Kapitel in diesem Buch

1. Frontmatter I
2. CONTENTS VII
3. Preface XI
4. Great Art Should Slow Us Down: “Participative Th inking” in the World and as the World of Caryl Emerson XIII
5. I N MIKHAIL BAKHTIN (Dialogue, Carnival, the Bakhtin Wars)
6. 1. Polyphony and the Carnivalesque: Introducing the Terms 3
7. 2. The Early Philosophical Essays 42
8. 3. Coming to Terms with Carnival 53
9. 4. Gasparov and Bakhtin 74
10. II ON THE MASTER WORKERS
11. 5. Four Pushkin Biographies 99
12. 6. Pushkin’s Tatiana 132
13. 7. Pushkin’s Boris Godunov 162
14. 8. George Steiner on Tolstoy or Dostoevsky 192
15. 9. Tolstoy and Dostoevsky on Evil-Doing 215
16. 10. Kundera on Not Liking Dostoevsky 223
17. 11. Parini on Tolstoy, with a Postscript on Tolstoy, Shakespeare, and the Performing Arts 235
18. 12. Chekhov and the Annas 249
19. III MUSICALIZING THE LITERARY CLASSIC (Musorgsky, Tchaikovsky, Shostakovich, Prokofiev)
20. 13. Foreword to Richard Taruskin’s Essays on Musorgsky 263
21. 14. From “Boris Godunov” to “Khovanshchina” 269
22. 15. Tumanov on Maria Olenina-d’Alheim 301
23. 16. Tchaikovsky’s Tatiana 304
24. 17. Little Operas to Pushkin’s Little Tragedies 313
25. 18. Playbill to Prokofi ev’s “War and Peace” at the Met 337
26. 19. Shostakovich’s “Lady Macbeth of Mtsensk” 342
27. 20. Princeton University’s Boris Godunov 362
28. 21. “Eugene Onegin” on the Stalinist Stage 378
29. In Conclusion 416
30. Index 418