Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-ndw9j Total loading time: 0 Render date: 2024-11-09T05:25:55.101Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  29 August 2019

Nathan Seinen
Affiliation:
The Chinese University of Hong Kong
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2019

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Adorno, Theodor W. and Horkheimer, Max. Dialectic of Enlightenment, trans. John Cumming (London: Verso, 1997).Google Scholar
Adorno, Theodor W. and Horkheimer, MaxBourgeois Opera’, trans. David J. Levin, in Opera through Other Eyes, ed. Levin, David J. (Stanford, CA: Stanford University Press, 1993).Google Scholar
Agursky, Mikhail. ‘Nietzschean Roots of Stalinist Culture’, in Nietzsche and Soviet Culture: Ally and Adversary, ed. Rosenthal, Bernice Glatzer (Cambridge: Cambridge University Press, 1994), pp. 256–86.Google Scholar
Albright, Daniel. Untwisting the Serpent: Modernism in Music, Literature, and Other Arts (Chicago, IL: University of Chicago Press, 2000).Google Scholar
Aleksandrov, Anatoliy. ‘Muzïka i slovo v opere’, Sovetskaya muzïka (October 1940), 1923.Google Scholar
Aleksandrovskiy, L.Muzïkal’naya dramaturgiya operï S. Prokof’yeva “Povest’ o nastoyashchem cheloveke”’, in Iz istorii russkoy i sovetskoy muzïki, ed. Kandinskiy, A. (Moscow: Muzïka, 1971), pp. 189206.Google Scholar
Allanbrook, Wye Jamison. Rhythmic Gesture in Mozart: Le nozze di Figaro & Don Giovanni (Chicago, IL: University of Chicago Press, 1983).Google Scholar
Ament, Suzanne, ‘Reflecting Individual and Collective Identities – Songs of World War II’, in Gender and National Identity in Twentieth-Century Russian Culture, ed. Goscilo, Helena and Lanoux, Andrea (DeKalb, IL: Northern Illinois University Press, 2006), pp. 115–30.Google Scholar
Anderson, Perry. The Origins of Postmodernity (London: Verso, 1998).Google Scholar
Ansimov, Georgiy Pavlovich. Sergey Prokof’yev: Tropoyu opernoy dramaturgii. Rezhissyorskiye prikosnoveniya (Moscow: GITIS, 1994).Google Scholar
Aranovskiy, Mark Genrikhovich (ed.). Russkaya muzïka i XX vek: Russkoe muzïkal’noye iskusstvo v istorii khudozhestvennoy kul’turï XX veka (Moscow: Gosudarstvennïy institut iskusstvoznaniya, 1997).Google Scholar
Artizov, Andrey N. and Naumov, Oleg (eds.). Vlast’ i khudozhestvennaya intelligentsiya: Dokumentï TsK RKP(b)–VKP(b), VChK–OGPU–NKVD o kul’turnoy politike, 1917–1953 (Moscow: Mezhdunarodnïy fond ‘Demokratiya’, 1999).Google Scholar
Atkins, Kim. ‘Commentary on Nietzsche’, in Self and Subjectivity, ed. Atkins, Kim (Oxford: Blackwell, 2005).Google Scholar
Auburn, Mark. Sheridan’s Comedies: Their Contexts and Achievements (Lincoln, NE: University of Nebraska Press, 1977).Google Scholar
Audi, Robert (ed.). The Cambridge Dictionary of Philosophy, 2nd edn (Cambridge: Cambridge University Press, 1999).Google Scholar
Bailes, Kendall. Technology and Society under Lenin and Stalin: Origins of the Soviet Technical Intelligentsia, 1917–1941 (Princeton, NJ: Princeton University Press, 1978).Google Scholar
Bakhtin, Mikhail M.Epic and Novel: Toward a Method for the Study of the Novel’, in The Dialogic Imagination: Four Essays, ed. Holquist, Michael, trans. Caryl Emerson and Michael Holquist (Austin, TX: University of Texas Press, 1981), pp. 340.Google Scholar
Baratieri, Daniela, Edele, Mark, and Finaldi, Giuseppe (eds.). Totalitarian Dictatorship: New Histories (New York: Routledge, 2014).Google Scholar
Bartig, Kevin. Composing for the Red Screen: Prokofiev and Soviet Film (New York: Oxford University Press, 2013).CrossRefGoogle Scholar
Beer, Daniel. Renovating Russia: The Human Sciences and the Fate of Liberal Modernity, 1880–1930 (Ithaca, NY: Cornell University Press, 2008).Google Scholar
Belodubrovskaya, Maria. Not According to Plan: Filmmaking under Stalin (Ithaca, NY: Cornell University Press, 2017).Google Scholar
Berger, Lyubov’ Grigor’yevna (ed.). Chertï stilya S. Prokof’yeva (Moscow: Sovetskiy kompozitor, 1962).Google Scholar
Bogdanov-Berezovskiy, Valerian. ‘Sovetskaya opernaya kul’tura’, in Teatral’nïy al’manakh: Sbornik statey i materialov (Moscow: Vserossiyskoye teatral’noye obshchestvo, 1946), vol. II, pp. 79124.Google Scholar
Botstein, Leon. ‘Beyond Death and Evil: Prokofiev’s Spirituality and Christian Science’, in Sergey Prokofiev and His World, ed. Morrison, Simon (Princeton, NJ: Princeton University Press, 2008).Google Scholar
Boym, Svetlana. Common Places: Mythologies of Everyday Life in Russia (Cambridge, MA: Harvard University Press, 1994).CrossRefGoogle Scholar
Bowie, Andrew. Aesthetics and Subjectivity: From Kant to Nietzsche, 2nd edn (Manchester: Manchester University Press, 2003).CrossRefGoogle Scholar
Bracken, Patrick J. Trauma: Culture, Meaning, and Philosophy, with a Foreword by K. W. M. Fulford (London: Whurr, 2002).Google Scholar
Bragin, Mikhail. Fel’dmarshal Kutuzov, trans. Joe Fineberg (Moscow: Foreign Languages Publishing House, 1944).Google Scholar
Brandenberger, David. National Bolshevism: Stalinist Mass Culture and the Formation of Modern Russian National Identity, 1931–1956 (Cambridge, MA: Harvard University Press, 2002).Google Scholar
Brandenberger, David. Propaganda State in Crisis: Soviet Ideology, Indoctrination, and Terror under Stalin, 1927–1941 (New Haven, CT: Yale University Press, 2011).Google Scholar
Bratton, Jacky, Cook, Jim, and Gledhill, Christine (eds.). Melodrama: Stage, Picture, Screen (London: British Film Institute, 1994).Google Scholar
Braun, Edward. The Theatre of Meyerhold: Revolution and the Modern Stage (London: Methuen, 1986).Google Scholar
Brooke, Caroline. ‘The development of Soviet music policy, 1932–41’ (PhD dissertation, University of Cambridge, 1999).Google Scholar
Brooks, Jeffrey. Thank You, Comrade Stalin!: Soviet Public Culture from Revolution to Cold War (Princeton, NJ: Princeton University Press, 2000).Google Scholar
Brooks, Peter. The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess, 2nd edn (New Haven, CT: Yale University Press, 1995).Google Scholar
Brooks, Peter. ‘Body and Voice in Melodrama and Opera’, in Siren Songs: Representations of Gender and Sexuality in Opera, ed. Ann Smart, Mary (Princeton, NJ: Princeton University Press, 2000), pp. 118–34.Google Scholar
Brown, Malcolm H. ‘The Soviet Russian Concepts of “intonazia” and “Musical Imagery”’, Musical Quarterly, 60/4 (October 1974), 557–67.Google Scholar
Brown, Malcolm H.Prokofiev’s War and Peace: A Chronicle’, Musical Quarterly, 63 (1977), 297326.Google Scholar
Bullock, Philip Ross. ‘Staging Stalinism: The Search for Soviet Opera in the 1930s’, Cambridge Opera Journal, 18 (2006), 83108.Google Scholar
