DOCSLIB.ORG

1543055606-641.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

• What were Dmitri Shostakovich's views about his homeland? Until 1979 he Soviet Union's official composer was con­ sidered a staunch supporter of Joseph Stalin and his successors. This assu ption was then challenged with the pub1ication of Testimony, ostensibly the composer's memoirs as told to Solomon Volkov, in which Shostakovich emerged as a dissi­ dent. Serious reservations persist to this day about the integrity and validity of Testimony, but Volkov did reveal a "new" Shostakovich. Now, in the first important biographical work on Shostakovich to take Testimony into account, Ian MacDonald dispels some of the mystery surrounding the composer and his music. Declaring that Volkov painted "a realistic picture of Dmitri Shostakovich: it just isn't a genuine one," MacDonald describes the ways in which the Soviet government used Shostakovich and other artists for propaganda purposes and examines the only authentic record of Shostakovich's personal and political beliefs that the composer left behind: his music. MacDonald argues that attempts to grasp the compositions of Shostakovich as pure music are doomed to failure because the composer's art can be understood o ly within the political-cultural framework of his time. Soviet institutions controlled artistic endeavors during Shostakovich's THE NEW SHOSTAKOVICH THE NEW SHOSTAKOVICH Ian MacDonald Northeastern University Press BOSTON Northeastern University Press Copyright© 1990 by Ian MacDonald First published in Great Britain in 1990 by Fourth Estate, Ltd. Published in the United States of America in 1990 by Northeastern University Press. All rights reserved. This book, or parts thereof, may not be reproduced in any form or by any means, electronic or mechanical, including photocopying, recording, or any informationstorage and retrievalsystem now known or to be invented, without written permission of the publisher. ISBN 1-55553-089-3 MANUFACTURED IN GREAT BRITAIN TO MY PARENTS CONTENTS ACKNOWLEDGEMENTS ix PHOTO CREDITS x PRELUDE: Truth 1 1 Innocence 1906-1925 16 2 Experience 1926-1931 32 3 Uncertainty 1932-1934 79 4 Terror 1935-1938 98 5 Togetherness 1938-1946 139 6 Isolation 1946-1953 184 7 Assertion 1953-1975 210 POSTLUDE: Immortality 245 APPENDIX 1: Stalinism and Nineteen Eighty-Four 265 APPENDIX 2: Akhmatova, Shostakovich and the 'Seventh' 271 APPENDIX 3: Chronology 277 SOME RECOMMENDED RECORDINGS 316 SOURCE NOTES 317 SELECT BIBLIOGRAPHY 323 INDEX OF COMPOSITIONS 327 INDEX OF CHARACTERS 331 ACKNOWLEDGEMENTS Thanks are due to the following forpermission to quote from published material in copyright: Century, extract from Leningrad Diary by Vera lnber; Collins Harvill, extracts from Hope Against Hope and Hope Abandoned by Nadezhda Mandelstam; Collins Harvill, extracts from A Captive of Time by Olga Ivinskaya; Andre Deutsch, extracts from To Build a Castle by Vladimir Bukovsky; the estate of the late Sonia Brownell Orwell and Secker & Warburg, extracts from Nineteen Eighty-Four by George Orwell; Robert Hale, extracts from Pages From the Life of Dmitri Shostakuvich by Dmitri and Ludmilla Sollertinsky; Hamish Hamilton, extracts from Tes timony by Solomon Volkov; Lawrence & Wishart, extract from Dmitri Shostakuvich, Composer by David Rabinovich; Macmillan, extract from Let History Judge, by Roy Medvedev; Oxford University Press, extracts fromAnnaAkhmatuva,A Poetic Pilgrimage by Amanda Haight; Peters, Fraser & Dunlop, extract from Th e Russian Mind by Ronald Hingley; Praeger Publishers, extracts fromMusic Under the Suviets by Andrei Olkhovsky; Secker & Warburg, extracts fromPoems byAnnaAk hmatuva (tr. D.M. Thomas) and Th e CaptiveMind by Czesfaw Milosz; Tantivy Press, extract fromTh e Music of DmitriShos takuvich: TheSy mphoniesby Roy Blokker and Robert Dearling. Special thanks are due to Richard McKane, Peter Norman, and Anatoli Naiman fortheir kind assistance with Appendix 2; to David King for drawing my attention to the portrait photography of Moisei Nappelbaum; to Pamela Winterton forher valued advice and encouragement; and to Ewen and Olwen MacCormick for their support, without which this book could not have been written. PHOTO CREDITS Iosif Vissarionovich Stalin (SCR), Shostakovich in his early twenties (SCR), Yevgeny Zamyatin (Ardis), Boris Pilnyak (Ardis), Marina Tsvetayeva (David King Collection), Anna Akhmatova (David King Collection), Osip Mandelstam (SCR), Boris Pasternak (Camera Press), Vladimir Mayakovsky (Nuvosti), Isaac Babel (Nuvosti), Mikhail Bulgakov (Nuvosti), Yuri Olesha (M. Napplebaum, Ardis), Mikhail Zoshchenko (Nuvosti), Shostakovich with his wifeNina and best friend Ivan Sollertinsky (Nuvosti), Mikhail Tukhachevsky (DavidKing Collec­ tion), Sergei Prokofiev (Nuvosti), Aram Khachaturian (SCR), Nikolai Myas­ kovsky (SCR), Maxim Gorky (SCR), Ilya