Russian "émigré" culture: conservatism or evolution?
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 indi...
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| Other Authors: | , , |
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| Format: | Conference Paper Edited Volume |
| Language: | English |
| Published: |
Newcastle upon Tyne
Cambridge Scholars Publishing
2013
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| Subjects: | |
| Online Access: | Aggregator, lizenzpflichtig, Volltext: https://ebookcentral.proquest.com/lib/kxp/detail.action?docID=1731953
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| Author Notes: | edited by Christoph Flamm, Henry Keazor and Roland Marti |
MARC
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| 245 | 0 | 0 | |a Russian "émigré" culture |b conservatism or evolution? |c edited by Christoph Flamm, Henry Keazor and Roland Marti |
| 264 | 1 | |a Newcastle upon Tyne |b Cambridge Scholars Publishing |c 2013 | |
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| 505 | 8 | |a 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 | |
| 505 | 8 | |a 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 | |
| 520 | |a 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... | ||
| 520 | |a 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. | ||
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