1917 and Beyond Continuity Rupture and Memory in Russian Music
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Slavonic and East European Review 97.1
Modern Humanities Research Association and the School of Slavonic and East European Studies, University College London
17 January 2019
ISBN: 978-1-781888-96-4 (paperback)
ISBN: 978-1-781889-53-4 (paperback) • RRP £15, $20, €17.50
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Long before the commemoration of the 100th anniversary of the Russian Revolution in 2017, scholars of Russia and the Soviet Union had questioned the notion that 1917 might constitute some kind of single, decisive rupture, whether in historiography or history itself. In particular, historians have come to see the October Revolution as an expression of Russia's broader experience of modernity, revealing continuities between Imperial Russia and what was to become the Soviet Union, disputing narratives of exceptionalism, and proposing affinities with models of social development arguably more characteristic of Western European countries.
Taking inspiration from a body of scholarship which has problematized the question of how the aesthetic values of the 1920s gave way to what became Socialist Realism, as well as work which has challenged an entrenched divide between the Victorian era and modernism in English literary studies, this collection ranges widely over genres – opera, symphonic music, song – combines complementary methodological approaches – reception studies, cultural memory, librettology, intellectual history – and invokes not only the October Revolution, but other widely cited turning points in Russian history – romanticism into realism, cultural revolution, the Great Patriotic War, perestroika and the post-Soviet landscape, to suggest significant continuities.
This volume is available both as a stand-alone paperback book (978-1-78188-953-4) and an issue of the journal (978-1-78188-896-4).
Philip Ross Bullock is Professor of Russian Literature and Music at the University of Oxford, and Fellow and Tutor in Russian at Wadham College, Oxford, and Pauline Fairclough is Professor of Music at the University of Bristol.
Contents:
| 1-8 | 1917 and Beyond: Continuity, Rupture and Memory in Russian Music | |
| Cite this article in standard MHRA style: Bibliography entry: Bullock, Philip, and Fairclough, Pauline, '1917 and Beyond: Continuity, Rupture and Memory in Russian Music', in Slavonic and East European Review, 97.1 (2019), 1–8 First footnote reference: 35 Philip Bullock, Pauline Fairclough, '1917 and Beyond: Continuity, Rupture and Memory in Russian Music', in Slavonic and East European Review, 97.1 (2019), 1–8, p. 21. Subsequent footnote reference: 37 Bullock and Fairclough, p. 47. (To see how these citations were worked out, follow this link.) Cite this article in author-date MHRA style: Bibliography entry: Bullock, Philip, and Fairclough, Pauline. 2019. '1917 and Beyond: Continuity, Rupture and Memory in Russian Music', in Slavonic and East European Review, 97.1, 1–8 Example citation: 'A quotation occurring on page 21 of this work' (Bullock and Fairclough 2019: 21). Example footnote reference: 35 Bullock and Fairclough 2019: 21. (To see how these citations were worked out, follow this link.) This article has a Digital Object Identifier (DOI): The DOI is <doi:10.5699/slaveasteurorev2.97.1.0001> and can be linked to as http://dx.doi.org/10.5699/slaveasteurorev2.97.1.0001 | ||
| 9-38 | Personal Friendships, Professional Manoeuvres: Edward Elgar in Russia before and after 1917 | |
| Cite this article in standard MHRA style: Bibliography entry: Fairclough, Pauline, 'Personal Friendships, Professional Manoeuvres: Edward Elgar in Russia before and after 1917', in Slavonic and East European Review, 97.1 (2019), 9–38 First footnote reference: 35 Pauline Fairclough, 'Personal Friendships, Professional Manoeuvres: Edward Elgar in Russia before and after 1917', in Slavonic and East European Review, 97.1 (2019), 9–38, p. 21. Subsequent footnote reference: 37 Fairclough, p. 47. (To see how these citations were worked out, follow this link.) Cite this article in author-date MHRA style: Bibliography entry: Fairclough, Pauline. 2019. 'Personal Friendships, Professional Manoeuvres: Edward Elgar in Russia before and after 1917', in Slavonic and East European Review, 97.1, 9–38 Example citation: 'A quotation occurring on page 21 of this work' (Fairclough 2019: 21). Example footnote reference: 35 Fairclough 2019: 21. (To see how these citations were worked out, follow this link.) This article has a Digital Object Identifier (DOI): The DOI is <doi:10.5699/slaveasteurorev2.97.1.0009> and can be linked to as http://dx.doi.org/10.5699/slaveasteurorev2.97.1.0009 | ||
| 39-72 | Revolutionaries or Delinquents: The Biopsychological Appraisals of Composers and Their Music in Early Soviet Russia | |
| Cite this article in standard MHRA style: Bibliography entry: Taylor, James, 'Revolutionaries or Delinquents: The Biopsychological Appraisals of Composers and Their Music in Early Soviet Russia', in Slavonic and East European Review, 97.1 (2019), 39–72 First footnote reference: 35 James Taylor, 'Revolutionaries or Delinquents: The Biopsychological Appraisals of Composers and Their Music in Early Soviet Russia', in Slavonic and East European Review, 97.1 (2019), 39–72, p. 21. Subsequent footnote reference: 37 Taylor, p. 47. (To see how these citations were worked out, follow this link.) Cite this article in author-date MHRA style: Bibliography entry: Taylor, James. 2019. 'Revolutionaries or Delinquents: The Biopsychological Appraisals of Composers and Their Music in Early Soviet Russia', in Slavonic and East European Review, 97.1, 39–72 Example citation: 'A quotation occurring on page 21 of this work' (Taylor 2019: 21). Example footnote reference: 35 Taylor 2019: 21. (To see how these citations were worked out, follow this link.) This article has a Digital Object Identifier (DOI): The DOI is <doi:10.5699/slaveasteurorev2.97.1.0039> and can be linked to as http://dx.doi.org/10.5699/slaveasteurorev2.97.1.0039 | ||