Ehrenburg (SCR), Anatoli Lunacharsky (Nuvosti), Vsevolod Meyerhold (M. Nappelbaum, Ardis), Zinaida Raikh (M. Nappelbaum, Ardis), Stalin's Politburo at the 7th Congress of the Soviets (DavidKing Collection), Sergei Kirov (Nuvosti),Nikolai Bukharin (David King Collection), Nikolai Yezhov (David King Collection), Andrei Zhdanov (Camera Press), Alexander Bezymensky (Camera Press), Alexander Afinogenov (Nuvosti), Shostakovich during the 1948 Composers' Union congress (Nuvosti), Praesidium of the Composer's Union after Zhdanov's purge (SCR), Tikhon Khrennikov (Nuvosti), Dmitri Kabalevsky (M. Nappelbaum, Ardis), Anna Akh­ matova in her sixties (L.Polyzkuva, Camera Press), Nadezhda Mandelstam (G. Pinkhassuv, Magnum), Dmitri Dmitryevich Shostakovich (Nuvosti). I always carry one end of a banner in the processions. I always look cheerful and I never shirk anything. Always yell with the crowd, that's what I say. It's the only way to be safe. GEORGE ORWELL, Nineteen Eighty-Four PRELUDE: Truth Do you not think that history is really a whore? SHOSTAKOVICH (?), Testimony OLLOWING HIS DEATH on 9 August 1975 in a Moscow hospital reserved Fforhigh-ranking apparatchiks,the composer Dmitri Dmitryevich Shostako­ vich was hailed in an official obituary circulated to all Soviet newspapers as 'a faithfulson of the Communist Party' who had devoted his life to 'the ideals of socialist humanism and internationalism'. Five days later, as befits a Union First Secretary and Deputy to the Supreme Soviet, he was given a state funeral in the capital's Novodevichy Cemetery, an event televised in all countries signatory to the Warsaw Pact. East European newscasters recited the dead man's long list of official titles and awards: Honoured Artist of the Russian Soviet Federal Socialist Republic, People's Artist of the USSR, three times recipient of the Order of Lenin, Hero of Socialist Labour ... Coverage in the West followedthe Soviet lead, describing the composer as 'a convinced Marxist-Leninist and lifelong Communist', but including the fact, overlooked in the Soviet bulletins, that he had twice in his life been severely reprimanded by the state fordeviating from the officialli ne. No comment was attached to this anomaly. The ups and downs of life in the Soviet Union are notoriously opaque to outsiders and obituaries hardly the place forspeculation. Western classical stationsplayed Shostakovich's Soviet-approved masterpiece, the FifthSymphony, and commiserated with the Russian people over their loss. Newscasters proceeded to the next report and Shostakovich passed into history. Four years later, Shostakovich - or someone using his name and identity­ stepped back out of history through the pages of Tes timony, claimed by its publishers to be the composer's memoirs as dictated to his amanuensis, Solomon Volkov. Volkov had been a music journalistin the Soviet Union until 1976 when he had travelled to America on an exitvisa and settledin New York. Based on a typescript signed, chapter by chapter, by Shostakovich, Tes timony was his firstwork published in English and an immediate succes de scandale, drawing a picture of the composer shockinglyat variance with the image of him promoted by the USSR. The Shostakovich of Tes timony was a bitter man who denied allegiance to the Communist Party-andrepudiated any assumptionthat he had been in sympathy with the Soviet system: 'I never tried to flatter the authoritieswith my music. AndI never had an "affair" with them. I was never a favourite,though I know I THE NEW SHOSTAKOVICH that some accuse me ofit. They say that I stood too close to power. An optical illusion.' Going on to savage every aspect of his country's life and culture, this 'new' Shostakovich poured particular scorn on the Soviet policy towards the arts, which he claimed was crude, cynical, and antipatheticto any genuine creativity: A man has no significance in a totalitarian state. The only thing that matters is the inexorable movement of the state mechanism. A mecha­ nism needs only cogs. Stalin used to call all of us cogs. One cog does not differ from another, and cogs can easily replace one another. You can pick one out and say, 'From this day you will be a genius cog', and everyone else will consider it a genius. It doesn't matter at all whether it is or not. Anyone can become a genius on the orders of the leader. Castigating Stalin and his successors, the 'new' Shostakovich finally rounded, too, on Lenin, the very father of the Revolution and a figure of God­ like status in Russia: Don't believe humanists, citizens, don't believe prophets, don't believe luminaries - they'll fool you for a penny. Do your own work, don't hurt people, tryto help them. Don't try to save humanityall at once, trysaving one person first. It's a lot harder. To help
Recommended publications
  • RUSSIAN, SOVIET & POST-SOVIET SYMPHONIES Composers

