Uses the under-studied genre of melodrama as a critical prism for understanding Russian/Soviet history, politics and culture--in particular, the uses to which popular culture was put in the Soviet period
mehr
Uses the under-studied genre of melodrama as a critical prism for understanding Russian/Soviet history, politics and culture--in particular, the uses to which popular culture was put in the Soviet period
Includes bibliographical references (p. [321]-323) and index
Electronic reproduction; Available via World Wide Web
Contents; Acknowledgments; Louise McReynolds and Joan Neuberger: Introduction ; Richard Stites: The Misanthrope, the Orphan, and the Magpie: Imported Melodrama in the Twilight of Serfdom; Julie A. Buckler: Melodramatizing Russia: Nineteenth-Century Views from the West; Beth Holmgren: The Importance of Being Unhappy, or, Why She Died; Otto Boele:Melodrama as Counterliterature?Count Amori's Response to Three Scandalous Novels; Louise McReynolds:Home Was Never Where the Heart Was:Domestic Dystopias in Russia's Silent Movie Melodramas
Julie A. Cassiday: Alcohol Is Our Enemy! Soviet Temperance Melodramas of the 1920sLars T. Lih: Melodrama and the Myth of the Soviet Union; Alexander Prokhorov: Soviet Family Melodrama of the 1940s and 1950s: From Wait for Me to The Cranes Are Flying; Susan Costanzo:Conventional Melodrama, Innovative Theater, and aMelodramatic Society: Pavel Kohout's Such a Love at theMoscow University Student Theater; Joan Neuberger: Between Public and Private: Revolution and Melodrama in Nikita Mikhalkov's Slave of Love
Helena Goscilo:Playing Dead: The Operatics of Celebrity Funerals, or,The Ultimate Silent PartSuggested Reading; Contributors; Index