Calinescu, Matei. Five Faces of Modernity: Modernism, Avant-Garde, Decadence, Kitsch, Postmodernism (Durham, NC: Duke University Press, 1987).Google Scholar
Cassiday, Julie A.Alcohol Is Our Enemy! Soviet Temperance Dramas of the 1920s’, in Imitations of Life: Two Centuries of Melodrama in Russia, ed. McReynolds, Louise and Neuberger, Joan (Durham, NC: Duke University Press, 2002), 152–77.Google Scholar
Kelly, Catriona and Volkov, Vadim, ‘Directed Desires: Kul’turnost’ and Consumption’, in Constructing Russian Culture in the Age of Revolution: 1881–1940, pp. 291–313.Google Scholar
Chatterjee, Choi and Karen, Petrone. ‘Models of Selfhood and Subjectivity: The Soviet Case in Historical Perspective’, Slavic Review, 67/4 (2008), 967–86.Google Scholar
Cheng, Yinghong. Creating the ‘New Man’: From Enlightenment Ideals to Socialist Realities (Honolulu, HI: University of Hawai’i Press, 2009).Google Scholar
Chkalov, Valeriy. ‘Soviet Pilot as New Soviet Man’, trans. J. Bergman, Journal of Contemporary History, 33/1 (1998), 135–52.Google Scholar
Clark, Katerina. The Soviet Novel: History as Ritual (Chicago, IL: University of Chicago Press, 1981).Google Scholar
Clark, Katerina. Petersburg: Crucible of Cultural Revolution (Cambridge, MA: Harvard University Press, 1995).Google Scholar
Clark, Katerina. ‘Socialist Realism with Shores: The Conventions for the Positive Hero’, in Socialist Realism without Shores, ed. Lahusen, Thomas and Dobrenko, Evgeny (Durham, NC: Duke University Press, 1997), pp. 2750.Google Scholar
Clark, Katerina. Moscow, the Fourth Rome: Stalinism, Cosmopolitanism, and the Evolution of Soviet Culture, 1931–1941 (Cambridge, MA: Harvard University Press, 2011).CrossRefGoogle Scholar
Cone, Edward T. Music: A View from Delft. Selected Essays, ed. Morgan, Robert P. (Chicago, IL: University of Chicago Press, 1989).Google Scholar
Michael, Cordner. ‘Introduction’, in Sheridan, Richard Brinsley, The School for Scandal and Other Plays (Oxford: Oxford University Press, 1998).Google Scholar
Dahlhaus, Carl. Nineteenth Century Music, trans. J. Bradford Robinson (Berkeley, CA: University of California Press, 1989).Google Scholar
Dahlhaus, Carl. ‘The Dramaturgy of Italian Opera’, trans. Kenneth Chalmers and Mary Whittall, in Opera in Theory and Practice, Image and Myth, ed. Bianconi, Lorenzo and Giorgio, Pestelli (Chicago, IL: University of Chicago Press, 2003), pp. 73150.Google Scholar
Dan’ko, Larisa Geyorgevna. ‘S. Prokof’yev v rabote nad “Duen’yey” (sozdaniye libretto)’, in Chertï stilya S. Prokof’yeva: Sbornik teoreticheskikh statey, ed. Lyubov’ Grigor’yevna, Berger (Moscow: Sovetskiy kompozitor, 1962), pp. 82115.Google Scholar
Dan’ko, Larisa Geyorgevna Operï S. Prokof’yeva (Leningrad: Muzgiz, 1963).Google Scholar
Dan’ko, Larisa Geyorgevna Teatr Prokof’eva v Peterburge (St Petersburg: Akademicheskiy Proyekt, 2003).Google Scholar
David-Fox, Michael. Crossing Borders: Modernity, Ideology, and Culture in Russia and the Soviet Union (Pittsburgh, PA: University of Pittsburgh Press, 2015).Google Scholar
Davies, Sarah and Harris, James (eds.). Stalin: A New History (Cambridge: Cambridge University Press, 2005).Google Scholar
Davies, Sarah and Harris, James. Stalin’s World: Dictating the Soviet Order (New Haven, CT: Yale University Press, 2014).CrossRefGoogle Scholar
DeBlasio, Alyssa. ‘Choreographing Space, Time, and Dikovinki in the Films of Evgenii Bauer’, The Russian Review, 66/4 (October 2007), 671–92.Google Scholar
Dent, Edward. Mozart’s Operas: A Critical Study, 2nd edn (London: Oxford University Press, 1947).Google Scholar
Deutsch Kornblatt, Judith. The Cossack Hero in Russian Literature: A Study in Cultural Mythology (Madison, WI: University of Wisconsin Press, 1992).Google Scholar
Dobrenko, Evgeny. ‘The Literature of the Zhdanov Era: Mentality, Mythology, Lexicon’, in Late Soviet Culture: From Perestroika to Novostroika, ed. Lahusen, Thomas with Kuperman, Gene (Durham, NC: Duke University Press, 1993), pp. 109–37.Google Scholar
Dobrenko, Evgeny. ‘The Disaster of Middlebrow Taste, or, Who “Invented” Socialist Realism’, South Atlantic Quarterly, 94 (1995), 773806.CrossRefGoogle Scholar
Dobrenko, Evgeny. Political Economy of Socialist Realism, trans. Jesse M. Savage (New Haven, CT: Yale University Press, 2007).Google Scholar
Dobrenko, Evgeny. Stalinist Cinema and the Production of History: Museum of the Revolution, trans. Sarah Young (Edinburgh: Edinburgh University Press, 2008).CrossRefGoogle Scholar
Donington, Robert. Wagner’s ‘Ring’ and Its Symbols: The Music and the Myth, 3rd edn (London: Faber and Faber, 1974).Google Scholar
Druskin, Mikhail. ‘Balet “Romeo i Dzhul’yetta” Prokof’yeva’, Sovetskaya muzïka (March 1940), 10.Google Scholar
Duke, Vernon. Passport to Paris (Boston: Little, Brown, 1955).Google Scholar
Dunham, Vera S. In Stalin’s Time: Middleclass Values in Soviet Fiction (Durham, NC: Duke University Press, 1990).Google Scholar
Dushenko, Konstantin (ed.). Slovar’ sovremennïkh tsitat (Moscow: AGRAF, 1997).Google Scholar
Dzerzhinskiy, Ivan. ‘Sozdadim sovetskuyu klassicheskuyu operu’, Leningradskaya Pravda, 24 January 1936.Google Scholar
Edmunds, Neil. The Soviet Proletarian Music Movement (Oxford: Peter Lang, 2000).Google Scholar
Ehrenburg, Ilya. The War, 1941–45 (London: MacGibbon and Kee, 1964).Google Scholar
Eisen, Cliff and Keefe, Simon (eds.). The Cambridge Mozart Encyclopedia (Cambridge: Cambridge University Press, 2006).Google Scholar
Emerson, Caryl. ‘Leo Tolstoy and the Rights of Music under Stalin (Another Look at Prokofiev’s Party-Minded Masterpiece, War and Peace)’, Tolstoy Studies Journal, 24 (2002), 114.Google Scholar
Engelstein, Laura. The Keys to Happiness: Sex and the Search for Modernity in fin-de-siècle Russia (Ithaca, NY: Cornell University Press, 1992).Google Scholar
Ermolaeva, Katya. ‘Prokofiev’s First Version of War and Peace: Lyrico-Dramatic Scenes on the Novel by L. N. Tolstoy, Op. 91 (1942)’ (PhD Dissertation, Royal Conservatoire of Scotland and University of St Andrews, 2018).Google Scholar
Etkind, Alexander. ‘Soviet Subjectivity: Torture for the Sake of Salvation?’, Kritika: Explorations in Russian and Eurasian History, 6/1 (Winter 2005), 171–86.Google Scholar
Eyzenshteyn, Sergey Mikhaylovich. ‘Zametki o Prokof’yeve’, in S. S. Prokof’yev: Materialï, dokumentï, vospominaniya, ed. Shlifshteyn, Semyon (Moscow: Gosudarstvennoye muzïkal’noye izdatel’stvo, 1956), pp. 296305.Google Scholar
Fairclough, Pauline. Classics for the Masses: Shaping Soviet Musical Identity under Lenin and Stalin (New Haven, CT: Yale University Press, 2016).Google Scholar
Fay, Laurel. Shostakovich: A Life (Oxford: Oxford University Press, 2000).Google Scholar
Feldman, Walter Zev. Klezmer: Music, History and Memory (Oxford: Oxford University Press2016).Google Scholar