    RUSSIAN, SOVIET & POST-SOVIET SYMPHONIES Composers

    RUSSIAN, SOVIET & POST-SOVIET SYMPHONIES A Discography of CDs and LPs Prepared by Michael Herman Composers A-G KHAIRULLO ABDULAYEV (b. 1930, TAJIKISTAN) Born in Kulyab, Tajikistan. He studied composition at the Moscow Conservatory under Anatol Alexandrov. He has composed orchestral, choral, vocal and instrumental works. Sinfonietta in E minor (1964) Veronica Dudarova/Moscow State Symphony Orchestra ( + Poem to Lenin and Khamdamov: Day on a Collective Farm) MELODIYA S10-16331-2 (LP) (1981) LEV ABELIOVICH (1912-1985, BELARUS) Born in Vilnius, Lithuania. He studied at the Warsaw Conservatory and then at the Minsk Conservatory where he studied under Vasily Zolataryov. After graduation from the latter institution, he took further composition courses with Nikolai Miaskovsky at the Moscow Conservatory. He composed orchestral, vocal and chamber works. His other Symphonies are Nos. 1 (1962), 3 in B flat minor (1967) and 4 (1969). Symphony No. 2 in E minor (1964) Valentin Katayev/Byelorussian State Symphony Orchestra ( + Vagner: Suite for Symphony Orchestra) MELODIYA D 024909-10 (LP) (1969) VASIF ADIGEZALOV (1935-2006, AZERBAIJAN) Born in Baku, Azerbaijan. He studied under Kara Karayev at the Azerbaijan Conservatory and then joined the staff of that school. His compositional catalgue covers the entire range of genres from opera to film music and works for folk instruments. Among his orchestral works are 4 Symphonies of which the unrecorded ones are Nos. 1 (1958) and 4 "Segah" (1998). Symphony No. 2 (1968) Boris Khaikin/Moscow Radio Symphony Orchestra (rec. 1968) ( + Piano Concertos Nos. 2 and 3, Poem Exaltation for 2 Pianos and Orchestra, Africa Amidst MusicWeb International Last updated: August 2020 Russian, Soviet & Post-Soviet Symphonies A-G Struggles, Garabagh Shikastasi Oratorio and Land of Fire Oratorio) AZERBAIJAN INTERNATIONAL (3 CDs) (2007) Symphony No.
  • Season 2014-2015

