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 |
Table of Contents:
- 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