il maestro e margherita
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The Master and Margarita - Wikipedia, the free encyclopedia - [ Traduci questa pagina ]The Master and Margarita (Russian: ММММММ М МММММММММ) is a novel by Mikhail Bulgakov, woven around the premise of a visit by the Devil to the fervently ...en.wikipedia.org/wiki/The_Master_and_Margarita - 83k - Copia cache - Pagine simili
Bulgakov’s Master and Margarita - [ Traduci questa pagina ]A web-based multimedia annotation to Bulgakov’s Master and Margarita, created by Kevin Moss, Middlebury College. Text, graphic, and audio ma-terials: maps, ...cr.middlebury.edu/public/russian/Bulgakov/pub-lic_html/ - 2k - Copia cache - Pagine simili
Master and Margarita: Introduction - [ Traduci questa pagina ]Editions of Master & Margarita. Manuscript Edi-tions · Published Russian Editions · English Trans-lations. Created by Kevin Moss at Middlebury College ...
Il mio riferimento è: Mikhail Bulgakov, Il Maestro e Margherita.
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The Master and Margarita - Wikipedia, the free encyclopedia - [ Traduci questa pagina ]The Master and Margarita (Russian: ММММММ М МММММММММ) is a novel by Mikhail Bulgakov, woven around the premise of a visit by the Devil to the fervently ...en.wikipedia.org/wiki/The_Master_and_Margarita - 83k - Copia cache - Pagine simili
Bulgakov’s Master and Margarita - [ Traduci questa pagina ]A web-based multimedia annotation to Bulgakov’s Master and Margarita, created by Kevin Moss, Middlebury College. Text, graphic, and audio ma-terials: maps, ...cr.middlebury.edu/public/russian/Bulgakov/pub-lic_html/ - 2k - Copia cache - Pagine simili
Master and Margarita: Introduction - [ Traduci questa pagina ]Editions of Master & Margarita. Manuscript Edi-tions · Published Russian Editions · English Trans-lations. Created by Kevin Moss at Middlebury College ...cr.middlebury.edu/public/russian/Bulgakov/pub-lic_html/intro.html - 6k - Copia cache
Mikhail Bulgakov’s The Master and Margarita: a literary mystification - [ Traduci questa pagina ]9 Aug 2002 ... Mikhail Bulgakov might have been executed if the true content of The Master and Margarita were revealed in the thirties.bulgakov.stormloader.com/ - 32k - Copia cache - Pagine simili
YouTube - The Master and Margarita (English sub-titles). Part 1 (4 / 5) - [ Traduci questa pagina ]The Master and Margarita (English subtitles). Part 1 of 10 (episode 4 of 5). Russia’s first television production of The Master and Margarita, ...www.youtube.com/watch?v=vgg9kQDSGZo - 101k - Copia cache - Pagine simili
Amazon.com: The Master and Margarita: Mikhail Bulgakov: Books - [ Traduci questa pagina ]The Master and Margarita is a different book each time it is opened. ..... In The Master and Margari-ta, Bulgakov has created, not only a technical ...www.amazon.com/Master-Margarita-Mikhail-Bulgakov/dp/0679760806 - 308k - Copia cache - Pagine simili
Mikhail Bulgakov. The Master and Margarita (1997) - [ Traduci questa pagina ]Another twenty-six years had to pass before events bore out that belief and The Master and Margarita, by what seems a surprising oversight in
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The Master and Margarita - [ Traduci questa pagina ]A website devoted to The Master and Margarita, made by Jan Vanhellemont. With missing pieces of text, photos and video clips, maps, characters, adaptations, ...www.masterandmargarita.eu/en/ - 11k - Copia cache - Pagine simili
Powell’s Books - The Master and Margarita by Mikhail Bulgakov - [ Traduci questa pagina ]Introduction by Simon Franklin; Translation by Michael GlennyFrom the Hardcover edition...www.powells.com/biblio/61-0679760806-0 - 42k - Copia cache - Pagine simili
The Master and Margarita Summary and Analysis Summary - [ Traduci questa pagina ]The Master and Margarita summary with 638 pages of encyclopedia entries, essays, summaries, research information, and more.www.bookrags.com/The_Master_and_Margarita - 52k - Copia cache - Pagine simili
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Mikhail BulgakovFrom Wikipedia, the free encyclopedia
Mikhail Afanasyevich Bulgakov (Russian: ММММММ МММММММММММ ММММММММ, May 15 [O.S. May 3] 1891, Kiev – March 10, 1940, Moscow) was a Russian nov-elist and playwright active in the first half of the 20th century. He is best known for the novel The Master and Margarita, which The Times has called one of the masterpieces of the 20th century.