    Season 2014-2015

    23 Season 2014-2015 Wednesday, January 28, at 8:00 The Philadelphia Orchestra Friday, January 30, at 2:00 Saturday, January 31, Yannick Nézet-Séguin Conductor at 8:00 Kirill Gerstein Piano Beethoven Symphony No. 5 in C minor, Op. 67 I. Allegro con brio II. Andante con moto III. Allegro— IV. Allegro Intermission Shostakovich Piano Concerto No. 2 in F major, Op. 102 I. Allegro II. Andante III. Allegro Shostakovich/from Suite from The Gadfly, Op. 97a: arr. Atovmyan I. Overture: Moderato con moto III. People’s Holiday: [Allegro vivace] VII. Prelude: Andantino XI. Scene: Moderato This program runs approximately 1 hour, 40 minutes. The January 28 concert is sponsored by MEDCOMP. designates a work that is part of the 40/40 Project, which features pieces not performed on subscription concerts in at least 40 years. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. 24 Please join us immediately following the January 30 concert for a Chamber Postlude, featuring members of The Philadelphia Orchestra. Brahms Piano Quartet No. 3 in C minor, Op. 60 I. Allegro non troppo II. Scherzo: Allegro III. Andante IV. Finale: Allegro lomodo Mark Livshits Piano Kimberly Fisher Violin Kirsten Johnson Viola John Koen Cello 3 Story Title 25 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra is one of the preeminent orchestras in the world, renowned for its distinctive sound, desired for its keen ability to capture the hearts and imaginations of audiences, and admired for a legacy of imagination and innovation on and off the concert stage.
  • 20Th-Century Repertory

    20Th-Century Repertory

    Mikrokosmos List 650. - 2 - October 2019 ....20TH-CENTURY REPERTORY 1 Absil: Clarinet Quartet/Pelemans, Willem: Clar Quartet/Cabus, Peter: Clar ZEPHYR Z 18 A 10 Quartet/Moscheles: Prelude et fugue - Belgian Clarinet Quartet (p.1982) S 2 Albrecht, Georg von: 2 Piano Sonatas; Prelude & Fugue; 3 Hymns; 5 Ostliche DA CAMERA SM 93141 A 8 Volkslieder - K.Lautner pno 1975 S 3 Alpaerts, Flor: James Ensor Suite/Mortelmans: In Memoriam/E.van der Eycken: DECCA 173019 A 8 Poeme, Refereynen - cond.Weemaels, Gras, Eycken S 4 Amelsvoort: 2 Elegies/Reger: Serenade/Krommer-Kramar: Partita EUROSOUND ES 46442 A 15 Op.71/Triebensee: Haydn Vars - Brabant Wind Ensemble 1979 S 5 Antoine, Georges: Pno Quartet Op.6; Vln Sonata Op.3 - French String Trio, MUSIQUE EN MW 19 A 8 Pludermacher pno (p.1975) S 6 Badings: Capriccio for Vln & 2 Sound Tracks; Genese; Evolutions/ Raaijmakers: EPIC LC. 3759 A 15 Contrasts (all electronic music) (gold label, US) 7 Baervoets: Vla Con/P.-B.Michel: Oscillonance (2 vlns, pno)/C.Schmit: Preludes for EMI A063 23989 A 8 Orch - Patigny vla, Pingen, Quatacker vln, cond.Defossez (p.1980) S 8 Baily, Jean: 3 Movements (hn, tpt, pf, string orch)/F.M.Fontaine: Concertino, DGG 100131 A 8 Fantasie symphonique (orch) - cond.Baily S 9 Balanchivadze: Pno Con 4 - Tcherkasov, USSR RTVSO, cond.Provatorov , (plain MELODIYA C10. 9671 A 25 Melodiya jacket) S 10 Banks, Don: Vln Con (Dommett, cond.P.Thomas)/ M.Williamson: The Display WORLD RECO S 5264 A 8 (cond.Hopkins) S 11 Bantock: Pierrot Ov/ Bridge: Summer, Hamlet, Suite for String Orch/ Butterworth:
  • Boris Pasternak - Poems

