Golden Cockerel Research Articles

«ЗОЛОТОЙ ПЕТУШОК» Н. А. РИМСКОГО-КОРСАКОВА — «СОЛОВЕЙ» И. Ф. СТРАВИНСКОГО: ПАРАЛЛЕЛИ И ПЕРЕСЕЧЕНИЯ

The article is devoted to the musical and theatrical works of I. F.Stravinsky and N. A. Rimsky- Korsakov, The Nightingale and The Golden Cockerel. The “meeting” of Rimsky-Korsakov’s last opera and the first musical and theatrical opus of his younger contemporary on May 26, 1914 at the Chatelet Theatre in Paris, as part of S. Diaghilev’s Russian Seasons, is noteworthy. The search for synthetic artistic forms relevant to the Art Nouveau era, sought by the famous impresario and his associates, led to the production being staged as a ballet with the singing of not only The Golden Cockerel, but also of The Nightingale, which was originally conceived by Stravinsky as an opera-ballet. In the performances shown on the same evening, the vocal-instrumental aspect of the action was complemented by a dance-plastic one, creating an expressive sound-visual counterpoint of the audible and the visible. The colourful details in A. Benois’s direction and M. Fokin’s choreography, N. Goncharova’s picturesque scenery design for The Golden Cockerel, as well as in the solution of The Nightingale by A. Sanin, A. Benoit and B. Romanov, the conventionality of the stage form of a fantastic spectacle was emphasized. The article discusses the similarities and differences in the composers’ embodiment of the original image of the fairy-tale world, examines the artistic and conceptual potential of both works, their dramatic and stylistic features, and the interpretation of literary prototypes. The Golden Cockerel and The Nightingale also encourage reflection on the evolution of fairy-tale opera in the works of Rimsky-Korsakov and on the peculiarities of the formation of Stravinsky’s creative talent.

«Золотой петушок» 1914 и 1937 годов в оформлении Н. Гончаровой. Специфика и различия сценографического решения

This article is devoted to the study of the evolution of N. Goncharova’s artistic manner on the example of her stage designs for the 1914 and 1937 productions of The Golden Cockerel. The opera-ballet version of The Golden Cockerel is often described in detail in works devoted to S. Diaghilev and his theatre company, and the creative work of N. Goncharovа and M. Larionov. However, due to the fact that Goncharovа’s graphic heritage of the 1930s-1950s has been little studied so far, the scene design of the 1937 ballet version is almost not considered, nor is it traced within the general evolution of N. Goncharovа’s style. Comparing the two versions of scene design, 23 years apart, as well as identifying the influence of the changed external factors and the social context makes it possible to visually examine the changes in N. Goncharova’s artistic manner during emigration.

Кинематографические приемы в оперном театре России 1920-х годов

The article examines cinematography’s influence on the Soviet opera theatre of the 1920s. By the beginning of this decade, cinema rapidly gained popularity and began being perceived as a serious competitor to theatre. Awareness and comprehension of the new “threat” reasonably led to appeals for upgrading theatrical language with the help of new technical means. There were several innovations in the operas on stage: the use of intense straight lighting with the help of floodlights, montage as a director’s technique, the use of film screen in opera productions. It all confirmed that the process of cinemafication of the theatre had also affected the opera stage. The new trends expressed themselves in the productions of Sergey Radlov (“Vozzek” by Alban Berg), Nikolay Smolich (“The Golden Cockerel” by Nikolay Rimsky-Korsakov, “Johnny Plays” by Ernst Krenek), Iosif Lapitsky (“Salome” by Richard Strauss, “The Queen of Spades” by Petr Tchaikovsky). Thus, in his version of “The Golden Cockerel” (1923), the opera director N. Smolich used a film projection, and then, staging E. Kshenek’s opera “Johnny Plays” (1928), he used animation. In the “The Queen of Spades” (Experimental Theatre), I. Lapitsky while trying to make the action cinematically dynamic, divided it into forty small episodes. The influence of cinema can also be traced in opera performances of the 1920s. The most vivid example is Dmitry Shostakovich’s opera “The Nose” with his special montage style of action. Opera cinemafication didn’t reach such heights as in dramatic theatre and faced a different, not always approving, reaction from the musical press. The time of ambitious experiments ended in the 1930s with a change in the country’s cultural policy.

