DOCSLIB.ORG

Formation of Russian Musicology from Sacchetti to Asafyev, 1885-1931 by Olga Panteleeva a Dissertation Submitted in Partial Sati

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Formation of Russian Musicology from Sacchetti to Asafyev, 1885-1931 by Olga Panteleeva a Dissertation Submitted in Partial Sati Formation of Russian Musicology from Sacchetti to Asafyev, 1885-1931 By Olga Panteleeva A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Richard Taruskin, Chair Professor Marina Frolova-Walker Professor Mary Ann Smart Professor Jeroen Dewulf Spring 2015 Formation of Russian Musicology from Sacchetti to Asafyev, 1885-1931 Copyright 2015 by Olga Panteleeva Abstract Formation of Russian Musicology from Sacchetti to Asafyev, 1885-1931 by Olga Panteleeva Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This study explores Russian thought about music in thirty-five years leading up to the establishment in 1921 of the music research department at the Institute for Art History in St Petersburg, generally considered the key event in the institutionalization of musicology as a scholarly discipline, and for a decade after that. Drawing on sources that include newspapers and articles across half a century and hitherto little-known archival materials, such as transcripts of meetings, official resolutions, and personal correspondence, I show how Russian musicology grew up in dialogue with the broader intellectual developments of the period. The temporal framework of this study bridges the “revolutionary divide,” dismantling the persistent notion of 1917 as the zero hour in the history of Russian and Soviet culture. Where existing studies have tended to conceptualize writing about music in the early Soviet era either as the voluntary acceptance of ideological directives from the State or as the total ideological crackdown on free scholarly thought, my findings reveal a volatile two-way relationship between the State and individual scholars, in which musicologists themselves exhibited a nuanced range of attitudes toward the centralized ideology and could be active agents of the sweeping ideological change. Chapters 1 and 5 deal with institutions and the thorny quest to legitimize musicology as an academic profession; Chapters 2, 3, and 4 focus on the vibrant discourse on the study of music that appeared in the press. In its earliest stage, the institutionalization of musicology was slowed by the relentless focus of the music conservatories on the social legitimization of the profession of a musician, which left no space for the advocacy of the professional scholar. During this same early period, musicological thought was being forged in the debates in the popular press over the competing claims of positivism and idealism. Where positivism upheld the idea that music scholarship should concern itself with the scientific search for universal laws governing both the historical development of music and its inner workings, the idealist camp favored the understanding of music as an ineffable art, out of reach of the rational mind. In Chapter 1 I analyze Nikolai Findeisen’s criticism of the conservatory professor Liveriy Sacchetti, an expert in European music historiography and aesthetics, and Findeisen’s nationalist vision for musicology, which was gaining momentum in the two pre-revolutionary decades. Chapter 2 presents a longitudinal study of the Russian reception of Eduard Hanslick’s influential treatise On the Musically Beautiful, which reveals two ideological shifts, first to positivism, then away from it. Chapter 3 concerns itself with an example of this positivist influx and the strong idealist opposition it elicited in certain avant-garde artistic circles of the 1910s: Emiliy Medtner’s 1 criticism of Nadezhda Bryusova’s work, rife with anti-modernism, racial anxiety, and fear of the prescriptive ambitions of science. Chapter 4 looks at the same ideological clash from a different perspective. Members of the Scriabin Society, offended by the critical stance the music critic Leonid Sabaneyev took in his monograph on the recently deceased composer, attempted to besmirch his reputation by casting him as a clueless rationalist who could not approach the true meaning of Scriabin’s music. Chapter 5 examines the increasing ideological pressure that The People's Commissariat for Education (Narkompros) put on the musicologists at the Russian Institute of Art History in the late 1920s, steeped in the infamous rhetoric of “formalism” that later informed the public denunciations of Prokofiev and Shostakovich. My focus on the personal communications between Boris Asafyev and Alexey Finagin reveals that adapting one’s convictions to the changing ideological climate often came at the cost of personal relationships. 2 To my teachers i Table of Contents Acknowledgements iii Introduction 1 Chapter 1 Liberio’s Labour Lost, or Why a German Disliked an Italian 18 for Being Not Russian Enough Chapter 2 The reception of Hanslick's On the Musically Beautiful 38 and the Shift to Positivism Chapter 3 Positivism and the Danger of Science: 74 Nadezhda Bryusova vs. Emiliy Medtner Chapter 4 Sabaneyev's Scriabin and Conflicting Epistemologies 94 of the Russian Silver Age Chapter 5 Of Friendship and Formalism: 114 Musicologists and Soviet Power in the 1920s Conclusion 145 Bibliography 151 ii Acknowledgements This project would not have come to fruition without the support of many institutions and individuals, to whom I extend my heartfelt gratitude. I deeply appreciate the financial support that made my dissertation research and writing possible: a departmental fellowship and summer grants from the Music