BiographyMikhail Bulgakov was born to Russian parents on May 15, 1891 in Kiev, Ukraine (which at the time was part of the Russian Empire). He was the old-est son of Afanasiy Bulgakov, an assistant profes-sor at the Kiev Theological Academy. He was the grandson of priests on both sides of the family. From 1901 to 1904, Mikhail attended the First Kiev Gymnasium, where he developed an interest in Russian and European literature.
In 1913 Bulgakov married Tatiana Lappa. At the outbreak of the First World War he volunteered with the Red Cross as a medical doctor. In 1916, he graduated from the Medical School of Kiev University and then served in the White Army. He briefly served in the Ukrainian People’s Army. His
brothers also served in the White Army. After the Civil War and rise of the Soviets, they emigrated to exile in Paris. Mikhail, who had enlisted in the White Army as a field doctor, ended up in the Cau-casus. There he began to work as a journalist.
In 1919 he decided to leave medicine to pursue his love of literature. In 1921, he moved with Tatiana to Moscow where he began his career as a writer. Three years later, divorced from his first wife, he married Lyubov’ Belozerskaya. He pub-lished a number of works through the early and mid 1920s, but by 1927 his career began to suffer from criticism that he was too anti-Soviet. By 1929 his career was ruined, and government cen-sorship prevented publication of any of his work.In 1931, Bulgakov married for the third time, to Yelena Shilovskaya, who would prove to be inspiration for the character Margarita in his most famous novel. They settled at Patriarch’s Ponds. During the last decade of his life, Bulgakov continued to work on The Master and Margarita, wrote plays, critical works, stories, and made several translations and dramatisations of novels, but none was published.
Bulgakov never supported the Soviet regime, and mocked it in many of his works[citation needed]. Therefore, most of his work stayed in his desk drawer for several decades. In 1930 he wrote a letter to the Soviet government, requesting per-mission to emigrate if the Soviet Union could not find use for him as a satirist. He received a per-
sonal phone call from Stalin himself, who asked Bulgakov if he truly desired to leave the country. Bulgakov replied that a Russian writer could not live outside of his homeland.
Stalin had enjoyed Bulgakov’s work, The Days of the Turbins and found work for him at a small Moscow theatre, and then the Moscow Art The-atre. In Bulgakov’s autobiography, he claimed that he wrote to Stalin out of desperation and men-tal anguish, never intending to post the letter. Bulgakov wrote letters to Stalin during the 1930s again requesting to emigrate, to which Stalin did not reply.
The refusal of the authorities to let him work in the theatre and his desire to see his family living abroad, whom he had not seen for many years, led him to seek drastic measures. Despite his new work, the projects he worked on at the theatre were unsuccessful and he was stressed and unhap-py. He also worked briefly at the Bolshoi Theatre as a librettist but left when his works were not produced.
Bulgakov died from nephrosclerosis (an inherited kidney disorder) on March 10, 1940. He was bur-ied in the Novodevichy Cemetery in Moscow. His father had died of the same disease.
Early works
During his life, Bulgakov was best known for the plays he contributed to Konstantin Stanislavsky’s Moscow Art Theatre. Stalin was known to be fond of the play Days of the Turbins (МММ ММММММММ) (1926), which was based on Bulgakov’s novel The White Guard. His dramatization of Molière’s life in The Cabal of Hypocrites (ММММММ ММММММ) is still performed by the Moscow Art Theatre. Even after his plays were banned from the theatres, Bulga-kov wrote a black comedy about Ivan the Terri-ble’s visit into 1930s Moscow and a play about the early years of Stalin (1939), which was prohibited by Stalin himself.