The Enigma of the Golden Cockerel: Catch It if You Can

Pushkin’s fable was a creative remake of a tale by Washington Irving, which he wrote during his travel to Granada (the Alhambra) with Pushkin’s pal, Russian diplomat pal, Count Dmitry Dolgorukov. This legend about an Arabic Astrologer (from Tales of Alhambra, 1832), undergoing metamorphosis was relocated from Spain to Russia and Shamakha. Current research delves into the connection between the two texts, tracing the transformation of the main characters in the context of the central plotlines. I explore how and why Irving’s gothic princess turned into Pushkin’s Tsarina of Shamakha and how the plotline relates to Russia’s historical annexation of Azerbaijan. The core of my research is the musical language Rimsky-Korsakov employs to create the fairytale and Eastern characters. Is there any positive Russian imagery in the opera? Why is Rimsky-Korsakov’s Golden Cockerel considered an anti-opera? To what extent can Stravinsky’s first ballets, Firebird and Petrushka, be viewed as the continuation of Rimsky-Korsakov’s stream of fairytales? Extending author’s work on Russian operas and Rimsky-Korsakov in particular, this research originated at the invitation to write program notes for the Santa Fe Opera production of The Golden Cockerel in 2017.

О ПУШКИНСКОЙ РЕМИНИСЦЕНЦИИ В «СКАЗКЕ О КОРОЛЯХ» Н.С. ГУМИЛЕВА

The article is devoted to the comprehension of one plot-fabula lacuna in early neo- romantic poem “The Tale of Kings” (1905) by N.S. Gumilev, which is one of the first experiments in constructing Gumilev’s mythopoetics. The analysis of this work reveals the presence of A.S. Pushkin’s reminiscence, referring to the poetics of “The Tale of the Golden Cockerel” in its structural and semantic organization. The plot death of the heroes of Gumilev’s poem, explained by means of Pushkin’s pretext, contributes to the mythologization of “eternal femininity” as a sacred and fatal principle in the structure of the world order. It is concluded that the reminiscence, referring to Pushkin’s fairy tale, in Gumilev’s poem becomes a marker of the universality of the manifestation of passion and the absolutization of the fatal “femininity”.

Culture-oriented strategies of Akhmet Baitursynov – translator of Alexander Pushkin’s fairy tales

The article is devoted to the translations of «The Tale of the Fisherman and the Fish» and «The Tale of the Golden Cockerel» by Alexander Pushkin by Akhmet Baitursynov. A model of culture-oriented strategies in Baitursynov’s translation experience is proposed. Popularization of the fairy tale of the Russian writer and adaptation to the perception of the Kazakh reader required the identification of factors of the translator’s choice of a certain strategy. The analysis of the correlation of the cultural grid, domestication, foreignisation and estrangement allowed us to establish their connection with the authenticity of literary translation. The study of Baitursynov’s translation skills was carried out in the aspect of the correlation of the plot syntagma and the paradigmatic plot. This approach contributes to the study of the author’s impact on the reader. The obtained results of the study complement the picture of the Kazakh literary process from the point of view of the relationship between culture-oriented translation strategies and the development of a literary fairy tale in Kazakh culture. Kazakhstan’s Pushkiniana is being replenished. The analysis of culture-oriented strategies revealed the connection with the authenticity of literary translation. The use of tacosnomic, statistical, formal and comparative-typological methods contributed to the establishment of the unity of the Baitursynov-translator method. The idea of estrangement as a form of domestication is substantiated, the predominance of domestication is explained in order to popularize Pushkin’s fairy tale and adapt it to the perception of the recipient of the translation. The essence of exclusion as a result of the influence of the national conceptual sphere on the author’s is proved. The study of domestication and foreignisation was carried out in the aspect of their connection with the plot syntagma. A connection has been established between the paradigmatic nature of the original plot and the use of estrangment in translation. The analysis of the translation variance helps to supplement the idea of the factors of integration of the original into the culture of the target language. The model of culture-oriented strategies expands the scientific and methodological arsenal of literary translation studies, contributes to the addition of historical and theoretical poetics of Kazakh literary studies, the development of literary studies with linguo conceptology, linguopragmatics. The practical significance of the work is due to the inclusion of translations of Pushkin’s fairy tales by Baitursynov in the collection of works of the Russian writer in the Kazakh language, which contributes to the integration of the results of science into publishing. The results obtained make it possible to systematize recommendations for new translators of Pushkin’s fairy tale