Department of the University of California, Berkeley, the travel and summer grants from the Graduate Division at UC Berkeley, the generous travel grants from the UC Berkeley Institute of Eastern European and Eurasian Studies, and an Allan Sharlin Memorial Award from the UC Berkeley Institute of International Studies, which funded the last year of dissertation writing. I am thankful to the staff of Russian libraries and archives for their guidance and good will: to Galina Viktorovna Kopïtova and Irina Aleksandrovna Sinitsa at the Manuscript Department of the Russian Institute of Art History, to Maria Mikhailovna Perekalina at the Central State Historical Archive of St. Petersburg, to Svetlana Alekseyevna Litvinova at the Central State Archive of Literature and Art of St. Petersburg, and to the staff at the Manuscript Department of the National Library of Russia. I am forever indebted to the University of California, Berkeley and its intellectual environment, which transformed me as a scholar, a teacher, and a member of society. To my professors at Berkeley and beyond I owe more than I ever will be able to repay: to Davitt Moroney, a mentor who always kept his door open and who taught me the importance of writing, teaching, and living in a socially responsible way; to Mary Ann Smart, for bringing clarity to my thinking and writing, and for being a paragon of professionalism and a role model; to Jeroen Dewulf, whose encouragement during his course on German literature and during my preparation for the orals made more of a difference than he might have known; to Marina Frolova-Walker for her hands-on advising and incisive feedback, which left no stones unturned, and her caring support, both equally essential; and above all, to Richard Taruskin, whose scholarship inspired me long before I even dreamed of being his student, who has encouraged me to be true to myself ever since we sat down on a bench at The Hermitage and he told me to never mind them, and without whose professional and personal help I would have never reached this point. A cordial thank you to Melissa Hacker and Lisa Robinson for doing wonders to accommodate all my individual circumstances, and for guiding me through the program steadily and graciously. I am immensely grateful to my teachers Olga Manulkina, who set me on the scholarly path eleven years ago and has been helping me walk it ever since; Arkady Klimovitsky, who set the standard of integrity to live up to; and Karl Kügle, for making me apply to Berkeley and for believing in me even when I did not fully believe in myself. Warmest thanks and a hug to my friends, who have been my family during my time at Berkeley and have helped in countless ways: Rebekah Ahrendt, Nell Cloutier, Sean Curran, Barbara Dietlinger, Emily Frey, Ofer Gazit, Ian Goldstein, Melanie Gudesblatt, Jess Herdman, Margaret Jones, Beezer de Martelly, Jonathan Meci, Adeline Mueller, Tiffany Ng, Kirsten Paige, Ulrike Petersen, Bill Quillen, Sumitra Ranganathan, Emily Richmond Pollock, Ilya Rostovtsev, Danni Simon, Saraswathi Shukla, Chelsea Spangler, Rachana Vajjhala, Rachel Vandagriff, Jen Wang, Jiselle Warner, and Robert Yamasato; and those who kept me happy in other places: Lidia Ader, Katya Chernyakova, Olga Khomitsevich, Ruxandra Marinescu, and Stanislav Oporkov. Thank you to the Gusev family, without whose unwavering support and hospitality I would not iii have been able to carry out archival research for this dissertation, and to Elena Orlova for having my back when no one else could. Most heartfelt thanks to Vadim Keylin, Laura Protano-Biggs, and Anicia Timberlake, for their indispensable feedback, for proofreading my writing, and for seeing me through the last year of my Ph.D. iv Introduction [H]e who approaches the great enigma should know to take his sandals off his feet, for the place where he is standing is holy ground; he should feel the greatness of the spirit, with which he communes, and honor the highest, the inscrutable and the unfathomable in it – with
Load more

Recommended publications
  • On Russian Music Might Win It
    37509_u01.qxd 5/19/08 4:04 PM Page 27 1 Some Thoughts on the History and Historiography of Russian Music A preliminary version of this chapter was read as a paper in a symposium or- ganized by Malcolm H. Brown on “Fifty Years of American Research in Slavic Music,” given at the fiftieth national meeting of the American Musicological Society, on 27 October 1984. The other participants in the symposium and their topics were Barbara Krader (Slavic Ethnic Musics), Milos Velimirovic (Slavic Church Music), Malcolm H. Brown (Russian Music—What Has Been Done), Laurel Fay (The Special Case of Soviet Music—Problems of Method- ology), and Michael Beckerman (Czech Music Research). Margarita Mazo served as respondent. My assigned topic for this symposium was “What Is to Be Done,” but being no Chernïshevsky, still less a Lenin, I took it on with reluctance. I know only too well the fate of research prospectuses. All the ones I’ve seen, whatever the field, have within only a few years taken on an aspect that can be most charitably described as quaint, and the ones that have attempted to dictate or legislate the activity of future generations of scholars cannot be so charitably described. It is not as though we were trying to find a long- sought medical cure or a solution to the arms race. We are not crusaders, nor have we an overriding common goal that demands the subordina- tion of our individual predilections to a team effort. We are simply curious to know and understand the music that interests us as well as we possibly can, and eager to stimulate the same interest in others.
