"A person with less stable nerves could have decided against coming, could have read it as a sign – that it was not worth going," Putin said, adding that DiCaprio is a "muzhik" or "real man," the Los Angeles Times reports.
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Dmitry Kiselev, the Kremlin's chief propagandist, fawned over Mr Trump on his flagship Sunday-night show, declaring the new American president to be a "muzhik", or a "real man"—a sharp shift for a programme that had spent years stoking anti-Americanism.
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Mr. Freedom meets with his French counterpart, Super French Man, who expresses sympathies with their Communist ideologies, prompting Mr. Freedom to kill his sidekicks. Later he meets in a metro tunnel with Muzhik Man and Red China Man (the latter a giant, talking Chinese Dragon) and the three discuss the virtues of their various political ideologies; Muzhik Man makes friendly overtures to Mr. Freedom and disavows responsibility for the death of Captain Formidable. After he accidentally knocks himself unconscious, Muzhik Man takes Mr. Freedom back to Communist Party headquarters to recuperate; after waking up, Mr. Freedom kills Muzhik Man's girlfriend, Marie-Rouge. Returning to Marie- Madeleine's apartment to have sex with her, Mr. Freedom suffers a crisis of conscience when her son calls him a fascist; he later realizes that his guilt is in fact coming from Red China Man, who is broadcasting subliminal messages to a radio receiver hidden in one of his teeth.
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In November 2010, DiCaprio donated $1 million to the Wildlife Conservation Society at Russia's Tiger Summit. DiCaprio's persistence in reaching the event after encountering two plane delays caused then Prime Minister Vladimir Putin to describe him as a "muzhik" or "real man".
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In the mid 1990s Skrypnyk returned to his "home" club in Dnipro for couple of seasons. In 1995–1996 he played for FC Dnipro when it was coached by Bernd Stange who later recommended Skrypnyk to WerderBarkov, Oleh. Muzhik for "muzhiks" (Виктор Скрипник: мужик для "мужиков"). Footboom.
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In the same year, the group recorded the album Noch pered Rozhdestvom () at the Mir studio in Moscow, and rerecorded the album Kolhoznyj pank at Gala Records. In 1992, Sektor Gaza released their sixth studio album, Gulyai, muzhik! () and toured extensively. In 1993, the group released Nazhim na gaz ().
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The appearance of Russian puppet theatre was directly associated with skomorokh performances. Skomorokhs performed in the streets and city squares, engaging with the spectators to draw them into their play. Usually, the main character of the skomorokh performance was a fun- loving saucy muzhik (мужик) of comic simplicity. In the 16 and 17th centuries, skomorokhs would sometimes combine their efforts and perform in a vataga (ватага, big crowd) numbering 70 to 100 people.
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In the lyceum the quality of education was poor. "The information taught to us was scant, sporadic and all but meaningless... It was not so much an education as such, but a part of social privilege, the one that draws the line through life: above are you and me, people of leisure and power, beneath - just one single word: muzhik," Saltykov wrote in his Letters to Auntie.Goryachkina, М.S. М.Е.Saltykov-Shchedrin. The Selected Works.
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The Peasant Marey ( Muzhik Marey), written in 1876, is both the "best-known autobiographical account"Gary Saul Morson, introduction to A Writer's Diary (Northwestern University Press, 1994), vol. 1, p. 24. from the Writer's Diary of Fyodor Dostoyevsky, and frequently anthologized as a work of fiction. This "double encoding" arises from its often self-contradictory framing as both short story, narrated by the fictional prisoner Goryanchikov, and evident reminiscences by Dostoyevsky himself, as a way to evade censorship.
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An account from the memoirs of the artist Alexander Benois gives one impression of Alexander III: > After a performance of the ballet Tsar Kandavl at the Mariinsky Theatre, I > first caught sight of the Emperor. I was struck by the size of the man, and > although cumbersome and heavy, he was still a mighty figure. There was > indeed something of the muzhik [Russian peasant] about him. The look of his > bright eyes made quite an impression on me.
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After World War II a schism occurred in the criminal world. Many convicts had fought in penal units, in contravention of the thieves' code that no thief should serve in the military or cooperate with authorities in any way. Many legitimate thieves found themselves demoted to frayer (outsider), muzhik (peasant), or suka (traitor, a bitch). This was part of a power struggle; with limited resources in prison, outlawing the "bitches" (suki) allowed the legitimate thieves to take more for themselves.
