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Cambridge University Press 978-1-108-48446-6 — The Firebird and the Fox Jeffrey Brooks Index More Information Index abstraction, 156, 182 for popular culture, 8, 21, 46, 62, 153, Acmeism, 149, 153, 190 194 Aesop, 5, 172, 204 autocracy, 2, 14, 17, 51, 56–59, 99–100, Afanas’ev, Aleksandr N. (folklorist), 5, 20, 106–109, 263 24, 29–30, 45, 230, 234, 242, 250 Diaghilev and, 105–106, 125–129 Afanas’ev, Aleksei Fedorovich, 28–29, 131, political debates about after 1905, 119–124 135, 251–252, 265 avant-garde, 5, 8, 79, 96, 99, 136, 141, 180 agency Bolsheviks and, 170–187, 235 of former serfs, 7 celebrity culture, 147–152 of peasants, 13 Chukovsky, Kornei, and, 210 of people of common origins, 2–6, 16–17 exhibitions, 155 as represented in the lubok,59–63 traditions of rebellion and, 151 of women, 44–46, 144–146 unconventional dress and, 159 Aikhenval’d, Iurii, 120 use of humor, 9, 100, 147 Akhmatova, Anna, 1, 10, 153–154, 168, violence in the imagery of, 187, 206 175, 178, 241 Averchenko, Arkadii, 115, 160 Aksakov, Sergei, 25, 54 Alarm Clock (Budil’nik),62–64, 148–159, 214 Babel, Isaac, 168, 207, 228 Alexander II, Tsar, 2, 13–15, 41, 81, 252 “Death of Dolgushov, The,” 196 Alexander III, Tsar, 16, 52, 57, 96, 106 “My First Goose,” 195 Altman, Natan, 184, 186 Odessa Stories, 196 Andreev, Leonid, 101, 153 Red Cavalry, 195 Annenkov, Iurii, 186, 188, 219, 225 use of the skaz, 195 anniversary of the Revolution, celebration Bakhtin, Mikhail, 22, 35, 115, 181 of, 184–186 Bakst, Leon, 106, 129 anti-Semitism, 137, 142, 152, 210 attack of Benois on, 142 Russian Word and, 122 ballerino, 144 Apollinaire, Guillaume, 157 ballet Apollo, 164 Dance Symphony, 235 Arrows (Strely), 117 Firebird (1822), 24, 28 Artists’ Union of the USSR, 169 Limpid Stream, 228 Asaf’iev, Boris, 234 Little Humpbacked Horse, The,28 audiences Magnificence of the Universe, The, 235 for children’s literature, 10, 171, 205, Pavillon d’Armide, Le, 129 210, 224, 246 Red Whirlwind, The, 235 debates about, 80–81 Renard, Le,6 evolution of, 90–92, 147–154 Romeo and Juliet, 256 for high culture, 8, 17, 93, 125, 191 Ballets Russes interaction among, xiv, 3, 10, 28, 51, 93, Firebird, 130–135 156–157, 193, 206 Petrushka, 135–137 for intermediate culture, 9, 85, 88, 111, Rite of Spring, The, 100, 125, 138–146 160, 192 Balmont, Konstantin, 103 320 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-48446-6 — The Firebird and the Fox Jeffrey Brooks Index More Information Index 321 bandit cabinet card, 161–162 as rebel in song and popular fiction, 40–41 Campbell, Peter, 158 Bandit Churkin, 68–72, 214 Caricature Sheet of the Newspaper of Bartlett, Rosamund, 36, 76 Newspapers, The (Karikaturnyi listok Bast Shoe (Lapot’), 216 gazety gazet), 110 Bayonet (Shtyk), 116 carnival, 136 Bedny, Demyan, 201–202 avant-garde and, 155, 181 Beilis, Mendel, 99 of early modern Russia, 22–23, 36, 115 Belinsky, Vissarion, 53 Soviet celebrations and, 187 Bem, Elizabeth, 4, 132 Carter, Nick Benois, Alexandre, 129–130, 135–145, detective fiction, 154 151, 155, 216 celebrity culture, 8, 