    [Show full text]
  • Shapiro Auctions
    Shapiro Auctions RUSSIAN ART AUCTION INCLUDING POSTERS & BOOKS Tuesday - June 15, 2010 RUSSIAN ART AUCTION INCLUDING POSTERS & BOOKS 1: GUBAREV ET AL USD 800 - 1,200 GUBAREV, Petr Kirillovich et al. A collection of 66 lithographs of Russian military insignia and arms, from various works, ca. 1840-1860. Of varying sizes, the majority measuring 432 x 317mm (17 x 12 1/2 in.) 2: GUBAREV ET AL USD 1,000 - 1,500 GUBAREV, Petr Kirillovich et al. A collection of 116 lithographs of Russian military standards, banners, and flags from the 18th to the mid-19th centuries, from various works, ca. 1830-1840. Of varying sizes, the majority measuring 434 x 318mm (17 1/8 x 12 1/2 in.) 3: RUSSIAN CHROMOLITHOGRAPHS, C1870 USD 1,500 - 2,000 A collection of 39 color chromolithographs of Russian military uniforms predominantly of Infantry Divisions and related Artillery Brigades, ca. 1870. Of various sizes, the majority measuring 360 x 550mm (14 1/4 x 21 5/8 in.) 4: PIRATSKII, KONSTANTIN USD 3,500 - 4,500 PIRATSKII, Konstantin. A collection of 64 color chromolithographs by Lemercier after Piratskii from Rossiskie Voiska [The Russian Armies], ca. 1870. Overall: 471 x 340mm (18 1/2 x 13 3/8 in.) 5: GUBAREV ET AL USD 1,200 - 1,500 A collection of 30 lithographs of Russian military uniforms [23 in color], including illustrations by Peter Kirillovich Gubarev et al, ca. 1840-1850. Of varying sizes, the majority measuring 400 x 285mm (15 3/4 x 11 1/4 in.), 6: DURAND, ANDRE USD 2,500 - 3,000 DURAND, André.
    [Show full text]
  • Heinrich Neuhaus and Alternative Narratives of Selfhood in Soviet Russi
    ‘I wish for my life’s roses to have fewer thorns’: Heinrich Neuhaus and Alternative Narratives of Selfhood in Soviet Russia Abstract Heinrich Neuhaus (1888—1964) was the Soviet era’s most iconic musicians. Settling in Russia reluctantly he was dismayed by the policies of the Soviet State and unable to engage with contemporary narratives of selfhood in the wake of the Revolution. In creating a new aesthetic territory that defined himself as Russian rather than Soviet Neuhaus embodied an ambiguous territory whereby his views both resonated with and challenged aspects of Soviet- era culture. This article traces how Neuhaus adopted the idea of self-reflective or ‘autobiographical’ art through an interdisciplinary melding of ideas from Boris Pasternak, Alexander Blok and Mikhail Vrubel. In exposing the resulting tension between his understanding of Russian and Soviet selfhood, it nuances our understanding of the cultural identities within this era. Finally, discussing this tension in relation to Neuhaus’s contextualisation of the artistic persona of Dmitri Shostakovich, it contributes to a long- needed reappraisal of his relationship with the composer. I would like to gratefully acknowledge the support of the Guildhall School that enabled me to make a trip to archives in Moscow to undertake research for this article. Dr Maria Razumovskaya Guildhall School of Music & Drama, London Word count: 15,109 Key words: identity, selfhood, Russia, Heinrich Neuhaus, Soviet, poetry Contact email: [email protected] Short biographical statement: Maria Razumovskaya completed her doctoral thesis (Heinrich Neuhaus: Aesthetics and Philosophy of an Interpretation, 2015) as an AHRC doctoral scholar at the Royal College of Music in London.