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On occasion, Marianne was portrayed slightly more favorably in Germany as in a cartoon from May 1914 in the magazine Kladderadatsch where Deutscher Michel is working in his garden with a seductive and voluptuous Marianne on one side and a brutish muzhik (Russian peasant) on the other; the message of the cartoon was that France should not be allied to Russia, and would be better off allied to Germany, since Deutscher Michel with his well tended garden is clearly a better potential husband than the vodka drinking muzhik whose garden is a disorderly disaster. Marianne differed from Uncle Sam, John Bull, and Deutscher Michel in that Marianne was not just a symbol of France, but of the republic as well. For those on the French right, who still hankered for the House of Bourbon like Action Française, Marianne was always rejected for her republican associations, and the preferred symbol of France was Joan of Arc. As Joan of Arc was devoutly Catholic, committed to serving King Charles VII, and fought for France against England, she perfectly symbolized the values of Catholicism, royalism, militarism and nationalism that were so dear for French monarchists.
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Numerous writers, critics and political activists, Alexander Hertzen among them, noted the impact that his second novel Anton Goremyka have had upon the development of social consciousness in Russia. It greatly influenced the new, politically-minded generation of Russian intelligentsia of the mid-19th century and in many ways helped launch the early socialist movement in the country. Saltykov-Shchedrin called the first two books by Grigorovich "a springtime rain which invigorated Russian literary soil." Both made the Russian educated society aware for the first time of the plight of muzhik, as a human being, not an abstraction, according to the famous satirist.
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A year later Zenkevich joined the Red Army as a volunteer and served there for three years first as a secretary for court martial, then the tribunal official at the Caucasian Front HQ where he also lectured on infantry weaponry. He continued to write and in 1921 published Tanks' Harvest (Пашня танков). Two more collections, Lyrics and Porphybagr (the latter combining the Wild Porphyry material with the poems from the new collection called Under the Meat Porphyry) were prepared for publication but never issued. In the twenties he wrote The Muzhik Sphinx (1921–1928) book of memoirs, published only in 1978.
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Commentaries, р. 474. The latter replied: "I know for sure that when this astonishment is over […] serious people will rightly say: Деревня, besides having all these artistic merits, became this first impulse that made our broken Russian society to think seriously – not of muzhik or of common people, but of Russia as a whole; it poised the question: is Russia to be or not to be?"Gorky Readings, p.55 Contemporary critics picked at the novel's density which was unusual for Ivan Bunin's prose which up until then was placid and classicist in tone and form.
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Still feverish, Raskolnikov listens nervously to a conversation between Razumikhin and the doctor about the status of the police investigation into the murders: a muzhik called Mikolka, who was working in a neighbouring flat at the time, has been detained, and the old woman's clients are being interviewed. They are interrupted by the arrival of Luzhin, Dunya's fiancé, who wishes to introduce himself, but Raskolnikov deliberately insults him and kicks him out. He angrily tells the others to leave as well, and then sneaks out himself. He looks for news about the murder, and seems almost to want to draw attention to his own part in it.
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This began a period of intense creativity and revolutionary agitation for Wolf and Abba, who signed their many collaborations in Russian as "the Gordin Brothers" (Brat'ya Gordinii). "They did not so much write books, as 'bake' them, so prolific was their literary output", Boris Yelensky recounts, singling out for special admiration their children's fable, Pochemu? ili Kak muzhik popal v stranu Anarkhiya ("Why": Or, How a Peasant Got Into the Land of Anarchy, 1917). In 1921, the Bolshevik and former anarchist Victor Serge noted that > [t]he two Gordin brothers have played a key role in the Russian anarchist > movement of these past few years.
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Literary critics from both the left and the right were unanimous in one verdict: "peasantry in Bunin's novel was painted by one brush: black."Tvardovsky, p.72–73. "Poignant hopelessness is what this gloomy tapestry emanates; pessimism and even negativity is what is felt in every stroke of the painter's brush", wrote an Odessky Novosty critic (signed N.G.) on October 13. "Each and every page of it cries out something about how vile and ugly the Russian muzhik is, to what extent the Russian peasantry is degraded," agreed L. Voitolovsky of Kiyevskaya Mysl, arguing that not a trace of light could be found there, that could be seen as present in Russian rural life-related works of Anton Chekhov, Ivan Turgenev, Gleb Uspensky and Fyodor Reshetnikov.