99, 115, 127, 139, attack on Bakst, 142–143 147–165 Berdyaev, Nikolai, 120 avant-garde and, 147–148, 154 Berlin, Isaiah, 3, 231, 241 Chaliapin and, 162 Bilibin, Ivan, 4, 25, 113, 118, 133–134, Chekhov and, 152 231–232, 249 censorship Binns, John, 59 Glavlit, 189 Bitner, V. V., 154, 160 Soviet, 168–170, 174, 183, 206, 223 Blakesley, Rosalind, 53, 105 tsarist, 15, 26, 36, 46–47, 86, 90, 95, 99, Blok, Alexander, 123 119 Chukovsky, Kornei, and, 210 Chagall, Marc on late imperial commercial culture, 148 Commissar of the Arts in Vitebsk, Petrograd House of Art and, 188 181–182 Bloody Sunday, 97, 106, 151 designs for Firebird, 145 Blue Magazine (Sinii zhurnal),148–161, 206 Petrushka of Dead Souls, 137 Bojanowska, Edyta, 82 Vitebsk People’s Art School, 182–183 Bolshoi Theater, 199 Chaliapin, Feodor Booth, Wayne, 203 as Boris Godunov, 127–128 boundaries of self and society Blue Magazine and, 153 children’s literature and, 174 celebrity culture, 153, 162 debates on cultural inclusion and, 17 in demonic roles, 115 as meta-theme, 7, 264 Chandler, Robert, 160, 256–257 satire and, 109 Chapayev, Vasily, 247 Bowlt, John, 105, 139–141, 157 Cheka, 186, 218 Br’er Rabbit, 5 Chekhonte, Antosha Briusov, Valery, 103, 111, 120 pseudonym Anton Chekhov, 73 Brooks, Peter, 62–63 Chekhov, Anton Budyonny, Semyon Mikhailovich on art and beauty, 77–79 attack on Isaac Babel, 195–196 “Black Monk, The,” 112 Bugbear (Zhupel), 118 “Captain’s Uniform, The,” 78 Bukharin, Nikolai, 168, 218, 240 Drama on the Hunt,73 Bulgakov, Mikhail, 23, 172 “Duel, The,” 77 Days of the Turbins, The, 199 famine relief and, 81 Fatal Eggs, The, 199 Fatherless,75 Heart of a Dog, 199 the Gothic and, 112 Master and Margarita, The, 200–201 “Gusev,” 109 on Soviet pseudoscience, 199, 207 “Happiness,” 77 Theatrical Novel, 199, 222 humor in, 68, 152 White Guard, 199 inclusiveness as a value, 81–82 Bulgakov, Sergei, 122 influence of serialization on, 72 Bulgakowa, Oksana, 193 interaction with popular literature, 67–70 Bunin, Ivan, 48, 101 “Joy,” 152 Burke, Peter, 21 “Lady with a Little Dog,” 71, 77 Burliuk, David, 149–160 Motley Stories,73 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-48446-6 — The Firebird and the Fox Jeffrey Brooks Index More Information 322 Index Chekhov, Anton (cont.) association with rebellion and banditry, national identity in land and people, 90, 39, 42, 76 92 Babel attached to unit of, 195–196 “Nerves,” 71 songs about, 60 On the Big Road, 75, 77 Crocodile (Krokodil), the magazine, 216 Platonov,75 Crocodile (the story). See children, works for, reading public, 66–67 Chukovsky, Kornei Realism and, 67 Cubism, 179 Sakhalin,82–85 Seagull, The,78 Dal’, Vladimir, 204 “Sleepy,” 71 Dan’ko, Elena Steppe, The, 76, 82 Karabas Vanquished, 245 “Swedish Matchstick, The,” 72 Daniel, Yuri, 29 “Thieves,” 75–76, 101 Decadence, 93, 105, 139 Tolstoy, Leo, and, 89, 91 Decadents, 78, 103–109, 112, 210 traditional bandit tales, interest in, 77, 79 Decembrist Revolt, 14–15, 128, 184 “Van’ka,” 71, 89 Department of Fine Arts (IZO), 181–183 Chernyavskiy, Georgiy, 188, 190 Diaghilev, Sergei Chernyshevsky, Nikolai, 53 