Bulgakov began writing prose with The White Guard (МММММ МММММММ) (1924, published in 1966) - a novel about a life of a White Army officer’s fam-ily in Civil war Kiev, and a short story collection entitled Notes of a Young Doctor (МММММММ МММММ МММММ), based on Bulgakov’s work as a country doctor in 1916–1919. In the mid-1920s, he came to admire the works of H. G. Wells and wrote several stories with elements of science fiction, notably The Fatal Eggs (МММММММ ММММ) (1924) and the Heart of a Dog (МММММММ ММММММ) (1925).
The Fatal Eggs tells of the events of a Professor Persikov, who in experimentation with eggs, dis-covers a red ray that accelerates growth in living organisms. At the time, an illness passes through the chickens of Moscow, killing most of them and, to remedy the situation, the Soviet government puts the ray into use at a farm. Unfortunately
there is a mix up in egg shipments and the Profes-sor ends up with chicken eggs, while the govern-ment-run farm receives the shipment of ostrich, snake and crocodile eggs that were meant to go to the Professor. The mistake is not discovered until the eggs produce giant monstrosities that wreak havoc in the suburbs of Moscow and kill most of the workers on the farm. The propaganda machine then turns on Persikov, distorting his nature in the same way his “innocent” tamper-ing created the monsters. This tale of a bungling government earned Bulgakov his label of a coun-ter-revolutionary.
Heart of a Dog features a professor who implants human testicles and pituitary gland into a dog named Sharik (means “Little Balloon” or “Little Ball” - popular Russian nickname for a male dog). The dog then proceeds to become more and more human as time passes, resulting in all manner of chaos. The tale can be read as a critical satire of the Soviet Union; it contains few bold hints to communist leadership (e.g. the name of donor drunkard of human implants is Chugunkin (“chu-gun” is a cast iron) which can be seen as parody on the name of Stalin (“stal’” is steel). It was turned into a comic opera called The Murder of Comrade Sharik by William Bergsma in 1973. In 1988 an award-winning movie version Sobachye Serdtse was produced by Lenfilm, starring Yev-geniy Yevstigneyev, Roman Kartsev and Vladimir Tolokonnikov.
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The Master and MargaritaFrom Wikipedia, the free encyclopedia
The Master and Margarita (Russian: ММММММ М МММММММММ) is a novel by Mikhail Bulgakov, woven around the premise of a visit by the Devil to the fervently atheistic Soviet Union. Many critics con-sider the book to be one of the greatest novels of the 20th century, as well as one of the foremost Soviet satires, directed against a suffocatingly bureaucratic social order.
HistoryBulgakov started writing the novel in 1928. The first version of the novel was destroyed (accord-ing to Bulgakov, burned in a stove) in March 1930 when he was notified that his play The Cabal of Hypocrites (ММММММ ММММММ) was banned. The work was restarted in 1931 and in 1935 Bulgakov attended the Spring Festival at Spaso House, a party said to have inspired the ball of the novel.The second draft was completed in 1936 by which point all the major plot lines of the final version were in place. The third draft was finished in 1937. Bulgakov continued to polish the work with the aid of his wife, but was forced to stop work on the fourth version four weeks before his death in 1940.
The work was completed by his wife during 1940–1941.
A censored version (12% of the text removed and still more changed) of the book was first pub-lished in Moscow magazine (no. 11, 1966 and no. 1, 1967). The text of all the omitted and changed parts, with indications of the places of modifica-tion, was published on a samizdat basis. In 1967 the publisher Posev (Frankfurt) printed a version produced with the aid of these inserts.
In Russia, the first complete version, prepared by Anna Saakyants, was published by Khudozhestven-naya Literatura in 1973, based on the version of the beginning of 1940 proofread by the publisher. This version remained the canonical edition until 1989, when the last version was prepared by literature expert Lidiya Yanovskaya based on all available manuscripts.
The Mikhail Bulgakov Museum in Moscow was vandalized on December 22, 2006, allegedly by a religious fanatic who denounced The Master and Margarita as being satanic propaganda.