Stations: On Eric Gill and the Poetics of Stone

StationsOn Eric Gill and the Poetics of Stone Heather H. Yeung (bio) + 1 + We begin with the rules of the form: the words must be cut with fair attention to the punchline. Craft determines that the letterer and the punchcutter are not of the same character. Patience determines the craft of both: Of patience there is this to be said. To be patient is to suffer. By their fruits men know one another, but by their sufferings they are what they are. And suffering is not merely the endurance of physical or mental anguish, but of joy also. A rabbit caught in a trap may be supposed to suffer physical anguish: but it suffers nothing else. The man crucified may be supposed to suffer physical & mental anguish, but he suffers also intense happiness and joy. The industrialist workman is often simply as a rabbit in a trap; the artist is often as a man nailed to a cross. In patience souls are possessed. No lower view of the matter will suffice. (Eric Gill, An Essay on Typography) Of patience we call to attention the following: Gill Sans—Gill Cameo— Perpetua—Golden Cockerel Roman—Hague and Gill Joanna—Monotype Joanna—Aries—Solus—Jubilee—Bunyan—Floriated Capitals—Gill Shadow Line. It is easy to write in the work of Eric Gill. Each day in this process of attention or attenuation I walk up onto the moor above my house in search of fresh air. I live in a place where trees do not grow easily, so windbreaks between portions of land are fashioned in stone, stone walls I walk along. + 2 + How many prisoners notice the quality of the material that limits their point of view at a level more than the perception of their physical discomfort? We might remark the coolness or heat of wall or floor, its darkness or light, its basic texture. . . . Yet once freed, how many will be perpetually affected in their encounters with the same material that was also used to form the prison walls? [End Page 55] I have been struggling to write about the work of Eric Gill; in the writing is the discomfort. There is something at the side of the frame that I can’t see, a known secret of unprimed canvas, as it were. This either produces the impetus to write or has precipitated the struggle. Gill was not, first and foremost, a painter. Nor was he, first and foremost, a typographical artist. Gill worked in and with stone. In his first philosophical investigation, Wittgenstein develops the basis of a “primitive language”: engrossed in the act of building, A (master) calls out, and B (apprentice) brings the required stone. Repeat at each station until the wall is fully formed. + 3 + Yes, I have been struggling with stone, but now know to focus in on this most fluid of materials. Begin again: Hoptonwood is a limestone of peculiar qualities. The eye— unknowing and walled in by certain expectations of Hoptonwood and its implications—creates visual myths, which we—not seeing how we see them—tacitly, even unknowingly, accept. Such immured vision prevents our noticing the true nature of the stone. This is to write that Hoptonwood, quarried in the Peak District of Derbyshire and of a characteristic gray-cream hue, is a usefully hard stone. It is therefore favored in Britain for carving and sculpture of an indigenous, decorative variety. The stone taxonomized under this name is itself various. Whether “light,” “dark,” “marbled,” or whorled with the smallest of fossils, the voids in the limestone are filled by recrystallized calcite, and, as a whole, the stone reliable. Because it is hard, it is used as curbing in the Peaks, as interior flooring in public buildings. Because it is hard, its surface can be polished to a shine, and because of this plastic quality in particular, there was a time when the stone was mis-sold as marble. This has for a century now been rectified. We continue to polish the stone. [End Page 56] + 4 + One hundred twenty thousand Commonwealth graves are carved from Hoptonwood, with the stones shipped from Derbyshire to France and Belgium and installed. Pulled teeth in uniform...

The Sources of Aleksander Pushkin’s “The Tale of the Golden Cockerel”: the West, the East, or Russia?