Fevral’skiy, Aleksandr. ‘Prokof’yev i Meyerkhol’d’, in Sergey Prokof’yev: Stat’i i materialï, ed. Nest’yev, I. V. and Ya. Edel’man, G., 2nd edn (Moscow: Muzïka, 1965), pp. 94120.Google Scholar
Fiske, Roger. ‘A Score for The Duenna’, Music & Letters, 42/2 (April 1961), 132–41.Google Scholar
Fiske, Roger. English Theatre Music in the Eighteenth Century (London: Oxford University Press, 1973).Google Scholar
Fiske, Roger. ‘The Duenna’, The Musical Times, 117/1597 (March 1976), 217–19.Google Scholar
Fitzpatrick, Sheila. The Cultural Front: Power and Culture in Revolutionary Russia (Ithaca, NY: Cornell University Press, 1992).Google Scholar
Fitzpatrick, Sheila. ‘Ascribing Class: The Construction of Social Identity in Soviet Russia’, Journal of Modern History, 65/4 (December 1993), 745–70.Google Scholar
Fitzpatrick, Sheila. Everyday Stalinism: Ordinary Life in Extraordinary Times. Soviet Russia in the 1930s (Oxford: Oxford University Press, 1999).CrossRefGoogle Scholar
Fitzpatrick, Sheila. Tear off the Masks!: Identity and Imposture in Twentieth-Century Russia (Princeton, NJ: Princeton University Press, 2005).Google Scholar
Fritzsche, Peter and Hellbeck, Jochen. ‘The New Man in Stalinist Russia and Nazi Germany’, in Beyond Totalitarianism: Stalinism and Nazism Compared, ed. Geyer, Michael and Fitzpatrick, Sheila (Cambridge: Cambridge University Press, 2009), pp. 302–41.Google Scholar
Frolov, Vladimir. O sovetskoy komedii (Moscow: Iskusstvo, 1954).Google Scholar
Frolova-Walker, Marina. ‘“National in Form, Socialist in Content”: Musical Nation-Building in the Soviet Republics’, Journal of the American Musicological Society, 51/2 (1998), 331–71.Google Scholar
Frolova-Walker, Marina. (with Jonathan Walker) Music and Dictatorship: Russia under Stalin, Newly Translated Source Documents (New York: Carnegie Hall, 2003).Google Scholar
Frolova-Walker, Marina. ‘Stalin and the Art of Boredom’, Twentieth-Century Music, 1 (2004), 101–24.Google Scholar
Frolova-Walker, Marina. ‘Soviet Champagne: On Prokofiev’s Betrothal, Opera, 57/7 (July 2006), 772–9.Google Scholar
Frolova-Walker, Marina. ‘The Soviet Opera Project: Ivan Dzerzhinsky vs. Ivan Susanin, Cambridge Opera Journal, 18/2 (2006), 181216.Google Scholar
Frolova-Walker, Marina. Russian Music and Nationalism from Glinka to Stalin (New Haven, CT: Yale University Press, 2007).Google Scholar
Frolova-Walker, Marina. ‘Between Two Aesthetics: The Revision of Pilnyak’s Mahogany and Prokofiev’s Fourth Symphony’, in Sergey Prokofiev and His World, ed. Morrison, Simon (Princeton, NJ: Princeton University Press, 2008), pp. 452–92.Google Scholar
Frolova-Walker, Marina. ‘The Glib, the Bland, and the Corny: An Aesthetics of Socialist Realism’, in Music and Dictatorship in Europe and Latin America, ed. Illiano, Roberto and Sala, Massimiliano (Turnhout: Brepols Publishers, 2009), pp. 403–23.Google Scholar
Frolova-Walker, Marina. Stalin’s Music Prize: Soviet Culture and Politics (New Haven, CT: Yale University Press, 2016).CrossRefGoogle Scholar
Frolova-Walker, Marina. and Patrick, Zuk (eds.). Russian Music since 1917: Reappraisal and Rediscovery (Oxford: Oxford University Press, 2017).Google Scholar
Fürst, Juliane. ‘Introduction: Late Stalinist Society: History, Policies and People’, in Late Stalinist Russia: Society between Reconstruction and Reinvention (London: Routledge, 2006), pp. 119.Google Scholar
Fürst, Juliane. Stalin’s Last Generation: Soviet Post-War Youth and the Emergence of Mature Socialism (Oxford: Oxford University Press, 2010).Google Scholar
Garin, Fabian Abramovich (ed.). Izgnaniye Napoleona iz Moskvï (Moscow: Moskovskiy rabochiy, 1938).Google Scholar
Gasparov, Boris. Five Operas and a Symphony: Words and Music in Russian Culture (New Haven, CT: Yale University Press, 2005).Google Scholar
Geldern, James von. ‘Radio Moscow: The Voice from the Center’, in Culture and Entertainment in Wartime Russia, ed. Stites, Richard (Bloomington, IN: Indiana University Press, 1995), pp. 4461.Google Scholar
Gerould, Daniel. ‘Russian Formalist Theories of Melodrama’, Journal of American Culture, 1/1 (Spring 1978), 152–68.Google Scholar
Gerould, Daniel and Przybos, Julia. ‘Melodrama in the Soviet Theatre 1917–1928: An Annotated Chronology’, in Melodrama, ed. Gerould, Daniel (New York: New York Literary Forum, 1980), pp. 7592.Google Scholar
Gerovitch, Slava. Soviet Space Mythologies: Public Images, Private Memories, and the Making of a Cultural Identity (Pittsburgh, PA: University of Pittsburgh Press, 2015).Google Scholar
Gladkov, Aleksandr. Meyerhold Speaks, Meyerhold Rehearses, trans. and ed. Law, Alma (Amsterdam: Harwood Academic, 1997).Google Scholar
Glikman, Isaak. Meyerkhol’d i muzïkal’nïy teatr (Leningrad: Sovetskiy kompozitor, 1989).Google Scholar
Gorbman, Claudia. Unheard Melodies: Narrative Film Music (Bloomington, IN: Indiana University Press, 1987).Google Scholar
Gorchakov, Nikolai Aleksandrovich. The Theater in Soviet Russia, trans. Edgar Lehrman (New York: Columbia University Press, 1957).Google Scholar
Gorse, Sandra. Operatic Subjects: The Evolution of Self in Modern Opera (London: Associated University Presses, 2000).Google Scholar
Gozenpud, Abram Akimovich. Russkiy sovetskiy operniy teatr, 1917–1941: Ocherk istorii (Leningrad: Gosudarstvennoye muzïkal’noye izdatel’stvo, 1963).Google Scholar
Gozenpud, Abram Izbrannïye stat’i (Leningrad: Sovetskiy kompozitor, 1971).Google Scholar
Greenblatt, Stephen. ‘Towards a Poetics of Culture’, in The New Historicism, ed. Veeser, H. Aram (New York: Routledge, 1989), pp. 114.Google Scholar
Griesse, Malte. ‘Soviet Subjectivities: Discourse, Self-Criticism, Imposture’, Kritika: Explorations in Russian and Eurasion History, 9/3 (Summer 2008), 609–24.Google Scholar
Grinberg, M. and Polyakova, N. (eds.). Sovetskaya opera: Sbornik kriticheskikh statey (Moscow: Gosudarstvennoye muzïkal’noye izdatel’stvo, 1953).Google Scholar
Gronow, Jukka. Caviar with Champagne: Common Luxury and the Ideals of the Good Life in Stalin’s Russia (New York: Berg Publishers, 2004).Google Scholar
Groys, Boris. The Total Art of Stalinism: Avant-garde, Aesthetic Dictatorship, and beyond, trans. Charles Rougle (Princeton, NJ: Princeton University Press, 1992).Google Scholar
Gruvich, A. ‘“Shyol soldat s fronta”. P’yesa V. Katayeva v teatre im. Vakhtangova’, Pravda, 27 September 1938.Google Scholar
Gunther, Hans (ed.). The Culture of the Stalin Period (New York: St Martin’s Press, 1990).Google Scholar
Gutkin, Irina. The Cultural Origins of the Socialist Realist Aesthetic (Evanston, IL: Northwestern University Press, 1999).Google Scholar
Hakobian, Levon. Music of the Soviet Age, 1917–1987 (Stockholm: Melos Music Literature, 1998).Google Scholar