    Boris Pasternak - Poems

    Classic Poetry Series Boris Pasternak - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Boris Pasternak(10 February 1890 - 30 May 1960) Boris Leonidovich Pasternak was a Russian language poet, novelist, and literary translator. In his native Russia, Pasternak's anthology My Sister Life, is one of the most influential collections ever published in the Russian language. Furthermore, Pasternak's theatrical translations of Goethe, Schiller, Pedro Calderón de la Barca, and William Shakespeare remain deeply popular with Russian audiences. Outside Russia, Pasternak is best known for authoring Doctor Zhivago, a novel which spans the last years of Czarist Russia and the earliest days of the Soviet Union. Banned in the USSR, Doctor Zhivago was smuggled to Milan and published in 1957. Pasternak was awarded the Nobel Prize for Literature the following year, an event which both humiliated and enraged the Communist Party of the Soviet Union. In the midst of a massive campaign against him by both the KGB and the Union of Soviet Writers, Pasternak reluctantly agreed to decline the Prize. In his resignation letter to the Nobel Committee, Pasternak stated the reaction of the Soviet State was the only reason for his decision. By the time of his death from lung cancer in 1960, the campaign against Pasternak had severely damaged the international credibility of the U.S.S.R. He remains a major figure in Russian literature to this day. Furthermore, tactics pioneered by Pasternak were later continued, expanded, and refined by Aleksandr Solzhenitsyn and other Soviet dissidents. <b>Early Life</b> Pasternak was born in Moscow on 10 February, (Gregorian), 1890 (Julian 29 January) into a wealthy Russian Jewish family which had been received into the Russian Orthodox Church.
  • Of Russian Literaturepart I Russian Literature: Background, Foreground, Creative Cognition

    Of Russian Literaturepart I Russian Literature: Background, Foreground, Creative Cognition

    The Mythopoetic “Vectors” of Russian LiteraturePART I Russian Literature: Background, Foreground, Creative Cognition Chapter 1 The Mythopoetic “Vectors” of 27. Russian Literature1 Any national literature is to some significant extent a mirror held up to its people’s collective countenance: its myths, aspirations, national triumphs and traumas, current ideologies, historical understanding, lin guistic tra- ditions. But it is also more than that — more than a reflection in the glass of what has come before and what is now, even as one glances into it, passing from view. It is, in a real sense, generative of new meaning, and thus capable of shaping that countenance in the future. For the society that takes its literary products seriously, the text of a novel or poem can be a kind of genetic code2 for predicting, not concrete outcomes or actual progeny, but something no less pregnant with future action: the forms of a culture’s historical imagination. The variations seem limitless, and yet how is it we are able to determine any given work of literature is clearly identifiable as Russian? Why could Flaubert’s Emma Bovary in some sense not be imagin- ed by the great realist who created Anna Karenina? How is Dostoevsky’s 1 Originally appeared 2 See Chapter 4 in Part 1 as part 1 of the essay/chapter of the present volume with its “Russian Literature,” in Cambridge discussion of how genes and Companion to Modern Russian “memes” work together to create Culture, ed. Nicholas Rzhevsky an individual’s and a culture’s (Cambridge: Cambridge University views of itself.
  • Trauma and Memory: an Artist in Turmoil