Plot summaryThe novel alternates among three settings. The first is 1930s Moscow, which is visited by Satan in the guise of Woland or Voland (ММММММ), a myste-rious gentleman “magician” of uncertain origin, who arrives with a retinue that includes the gro-tesquely dressed “ex-choirmaster” valet Koroviev
(Fagotto) (МММММ, the name means “bassoon” in Russian and some other languages), a mischie-vous, gun-happy, fast-talking black cat Behemoth (МММММММ, a subversive Puss in Boots, the name referring at once to the Biblical monster and the Russian word for Hippopotamus), the fanged hit-man Azazello (ММММММММ, hinting of Azazel), the pale-faced Abadonna (ММММММММ, a reference to Abaddon) with a death-inflicting stare, and the witch Hella (МММММ). The havoc wreaked by this group targets the literary elite, along with its trade union, MASSOLIT (a Soviet-style abbrevia-tion for “Moscow Society of Literature”, but pos-sibly interpretable as “Literature for the Masses”; one translation of the book also mentions that this could be a play on words in Russian, which could be translated into English as something like “LOTTALIT”), its privileged HQ-cum-restaurant Griboyedov’s House, corrupt social-climbers and their women (wives and mistresses alike) – bu-reaucrats and profiteers – and, more generally, skeptical unbelievers in the human spirit.
The opening sequence of the book presents a di-rect confrontation between the unbelieving head of the literary bureaucracy, Berlioz (МММММММ), and an urbane foreign gentleman who defends belief and reveals his prophetic powers (Woland). This is witnessed by a young and enthusiastically mod-ern poet, Ivan Bezdomniy (ММММ МММММММММ – the name means “Homeless”). His futile attempt to chase and capture the “gang” and warn of their evil and mysterious nature lands Ivan in a lunatic
asylum. Here we are introduced to The Master, an embittered author, the petty-minded rejection of whose historical novel about Pontius Pilate and Christ has led him to such despair that he burns his manuscript and turns his back on the “real” world, including his devoted lover, Margarita (МММММММММ). Major episodes in the first part of the novel include Satan’s magic show at the Variety Theatre, satirizing the vanity, greed and gullibility of the new rich; and the capture and occupation of Berlioz’s apartment by Woland and his gang.
Part 2 introduces Margarita, the Master’s mis-tress, who refuses to despair of her lover or his work. She is made an offer by Satan (Woland), and accepts it, becoming a witch with supernatu-ral powers on the night of his Midnight Ball, or Walpurgis Night, which coincides with the night of Good Friday, linking all three elements of the book together, since the Master’s novel also deals with this same spring full moon when Christ’s fate is sealed by Pontius Pilate and he is crucified in Jerusalem.
The second setting is the Jerusalem of Pontius Pilate, described by Woland talking to Berlioz and echoed in the pages of the Master’s rejected novel, which concerns Pontius Pilate’s meeting with Yeshua Ha-Nozri (МММММ ММ-МММММ, Jesus the Nazarene), his recognition of an affinity with and spiritual need for him, and his reluctant but resigned and passive handing over of him to those who wanted to kill him.
The third setting is the one to which Margarita provides a bridge. Learning to fly and control her unleashed passions (not without exacting violent retribution on the literary bureaucrats who con-demned her beloved to despair), and taking her enthusiastic maid Natasha with her, she enters naked into the world of the night, flies over the deep forests and rivers of Mother Russia; bathes, and, cleansed, returns to Moscow as the anointed hostess for Satan’s great Spring Ball. Standing by his side, she welcomes the dark celebrities of hu-man history as they pour up from the opened maw of Hell.
She survives this ordeal without breaking, and for her pains and her integrity she is rewarded: Satan offers to grant Margarita her deepest wish. She chooses to liberate the Master and live in poverty and love with him. However, neither Woland nor Yeshua thinks this is a kind of life for good people, and the couple leaves Moscow with the Devil, as its cupolas and windows burn in the setting sun of Easter Saturday. The Master and Margarita leave and as a reward for not having lost their faith they are granted “peace” but are denied “light”, i.e. salvation.
http://en.wikipedia.org/wiki/The_Master_and_Margarita
Major characters in The Master and MargaritaContemporary RussiansThe Master An author who has written a novel about the meeting of Pontius Pilate and Yeshua Ha-Nozri. Put away in a psikhushka, where Bezdomny meets him.