    [Show full text]
  • Birthright Democracy: Nationhood and Constitutional Self-Government in History
    BIRTHRIGHT DEMOCRACY: NATIONHOOD AND CONSTITUTIONAL SELF-GOVERNMENT IN HISTORY By Ethan Alexander-Davey A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Political Science) at the UNIVERSITY OF WISCONSIN-MADISON 2013 Date of final oral examination: 8/16/13 The dissertation is approved by the following members of the Final Oral Committee: Richard Avramenko, Political Science Daniel Kapust, Political Science James Klausen, Political Science Howard Schweber, Political Science Johann Sommerville, History i Abstract How did constitutionally limited government and democracy emerge in the West? Many scholars from many different perspectives have attempted to answer this question. I identify the emergence of these forms of self-government with early modern nationalism. Broadly speaking, nationalism of the right sort provides indispensable resources both for united popular resistance against autocratic rule, and for the formation and legitimation of national systems self- governance. Resistance and self-government both require a national consciousness that includes a myth of national origin, a national language, a common faith, and, crucially, native traditions of self-government, and stories of heroic ancestors who successfully defended those traditions against usurpers and tyrants. It is through national consciousness that abstract theories of resistance and self-government become concrete and tenable. It is though national fellowship that the idea of a political nation, possessing the right to make rulers accountable to its will, comes into existence and is sustained over time. My arguments basically fall under two headings, historical and theoretical. By an examination of the nationalist political thought of early modern European countries, I intend to establish important historical connections between the rise of nationalism and the emergence of self-government.
    [Show full text]
  • The "Contemporary Art" Exhibition (St. Petersburg, 1903): Four Reviews1
    Experiment/3KcnepMMeHT, 7 (2001), 265~73. THE "CONTEMPORARY ART" EXHIBITION (ST. PETERSBURG, 1903): FOUR REVIEWS1 "Contemporary Art''2 In St. Petersburg, on Bolshaia Morskaia, in fact right across from the Society for the Encouragement of the Arts, an interesting art enterprise has been organ­ ized w1der the title "Contemporary Art". A small group of artists - Alexandre Benois, Igor Grabar, Lev Bakst, Aleksandr Golovin, Konstantin Korovin, Evge­ nii Lanceray, Vladimir von Mekk, Konstantin Somov, and Prince Sergei Shcher~ batov, witil tile assistance of engineer S. F. Sovin -have set themselves the task of expanding the sphere of so-called applied art in Russia and of raising the level of our art industry. In its aspiration to bring art closer to life, this group, made up primarily of young artists, has decided not to limit itself to working without any clear system, but to pool its resources with tl10se of otl1er artists working in the field of applied art. "Contemporary Art" constitutes a center where every artist who has sometiling of his own to say and the desire to say it, can work in this arena witil complete independence and freedom. The principle goal of applied art is to develop tile artistic taste of society us­ ing objects of domestic use, and "Contemporary Art" is pursuing this goal on a v~ry large scale. Not confining itself to tile production of various artistic func­ tional objects, it has gone furtiler and begw1 with tl1eir actual nsage - ·mth rooms that are lived in. TI1e entire space of "Contemporary Art" comprises a se­ ries of rooms, each of which is entirely decorated and f.mushed by a single artist.