    Trauma and Memory: an Artist in Turmoil

    TRAUMA AND MEMORY: AN ARTIST IN TURMOIL By Angelos Koutsourakis Konrad Wolf’s Artist Films Der nackte Mann auf dem Sportplatz (The Naked Man on the Sports Field, 1973) is one of Konrad Wolf’s four artist films. Like Goya (1971), Solo Sunny (1978), and Busch singt (Busch Sings, 1982)—his six-part documentary about the German singer and actor Ernst Busch, The Naked Man on the Sports Field focuses on the relationship between art and power. In Goya, Wolf looks at the life of the renowned Spanish painter—who initially benefited from the protection of the Spanish king and the Catholic church—in order to explore the role of the artist in society, as well as issues of artistic independence from political powers. In Solo Sunny, he describes a woman’s struggle for artistic expression and self-realization in a stultifying world that is tainted by patriarchal values; Sunny’s search is simultaneously a search for independence and a more fulfilling social role. Both films can Film Library • A 2017 DVD Release by the DEFA be understood as a camouflaged critique of the official and social pressures faced by East German artists. The Naked Man on the Sports Field can be seen this way as well, and simultaneously explores questions of trauma and memory. The film tells the story of Herbert Kemmel (played by Kurt Böwe), an artist uncomfortable with the dominant understanding of art in his country. Kemmel is a sculptor in turmoil, insofar as he seems to feel alienated from his social environment, in which people do not understand his artistic works.
  • Marcelo Pelissioli from Allegory Into Symbol: Revisiting George Orwell's Animal Farm and Nineteen Eighty-Four in the Light Of

    Marcelo Pelissioli from Allegory Into Symbol: Revisiting George Orwell's Animal Farm and Nineteen Eighty-Four in the Light Of

    MARCELO PELISSIOLI FROM ALLEGORY INTO SYMBOL: REVISITING GEORGE ORWELL’S ANIMAL FARM AND NINETEEN EIGHTY-FOUR IN THE LIGHT OF 21 ST CENTURY VIEWS OF TOTALITARIANISM PORTO ALEGRE 2008 2 UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE LETRAS PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS ÊNFASE: LITERATURAS DE LÍNGUA INGLESA LINHA DE PESQUISA: LITERATURA, IMAGINÁRIO E HISTÓRIA FROM ALLEGORY INTO SYMBOL: REVISITING GEORGE ORWELL’S ANIMAL FARM AND NINETEEN EIGHTY-FOUR IN THE LIGHT OF 21 ST CENTURY VIEWS OF TOTALITARIANISM MESTRANDO: PROF. MARCELO PELISSIOLI ORIENTADORA: PROFª. DRª. SANDRA SIRANGELO MAGGIO PORTO ALEGRE 2008 3 4 PELISSIOLI, Marcelo FROM ALLEGORY INTO SYMBOL: REVISITING GEORGE ORWELL’S ANIMAL FARM AND NINETEEN EIGHTY-FOUR IN THE LIGHT OF 21 ST CENTURY VIEWS OF TOTALITARIANISM Marcelo Pelissioli Porto Alegre: UFRGS, Instituto de Letras, 2008. 112 p. Dissertação (Mestrado - Programa de Pós-graduação em Letras) Universidade Federal do Rio Grande do Sul. 1.Totalitarismo, 2.Animal Farm, 3. Nineteen Eighty-Four, 4. Alegoria, 5. Símbolo. 5 Acknowledgements To my dear professor and adviser Dr. Sandra Maggio, for the intellectual and motivational support; To professors Jane Brodbeck, Valéria Salomon, Vicente Saldanha, Paulo Ramos, Miriam Jardim, José Édil and Edgar Kirchof, professors who guided me to follow the way of Literature; To my bosses Antonio Daltro Costa, Gerson Costa and Mary Sieben, for their cooperation and understanding; To my friends Anderson Correa, Bruno Albo Amedei and Fernando Muniz, for their sense of companionship; To my family, especially my mother and grandmother, who always believed in my capacity; To my wife Ana Paula, who has always stayed by my side along these long years of study that culminate in the handing of this thesis; And, finally, to God, who has proved to me along the years that He really is the God of the brave.
  • This Is the Published Version of a Chapter Published in Russische Und Sowjetische Geschichte Im Film