| 73-109 | How Soviet Musicology became Marxist | |
| Cite this article in standard MHRA style: Bibliography entry: Panteleeva, Olga, 'How Soviet Musicology became Marxist', in Slavonic and East European Review, 97.1 (2019), 73–109 First footnote reference: 35 Olga Panteleeva, 'How Soviet Musicology became Marxist', in Slavonic and East European Review, 97.1 (2019), 73–109, p. 21. Subsequent footnote reference: 37 Panteleeva, p. 47. (To see how these citations were worked out, follow this link.) Cite this article in author-date MHRA style: Bibliography entry: Panteleeva, Olga. 2019. 'How Soviet Musicology became Marxist', in Slavonic and East European Review, 97.1, 73–109 Example citation: 'A quotation occurring on page 21 of this work' (Panteleeva 2019: 21). Example footnote reference: 35 Panteleeva 2019: 21. (To see how these citations were worked out, follow this link.) This article has a Digital Object Identifier (DOI): The DOI is <doi:10.5699/slaveasteurorev2.97.1.0073> and can be linked to as http://dx.doi.org/10.5699/slaveasteurorev2.97.1.0073 | ||
| 110-135 | The Birth of the Soviet Romance from the Spirit of Russian Modernism | |
| Cite this article in standard MHRA style: Bibliography entry: Bullock, Philip, 'The Birth of the Soviet Romance from the Spirit of Russian Modernism', in Slavonic and East European Review, 97.1 (2019), 110–35 First footnote reference: 35 Philip Bullock, 'The Birth of the Soviet Romance from the Spirit of Russian Modernism', in Slavonic and East European Review, 97.1 (2019), 110–35, p. 21. Subsequent footnote reference: 37 Bullock, p. 47. (To see how these citations were worked out, follow this link.) Cite this article in author-date MHRA style: Bibliography entry: Bullock, Philip. 2019. 'The Birth of the Soviet Romance from the Spirit of Russian Modernism', in Slavonic and East European Review, 97.1, 110–35 Example citation: 'A quotation occurring on page 21 of this work' (Bullock 2019: 21). Example footnote reference: 35 Bullock 2019: 21. (To see how these citations were worked out, follow this link.) This article has a Digital Object Identifier (DOI): The DOI is <doi:10.5699/slaveasteurorev2.97.1.0110> and can be linked to as http://dx.doi.org/10.5699/slaveasteurorev2.97.1.0110 | ||
| 136-168 | In Search of Russia: Sergei Rakhmaninov and the Politics of Musical Memory after 1917 | |
| Cite this article in standard MHRA style: Bibliography entry: Mitchell, Rebecca, 'In Search of Russia: Sergei Rakhmaninov and the Politics of Musical Memory after 1917', in Slavonic and East European Review, 97.1 (2019), 136–68 First footnote reference: 35 Rebecca Mitchell, 'In Search of Russia: Sergei Rakhmaninov and the Politics of Musical Memory after 1917', in Slavonic and East European Review, 97.1 (2019), 136–68, p. 21. Subsequent footnote reference: 37 Mitchell, p. 47. (To see how these citations were worked out, follow this link.) Cite this article in author-date MHRA style: Bibliography entry: Mitchell, Rebecca. 2019. 'In Search of Russia: Sergei Rakhmaninov and the Politics of Musical Memory after 1917', in Slavonic and East European Review, 97.1, 136–68 Example citation: 'A quotation occurring on page 21 of this work' (Mitchell 2019: 21). Example footnote reference: 35 Mitchell 2019: 21. (To see how these citations were worked out, follow this link.) This article has a Digital Object Identifier (DOI): The DOI is <doi:10.5699/slaveasteurorev2.97.1.0136> and can be linked to as http://dx.doi.org/10.5699/slaveasteurorev2.97.1.0136 | ||
| 169-200 | To What End Rusalka? Pushkin's Folk Tragedy and Dargomyzhskii's Opera | |
| Cite this article in standard MHRA style: Bibliography entry: Emerson, Caryl, 'To What End Rusalka? Pushkin's Folk Tragedy and Dargomyzhskii's Opera', in Slavonic and East European Review, 97.1 (2019), 169–200 First footnote reference: 35 Caryl Emerson, 'To What End Rusalka? Pushkin's Folk Tragedy and Dargomyzhskii's Opera', in Slavonic and East European Review, 97.1 (2019), 169–200, p. 21. Subsequent footnote reference: 37 Emerson, p. 47. (To see how these citations were worked out, follow this link.) Cite this article in author-date MHRA style: Bibliography entry: Emerson, Caryl. 2019. 'To What End Rusalka? Pushkin's Folk Tragedy and Dargomyzhskii's Opera', in Slavonic and East European Review, 97.1, 169–200 Example citation: 'A quotation occurring on page 21 of this work' (Emerson 2019: 21). Example footnote reference: 35 Emerson 2019: 21. (To see how these citations were worked out, follow this link.) This article has a Digital Object Identifier (DOI): The DOI is <doi:10.5699/slaveasteurorev2.97.1.0169> and can be linked to as http://dx.doi.org/10.5699/slaveasteurorev2.97.1.0169 | ||
Rights to this title are held by School of Slavonic and East European Studies, University College London.
Permanent link to this title:
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Source: http://www.mhra.org.uk/publications/1917-Beyond