    [Show full text]
  • Rus Sian Jews Between the Reds and the Whites, 1917– 1920
    Rus sian Jews Between the Reds and the Whites, 1917– 1920 —-1 —0 —+1 137-48292_ch00_1P.indd i 8/19/11 8:37 PM JEWISH CULTURE AND CONTEXTS Published in association with the Herbert D. Katz Center for Advanced Judaic Studies of the University of Pennsylvania David B. Ruderman, Series Editor Advisory Board Richard I. Cohen Moshe Idel Alan Mintz Deborah Dash Moore Ada Rapoport- Albert Michael D. Swartz A complete list of books in the series is available from the publisher. -1— 0— +1— 137-48292_ch00_1P.indd ii 8/19/11 8:37 PM Rus sian Jews Between the Reds and the Whites, 1917– 1920 Oleg Budnitskii Translated by Timothy J. Portice university of pennsylvania press philadelphia —-1 —0 —+1 137-48292_ch00_1P.indd iii 8/19/11 8:37 PM Originally published as Rossiiskie evrei mezhdu krasnymi i belymi, 1917– 1920 (Moscow: ROSSPEN, 2005) Publication of this volume was assisted by a grant from the Lucius N. Littauer Foundation. Copyright © 2012 University of Pennsylvania Press All rights reserved. Except for brief quotations used for purposes of review or scholarly citation, none of this book may be reproduced in any form by any means without written permission from the publisher. Published by University of Pennsylvania Press Philadelphia, Pennsylvania 19104- 4112 www .upenn .edu/ pennpress Printed in the United States of America on acid- free paper 10 9 8 7 6 5 4 3 2 1 -1— Library of Congress Cataloging- in- Publication Data 0— ISBN 978- 0- 8122- 4364- 2 +1— 137-48292_ch00_1P.indd iv 8/19/11 8:37 PM In memory of my father, Vitaly Danilovich Budnitskii (1930– 1990) —-1 —0 —+1 137-48292_ch00_1P.indd v 8/19/11 8:37 PM -1— 0— +1— 137-48292_ch00_1P.indd vi 8/19/11 8:37 PM contents List of Abbreviations ix Introduction 1 Chapter 1.
    [Show full text]
  • ANATOLY ALEXANDROV Piano Music, Volume One
    ANATOLY ALEXANDROV Piano Music, Volume One 1 Ballade, Op. 49 (1939, rev. 1958)* 9:40 Romantic Episodes, Op. 88 (1962) 19:39 15 No. 1 Moderato 1:38 Four Narratives, Op. 48 (1939)* 11:25 16 No. 2 Allegro molto 1:15 2 No. 1 Andante 3:12 17 No. 3 Sostenuto, severo 3:35 3 No. 2 ‘What the sea spoke about 18 No. 4 Andantino, molto grazioso during the storm’: e rubato 0:57 Allegro impetuoso 2:00 19 No. 5 Allegro 0:49 4 No. 3 ‘What the sea spoke of on the 20 No. 6 Adagio, cantabile 3:19 morning after the storm’: 21 No. 7 Andante 1:48 Andantino, un poco con moto 3:48 22 No. 8 Allegro giocoso 2:47 5 No. 4 ‘In memory of A. M. Dianov’: 23 No. 9 Sostenuto, lugubre 1:35 Andante, molto cantabile 2:25 24 No. 10 Tempestoso e maestoso 1:56 Piano Sonata No. 8 in B flat, Op. 50 TT 71:01 (1939–44)** 15:00 6 I Allegretto giocoso 4:21 Kyung-Ah Noh, piano 7 II Andante cantabile e pensieroso 3:24 8 III Energico. Con moto assai 7:15 *FIRST RECORDING; **FIRST RECORDING ON CD Echoes of the Theatre, Op. 60 (mid-1940s)* 14:59 9 No. 1 Aria: Adagio molto cantabile 2:27 10 No. 2 Galliarde and Pavana: Vivo 3:20 11 No. 3 Chorale and Polka: Andante 2:57 12 No. 4 Waltz: Tempo di valse tranquillo 1:32 13 No. 5 Dances in the Square and Siciliana: Quasi improvisata – Allegretto 2:24 14 No.
