To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/160 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. A PEOPLE PASSING RUDE: BRITISH RESPONSES TO RUSSIAN CULTURE Edited by Anthony Cross Open Book Publishers CIC Ltd., 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com © 2012 Anthony Cross et al. (contributors retain copyright of their work). The articles of this book are licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License http://creativecommons.org/licenses/by/3.0/ Some rights are reserved. This book and digital material are made available under the Creative Commons Attribution-Non-Commercial-No Derivative Works 2.0 UK: England & Wales License. This license allows for copying any part of the work for personal and non-commercial use, providing author attribution is clearly stated. Details of allowances and restrictions are available at: http://www.openbookpublishers.com As with all Open Book Publishers titles, digital material and resources associated with this volume are available from our website at: http://www.openbookpublishers.com/product/160 ISBN Hardback: 978-1-909254-11-4 ISBN Paperback: 978-1-909254-10-7 ISBN Digital (PDF): 978-1-909254-12-1 ISBN Digital ebook (epub version): 978-1-909254-13-8 ISBN Digital ebook (mobi version): 978-1-909254-14-5 Cover image: Russians Teaching Boney to Dance, a caricature by George Cruikshank published on 18 May 1813 and adapted from an original 1812 caricature by Ivan Terebenev. An early example of a British response to Russian art! By kind permission of the Anne S.K. Brown Military Collection, Brown University Library. Every effort has been made to identity and contact copyright holders; any omissions or errors will be corrected if notification is made to the publisher. All paper used by Open Book Publishers is SFI (Sustainable Forestry Initiative), and PEFC (Programme for the Endorsement of Forest Certification Schemes) Certified. Printed in the United Kingdom and United States by Lightning Source for Open Book Publishers Contents Page Illustrations ix Notes on contributors xiii 1. By Way of Introduction: British Reception, 1 Perception and Recognition of Russian Culture Anthony Cross 2. Byron, Don Juan, and Russia 37 Peter Cochran 3. William Henry Leeds and Early British 53 Responses to Russian Literature Anthony Cross 4. Russian Icons through British Eyes, c.1830-1930 69 Richard Marks 5. The Crystal Palace Exhibition and Britain’s 89 Encounter with Russia Scott Ruby 6. An ‘Extraordinary Engagement’: A Russian 97 Opera Company in Victorian Britain Tamsin Alexander 7. Russian Folk Tales for English Readers: Two 113 Personalities and Two Strategies in British Translations of the Late Nineteenth and Early Twentieth Centuries Tatiana Bogrdanova vi A People Passing Rude 8. ‘Wilful Melancholy’ or ‘a Vigorous and Manly 125 Optimism’?: Rosa Newmarch and the Struggle against Decadence in the British Reception of Russian Music, 1897-1917 Philip Ross Bullock 9. ‘Infantine Smudges of Paint… Infantine 133 Rudeness of Soul’: British Reception of Russian Art at the Exhibitions of the Allied Artists’ Association, 1908-1911 Louise Hardiman 10. Crime and Publishing: How Dostoevskii 149 Changed the British Murder Muireann Maguire 11. Stephen Graham and Russian Spirituality: 163 The Pilgrim in Search of Salvation Michael Hughes 12. Jane Harrison as an Interpreter of Russian 175 Culture in the 1910s-1920s Alexandra Smith 13. Aleksei Remizov’s English-language Translators: 189 New Material Marilyn Schwinn Smith 14. Chekhov and the Buried Life of Katherine Mansfield 201 Rachel Polonsky 15. ‘A Gaul Who has Chosen Impeccable Russian as 215 his Medium’: Ivan Bunin and the British Myth of Russia in the Early 20th Century Svetlana Klimova 16. Russia and Russian Culture in The Criterion, 231 1922-1939 Olga Ushakova 17. ‘Racy of the Soil’: Filipp Maliavin’s London 241 Exhibition of 1935 Nicola Kozicharow Contents vii 18. Mrs Churchill Goes to Russia: The Wartime 253 Gift-Exchange between Britain and the Soviet Union Claire Knight 19. ‘Unity in Difference’: The Representation of 269 Life in the Soviet Union through Isotype Emma Minns 20. ‘Sputniks and Sideboards’: Exhibiting the Soviet 285 ‘Way of Life’ in Cold War Britain, 1961-1979 Verity Clarkson 21. The British Reception of Russian Film, 1960-1990: 301 The Role of Sight and Sound Julian Graffy Index 315 Illustrations Page 4.1 Mother of God of Vladimir icon (before 1918). 70 Kremlin Museums (The Armoury Chamber). Reproduced in E.K. Guseva et al. (ed.) Bogomater’ Vladimirskaia k 600 letiiu Sretenia ikony Bogomateri Vladimirskoi v Moskve 26 avgusta (8 sentiabria) 1995: Sbornik materialov, katalog vystavki (Moscow 1995). 