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229 In his October 17, 1893, letter Leo Tolstoy wrote to Grigorovich: "You are a man most dear to me, especially due to the unforgettable effect your first two novels have had upon me… How enraptured and touched was I, the 16 year old boy, as I've read Anton Goremyka for the first time to marvel at this unbelievable revelation, that one could write about muzhik, our nurturer and, if I may say so, spiritual teacher, not as of a landscape's detail, but as of a real man, and to write with love, respect and even some trepidation."The Complete L.N.Tolstoy, Goslitizdat, Moscow, 1953. Vol. LXI, p.409 Alexander Hertzen remembered how Anton Goremyka had awakened in him deep patriotic feelings and made him look closer at the life of common people in Russia.
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According to modern critic and biographer A. Meshcheryakov, in The Village Grigorovich's attempt to make a move from a set-of-sketches kind of documentary collage to a novel genre was not entirely successful. The sketch-like quality here prevailed, especially in that the inner world of his heroine was obviously of a lesser interest to the author than myriads of details of the Russian rural life. Still, those were the years when the Natural School movement in Russia was getting closer to the very bottom of a real life and Grigorovich’s debut has played a decisive role, according to the critic. The Village proved to be a healthy antidote to the officially approved "peasant literature" propagated by journals like Mayak (Lighthouse), praising good-natured, God-loving Russian muzhik and his benevolent, caring master.
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It is said that since childhood Theodore was on friendly terms with Ivan IV of Russia ("Ivan the Terrible"). According to other accounts, he was involved in the conspiracy of Prince Andrey of Staritsa against Elena Glinskaya and, when their plans were discovered, he escaped to Solovetsky Monastery on the White Sea. Yet another account says that his decision to become a monk occurred on Sunday, June 5, 1537, while he was standing in church for the Divine Liturgy, on hearing the words of Jesus: "No man can serve two masters" (). According to this account, he secretly left Moscow dressed as a muzhik (peasant), and for a while he hid himself away from the world in the village of Khizna, near Lake Onega, earning his livelihood as a shepherd, later joining the monastery at Solovetsk.
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In 1913, the 2 million people of the Don Cossack Host owned 13 of the 17 million hectares of the land by the banks of the river Don and whose income was double that of a typical Russian muzhik (peasant). The Don Cossacks spoke their own dialect of Russian and the men dressed in distinctive colorful uniforms, which marked them out. Every Host had its own uniform, but a common aspect of all Cossack uniforms was that the men wore a gazyr (a bullet carrying vest), a wool hat known as the papakha and carried around a type of sword called the shashka. The Cossack Hosts who had long owned their land quickly came into conflict with the new Bolshevik regime, and all of the atamans committed their Hosts to fight for the White Army in the Russian Civil War.
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In early in 2001, after the broadcast of its sixth season, with the unanimous decision of the cast and producer, production of show was stopped and Calambur was soon ended. Yuri Stytskovsky continued making his own movies and TV projects (mostly sitcoms), while Sergey Gladkov, Tatyana Ivanova and Vadim Nabokov continued their theatrical activity as a Calambur (or Fool's Village) comic group, with actor Oleg Kolchin as Medved, and sometimes affiliating with Maski. Aleksey Agopyan has since participated in various Ukrainian and Russian movies and TV series (mostly in episodic roles), including Stytskovsky's projects, and several theatrical performance, sometimes with the mentioned comic groups and in the duet Odekolon with former Maski actor Vladimir Komarov. In 2003 Gladkov, Nabokov and Agopyan planned to make a Fool's Village spin-off about Muzhik and Moryachok being at the North Pole with a polar bear, but it didn't rise for unknown reasons.
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In France, Mr. Freedom joins forces with Captain Formidable's sidekick, the femme fatale Marie-Madeleine, to lead his own anti-communist Freedom organization; Marie-Madeleine explains that she and Captain Formidable ran a string of state-sponsored brothels, using the money they earned to finance anti-Communist activities while also gathering intelligence on the various diplomats and politicians who use their services. Arriving at a pro-USA rally, Mr. Freedom delivers an extended speech extolling the virtues of democracy and capitalism while also espousing white nationalist sympathies and warning of the encroaching influence of African Americans, Jews, Asians, and other "undesirables" on the national stage. Assembling an army from the attendees of the rally, he expresses his intention not only to secure France against Communist influence, but also build a "white wall of freedom" around the United States. Mr. Freedom travels to the U.S. embassy (a supermarket) to meet with the American ambassador to France, who warns him of the influence of a pair of foreign superheroes-- the Russian Stalinist Muzhik Man and Chinese Maoist Red China Man-- have been exerting in the country.
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