    [Show full text]
  • The Trauma of Stalinism Narrated in Varlam T. Shalamov's Kolymskie Rasskazy : Missiological Implications for Contemporary Russia
    Andrews University Digital Commons @ Andrews University Dissertations Graduate Research 2008 The Trauma of Stalinism Narrated in Varlam T. Shalamov's Kolymskie Rasskazy : Missiological Implications for Contemporary Russia Yuri N. Drumi Andrews University Follow this and additional works at: https://digitalcommons.andrews.edu/dissertations Part of the European History Commons, European Languages and Societies Commons, Political History Commons, and the Social History Commons Recommended Citation Drumi, Yuri N., "The Trauma of Stalinism Narrated in Varlam T. Shalamov's Kolymskie Rasskazy : Missiological Implications for Contemporary Russia" (2008). Dissertations. 40. https://digitalcommons.andrews.edu/dissertations/40 This Dissertation is brought to you for free and open access by the Graduate Research at Digital Commons @ Andrews University. It has been accepted for inclusion in Dissertations by an authorized administrator of Digital Commons @ Andrews University. For more information, please contact [email protected]. Thank you for your interest in the Andrews University Digital Library of Dissertations and Theses. Please honor the copyright of this document by not duplicating or distributing additional copies in any form without the author’s express written permission. Thanks for your cooperation. ABSTRACT THE TRAUMA OF STALINISM NARRATED IN VARLAM T. SHALAMOV'S KOLYMSKIE RASSKAZY: MISSIOLOGICAL IMPLICATIONS FOR CONTEMPORARY RUSSIA by Yuri N. Drumi Adviser: Rudi Maier ABSTRACT OF GRADUATE STUDENT RESEARCH Dissertation Andrews University Seventh-day Adventist Theological Seminary Title: THE TRAUMA OF STALINISM NARRATED IN VARLAM T. SHALAMOV'S KOLYMSKIE RASSKAZY: MISSIOLOGICAL IMPLICATIONS FOR CONTEMPORARY RUSSIA Name of researcher: Yuri N. Drumi Name and degree of faculty adviser: Rudi Maier, Ph.D. Date completed: April 2008 Stalinism and the punitive system of the Gulag left an indelible stamp on the entire social matrix of Russia.
    [Show full text]
  • Sociology in Continental Europe After WWII1
    Sociology in Continental Europe after WWII1 Matthias Duller & Christian Fleck Continental particularities Sociology was invented in Europe. For several reasons, however, it did not bloom there for the first one-and-a-half centuries. The inventor of sociology, Auguste Comte, was an independent scholar with no affiliation to any institution. Likewise, other European founding fathers, such as Alexis Tocqueville, Herbert Spencer, Karl Marx, and Friedrich Engels, were not professors, nor were they paid for their scholarly service by the state. Looking at the history of sociology in continental Europe, we do not come upon a striking role model of a “professional sociologist.” What is normally called the classical period ranges from pre-Comtean authors down to the generation after Comte (born 1798): Among the most prominent figures, from Ludwig Gumplowicz (1838), Vilfredo Pareto (1848), Tomáš Masaryk (1850), Maksim Kovalevsky (1851), Ferdinand Tönnies (1855), Georg Simmel (1858), Émile Durkheim (1858), Max Weber (1864), Marcel Mauss (1872), Roberto Michels (1876), Maurice Halbwachs (1977) to Florian Znaniecki (1882), only the Frenchmen and the exiled Pole occupied positions whose descriptions covered sociology and nothing other than sociology. All the others earned their living by practicing different professions or teaching other disciplines. For a very long time sociology failed to appear as a distinct entity in Continental Europe’s academic world. Simply put, one could not study it (even in Durkheim’s France a specialized undergraduate programme, licence de sociologie, started not earlier than 1958, before that students got an multidisciplinary training in the Facultés de Lettres or specialized institutions as the Vth Section of the École pratique des hautes études or the College des France).
    [Show full text]
  • 2. Svetoslav Manoulov. Joseph De Mestre
    ALMANACH VIA EVRASIA, 2013, 2 Svetoslav Manoilov, Dr. (Russian History) Eurasia center VIA EVRASIA JOSEPH DE MESTRE AND THE ORIGINS OF THE RUSSIAN CONSERVATISM One of the most important preconditions for the spread of the European conservatism in Russia was the residence of some members of this political party in the empire. Russia was one of the favourite places for settlement of French immigrants as they join its military and civil service. One of the main representatives of European conservatism living in Russia since the beginning of the XIX century was Joseph de Maistre. This study examines the stay of Joseph de Maistre in the Eastern empire, his impact on the Russian society, and particularly, his influence in the foundation of the Russian conservative ideology. His impact on the conservative ideology in Europe is so significant that even nowadays his personality and political philosophy arise interest among scholars. However, there are controversial opinions in historiography. R. Triomphe1 defines him as "an ideologue of absolute power and mystical materialism". I. Berlin2 as “cruel prophet of our time and precursor of fascism”, J.-L. Darcell3 as “cosmopolitan searching for unity”. F. Verimiale4 studies the years in exile of Joseph de Maistre, J. Murray5 - his political philosophy. Another interesting research is that of C. Armenteros, 1 Triomphe, R. Joseph de Maistre. Etude sur la vie et sur la doctrine d'un materialiste mystique (Geneve, 1968). 2 Berlin, I. Joseph de Maistre and the origins of Fascism (The New York Rewiew of Books, 1990). 3 Darcel, J.-L. La «conversion» de J. de Maistre (1789-1791): a propos de notes marginales attribuees a J.
