Preface

Chapters in this book

1. Frontmatter 1
2. Contents 5
3. Preface 7
4. I. PUSHKIN AND ROMANTICISM
5. 1. Two Pushkin Studies 14
6. 2. Fortunes of an Infanticide 43
7. 3. Pushkin Re-Englished 49
8. 4. A Mystical Musicologist 56
9. 5. Küchelbecker’s Trilogy, Izhorsky, As an Example of the Romantic Revival of the Medieval Mystery Play 62
10. 6. Misanthropy and Sadism in Lermontov’s Plays 77
11. II. MODERNISM, ITS PAST, ITS LEGACY
12. 7. Annensky’s Materiality 86
13. 8. Zinaida Gippius and Russian Poetry 97
14. 9. Died and Survived 105
15. 10. Symphonic Structure in Andrei Bely’s Pervoe svidanie 114
16. 11. The Death and Resurrection of Mikhail Kuzmin 125
17. 12. Nikolai Gumilyov and Théophile Gautier 133
18. 13. An Emerging Reputation Comparable to Pushkin’s 145
19. 14. Tsvetaeva in English: A Review Article 154
20. 15. A New Edition of the Poems of Marina Tsvetaeva 167
21. 16. New Information about the Émigré Period of Marina Tsvetaeva (Based on Material from Her Correspondence with Anna Tesková) 174
22. 17. Pasternak, Pushkin, and the Ocean in Marina Tsvetaeva’s From the Sea 182
23. 18. “Traveling to Geneva…”: On a Less-than-Successful Trip by Marina Tsvetaeva 194
24. 19. Isadora Had a Taste for “Russian Love” 205
25. 20. Surrealism in Twentieth-Century Russian Poetry: Churilin, Zabolotsky, Poplavsky 212
26. 21. Evtushenko and the Underground Poets 229
27. III. POETRY ABROAD
28. 22. In Search of Poplavsky: A Collage 242
29. 23. Morshen, or a Canoe to Eternity 267
30. 24. Morshen after Ekho i zerkalo 291
31. 25. A Hidden Masterpiece: Valery Pereleshin’s Ariel 301
32. 26. Russian Culture in Manchuria and the Memoirs of Valery Pereleshin 310
33. IV. ON CHAIKOVSKY
34. 27. A Review of Tchaikovsky: A Self-Portrait by Alexandra Orlova 322
35. 28. Should We Retire Chaikovsky? 330
36. 29. Man or Myth? The Retrieval of the True Chaikovsky 339
37. 30. Chaikovsky and the Pantomime of Derision 346
38. V. ON STRAVINSKY
39. 31. The Composer’s Workshop 358
40. 32. The Repatriation of Igor Stravinsky 369
41. 33. Igor Stravinsky and Russian Preliterate Theater 376
42. VI. ON SHOSTAKOVICH
43. 34. “Our Destinies Are Bad” 398
44. 35. Taking Notes for Testimony 408
45. VII. SONG AND DANCE
46. 36. The Uses of Chaliapin 416
47. 37. Russian Comic Opera in the Age of Catherine the Great 423
48. 38. Contralto: Rossini, Gautier and Gumilyov 440
49. 39. A Cultural Educator of Genius 457
50. 40. Opera and Drama in Ravel 475
51. Index of Names 486