Margarita The Master’s lover. Trapped in a passionless marriage; devoted herself to The Master, who she believes is dead. Does not appear until second half of the novel, where she serves as the hostess of Satan’s Grand Ball on Walpurgis Night. She is named after Faust’s Gretchen – whose real name is Margarita – as well as Marguerite de Valois. Mar-guerite was the main character in an opera, Les Huguenots by Giacomo Meyerbeer which Bulgakov particularly enjoyed, and a novel by Alexandre Dumas, père, La Reine Margot. In these accounts the queen is portrayed as daring and passionate. The character was also inspired by Bulgakov’s last two wives, the first of whom loved action and was physically daring, while the last was devoted to his work in the same way as Margarita is to the Master.
Mikhail Alexandrovich Berlioz Head of the literary bureaucracy MASSOLIT, sentenced by Woland to death for his atheistic
sentiment. He bears the last name of the French composer, Hector Berlioz who wrote the opera the Damnation of Faust.
Ivan Nikolayevich Ponyrov (Bezdomny) A young, aspiring poet. His pen name Bezdomny means “homeless”. Initially a willing tool of the MASSOLIT apparatus, he is transformed by the events of the novel. Witnesses Berlioz’s death.Stephan Bogdanovich Likhodeyev Director of the Variety Theatre and Berlioz’s roommate. Often called by diminutive name Styopa.
Grigory Danilovich Rimsky Treasurer of the Variety Theatre. At one point, Rimsky is ambushed by Varenukha (who has been cursed with the dark form of a vampire by Woland). He barely escapes the encounter and he is forced to flee to the train station to get away. The night of Woland’s performance is the same night that Rimsky and the ghost meet.
Ivan Savelyevich Varenukha House-manager of the Variety Theatre. He is turned into a creature of darkness but is forgiven by the end of Walpurgistnacht - restoring his humanity.
Natasha Margarita’s maid, later turned into a witch.
Nikanor Ivanovich Bosoy Chairman of the House Committee at 302B Sadovaya Street-former residence of Berlioz.
Woland and his retinueWoland A “foreign professor” who is “in Moscow to present a performance of ‘black magic’ and then expose its machinations”. The exposure (as one could guess) never occurs, instead Woland ex-poses the greed and bourgeois behaviour of the spectators themselves. Satan in disguise.
Behemoth An enormous (said to be as large as a hog) black cat, capable of standing on two legs and talking. He has a penchant for chess, vodka and pistols. In Russian, “Begemot”. The word itself means hippopotamus in Russian as well as the Biblical creature.
Koroviev/Fagotto An purported “ex-choirmaster”; this may imply that Koroviev was once a member of an angelic choir. Woland’s assistant.
Azazello A menacing, fanged and wall-eyed member of Woland’s retinue.
Hella Beautiful, redheaded witch. Serves as maid to Woland and his retinue. Remarked as being “per-
fect, were it not for a purple scar on her neck” – the scar suggesting that she is also a vampiress.
Abadonna The pale-faced, black-goggled angel of death.
Characters from The Master’s novelPontius Pilate The Roman Procurator of Judaea.
Yeshua Ha-Nozri Wanderer, “mad philosopher”, as Pilate calls him, whose name means Jesus of Nazareth.
Aphranius Head Of the Roman Secret Service in Judaea.
Matthew Levi A Levite and former tax collector. Follower of Yeshua.
Joseph Kaifa The High Priest of Judaea
Judas Iscariot Testified against Yeshua thus causing him to be sentenced to death; later killed on Pilate’s orders.
“May I join you?” the foreigner asked civilly, and the friends involuntarily moved apart. The for-eigner slipped in between them and immediately entered the conversation. “If I heard correctly, you said that Jesus never existed?” he asked, turning his green left eye to Berlioz.“You heard correctly,” Berlioz answered courte-ously. “That was precisely what I said!”“Ah, how interesting!” exclaimed the foreigner.“What the devil does he want?” Homeless thought, frowning.