The essay focuses on A. S. Pushkin’s last fairy tale, which he wrote in 1834, during the “Boldin autumn” period. Researchers have offered diverse interpretations to this complex and enigmatic text that embraces Russian folk themes interlaced with both western European and eastern imagery. Suggested rationalizations of “The Tale of the Golden Cockerel” have relied on Theodor Benfey’s “indianist theory” or on the local identity context, while other numerous diverse interpretations have pointed to conspiracy theories, the ideas of freemasonry, dystopianism, and the criticism of the absolutist rule. Still others saw this fairy tale as a covert autobiography, or a display of disguised eroticism in the spirit of the folk laughter culture, or as being influenced by the ideas of Islam, or as hinting at Russian mystic and ecstatic sectarianism. Having endeavored to examine the sources of “The Tale of the Golden Cockerel”, the author approaches it based on the comparative-historical method with the help of literary anthropology. According to L. L. Selivanova, the great poet composed what would be accepted as a genuine Russian folk fairy tale by creatively reworking all the available western and eastern material, Russian lubok culture, and even literary hoaxes.

“It Must Be Preserved”: Adolph Bolm's Revival of Le Coq d'Or

“It Must Be Preserved”: Adolph Bolm's Revival of <i>Le Coq d'Or</i>

Vases, Caskets, and Decorative Lamps of the Leningrad Factory of Porcelain in 1956–1966: Context, Attribution, Interpretation

This paper focuses on two stages in the development of post-war production interior porcelain. The first stage is the completion of the development in the decorative and industrial arts of the grand style. The second stage is the development of modern style, which is reflected in the works of mass porcelain. The research refers to the Leningrad Factory of Porcelain and the production of the enterprise from 1956–1966. The products of the plant have not been studied sufficiently so far. However, the factory was one of the many Soviet porcelain enterprises that was involved in the creation of a new living environment. Two stages in the development of industrial art related to the organisation of the residential interior were reflected in the company’s products, i.e. works of small porcelain plastics, utilitarian porcelain, i.e. vases, boxes, bottles, night lamps, etc. The first stage is filled with works of small plastic arts (second half of the 1950s). The second stage is associated with the interior, in which porcelain goods played the role of accents in the interior, emphasising empty space (first half of the 1960s). The author of the article carries out analysis of caskets and vials of the enterprise (40 Years of October caskets, casket with a lion, Matryoshka casket, Summer Garden, a series of bottles and caskets), vases and pots (Lines planters, decorative vases, damask, and stacks), lamps (Chinese Pagoda night light, Golden Cockerel night light). Based on the interpretation of the value of the enterprise in the formation of the interior, the value of products in the processes of transition from the grand style to the modern style, a conclusion is drawn about the importance of the plant in the formation of the living environment. The massive nature of the works of the plant influenced the fact that the current stylistic trends were available to a vast number of Soviet citizens, who perceived new aesthetic norms.

АПОФАТИЧЕСКАЯ РЕАЛЬНОСТЬ В «СКАЗКЕ О ЗОЛОТОМ ПЕТУШКЕ» А. С. ПУШКИНА И ПОЭМЕ «ШАМАН И ВЕНЕРА» В. ХЛЕБНИКОВА: КУЛЬТУРОЛОГИЧЕСКИЙ И ОНТОЛОГИЧЕСКИЙ АСПЕКТЫ

The object of the article is presented by two works – The Tale of the Golden Cockerel by A. S. Pushkin and the poem Shaman and Venus by V. Khlebnikov. The subject of the article is an apophatic tradition in these works. To identify apophatic reality in the texts, the authors use the analysis of spatiotemporal models, oppositions: morning–evening, male–female, north–east. In this regard, at a typological level, the eastern Sufi tradition, which was most likely familiar to the futurist poet, was also considered. In Sufism, the phenomenon of “illuminated man” is associated with the Black Light, the image of the midnight sun, which is typologically close to the image of the Black Sun from Russian literature – all these images indicate an apophatic tradition.

Frolova-Walker , Marina Rimsky-Korsakov and His World (review)