    This Is the Published Version of a Chapter Published in Russische Und Sowjetische Geschichte Im Film

    http://www.diva-portal.org This is the published version of a chapter published in Russische und Sowjetische Geschichte im Film: Von Väterchen Zar, tragischen Helden, russischen Revolutionären und "kalten Krieger"n. Citation for the original published chapter: Kotljarchuk, A. (2016) Invisible Victims: The Cold War and Representation of the Roma Genocide in Soviet Feature Films, Teleplays and Theater Performances. In: Alexander Friedman ; Frank Jacob (ed.), Russische und Sowjetische Geschichte im Film: Von Väterchen Zar, tragischen Helden, russischen Revolutionären und "kalten Krieger"n (pp. 129-150). New York: ALTIJA N.B. When citing this work, cite the original published chapter. Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32100 Powered by TCPDF (www.tcpdf.org) RUSSISCHE UND SOWJETISCHE GESCHICHTE IM FILM Von bolschewistischen Revolutionären, antifaschistischen Widerstandskämpfern, jüdischen Emigranten und „Kalten Kriegern“ Alexander FRIEDMAN und Frank JACOB (Hrsg.) New York Geschichte und Film, Bd. 1 Hrsg. Frank JACOB und Alexander FRIEDMAN Alexander Friedman und Frank Jacob: Russische und Sowjetische Geschichte im Film: Von bolschewistischen Revolu- tionären, antifaschistischen Widerstandskämpfern, jüdischen Emigranten und „Kalten Kriegern“ © ALTIJA, Frank Jacob, New York 2016. Coverdesign: Judith Weber / Smakelig ISBN: 978-1541360853 Inhaltsverzeichnis 1. Kino als „wichtigste aller Künste“: Einleitung Alexander FRIEDMAN und Frank JACOB 5 2. „Das weite Land und die Reichtümer der Rus lockten die Eroberer an“ – Das bedrohte Russland im Film Alexander QUERENGÄSSER 15 3. The Images of Dying and New Jewish Worlds in the Soviet Ci- nema: “The Jews on the Land” versus “Jewish Luck (Menachem Mendel)” Andrei ZAMOISKI 33 4. „Kube, Hitlers Gauleiter in Minsk, war der leibhaftige Teufel“.
  • Friday, November 20, 2015 Registration Desk Hours: 7:00 A.M

    Friday, November 20, 2015 Registration Desk Hours: 7:00 A.M

    This version of the program was last updated on June 8, 2015 For the most up-to-date program, see http://convention2.allacademic.com/one/aseees/aseees15/ Friday, November 20, 2015 Registration Desk Hours: 7:00 a.m. - 5:00 p.m. Registration Desk 1 and Grand Ballroom Prefunction Area - 5th Floor Cyber Café Hours: 7:00 a.m. - 6:45 p.m. – Franklin Hall Prefunction Area Exhibit Hall Hours: 9:00 a.m. - 6:00 p.m. Franklin Hall B Session 4 – Friday – 8:00-9:45 am Committee on the Status of Women in the Profession - Conference Suite 3 Bulgarian Studies Association - Meeting Room 309 Committee on Libraries and Information Resources Subcommittee on Collection Development - Conference Suite 2 International Association for the Humanities - Meeting Room 303 Soyuz-The Research Network for Post-Socialist Studies - Meeting Room 310 4-01 Vlast', Power, and Revolution: the Fundamental Political Conflicts of 1917 - Franklin Hall A Room 1 Chair: Rex A. Wade, George Mason U Papers: Semion Lyandres, U of Notre Dame "Opposition Politics on the Eve the February Uprising: Prerevolutionary Conspiracies and the Question of the First Provisional Government's Leadership" Lars Thomas Lih, Independent Scholar "Soglashatelstvo ('Agreementism'): The Fundamental Political Conflict of 1917" Ian Thatcher, U of Ulster (UK) "The First Provisional Government, March-May 1917" Disc.: Michael C. Hickey, Bloomsburg U 4-02 New Developments in Central and East European Politics - (Roundtable) - Franklin Hall A Room 2 Chair: Jane Leftwich Curry, Santa Clara U Federigo Argentieri, John Cabot U, Temple U - Rome (Italy) Taras Kuzio, U of Alberta (Canada) Paula M.
  • Intellectual Culture: the End of Russian Intelligentsia