With his left hand, Mark lightly lifted up the fallen man as though he were an empty sack, set him on his feet, and spoke nasally, mispronouncing the Aramaic words:“The Roman Procurator must be addressed as He-gemon. Speak no other words. Stand still. Do you understand me, or shall I hit you again?”
The tom, it turned out, was not only a solvent, but also a disciplined beast. At the conductor’s first cry, he ceased his advance, got down from the step, and sat down at the stop, rubbing his whisker with the coin. But as soon as the conduc-tor pulled the cord and the cars started, the tom proceeded to do what anyone else would who had been expelled from a streetcar but must never-theless get to his destination. Allowing all three cars to go by, the tom jumped up onto the rear of the last one, sank his claws into a rubber tube projecting from the wall, and rode away, thus saving himself the fare.
Fifteen minutes later the astounded public, not only in the restaurant, but on the boulevard itself and in the windows of the buildings facing the restaurant garden, saw Panteley, the doorman, a militiaman, a waiter, and the poet Ryukhin carry out through the Griboyedov gates a young man swaddled like a doll, streaming with tears, spit-ting, aiming particularly at Ryukhin, and scream-ing over the whole boulevard:“Swine!... Swine!...”
His guest was no longer alone in the bedroom. The second chair was occupied by the character he had just glimpsed in the hallway. Now he was clearly visible: a tiny feather mustache, one lens glinting in the pince-nez, the other missing. But there were even worse things in the bedroom. A third visitor sprawled insolently on the padded ottoman that had once belonged to the jeweler’s lady - namely, a black tom of terrifying propor-tions, with a glass of vodka in one paw and a fork in the other with which he had already managed to impale a pickled mushroom.
The blow filled the men’s room for an instant with a quivering flash of light and the sky echoed with a clap of thunder. Then there was another flash, and a second man appeared before the manager - small but with athletic shoulders, with fiery red hair ... one eye clouded by a cataract, a fang pro-jecting from his mouth ... This second one, who was evidently left-handed, cuffed the manager on the other ear. Again, there was an answer-ing crash in the sky, and a cloudburst came down upon the wooden roof of the toilet.
Two and a half thousand persons in the theater screamed in unison. Blood spurted in fountains from the torn arteries and flooded the shirt front and the dress coat. The headless body paddled absurdly with its feet and sat down on the floor. Women shrieked hysterically. The tom gave the head to Fagot, who raised it by the hair and showed it to the public, and the head cried out desperately:“A doctor!”
Obeying a sign from the cowled man, one of the executioners took a spear, and another brought a pail and a sponge to the post. The first execu-tioner raised his spear and tapped it on Yeshua’s arms, which were extended and tied with ropes to the crossbar. The body with the arching ribs quiv-ered. The executioner passed the tip of the spear across the belly. Then Yeshua raised his head, the flies rose, buzzing, and the hanged man’s face was exposed to view. It was bloated from the bites, with swollen eyelids, unrecognizable.
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Soviet ...lib.ru/BULGAKOW/master97_engl.txt - 944k - Co-pia cache - Pagine simili
The Master and Margarita - [ Traduci questa pagina ]A website devoted to The Master and Margarita, made by Jan Vanhellemont. With missing pieces of text, photos and video clips, maps, characters, adaptations, ...www.masterandmargarita.eu/en/ - 11k - Copia cache - Pagine simili
Powell’s Books - The Master and Margarita by Mikhail Bulgakov - [ Traduci questa pagina ]Introduction by Simon Franklin; Translation by Michael GlennyFrom the Hardcover edition...www.powells.com/biblio/61-0679760806-0 - 42k - Copia cache - Pagine simili
The Master and Margarita Summary and Analysis Summary - [ Traduci questa pagina ]The Master and Margarita summary with 638 pages of encyclopedia entries, essays, summaries, research information, and more.www.bookrags.com/The_Master_and_Margarita - 52k - Copia cache - Pagine simili