Verlag:
Cambridge Scholars Publishing, Newcastle upon Tyne
A quarter of a century ago, glasnost opened the door for a new look at Russian émigré culture unimpeded by the sterile concepts of Cold War cultural politics. Easier access to archives and a comprehensive approach to culture as a multi-faceted...
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A quarter of a century ago, glasnost opened the door for a new look at Russian émigré culture unimpeded by the sterile concepts of Cold War cultural politics. Easier access to archives and a comprehensive approach to culture as a multi-faceted phenomenon, not restricted to single phenomena or individuals, have since contributed to a better understanding of the processes within the émigré community, of its links with the lost home country, and of the interaction with the cultural life of the c... Intro -- TABLE OF CONTENTS -- PREFACE -- "MY LOVE, FORGIVE ME THIS APOSTASY" -- SECTION 1 -- THE PARTICIPATION OF RUSSIANPRE-REVOLUTIONARY DIPLOMATSIN THE CULTURAL LIFE OF THE RUSSIANEMIGRATION -- [WHAT IS IT THAT THE EMIGRATIONENGENDERED?] -ANDREY BELY, VIKTOR SHKLOVSKYAND ALEKSEY TOLSTOY IN 'RUSSIAN BERLIN'1921-1923 -- UN ENFANT PRODIGE -- SECTION 2 -- WHAT IS ARTISTIC FORM?MUNICH - MOSCOW 1900-1925 -- EL LISSITZKY, HIS BEAT THE WHITESWITH THE RED WEDGEAND THEIR JEWISH INSPIRATIONS -- RUSSIAN ÉMIGRÉ ARTISTS IN SERBIA(1920-1950) -- IDENTITY-SHOCK -- SECTION 3 -- RUSSIAN COLLECTIVE IDENTITY IN EXILEAND MUSIC IN BERLIN 1917-1933 -- RUSSIAN MUSIC INSTITUTIONS IN BERLININ THE 1920S -- "SLAVIC CHARM AND THE SOULOF TOLSTOY" -- STRAVINSKY'S SVADEBKA (1917-1923)AS THE QUINTESSENCE OF THE TECHNIQUEOF "BUILDING BLOCKS" -- EURASIANISM IN PERSPECTIVE -- MUSICAL MODERNISM IN THE MIRROROF THE MYASKOVSKY-PROKOF'EVCORRESPONDENCE -- VANKA THE HOUSEKEEPERBY NIKOLAY TCHEREPNINAND LADY MACBETHBY DMITRY SHOSTAKOVICH -- "I HAVE NO COUNTRY, I HAVE NO PLACE" -- CONTEMPORARY ÉMIGRÉ COMPOSERS -- ABSTRACTS -- CONTRIBUTORS -- INDEX.
Includes index. - Description based on online resource; title from PDF title page (ebrary, viewed July 24, 2014)
TABLE OF CONTENTS; PREFACE; "MY LOVE, FORGIVE ME THIS APOSTASY"; SECTION 1; THE PARTICIPATION OF RUSSIANPRE-REVOLUTIONARY DIPLOMATSIN THE CULTURAL LIFE OF THE RUSSIANEMIGRATION; [WHAT IS IT THAT THE EMIGRATIONENGENDERED?] -ANDREY BELY, VIKTOR SHKLOVSKYAND ALEKSEY TOLSTOY IN 'RUSSIAN BERLIN'1921-1923; UN ENFANT PRODIGE; SECTION 2; WHAT IS ARTISTIC FORM?MUNICH - MOSCOW 1900-1925; EL LISSITZKY, HIS BEAT THE WHITESWITH THE RED WEDGEAND THEIR JEWISH INSPIRATIONS; RUSSIAN ÉMIGRÉ ARTISTS IN SERBIA(1920-1950); IDENTITY-SHOCK; SECTION 3
RUSSIAN COLLECTIVE IDENTITY IN EXILEAND MUSIC IN BERLIN 1917-1933RUSSIAN MUSIC INSTITUTIONS IN BERLININ THE 1920S; "SLAVIC CHARM AND THE SOULOF TOLSTOY"; STRAVINSKY'S SVADEBKA (1917-1923)AS THE QUINTESSENCE OF THE TECHNIQUEOF "BUILDING BLOCKS"; EURASIANISM IN PERSPECTIVE; MUSICAL MODERNISM IN THE MIRROROF THE MYASKOVSKY-PROKOF'EVCORRESPONDENCE; VANKA THE HOUSEKEEPERBY NIKOLAY TCHEREPNINAND LADY MACBETHBY DMITRY SHOSTAKOVICH; "I HAVE NO COUNTRY, I HAVE NO PLACE"; CONTEMPORARY ÉMIGRÉ COMPOSERS; ABSTRACTS; CONTRIBUTORS; INDEX