Skip to main content
Presented to you through Paradigm Publishing Services

Academic Studies Press

Visit our Partner Page See all our books
Chapter Open Access

CONTENTS

Chapters in this book

  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
Download chapter
All the Same The Words Don't Go Away
This chapter is in the book All the Same The Words Don't Go Away
https://doi.org/10.1515/9781618118479-toc

Chapters in this book

  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
Downloaded on 29.4.2026 from https://www.degruyterbrill.com/document/doi/10.1515/9781618118479-toc/html?lang=en
Scroll to top button