4.2 Mother of God of Vladimir icon after cleaning 70 and removal of oklad. © Tretyakov Gallery (Museum-Church of St Nicholas in Tolmachi). 4.3 St Nicholas icon (18th century). © Christ Church College, 71 Oxford. 4.4 Cast-metal and enamel Old Believer cross 77 (19th century). Private collection. 4.5 Victoria & Albert Museum Russian Ikon Exhibition 81 poster (1929). Reproduced in M. Farbman (ed.), Masterpieces of Russian Painting (London, 1930), p. 121. 4.6 General view of the Russian Ikon Exhibition (1929), 82 Victoria & Albert Museum. Reproduced in M. Farbman (ed.), Masterpieces of Russian Painting (London, 1930), p. 119. 5.1 Ignatii Pavlovich Sazikov (1796-1868), Covered Cup (1851), 95 St Petersburg, Russia. Silver gilt. Hillwood Estate, Museum, & Gardens, Washington, D.C. Photography: Edward Owen. x A People Passing Rude 6.1 Advertisement for the Russian Opera Company, 100 Western Mail, Cardiff (24 September 1888). © The British Library. 6.2 The Jodrell Theatre’s announcement, The Standard 101 (22 October 1888). © The British Library. 6.3 ‘Sketches at the Russian Opera’, Dart: The Midland Figaro, 103 Birmingham (27 July 1888). © The British Library. 9.1 Photograph of the 1908 Exhibition of the Allied Artists’ 135 Association at the Royal Albert Hall in London, Illustrated London News (18 July 1908). © Illustrated London News Ltd/Mary Evans. 9.2 Mariia Tenisheva, Enamelled Amaranth Chest (c.1907). 137 Reproduced in Denis Roche, Les émaux champlevés de la princesse Marie Ténichév (Paris, 1907). 9.3 Mariia Tenisheva, Enamelled Mirror Frame (c.1907). 137 Reproduced in Denis Roche, Les émaux champlevés de la princesse Marie Ténichév (Paris, 1907). 9.4 Mariia Tenisheva, Ornamental Chest (c.1907). Reproduced 137 in Denis Roche, Les émaux champlevés de la princesse Marie Ténichév (Paris, 1907). 9.5 Vasilii Kandinskii, Improvisation No. 6 (‘Afrikanisches’) (1910). 141 Oil on canvas, 107 x 95.5cm. Städtische Galerie im Lenbachhaus und Kunstbau München. © ADAGP, Paris and DACS, London 2012. 9.6. Petr Konchalovskii, Les oliviers (1910). Oil on canvas, 143 70.5 x 90.2 cm. Private Collection. Reproduced by permission of Sotheby’s. 17.1 Filipp Maliavin, Country Ablutions (1930). Oil on canvas, 247 73 x 60.5cm. Private Collection. Reproduced by permission of Sotheby’s. 17.2 Filipp Maliavin, Troika (1933). Oil on canvas, 201 x 224cm. 248 Private Collection. © Stockholms Auktionsverk. Illustrations xi 17.3 Filipp Maliavin, Portrait of Leon Trotskii. Oil on canvas, 249 whereabouts unknown. 26 October 1935. © Illustrated London News Ltd/Mary Evans. 19.1 ‘Coal output in the USSR’, The Struggle for Five Years in Four 272 (Moscow, 1932). Otto & Marie Neurath Isotype Collection, University of Reading. 19.2 ‘Isotype Vocabulary’, Landsmen and Seafarers (London, 1945). 274 Otto & Marie Neurath Isotype Collection, University of Reading. 19.3 ‘Large Town Development in Britain, Large Town 276 Development in Russia’, How do you do, Tovarish? (London, 1947). Otto & Marie Neurath Isotype Collection, University of Reading. 19.4 ‘Climate: Rain and Temperature’, Landsmen and Seafarers 280 (London, 1945). Otto & Marie Neurath Isotype Collection, University of Reading. 19.5 ‘What a Briton Can Own, What a Russian Can Own’, 281 How do you do, Tovarish? (London, 1947). Otto & Marie Neurath Isotype Collection, University of Reading. 20.1 Entrance façade of ‘USSR at Earls Court’ (1968). 286 Press photo EC & O Venues Archive, Box 1601. 20.2 Plan of the first Soviet Earls Court exhibition (1961). 292 Exhibition guide. EC & O Venues Archive, Box 1009. Contributors Tamsin Alexander holds a BMus from King’s College London and MPhil from the University of Cambridge. She is currently in the second year of her PhD on an Arts and Humanities Research Council (AHRC)-funded place at Selwyn College. Her research, under the supervision of Dr Marina Frolova-Walker, is on the reception of Russian opera across Europe in the 19th century, considering contrasting reactions to the repertoire in Britain, Germany, France and the Czech lands. Tatiana Bogrdanova is Associate Professor in the Department of Germanic Philology at the Kalmyk State University in Elista, Republic of Kalmykia. She received her PhD from the Lomonosov Moscow State University. Her main research interests are in English and Translation Studies and she has published a number of articles in Russian scholarly journals. Philip Ross Bullock is University Lecturer in Russian at the University of Oxford, and Tutor and Fellow at Wadham College, Oxford. He is the author of The Feminine in the Prose of Andrey Platonov (2005),