Hakobian, Levon. Music of the Soviet Era: 19171991, 2nd edn (New York: Routledge, 2017).Google Scholar
Halfin, Igal. From Darkness to Light: Class, Consciousness, and Salvation in Revolutionary Russia (Pittsburgh, PA: University of Pittsburgh Press, 2000).Google Scholar
Halfin, Igal. (ed.). Language and Revolution: Making Modern Political Identities (London: Frank Cass, 2002).Google Scholar
Harris, James. The Great Fear: Stalin’s Terror of the 1930s (Oxford: Oxford University Press, 2016).Google Scholar
Hauptman, Ira. ‘Defending Melodrama’, in Melodrama, Themes in Drama 14, ed. Redmond, James (Cambridge: Cambridge University Press, 1992), pp. 281–90.Google Scholar
Haynes, John. New Soviet Man: Gender and Masculinity in Stalinist Soviet Cinema (Manchester: Manchester University Press, 2003).Google Scholar
Heilman, Robert Bechtold. Tragedy and Melodrama: Versions of Experience (Seattle, WA: Washington University Press, 1968).Google Scholar
Heilman, Robert Bechtold . The Ways of the World: Comedy and Society (Seattle, WA: University of Washington Press, 1978).Google Scholar
Hellbeck, Jochen. Revolution on My Mind: Writing a Diary under Stalin (Cambridge, MA: Harvard University Press, 2006).Google Scholar
Heller, Leonid. ‘A World of Prettiness: Socialist Realism and Its Aesthetic Categories’, in Socialist Realism without Shores, ed. Lahusen, Thomas and Dobrenko, Evgeny (Durham, NC: Duke University Press, 1997), pp. 5175.Google Scholar
Hibberd, Sarah (ed.). Melodramatic Voices: Understanding Music Drama (Farnham: Ashgate, 2011).Google Scholar
Hogan, Patrick Colm. Philosophical Approaches to the Study of Literature (Gainesville, FL: University Press of Florida, 2000).Google Scholar
Hoover, Marjorie L. Meyerhold: The Art of Conscious Theater (Amherst, MA: University of Massachusetts Press, 1974).Google Scholar
Hunter, Mary and Webster, James (eds.). Opera Buffa in Mozart’s Vienna (Cambridge: Cambridge University Press, 1997).Google Scholar
Hunter, Mary and Webster, JamesRousseau, the Countess, and the Female Domain’, in Mozart Studies 2, ed. Eisen, Cliff (Oxford: Clarendon Press, 1997), pp. 126.Google Scholar
Jaffé, Daniel. Sergey Prokofiev (London: Phaidon, 1998).Google Scholar
Johnson, Julian. ‘Berg’s Operas and the Politics of Subjectivity’, in Music, Theatre and Politics in Germany, 1850 to the Third Reich, ed. Bacht, Nikolaus (Aldershot: Ashgate, 2006), pp. 211–33.Google Scholar
Kaganovsky, Lilya. How the Soviet Man Was Unmade: Cultural Fantasy and Male Subjectivity under Stalin (Pittsburgh, PA: University of Pittsburgh Press, 2008).CrossRefGoogle Scholar
Katayev, Valentin. Ya, sïn trudovogo naroda (Moscow: Khudozhestvennaya literatura, 1938).Google Scholar
Kaufman, Rebecca Sue. ‘Expanded Tonality in the Late Chamber Works of Sergei Prokofiev’ (PhD dissertation, University of Kansas, 1987).Google Scholar
Keldïsh, Yuriy. ‘Yeshchyo ob opere “Voyna i mir”’, Sovetskaya muzïka (July 1955), 3340.Google Scholar
Kelly, Catriona and Shepherd, David (eds.). Constructing Russian Culture in the Age of Revolution: 1881–1940 (Oxford: Oxford University Press, 1998).Google Scholar
Kelly, Catriona and Shepherd, David (eds.). Russian Cultural Studies: An Introduction (Oxford: Oxford University Press, 1998).Google Scholar
Kerman, Joseph. Opera as Drama, new and revised edn (Berkeley, CA: University of California Press, 1988).Google Scholar
Kharkhordin, Oleg. The Collective and the Individual in Russia: A Study of Practices (Berkeley, CA: University of California Press, 1999).Google Scholar
Kholopov, Yuriy Nikolayevich. Sovremennïye chertï garmonii Prokof’yeva (Moscow: Muzïka, 1967).Google Scholar
Khrennikov, Tikhon. ‘O sostoyanii i zadachakh sovetskogo opernogo tvorchestvo’, Sovetskaya muzïka (January 1952), 11.Google Scholar
Khrennikov, Tikhon Tak eto bïlo: Tikhon Khrennikov o vremeni i o seb’ye, ed. Rubtsova, V. (Moscow: Muzïka, 1994).Google Scholar
Khristiansen, L. ‘Voplotit’ chuvstva sovetskogo cheloveka’, Sovetskaya muzïka (October 1940), 25–7.Google Scholar
Khubov, Georgiy. ‘Opernïye idealï’, Teatr (December 1940), 1224.Google Scholar
Kimbell, David. Italian Opera (Cambridge: Cambridge University Press, 1991).Google Scholar
Kojevnikov, Alexei. ‘Rituals of Stalinist Culture at Work: Science and the Games of Intraparty Democracy circa 1948’, The Russian Review, 57/1 (1998), 2552.Google Scholar
Kononenko, Natalie. Ukrainian Minstrels and the Blind Shall Sing (Armonk, NY: M. E. Sharpe, 1998).Google Scholar
Kot, Joanna. Distance Manipulation: The Russian Modernist Search for a New Drama (Evanston, IL: Northwestern University Press, 2000).Google Scholar
Kotkin, Stephen. Magnetic Mountain: Stalinism as a Civilization (Berkeley, CA: University of California Press, 1995).Google Scholar
Kramer, Lawrence. Opera and Modern Culture: Wagner and Strauss (Berkeley, CA: University of California Press, 2004).Google Scholar
Krawchenko, Bohdan. Social Change and National Consciousness in Twentieth-Century Ukraine (Basingstoke: Macmillan in association with St Antony’s College, Oxford, 1985).Google Scholar
Kristi, Grigoriy. ‘Stanislavskiy i Meyerkhol’d’, Oktyabr’ (March 1963).Google Scholar
Krivtsova, Yelena. ‘Antonio Spadavecchia: “Ya ne bol’shevik, ya yeshchyo tol’ko uchus”’. Vospominaniya o Sergeye Prokof’yeve’, in S. S. Prokof’yev: K 125-letiyu so dnya rozhdeniya. Pis’ma, dokumentï, stat’i, vospominaniya (Мoscow: Kompozitor, 2016), pp. 264–79.Google Scholar
Kröplin, Eckart. Frühe sowjetische Oper: Schostakowitsch, Prokofjew (Berlin: Henschelverlag, 1985).Google Scholar
Krylova, Anna. ‘“Healers of Wounded Souls”: The Crisis of Private Life in Soviet Literature, 1944–1946’, Journal of Modern History, 73/2 (2001), 307–31.Google Scholar
Kukharskiy, Vasiliy. ‘Vazhnaya zadacha sovetskikh kompozitorov’, Izvestiya, 13 January 1949, 3.Google Scholar
Kulikovich, Nikolay Nikolayevich. Sovetskaya opera na sluzhbe partii i pravitel’stva (Munich: Institut zur Erforschung der UdSSR, 1955).Google Scholar
Kulka, Tomáš. Kitsch and Art (University Park, PA: The Pennsylvania State University Press, 1996).Google Scholar
Kupfer, Peter. ‘“Our Soviet Americanism”: Jolly Fellows, Music, and Early Soviet Cultural Ideology’, Twentieth-Century Music, 13/2 (2016), 201–32.Google Scholar
Kuromiya, Hiroaki. The Voices of the Dead: Stalin’s Great Terror in the 1930s (New Haven, CT: Yale University Press, 2007).Google Scholar
Lahusen, Thomas and Dobrenko, Evgeny (eds.). Socialist Realism without Shores (Durham, NC: Duke University Press, 1997).Google Scholar
Lahusen, Thomas. How Life Writes the Book: Real Socialism and Socialist Realism in Stalin’s Russia (Ithaca, NY: Cornell University Press, 1997).Google Scholar
