but argued it as a factor in regard to Mr Keegan’s duty to take reasonable care for his own safety and in his conflicting accounts of how the accident occurred.
Having heard expert evidence, Mr Justice Jordan was satisfied the unglazed tiles did not pose a danger.
Two fans sue Universal for $5 million for cutting Ana de Armas out of ‘Yesterday’ | USA
There are risks to being an actor. A common one is what’s known in the industry as “winding up on the cutting room floor.” You get hired for a project, and based on the script you’ve read and the time that you spend on the set, you assume that you are one of the characters; that is, until the day the movie is released and you realize that your scenes have been cut out entirely.
In the case of the Cuban-Spanish actress Ana de Armas, who featured in the latest James Bond movie No Time to Die and is on an unstoppable path towards Hollywood stardom, it went further than that: she actually appeared in movie trailers advertising Yesterday, a 2019 film by the British director Danny Boyle in which actor Himesh Patel plays Jack Malik, a struggling singer-songwriter who wakes up after an accident into a world where nobody has heard of the Beatles or knows any of their songs, except himself.
Almost three years after Yesterday’s release, two fans of de Armas are suing Universal Pictures for cutting her scenes out of the final version, claiming the studio engaged in “false, deceptive and misleading advertising.”
Conor Woulfe, a 38-year-old resident of Maryland, and Peter Michael Rosza, 44, from California, rented Yesterday on Amazon Prime Video for $3.99 (€3,52). In their federal class action lawsuit, they claimed that they only rented it because they thought De Armas would be in the movie after watching the trailer. In the promotional material, she is depicted as Roxane, a character who becomes a love interest for Malik – that is, until the movie creators realized that this would draw attention away from the main love story between the songwriter and a character played by Lily James.
It is unclear whether the plaintiffs are as interested in De Armas as they may be in the $5 million (€4.5 million) they could take home if a court rules in their favor. The lawsuit states that the case is being brought “individually and on behalf of all others similarly situated.” It also claims that “by paying to view the falsely advertised movie,” the plaintiffs “suffered injury-in-fact and lost money.”
Regardless of the case’s chances, the story illustrates a US penchant for resolving disputes in court with astronomical figures in the balance, as a first step in the conversation.
The entertainment news website Variety, which first reported on the case, noted the resemblance with a 2011 case brought in Michigan by a movie viewer who was disappointed with Drive, by Nicolas Winding Refn, which she expected to be a “high-speed action driving film” but turned out to be a tortured drama about a solitary driver who finally finds the right girl.
Cutting actors out of final versions is nothing unusual. Terrence Malick, the director of Badlands and The Tree of Life, has a habit of hiring more stars than he will later need on the screen. Adrien Brody, for example, showed up for the premiere of the 1998 The Thin Red Line, convinced that he would be one of the main attractions – in the end, he only showed up in a few scenes. But the prize probably goes to To The Wonder, also by Malick: Rachel Weisz, Jessica Chastain, Michael Sheen, Amanda Peet, Barry Pepper and Michael Shannon all wound up on the cutting room floor.
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