By Robert P. Hughes, Richard Taruskin, Thomas A. Koster
Freedom from Violence and Lies is a suite of 41 essays via Simon Karlinsky (1924-2009), a prolific and debatable student of recent Russian literature, sexual politics, and song who taught within the collage of California, Berkeley's division of Slavic Languages and Literatures from 1964 to 1991. between Karlinsky's full-length works are significant stories of Marina Tsvetaeva and Nikolai Gogol, Russian Drama from Its Beginnings to the Age of Pushkin; variants of Anton Chekhov's letters; writings through Russian migrs; and correspondence among Vladimir Nabokov and Edmund Wilson. Karlinsky additionally wrote often for pro journals and mainstream courses just like the ny instances ebook evaluation and the state. the current quantity is the 1st selection of such shorter writings, spanning greater than 3 many years. It contains twenty-seven essays on literary issues and fourteen on tune, seven of that have been newly translated from the Russian originals.
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Additional info for Freedom From Violence and Lies: Essays on Russian Poetry and Music by Simon Karlinsky
Sample text
Or one can simply forget translations or language study and listen to Mozart’s G-Minor Quintet or the A-Major Piano Concerto. 19 19 Simon Karlinsky, “Alexander Pushkin,” in Atlantic Brief Lives: A Biographical Companion to the Arts, ed. Louis Kronenberger (Boston: Little, Brown, 1971), 614–16. 42 Fortunes of an Infanticide1 F ew events in modern history have appealed to the imagination of so many poets and playwrights of diverse literary traditions as the overthrow in 1605 of Boris Godunov, a monarch with dubious claims to the Russian throne, by a pretender of lowly birth known to history as the False Dmitry.
Wacław Lednicki (Berkeley: University of California Press, 1956). Wacław Lednicki, “Mickiewicz’s Stay in Russia and His Friendship with Pushkin,” in Lednicki, Adam Mickiewicz in World Literature, 55–59. N. V. Izmailov’s special study of this poem and its connection with Mickiewicz is quoted by Tomashevskii, Stikh i iazyk, 435. 18 If this supposition is correct, Pushkin reacted to the cycle not only with great admiration, but also with a certain amused irony: Poroi vostochnyi krasnobai Zdes’ razvival svoi tetradi I udivlial Bakhchisarai.
Taruskin’s views of the composer and the opera can be found in Richard Taruskin, 46 Fortunes of an Infanticide between the 1869 and 1874 versions can best be explained by Musorgsky’s evolving concept of what an opera could be, by his withdrawal from Pushkin’s model of Boris to that of Karamzin, and by the fact that this music was composed in the age of Dostoevsky rather than that of Pushkin. All these things account for the opera’s revisions, rather than the usually cited pressures of government censorship and the operatic conventions of the time.