Lamm, Ol’ga. ‘Vospominaniya. Fragment: 1948–1951 godï’, in Sergey Prokof’yev: Vospominaniya, pis’ma, stat’i (Moscow: Deka-VS, 2004).Google Scholar
Laursen, Eric. Toxic Voices: The Villain from Early Soviet Literature to Socialist Realism (Evanston, IL: Northwestern University Press, 2013).Google Scholar
Leach, Robert. Vsevolod Meyerhold: Directors in Perspective (Cambridge: Cambridge University Press, 1989).Google Scholar
Leggatt, Alexander. English Stage Comedy, 1490–1990: Five Centuries of a Genre (London: Routledge, 1998).Google Scholar
Leibin, Valery. ‘Freudianism, or the “Trotskiite Contraband”’, in Late Soviet Culture: From Perestroika to Novostroika, ed. Lahusen, Thomas with Kuperman, Gene (Durham, NC: Duke University Press, 1993), pp. 177–86.Google Scholar
Lih, Lars T.Melodrama and the Myth of the Soviet Union’, in Imitations of Life: Two Centuries of Melodrama in Russia, ed. McReynolds, Louise and Neuberger, Joan (Durham, NC: Duke University Press, 2002), pp. 178207.Google Scholar
Linz, Susan J. (ed.). The Impact of World War II on the Soviet Union (Totowa, NJ: Rowman & Allanheld, 1985).Google Scholar
Litvin, Alter and Keep, John (eds.). Stalinism: Russian and Western Views at the Turn of the Millennium (London: Routledge, 2005).Google Scholar
Lobachyova, Nadezhda Aleksandrovna. ‘Povest’ o nastoyashchem cheloveke’ S. S. Prokof’yeva: 60 let spustya (Moscow: Kompozitor, 2008).Google Scholar
Loftis, John. Sheridan and the Drama of Georgian England (Oxford: Blackwell, 1976).Google Scholar
Luckyj, George (ed.). Shevchenko and the Critics: 1861–1980, trans. Dolly Ferguson and Sophia Yurkevich (Toronto: University of Toronto Press in association with the Canadian Institute of Ukrainian Studies, 1980).Google Scholar
Macleod, Joseph. The New Soviet Theatre (London: George Allen & Unwin Ltd, 1943).Google Scholar
Maksimenkov, Leonid. Sumbur vmesto muzïki: Stalinskaya kul’turnaya revolyutsiya, 1936–1938 (Moscow: Yuridicheskaya kniga, 1997).Google Scholar
Slovo o Khrennikove’, in Tikhon Nikolayevich Khrennikov: K 100-letiyu so dnya rozhdeniya. Stat’i i vospominaniya, ed. Kokarev, A. I. (Moscow: Kompozitor, 2013), pp. 122–55.Google Scholar
Mansfield, Nick. Subjectivity: Theories of the Self from Freud to Haraway (New York: New York University Press, 2000).Google Scholar
Marvin, Roberta Montemorra and Poriss, Hilary (eds.). Fashions and Legacies of Nineteenth-Century Italian Opera (Cambridge: Cambridge University Press, 2010).Google Scholar
Mathewson, Rufus W. The Positive Hero in Russian Literature, 2nd edn (Stanford, CA: Stanford University Press, 1975).Google Scholar
McAllister, Rita. ‘The Operas of Sergei Prokofiev’ (PhD dissertation, University of Cambridge, 1970).Google Scholar
McAllister, Rita. ‘Prokofiev’, in The New Grove Russian Masters 2: Rimsky-Korsakov, Skryabin, Rakhmaninov, Prokofiev, Shostakovich, ed. Abraham, Gerald (London: Macmillan, 1986).Google Scholar
McReynolds, Louise and Neuberger, Joan (eds.). Imitations of Life: Two Centuries of Melodrama in Russia (Durham, NC: Duke University Press, 2002).Google Scholar
Medvedeva, Irina. ‘Istoriya prokof’yevskogo avtografa, ili GURK v deystvii’, in Sergey Prokof’yev: K 110-letiyu so dnya rozhdeniya. Pis’ma, vospominaniya, stat’i, ed. Rakhmanova, M. P. (Moscow: Gosudarstvennïy tsentral’nïy muzey muzïkal’noy kul’turï imeni M. I. Glinki, 2001), pp. 216–39.Google Scholar
Medvedeva, Irina. ‘“Chyornoye leto” 1939 goda’, in Sergey Prokof’yev: K 50-letiyu so dnya smerti. Vospominaniya, pis’ma, stat’i, ed. Rakhmanova, M. P. (Moscow: Deka-VS, 2004), pp. 317–66.Google Scholar
Medvedeva, Irina. ‘S. S. Prokof’yev i S. I. Shlifshteyn v perepiske 1940-x godov’, in S. S. Prokof’yev: K 125-letiyu so dnya rozhdeniya. Pis’ma, dokumentï, stat’i, vospominaniya, ed. Vlasova, Ye. S. (Мoscow: Kompozitor, 2016), pp. 173219.Google Scholar
Meisel, Martin. Realizations: Narrative, Pictorial and Theatrical Arts in Nineteenth-Century England (Princeton, NJ: Princeton University Press, 1983).Google Scholar
Mendel’son-Prokof’yeva, Mira Abramovna. ‘Vospominaniya o Sergeye Prokof’yeve. Fragment: 1946–1950 godï’, in Sergey Prokof’yev: K 50-letiyu so dnya smerti. Vospominaniya, pis’ma, stat’i, ed. Rakhmanova, M. P. (Moscow: Deka-VS, 2004), pp. 5226.Google Scholar
Mendel’son-Prokof’yeva, Mira Abramovna.‘Iz vospominaniy’, Sovetskaya muzïka (April 1961), 96–7.Google Scholar
Mendel’son-Prokof’yeva, Mira Abramovna.O Sergeye Sergeyeviche Prokof’yeve. Vospominaniya. Dnevniki (1938–1967) (Moscow: Kompozitor, 2012).Google Scholar
Meyerkhol’d, Vsevolod Emil’yevich. ‘“Ya sïn trudovogo naroda”. Novaya opera S. Prokof’yeva’, Vechernyaya Moskva, 3 June 1939.Google Scholar
Meyerkhol’d, Vsevolod Emil’yevich Stat’i, pis’ma, rechi, besedï, 2 vols. (Moscow: Iskusstvo, 1968).Google Scholar
Meyerkhol’d, Vsevolod Emil’yevich Meyerhold on Theatre, trans. and ed. Edward Braun (London: Methuen, 1969).Google Scholar
Meyerkhol’d, Vsevolod Emil’yevich Meyerkhol’d: K istorii tvorcheskogo metoda. Publikatsii, stat’i, ed. Pesochinskiy, N. V. and Kukhta, E. A. (St Petersburg: Kul’tInformPress, 1998).Google Scholar
Meyerkhol’d, Vsevolod Emil’yevich Meyerhold: A Revolution in Theatre, trans. and ed. Braun, Edward, 2nd edn (London: Methuen, 1998).Google Scholar
Mikhaylova, Alla (ed.). Meyerkhol’d i khudozhniki (Moscow: Galart, 1995).Google Scholar
Mikkonen, Simo. Music and Power in the Soviet 1930s: A History of Composers’ Bureaucracy (Lewiston, NY: Edwin Mellen Press, 2009).Google Scholar
Minturn, Neil. The Music of Sergei Prokofiev (New Haven, CT: Yale University Press, 1997).Google Scholar
Morgan, Edward. ‘Semyon Kotko: A Dossier’, ‘A Soldier Came From the Front: New Light on the Literary Sources of Prokofiev’s First ‘Soviet’ Opera Semyon Kotko’, and ‘Semyon Kotko: Three Works’, Three Oranges: The Journal of the Serge Prokofiev Foundation, 6 (November 2003), 46, 713, and 1421.Google Scholar
Morrison, Simon. Russian Opera and the Symbolist Movement (Berkeley, CA: University of California Press, 2002).Google Scholar
Morrison, Simon. (ed.). Sergey Prokofiev and His World (Princeton, NJ: Princeton University Press, 2008).Google Scholar
Morrison, Simon. The People’s Artist: Prokofiev’s Soviet Years (Oxford: Oxford University Press, 2009).Google Scholar
Morson, Gary Saul. Hidden in Plain View: Narrative and Creative Potentials in ‘War and Peace’ (Stanford, CA: Stanford University Press, 1987).Google Scholar
Morwood, James and Crane, David (eds.). Sheridan Studies (Cambridge: Cambridge University Press, 1995).Google Scholar
Morwood, James and Crane, David The Life and Works of Richard Brinsley Sheridan (Edinburgh: Scottish Academic Press, 1985).Google Scholar