Ballets Russes and, 125–146 Chertkov, V. G., 89 exhibition at Grand Palais, Paris, 126 children, works for, 170–172, 225 exhibition of portraits organized by, animated films, 227, 240, 245 105–107 Chukovsky, Kornei, 209–211 tsar’s patronage of, 105 irony in, 208, 216–219, 224 World of Art, 105, 113 multi-aged audiences for, 205, 213 Didelot, Charles-Louis, 24 sentient animals in, 172–174 Dobroliubov, Nikolai, 53 children’s literature, See children, works for Dobuzhinsky, Mstislav, 10, 118, 182, 186, Chuckler (Smekhach), 216 219–220, 224, 246 Chukovsky, Kornei, 10, 77–123, 159–189 Dostoevsky, Fyodor avant-garde and, 210 Brothers Karamazov, The, 34, 42, 48, Barmalei, 219–220 70 Crocodile, 209–216 Crime and Punishment, 35, 42, 47–48, Dr. Aibolit, 257 250 Fir Tree: A Little Book for Small “Crocodile,” 212, 214 Children, 216 Diary of a Writer, 40, 250 Gorky, Maxim, and, 187 Idiot, The,34 “Kingdom of Dogs,” 257 kindness and cruelty in, 47, 53, 250 Monster Cockroach, The, 217–218 life of, 19, 43, 174 Muddle, 238 Notes from the House of the Dead, 43, on Chekhov, 77–78, 85 47–48, 88 Petrograd House of Arts, 187–188 Orthodoxy and Holy Fools in, 9, satirical magazines of 1905–1907 and, 33–34 109, 172 Realism and, 34–35, 67 “Vanya and the Crocodile,” 210 rebellious freedom in, 42–43, 47 Civil War, 167, 181, 189, 199, 204, 211, secular canonization of, 17 240, 247 serialization and, 47, 70 Cocteau, Jean, 139 Double-Headed Axe (Sekira), 117 collectivization, 3, 167, 180, 190, 194, 249 Dragonfly (Strekoza),72 compassion for victims of, 258 Dralyuk, Boris, 192, 261 Fourteen Little Red Huts and, 198 Duncan, Isadora, 129 Commissariat of Enlightenment, 178–184 Constitutional Democratic Party, 97, 119 ecosystem, cultural, 1, 9, 51, 54, 66, 264 Constructivism, 180–181, 263 education and schools, 15, 17, 39, 45, 63, Contemporary, The (Sovremennik), 25, 45 85, 89, 94–95, 178, 183, 204 Cossacks, 169 Ehrenburg, Ilya, 175 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-48446-6 — The Firebird and the Fox Jeffrey Brooks Index More Information Index 323 Eisenstein, Sergey, 191, 193–194 Chekhov’s, The Seagull,78 Battleship Potemkin, The, 193 Goncharov, Ivan, on, 30 October, 194 fool and, 4–5 Strike, The, 193 freedom and, 6 El Lissitzky, Lazar, 180, 182 in folklore, 4, 25 Emancipation Kandinsky and, 133 Great Reforms and, 13–17 Little Humpbacked Horse, The, in, 4, impact on markets for cultural goods, 26–28 147–148, 264 lubok prints and, 24 relaxation of cultural constraints and, 17, Petrov-Vodkin and, 185 38, 65, 95 Polenova, Elena, illustration of, 134 Wanderers and, 53, 67 First All-Union Congress of Soviet Writers, Emerson, Caryl, 128 169, 223 Emmons, Terence, 41 first Five-Year Plan, 180, 190, 207, 209, Engel, Barbara, 141 236 Engelstein, Laura, 141 Fitzpatrick, Sheila, 184 Ermak Timofeevich, 39–40, 42 Flathman, Richard, 44 Ershov, Petr Pavlovich, 4, 26 Florenskii, P. A., 59 Alexander Pushkin, and, 26 Fokine, Mikhail, 129–143, 155 life of, 26 folktale Little Ivan the Fool, use of, 26 children’s literature and, 215, 242 popularity of The Little Humpbacked collection of A.