    [Show full text]
  • Clute International Academic Virtual Conferences Spring 2021 Author Name Paper # Title (Click Title to View Paper)
    May 3-4, 2021 Clute International Academic Virtual Conferences Spring 2021 Author Name Paper # Title (Click title to view paper) Akin, Imani 116 Strategic Partnering: Developing The Dissertation Towards Elimination Of Students’ Misconceptions In Science: Case Of Drama And Alamina, Jane I. 113 Concept Mapping Strategies On Chemical Bonding In Nigeria Alvarado, Jessica 106 Strategies For Engagement And Motivation In The Online Classroom Beauchamp, Charles 122 The Federal Reserve's Zombie Firms Bodamer, Kristina 106 Strategies For Engagement And Motivation In The Online Classroom Bowes, David 120 U.S. Congressional Election Uncertainty And Stock Market Volatility Burton, Erika 116 Strategic Partnering: Developing The Dissertation Conrad, Cynthia E. 115 Digital Identity In Canada For Public Services: Implications For The United States Teaching About Fountainheads Of Sociology: The Case Of Marx, Weber, Durkheim, Du Cromartie, J. Vern 124 Bois, Wells-Barnett, Addams, And Martineau As Pioneers Teaching About Fountainheads Of Ethnic Studies: The Case Of W. E. B. Du Bois And Cromartie, J. Vern 125 Carter G. Woodson As Ethnicians Davidovitch, Nitza 130 E-Learning In Times Of Crisis – An Incidental Or Facilitative Event? Cybersecurity: Increasing Under-Represented Students To The Major Through DeBello, Joan E. 134 Engagement Mentoring And Research Cybersecurity: Increasing Under-Represented Students To The Major Through Dragos, Denise 134 Engagement Mentoring And Research Towards Elimination Of Students’ Misconceptions In Science: Case Of Drama
    [Show full text]
  • The Fourteenth Season: Russian Reflections July 15–August 6, 2016 David Finckel and Wu Han, Artistic Directors Experience the Soothing Melody STAY with US
    The Fourteenth Season: Russian Reflections July 15–August 6, 2016 David Finckel and Wu Han, Artistic Directors Experience the soothing melody STAY WITH US Spacious modern comfortable rooms, complimentary Wi-Fi, 24-hour room service, fitness room and a large pool. Just two miles from Stanford. BOOK EVENT MEETING SPACE FOR 10 TO 700 GUESTS. CALL TO BOOK YOUR STAY TODAY: 650-857-0787 CABANAPALOALTO.COM DINE IN STYLE Chef Francis Ramirez’ cuisine centers around sourcing quality seasonal ingredients to create delectable dishes combining French techniques with a California flare! TRY OUR CHAMPAGNE SUNDAY BRUNCH RESERVATIONS: 650-628-0145 4290 EL CAMINO REAL PALO ALTO CALIFORNIA 94306 Music@Menlo Russian Reflections the fourteenth season July 15–August 6, 2016 D AVID FINCKEL AND WU HAN, ARTISTIC DIRECTORS Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 R ussian Reflections Program Overview 6 E ssay: “Natasha’s Dance: The Myth of Exotic Russia” by Orlando Figes 10 Encounters I–III 13 Concert Programs I–VII 43 Carte Blanche Concerts I–IV 58 Chamber Music Institute 60 Prelude Performances 67 Koret Young Performers Concerts 70 Master Classes 71 Café Conversations 72 2016 Visual Artist: Andrei Petrov 73 Music@Menlo LIVE 74 2016–2017 Winter Series 76 Artist and Faculty Biographies A dance lesson in the main hall of the Smolny Institute, St. Petersburg. Russian photographer, twentieth century. Private collection/Calmann and King Ltd./Bridgeman Images 88 Internship Program 90 Glossary 94 Join Music@Menlo 96 Acknowledgments 101 Ticket and Performance Information 103 Map and Directions 104 Calendar www.musicatmenlo.org 1 2016 Season Dedication Music@Menlo’s fourteenth season is dedicated to the following individuals and organizations that share the festival’s vision and whose tremendous support continues to make the realization of Music@Menlo’s mission possible.
    [Show full text]