Nahaylo, Bohdan and Swoboda, Victor. Soviet Disunion: A History of the Nationalities Problem in the USSR (New York: Free Press, 1990).Google Scholar
Naiman, Eric. ‘On Soviet Subjects and the Scholars Who Make Them’, The Russian Review, 60 (July 2001), 307–15.Google Scholar
Naroditskaya, Inna. Bewitching Russian Opera: The Tsarina from State to Stage (Oxford: Oxford University Press, 2011).Google Scholar
Neef, Sigrid. ‘“… allem widerstehen, was nicht Geist bedeutet”. Prokofjew und die Sowjetmacht’ in Sergej Prokofjew in der Sowjetunion: Verstrickungen – Mißverständnisse – Katastrophen: Ein internationales Symposium, ed. Kuhn, Ernst (Berlin: Ernst Kuhn, 2004), pp. 159.Google Scholar
Neef, Sigrid. Die Opern Sergej Prokofjews (Berlin: Ernst Kuhn, 2009).Google Scholar
Nelson, Amy. Music for the Revolution: Musicians and Power in Early Soviet Russia (University Park, PA: The Pennsylvania State University Press, 2004).Google Scholar
Nelson, T. G. A. Comedy: An Introduction to Comedy in Literature, Drama, and Cinema (Oxford: Oxford University Press, 1990).Google Scholar
Izrail’ Vladimirovich, Nest’yev. ‘“Semyon Kotko” S. Prokof’yeva’, Sovetskaya muzïka (September 1940), 14.Google Scholar
Izrail’ Vladimirovich, Nest’yev Prokofiev, trans. Florence Jonas (Stanford, CA: Stanford University Press, 1961).Google Scholar
Izrail’ Vladimirovich, Nest’yev and Yakovlevich Edel’man, Georgiy (eds.). Sergey Prokof’yev: Stat’i i materialï, 2nd edn (Moscow: Muzïka, 1965).Google Scholar
Nice, David. Prokofiev: From Russia to the West, 1891–1935 (New Haven, CT: Yale University Press, 2003).Google Scholar
Oushakine, Serguei. ‘Laughter under Socialism: Exposing the Ocular in Soviet Jocularity’, Slavic Review, 70/2 (Summer 2011), 247–55.Google Scholar
Oushakine, Serguei. ‘“Red Laughter”: On Refined Weapons of Soviet Jesters’, Social Research, 79/1 (Spring 2012), 189216.Google Scholar
and Dennis, G. Ioffe. ‘Introduction: The Amusing Disturbance of Soviet Laughter’, Russian Literature 74/1–2 (2013), 110.Google Scholar
Palmer, Scott W. Dictatorship of the Air: Aviation Culture and the Fate of Modern Russia (Cambridge: Cambridge University Press, 2006).Google Scholar
Panchekhin, Nikolay. ‘Nit’ pravdï’, Sovetskaya muzïka (October 1940), 27–9.Google Scholar
Paperny, Vladimir. Architecture in the Age of Stalin: Culture Two, trans. John Hill and Roann Barris (Cambridge: Cambridge University Press, 2002).Google Scholar
Perkhin, Vladimir Vasil’yevich. Deyateli russkogo iskusstva i M. B. Khrapchenko (Moscow: Nauka, 2007).Google Scholar
Perkhin, VladimirIstoriya Zolushki: shestnadtsat’ pisem S. S. Prokof’yeva o balete (1940–1946)’, in S. S. Prokof’yev: K 125-letiyu so dnya rozhdeniya. Pis’ma, dokumentï, stat’i, vospominaniya, ed. Ye., S. Vlasova (Мoscow: Kompozitor, 2016), pp. 151–69.Google Scholar
Petrone, Karen. Life Has Become More Joyous, Comrades: Celebrations in the Time of Stalin (Bloomington, IN: Indiana University Press, 2000).Google Scholar
Pippin, Robert. The Persistence of Subjectivity: On the Kantian Aftermath (Cambridge: Cambridge University Press, 2005).Google Scholar
Pisani, Michael V. Music for the Melodramatic Theatre in Nineteenth-Century London & New York (Iowa City, IA: University of Iowa Press, 2014).Google Scholar
Pistone, Danièle. ‘Opera in Paris during the Roaring Twenties’, trans. E. Thomas Glasow, Opera Quarterly, 13/2 (Winter 1997), 5567.Google Scholar
Pitches, Jonathan. Vsevolod Meyerhold (London: Routledge, 2003).Google Scholar
Platt, Jonathan Brooks. Greetings, Pushkin!: Stalinist Cultural Politics and the Russian National Bard (Pittsburgh, PA: University of Pittsburgh Press, 2016).Google Scholar
Platt, Kevin M. F. and Brandenberger, David (eds.). Epic Revisionism: Russian History and Literature as Stalinist Propaganda (Madison, WI: University of Wisconsin Press, 2006).Google Scholar
Plokhy, Serhii. The Gates of Europe: A History of Ukraine (New York: Basic Books, 2015).Google Scholar
Pokrovskiy, Boris Alexandrovich. Ob opernoy rezhissure (Moscow: Vserossiyskoye teatral’noye obshchestvo, 1973).Google Scholar
Polevoy, Boris Nikolayevich. Povest’ o nastoyashchem cheloveke (Moscow: Sovetskiy pisatel’, 1949).Google Scholar
Press, Stephen. Prokofiev’s Ballets for Diaghilev (Aldershot: Ashgate, 2006).Google Scholar
Price, Curtis, Milhous, Judith, and Hume, Robert D.. Italian Opera in Late Eighteenth-Century London, Volume I: The King’s Theatre, Haymarket, 1778–1791 (Oxford: Clarendon Press, 1995).Google Scholar
Prokof’yev, Sergey Sergeyevich. ‘Pis’ma k V. E. Meyerkhol’du’, in Muzïkal’noye nasledstvo, ed. Kirilenko, K. N. and Kozlova, M. G., vol. 2/2 (Moscow: Muzïka, 1968), pp. 214–43.Google Scholar
Prokof’yev, Prokof’yev o Prokof’yeve: Stat’i i interv’yu, ed. Varunts, Viktor (Moscow: Sovetskiy kompozitor, 1991).Google Scholar
Prokof’yev, Diaries 1907–1914: Prodigious Youth, Diaries 1915–1923: Behind the Mask, and Diaries 1924–1933: Prodigal Son, trans. Anthony Phillips (Ithaca, NY: Cornell University Press, 2006, 2008, 2012).Google Scholar
Prokof’yev, Sergey Sergeyevich and Alpers, Vera Vladimirovna. ‘Perepiska’, in Muzïkal’noye nasledstvo: Sborniki po istorii muzïkal’noy kul’turï SSSR, vol. 1, ed. Bernandt, G. B., Kiselyov, V. A., and Pekelis, M. S. (Moscow: Gosudarstvennoye muzïkal’noye izdatel’stvo, 1962), pp. 427–35.Google Scholar
Prokof’yev, Sergey Sergeyevich and Myaskovskiy., Nikolay Yakovlevich S. S. Prokofyev i N. Ya. Myaskovskiy: Perepiska, ed. Kozlova, M. G. and Yatsenko, N. R. (Moscow: Sovetskiy kompozitor, 1977).Google Scholar
Prokof’yeva, Lina. ‘Iz vospominaniy’, in Sergey Prokof’yev: Stat’i i materialï, ed. Nest’yev, I. V. and Edel’man, G. Ya., 2nd edn (Moscow: Muzïka, 1965).Google Scholar
Propp, Vladimir. Morphology of the Folktale, trans. Laurence Scott, 2nd edn (Austin, TX: University of Texas Press, 1968).Google Scholar
Propp, Vladimir. Theory and History of Folklore, trans. Ariadna Y. Martin and Richard P. Martin, ed. Anatoly, Liebermann (Manchester: Manchester University Press, 1984).Google Scholar
Propp, Vladimir. On the Comic and Laughter, trans. and ed. Debbèche, Patrick and Perron, Paul (Toronto: University of Toronto Press, 2009).Google Scholar
Rakhmanova, Marina Pavlovna (ed.). Sergey Prokof’yev: K 110-letiyu so dnya rozhdeniya. Pis’ma, vospominaniya, stat’i (Moscow: Gosudarstvennïy tsentral’nïy muzey muzïkal’noy kul’turï imeni M. I. Glinki, 2001).Google Scholar
Rakhmanova, Marina (ed.). Sergey Prokof’yev: K 50-letiyu so dnya smerti. Vospominaniya, pis’ma, stat’i (Moscow: Deka-VS, 2004).Google Scholar
Rakhmanova, Marina (ed.). Sergey Prokof’yev: Pis’ma, vospominaniya, stat’i. Sbornik (Moscow: Deka-VS, 2007).Google Scholar
Raku, Marina Grigor’yevna. Muzïkal’naya klassika v mifotvorchestve sovetskoy epokhi (Moscow: Novoye literaturnoye obozreniye, 2014).Google Scholar