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  • "Master and Man," and Other Parables and Tales

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    Hiilili I ni nVDiO'^ ^^illYDJO"^ "^iTiUDNVSOl'^ '^/simmi^ ^mms/;^ t ^ 6 ^finmm^ ^AaiiAiNa-aw^ NIVER% ^lOSANCfl^y. ^^•UBRARYQ/ 5 i </^ ^ f INIVER% ^lOSANCElfj;> ^OFCAllFOMij^ ^OFCAIIFO% f "^saiAJNfl-art^ ^ommn^ ^ommn^ JRARY(9/- ^lUBRARYQc g 3—PVg S %a3AIN(l-3ftV AlIFO% ^5Stfl)NIVERS/^ Q r *T I i^lll> EVERYMAN'S LIBRARY EDITED BY ERNEST RHYS FICTION MASTER AND MAN AND OTHER TALES, BY COUNT LEO TOLSTOI THE PUBLISHERS OF £Fe%rm^3<lS LIB'%^'^ WILL BE PLEASED TO SEND FREELY TO ALL APPLICANTS A LIST OF THE PUBLISHED AND PROJECTED VOLUMES TO BE COMPRISED UNDER THE FOLLOWING THIRTEEN HEADINGS: TRAVEL -^ SCIENCE -^ FICTION THEOLOGY & PHILOSOPHY HISTORY -^ CLASSICAL FOR YOUNG PEOPLE ESSAYS ^ ORATORY POETRY &: DRAMA BIOGRAPHY REFERENCE ROMANCE IN FOUR STYLES OF BINDING: CLOIH, FLAT BACK, COLOURED TOP ; LEATHER, ROUND CORNERS, GILT TOP; LIBRARY BINDING IN CLOTH, & QUARTER PIGSKIN SONS, Ltd. London : J. M. DENT h New York: E. P. BUTTON & CO. P^l,7'i>0'^^'' 1 "MASTERan^ MAHandot/ier ParablesondTales ^ Count LEO TOLSTOI'^ LONDON: PUBLISHED byJ-MDENT &SONSIF AND IN NE^^ VORK BY E'P- DUTTON^CC First Issue of this Edition . 1910 Reprinted .... 1911 All rights reserved )Cb5 ^ ^JNTRODUCTION Tolstoi was still a young man when the Crimean War broke out; but we may date from the years of Tchernaya and Sevastopol the change in him, which at length turned him from a novehst into a fabuhst and maker of parables. After the war he enjoyed two years of St Petersburgh society, where his rank and his fame as a soldier and as a writer opened to him all that was most alluring, most Hkely to attract a man of his temper.
  • Roman Vlad's Reception of Stravinsky

    Roman Vlad's Reception of Stravinsky

    Hermeneutics and Creative Process: Roman Vlad’s Reception of Stravinsky Susanna Pasticci Università degli Studi di Cassino e del Lazio meridionale Roman Vlad’s experience of music was a complex universe, which manifested itself in various forms.1 His research on musical composition went hand in hand with an extraordinary intellectual activity, which resulted in the publication of several studies on the theory and history of music, and a constant activity as a promoter and critic of music. Vlad was capable of switching with great nonchalance from the role of the composer interested in new experimental forms to that of a scholar working with great methodological rigour on the music of the past and of the present. It was inevitable that these two activities would have an impact on his interpretation of music. In an effort to illustrate the complexity of this dialectic, the present article focuses on Vlad’s reception of Stravinsky’s work, analysing in parallel Vlad’s essays on Stravinsky published in the 1950s and his musical compositions written in the same period. In his writings, Vlad repeatedly underlines the centrality of the sacred in Stravinsky’s work, a rather original interpretation, which is unique in the critical debate of the time. During those same years, the sacred acquired great importance also in his musical compositions, a fact that already evidences the close relation between Vlad’s interpretation of Stravinsky’s work and his own 41 ARCHIVAL NOTES Sources and Research from the Institute of Music, No. 2 (2017) © Fondazione Giorgio Cini, Venezia ISSN 2499–832X | ISBN 9788896445167 SUSANNA PASTICCI creative activity.