    Intellectual Culture: the End of Russian Intelligentsia

    Russian Culture Center for Democratic Culture 2012 Intellectual Culture: The End of Russian Intelligentsia Dmitri N. Shalin University of Nevada, Las Vegas, [email protected] Follow this and additional works at: https://digitalscholarship.unlv.edu/russian_culture Part of the Asian History Commons, Cultural History Commons, European History Commons, Intellectual History Commons, Other Languages, Societies, and Cultures Commons, Political History Commons, Slavic Languages and Societies Commons, and the Social History Commons Repository Citation Shalin, D. N. (2012). Intellectual Culture: The End of Russian Intelligentsia. In Dmitri N. Shalin, 1-68. Available at: https://digitalscholarship.unlv.edu/russian_culture/6 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Article in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Article has been accepted for inclusion in Russian Culture by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. Intellectual Culture: The End of Russian Intelligentsia Dmitri Shalin No group cheered louder for Soviet reform, had a bigger stake in perestroika, and suffered more in its aftermath than did the Russian intelligentsia. Today, nearly a decade after Mikhail Gorbachev unveiled his plan to reform Soviet society, the mood among Russian intellectuals is decidedly gloomy.
  • Association for Slavic, East European, & Eurasian Studies

    Association for Slavic, East European, & Eurasian Studies

    1 Association for Slavic, East European, & Eurasian Studies 46th Annual Convention • November 20-23, 2014 San Antonio Marriott Rivercenter • San Antonio, TX “25 Years After the Fall of the Berlin Wall: Historical Legacies and New Beginnings” Stephen E. Hanson, College of William and Mary ASEEES Board President We are most grateful to our sponsors for their generous support. GOLD SPONSOR: East View Information Services BRONZE SPONSORS: College of William and Mary Reves Center for International Studies National Research University Higher School of Economics Indiana University Russian and East European Institute • University of Texas, Austin Center for Russian, Eastern European and Eurasian Studies and Department of Slavic and Eurasian Studies 2 Contents Convention Schedule Overview ..................................................................................................... 2 List of the Meeting Rooms at the Marriott Rivercenter .............................................................. 3 Visual Anthropology Film Series ................................................................................................4-5 Diagram of Meeting Rooms ............................................................................................................ 6 Exhibit Hall Diagram ....................................................................................................................... 7 Index of Exhibitors, Alphabetical ................................................................................................... 8
  • Odessa 2017 UDC 069:801 (477.74) О417 Editorial Board T

    Odessa 2017 UDC 069:801 (477.74) О417 Editorial Board T

    GUIDE Odessa 2017 UDC 069:801 (477.74) О417 Editorial board T. Liptuga, G. Zakipnaya, G. Semykina, A. Yavorskaya Authors A. Yavorskaya, G. Semykina, Y. Karakina, G. Zakipnaya, L. Melnichenko, A. Bozhko, L. Liputa, M. Kotelnikova, I. Savrasova English translation O. Voronina Photo Georgiy Isayev, Leonid Sidorsky, Andrei Rafael О417 Одеський літературний музей : Путівник / О. Яворська та ін. Ред. кол. : Т. Ліптуга та ін., – Фото Г. Ісаєва та ін. – Одеса, 2017. – 160 с.: іл. ISBN 978-617-7613-04-5 Odessa Literary Museum: Guide / A.Yavorskaya and others. Editorial: T. Liptuga and others, - Photo by G.Isayev and others. – Odessa, 2017. — 160 p.: Illustrated Guide to the Odessa Literary Museum is a journey of more than two centuries, from the first years of the city’s existence to our days. You will be guided by the writers who were born or lived in Odessa for a while. They created a literary legend about an amazing and unique city that came to life in the exposition of the Odessa Literary Museum UDC 069:801 (477.74) Англійською мовою ISBN 978-617-7613-04-5 © OLM, 2017 INTRODUCTION The creators of the museum considered it their goal The open-air exposition "The Garden of Sculptures" to fill the cultural lacuna artificially created by the ideo- with the adjoining "Odessa Courtyard" was a successful logical policy of the Soviet era. Despite the thirty years continuation of the main exposition of the Odessa Literary since the opening day, the exposition as a whole is quite Museum. The idea and its further implementation belongs he foundation of the Odessa Literary Museum was museum of books and local book printing and the history modern.