Redepenning, Dorothea. ‘Sergey (Sergeyevich) Prokofiev’, in The New Grove Dictionary of Music and Musicians, eds. Sadie, Stanley and Tyrrell, John, 2nd edn, vol. 20 (London: Oxford University Press, 2003), pp. 404–23.Google Scholar
Redmond, James (ed.). Melodrama, Themes in Drama 14 (Cambridge: Cambridge University Press, 1992).Google Scholar
Rifkin, Deborah Anne. ‘Tonal Coherence in Prokofiev’s Music’ (PhD dissertation, Eastman School of Music, 2000).Google Scholar
Robin, Régine. Socialist Realism: An Impossible Aesthetic (Stanford, CA: Stanford University Press, 1992).Google Scholar
Robinson, Harlow. ‘Love for Three Operas: The Collaboration of Vsevolod Meyerhold and Sergei Prokofiev’, The Russian Review, 45/3 (1986), 287304.Google Scholar
Robinson, Harlow. Sergei Prokofiev: A Biography (New York: Viking, 1987).Google Scholar
Robinson, Harlow. (ed. and trans.). Selected Letters of Sergei Prokofiev (Boston, MA: Northeastern University Press, 1998).Google Scholar
Rosenthal, Bernice Glatzer. New Myth, New World: From Nietzsche to Stalinism (University Park, PA: Pennsylvania State University Press, 2002).Google Scholar
Rudnitsky, Konstantin. Meyerhold the Director, trans. George Petrov, ed. Schultze, Sydney (Ann Arbor, MI: Ardis, 1981).Google Scholar
Russell, Robert. Valentin Kataev (Boston, MA: Twayne Publishers, 1981).Google Scholar
Rzhevsky, Nicolas. The Modern Russian Theatre: A Literary and Cultural History (Armonk, NY: M. E. Sharpe, 2009).Google Scholar
Sabinina, Marina Dmitriyevna. Semyon Kotko’ i problemï opernoy dramaturgii Prokof’yeva (Moscow: Sovetskiy kompozitor, 1963).Google Scholar
Sala, Emilio. L’opera senza canto: Il mélo romantico e l’invenzione della colonna sonora (Venice: Marsilio, 1995).Google Scholar
Samosud, Samuil Abramovich. ‘Vstrechi s Prokof’yevïm’, in Sergey Prokof’yev: Stat’i i materialï, ed. Nest’yev, I. V. and Edel’man, G. Ya., 2nd edn (Moscow: Muzïka, 1965), pp. 123–73.Google Scholar
Sartorti, Rosalinda. ‘Stalinism and Carnival: Organisation and Aesthetics of Political Holidays’, in The Culture of the Stalin Period, ed. Günther, Hans (London: Macmillan in association with the School of Slavonic and East European Studies, University of London, 1990), pp. 4177.Google Scholar
Savkina, Nataliya. ‘The significance of Christian Science in Prokofiev’s life and work’, Three Oranges: The Journal of the Serge Prokofiev Foundation, 10 (November 2005), 1824.Google Scholar
Schwarz, Boris. Music and Musical Life in Soviet Russia, Enl. edn, 1917–1981 (Bloomington, IN: Indiana University Press, 1983).Google Scholar
Segel, Harold B. Twentieth-Century Russian Drama: From Gorky to the Present, 2nd edn (Baltimore, MD: Johns Hopkins University Press, 1993).Google Scholar
Seigel, Jerrold E. The Idea of the Self: Thought and Experience in Western Europe since the Seventeenth Century (Cambridge: Cambridge University Press, 2005).Google Scholar
Senelick, Laurence and Ostrovsky, Sergei (eds.). The Soviet Theater: A Documentary History (New Haven, CT: Yale University Press, 2014).Google Scholar
Sharp, William. ‘Structure of Melodrama’, in Melodrama, Themes in Drama 14, ed. Redmond, James (Cambridge: Cambridge University Press, 1992), pp. 269–80.Google Scholar
Shaverdyan, Aleksandr. ‘Sovetskaya opera’, Sovetskaya muzïka (March 1941), 320.Google Scholar
Sheridan, Richard Brinsley. The Duenna: A Comic Opera. In Three Acts. As Performed at the Theatre Royal, Covent Garden: With Universal Applause (London: T. N. Longman, 1794).Google Scholar
Sheridan, Richard The School for Scandal and Other Plays (Oxford: Oxford University Press, 1998).Google Scholar
Shlifshteyn, Semyon Isaakovich. ‘Bol’shiye idei i malen’kiye chuvstva’, Sovetskoye iskusstvo, 14 November 1939.Google Scholar
Shlifshteyn, Semyon ‘Semyon Kotko’, Sovetskoye iskusstvo, 29 June 1940, 3.Google Scholar
Shlifshteyn, Semyon ‘“Voyna i mir” v malom opernom teatre’, Sovetskaya muzïka (July 1955), 60–7.Google Scholar
Shlifshteyn, Semyon (ed.). Sergey Prokofiev: Autobiography, Articles, Reminiscences, trans. Rose Prokofieva (Moscow: Foreign Languages Publishing House, 1960).Google Scholar
Shlifshteyn, Semyon ‘S. Prokof’yev i yego opera “Povest’ o nastoyashchem cheloveke”’, Sovetskaya muzïka (1961), 2337.Google Scholar
Shlifshteyn, Semyon (ed.). S. S. Prokof’yev: Materialï, dokumentï, vospominaniya, 2nd edn (Moscow: Gosudarstvennoye muzïkal’noye izdatel’stvo, 1961).Google Scholar
Shneyerson, Grigoriy Mikhaylovich. ‘Vstrechi s Prokof’yevïm’, in Sergey Prokof’yev: Stat’i i materialï, ed. Nest’yev, I. V. and Edel’man, G. Ya., 2nd edn (Moscow: Muzïka, 1965).Google Scholar
Siegelbaum, Lewis H.Whither Soviet History?: Some Reflections on Recent Anglophone Historiography’, Region, 1/2 (2012), 213–30.Google Scholar
Sinyavskiy, Andrey. Osnovï sovetskoy tsivilizatsii (Moscow: Agraf, 2001).Google Scholar
Skorino, Lyudmila Ivanovna. Pisatel’ i yego vremya: Zhizn’ i tvorchestvo V. P. Katayeva (Moscow: Sovetskiy pisatel’, 1965).Google Scholar
Slonim, Marc. Russian Theater: From the Empire to the Soviets (London: Methuen & Co, 1963).Google Scholar
Slonim, Marc. Soviet Russian Literature: Writers and Problems, 1917–1977 (New York: Oxford University Press, 1977).Google Scholar
Smart, Mary Ann. Mimomania: Music and Gesture in Nineteenth-Century Opera (Berkeley, CA: University of California Press, 2004).Google Scholar
Smele, Jonathan. The ‘Russian’ Civil Wars, 1916–1926: Ten Years That Shook the World (Oxford: Oxford University Press, 2015).Google Scholar
Sollertinskiy, Ivan. ‘Dramaturgiya opernogo libretto’, Sovetskaya muzïka (March 1941), 2131.Google Scholar
Solov’yov, Vladimir. Istoricheskiye dramï (Moscow: Gosudarstvennoye izdatel’stvo, 1960).Google Scholar
Solovyova, Inna. ‘The Theatre and Socialist Realism, 1929–1953’, in A History of Russian Theatre, ed. Leach, Robert and Borovsky, Victor (Cambridge: Cambridge University Press, 1999), pp. 325–57.Google Scholar
Stites, Richard. Russian Popular Culture: Entertainment and Society Since 1900 (Cambridge: Cambridge University Press, 1992).Google Scholar
Stites, Richard. (ed.). Culture and Entertainment in Wartime Russia (Bloomington, IN: Indiana University Press, 1995).Google Scholar
Stott, Andrew. Comedy (London: Routledge, 2005).Google Scholar
Strawson, Galen. ‘Self, Body, and Experience’, Proceedings of the Aristotelian Society, 73 (1999), 307–32.Google Scholar
Strong, Robert L.The Soviet Interpretation of Gogol’, American Slavic and East European Review, 14/4 (December 1955), 528–39.Google Scholar
Sullivant, Robert S. Soviet Politics and the Ukraine, 1917–1957 (New York: Columbia University Press, 1962).Google Scholar
Suny, Ronald Grigor. The Structure of Soviet History: Essays and Documents (Oxford: Oxford University Press, 2003).Google Scholar
Symons, James M. Meyerhold’s Theatre of the Grotesque: The Post-Revolutionary Productions, 1920–1932 (Coral Gables, FL: University of Miami Press, 1971).Google Scholar
Tarle, Yevgeniy Viktorovich. Napoleon (Moscow and Leningrad: Izdatel’stvo akademii nauk S.S.S.R., 1940).Google Scholar
Tarle, Yevgeniy Napoleon’s Invasion of Russia, 1812, trans. G. M. [no full name given] (London: G. Allen & Unwin, 1942).Google Scholar
Tarakanov, Mikhail (ed.). Istoriya sovremennoy otechestvennoy muzïki: 1917–1941 (Moscow: Muzïka, 1995).Google Scholar
Taruskin, Richard. ‘Molchanov’s The Dawns Are Quiet Here’, Musical Quarterly, 62/1 (1976), 105–15.Google Scholar
Taruskin, Richard. Opera and Drama in Russia: As Preached and Practiced in the 1860s (Ann Arbor, MI: UMI Research Press, 1981).Google Scholar
Taruskin, Richard. ‘Tone, Style and Form in Prokofiev’s Soviet Operas: Some Preliminary Observations’, in Studies in the History of Music, Volume II: Music and Drama (New York: Broude Brothers, 1988), pp. 215–39.Google Scholar
Taruskin, Richard. ‘Betrothal in a Monastery [Obrucheniye v monastïre; Duen’ya (‘The Duenna’)]’, in The New Grove Dictionary of Opera, ed. Sadie, Stanley, vol. 1 (London: Macmillan, 1992), pp. 459–60.Google Scholar
Taruskin, Richard. ‘War and Peace’, in The New Grove Dictionary of Opera, ed. Sadie, Stanley, vol. 4 (London: Macmillan, 1992), pp. 1100–5.Google Scholar
Taruskin, Richard. Musorgsky: Eight Essays and an Epilogue (Princeton, NJ: Princeton University Press, 1993).Google Scholar
Taruskin, Richard. Defining Russia Musically: Historical and Hermeneutical Essays (Princeton, NJ: Princeton University Press, 1997).Google Scholar
Taruskin, Richard. The Oxford History of Western Music (Oxford: Oxford University Press, 2005).Google Scholar
Taruskin, Richard. The Danger of Music: And Other Anti-Utopian Essays (Berkeley, CA: University of California Press, 2009).Google Scholar
Taylor, Richard. ‘Ideology as Mass Entertainment: Boris Shumyatsky and Soviet Cinema of the 1930s’, in Inside the Film Factory: New Approaches to Russian and Soviet Cinema, ed. Taylor, Richard and Christie, Ian (New York: Routledge, 1991), pp. 193216.Google Scholar
Tertz, Abram. On Socialist Realism (New York: Pantheon Books, 1960).Google Scholar
Timasheff, Nicholas. The Great Retreat: The Growth and Decline of Communism in Russia (New York: Dutton, 1946).Google Scholar
Tolstoy, Leo. War and Peace, trans. Louise and Aylmer Maude (London: Macmillan, 1942).Google Scholar
Tomlinson, Gary. Metaphysical Song: An Essay on Opera (Princeton, NJ: Princeton University Press, 1999).Google Scholar
Tomoff, Kiril. Creative Union: The Professional Organization of Soviet Composers, 1939–1953 (Ithaca, NY: Cornell University Press, 2006).Google Scholar
Troost, Linda. ‘The Characterizing Power of Song in Sheridan’s The Duenna’, Eighteenth-Century Studies, 20/2 (Winter 1986–7), 153–72.Google Scholar
Tsukkerman, Viktor. ‘Rimskiy-Korsakov i narodnaya muzïka’, Sovetskaya muzïka (October–November 1938), 104–27.Google Scholar
Tsukkerman, Viktor ‘Neskol’ko mïsley o sovetskoy opere’, Sovetskaya muzïka (December 1940), 6678.Google Scholar
Vlasova, Yekaterina Sergeyevna. 1948 god v sovetskoy muzïke: Dokumentirovannoye issledovaniye (Moscow: Klassika-XXI, 2010).Google Scholar
Vlasova, Yekaterina (ed.). S. S. Prokof’yev: K 125-letiyu so dnya rozhdeniya. Pis’ma, dokumentï, stat’i, vospominaniya (Мoscow: Kompozitor, 2016).Google Scholar
Volkov, Anatoliy Isaakovich. Voyna i mir’ Prokof’yeva: Opït analiza variantov operï (Moscow: Muzïka, 1976).Google Scholar
Volkov, Vadim. ‘The Concept of Kul’turnost’: Notes on the Stalinist Civilizing Process’, in Stalinism: New Directions, ed. Fitzpatrick, Shelia (London: Routledge, 2000), pp. 209–30.Google Scholar
Waeber, Jacqueline. En musique dans le texte: Le mélodrame de Rousseau à Schoenberg (Paris: Van Dieren, 2005).Google Scholar
Werth, Alexander. Musical Uproar in Moscow (London: Turnstile Press, 1949).Google Scholar
Werth, Alexander. Russia at War, 1941–1945 (London: Barrie & Rockliff, 1964).Google Scholar
Werth, Alexander. Russia: The Post-War Years (London: Robert Hale & Co, 1971).Google Scholar
Worth, Katharine. Sheridan and Goldsmith (Basingstoke: Macmillan, 1992).Google Scholar
Yarustovskiy, Boris Mikhaylovich. Nekotorï problemï sovetskogo muzïkal’nogo teatra (Moscow: Sovetskiy kompozitor, 1957).Google Scholar
Yarustovskiy, Boris Ocherki po dramaturgii operï XX veka, vol. 2 (Moscow: Muzïka, 1978).Google Scholar
Yarustovskiy, Boris and Izrail’ Nest’yev. ‘Sovetskaya muzïka na novïkh putyakh’, Kul’tura i zhizn’, 21 December 1948, 3.Google Scholar
Yekelchyk, Serhy. ‘Diktat and Dialogue in Stalinist Culture: Staging Patriotic Historical Opera in Soviet Ukraine, 1936–1954’, Slavic Review, 59/3 (Autumn 2000), 597624.Google Scholar
Yekelchyk, Serhy. Stalin’s Empire of Memory: Russian–Ukrainian Relations in the Soviet Historical Imagination (Toronto: University of Toronto Press, 2004).Google Scholar
Yershov, Peter. Comedy in the Soviet Theater (London: Atlantic Press, 1957).Google Scholar
Youngblood, Denise J. Movies for the Masses: Popular Cinema and Soviet Society in the 1920s (Cambridge: Cambridge University Press, 1992).Google Scholar
Zahavi, Dan. Subjectivity and Selfhood: Investigating the First-Person Perspective (Cambridge, MA: MIT Press, 2005).Google Scholar
Zidaric, Walter. ‘“Siméon Kotko” – le premier opéra soviétique de Prokofiev’, in Sergej Prokofjew in der Sowjetunion: Verstrickungen – Mißverständnisse – Katastrophen. Ein internationales Symposium, ed. Kuhn, Ernst (Berlin: Ernst Kuhn, 2004), pp. 199213.Google Scholar
Žižek, Slavoj. Did Somebody Say Totalitarianism? Five Interventions in the (Mis)use of a Notion (London: Verso, 2001).Google Scholar
Zubkova, Yelena. Russia After the War: Hopes, Illusions, and Disappointments, 1945–1957 (Armonk, NY: M. E. Sharpe, 1998).Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Nathan Seinen, The Chinese University of Hong Kong
  • Book: Prokofiev's Soviet Operas
  • Online publication: 29 August 2019
  • Chapter DOI: https://doi.org/10.1017/9781316105214.007
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • Nathan Seinen, The Chinese University of Hong Kong
  • Book: Prokofiev's Soviet Operas
  • Online publication: 29 August 2019
  • Chapter DOI: https://doi.org/10.1017/9781316105214.007
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • Nathan Seinen, The Chinese University of Hong Kong
  • Book: Prokofiev's Soviet Operas
  • Online publication: 29 August 2019
  • Chapter DOI: https://doi.org/10.1017/9781316105214.007
Available formats
×