REVIEWS 551 working practices and concerns also emerge clearly from the letters, including his intense restlessness when without creative activity, and his serious doubts about some of his weaker works, as well as disgust at the incompetence of proof readers; other major themes in this section are money and health, both relating to his relatives and servants. Another interesting part of the book is entitled ‘Musical Souvenirs’, comprising messages and jokes sometimes destined for albums or as lively letters and squibs to friends, revealing a sense of humour that is rare but not completely absent in his mostly passionate and emotional or gently sentimental work. The book’s next section, entitled ‘Key Documents’, begins with his birth certificate and continues with documents relating to his ‘personal and professional life in the administrative, economic and political context of the time’ also shedding ‘new light on the composer’s public image and social status in Imperial Russia’ (p. 199). Finally, a brief Chronology will help readers to follow the considerable peregrinations of Chaikovskii and his family. This composer’s great popularity has survived waves of snobbery in the twentieth century and continues strongly more than a century after his death. It must therefore be assumed that all aspects of his musical and personal heritage will be of interest not only to musicologists but also to a far wider public. This English-language version of the ground-breaking original Russian text has been prepared with great skill and care. The notes are particularly admirable, and the translations of the letters and other documents impeccable. Chaikovskii’s world of sentimental and highly emotional letter writing has long gone, but, for all that, this handsomely produced book should find much to fascinate those who want to know more about one of the world’s most popular composers. London Arnold McMillin Frolova-Walker, Marina (ed.). Rimsky-Korsakov and His World. Princeton University Press, Princeton, NJ and Oxford, 2018. xiii + 369 pp. Illustrations. Music examples. Notes. Index. $35.00: £27.00 (paperback). Scholarly attempts to rehabilitate the musical legacy of Nikolai RimskiiKorsakov (1844–1908) have been gathering pace for some time now, prompted in part by an article by Richard Taruskin, first published in Music Theory Spectrum in 2011, and also by the ongoing re-evaluation of almost every aspect of Russian music history since the collapse of the Soviet Union. Whilst contributing to this specific academic development, Rimsky-Korsakov and His SEER, 97, 3, JULY 2019 552 Worldalsopromisestoraisethecomposer’sprofilewithmoregeneralaudiences and cultural organizations. Attractively priced, elegantly produced, cogently organized and often accessibly pitched, it deserves to be read and discussed widely, and if it leads to new priorities when it comes to artistic programming in our concert halls and opera houses, then its editor’s efforts will have been more than amply rewarded. The volume opens with a selection of thirty-two of the 189 letters exchanged between Rimskii-Korsakov and his late muse, the soprano Nadezhda ZabelaVrubel ´. Shedding light on musical politics, repertory and aesthetics around the turn of the century, they also portray the composer in a more personal, even flirtatious light than his often rather dour, academic image suggests. There then follow two articles examining the historical, intellectual and aesthetic contexts of two of Rimskii-Korsakov’s fifteen operas. Emily Frey’s outstanding analysis of Snegurochka (1880–81) deftly traces the impact of populism on its composer, tracing not just his evolution from radical young nationalist to academically respectable professor, but also his shift from the kuchkist values of the 1860s to something more timelessly idealized. Frey’s article is a model of nuanced, sensitive interdisciplinarity, lightly yet authoritatively bringing together elements of intellectual history, historical musicology and analysis to transform our understanding of both a key work and its composer. Anna Nisnevich’s account of Mozart and Salieri (1897) is a bracing and bravura attempt at reading a much overlooked work which sits uneasily between mid-nineteenthcentury nationalism and twentieth-century neo-classicism, but which is here revealed to be a crucial document in the composer’s endless process of selfrefashioning . The final opera to be discussed is Rimskii-Korsakov’s last stage work, The Golden Cockerel (1907), which is the subject of...

Интонационные модели Н.А. Римского-Корсакова в музыке С.В. Рахманинова

Using intonation models of N.A. Rimsky-Korsakov in Rakhmaninov’s music was deeply motivated by his special attitude to the older contemporary: N.A. Rimsky-Korsakov – along with P.I. Tchaikovsky – was one of the most considered and beloved Rakhmaninov’s composers. The nature of Rakhmaninov’s appeal to the musical patterns of the Petersburg master is determined by the specifics of the personal and creative contacts of the two musicians, which are briefly covered in the article. Cases of particular interest are when a tense semantic conjugation of his own text and borrowings from Rimsky-Korsakov’s music – clear allusions and quotations – occurs in the Rakhmaninov’s works. These particular cases are considered in the article. The article attempts to correlate the described cases with the “influence theory” of Harold Bloom. They form two groups. In the first one, clear allusions to the themes and individual intonations of the senior colleague provide additional depth to own artistic concepts, as in the vocal symphonic poem “The Bells”. In the outro of the first movement, there is a reference to the episode from Rimsky-Korsakov’s opera “The Legend of the Invisible City of Kitezh and the Maiden Fevronia” – “Walking in the Invisible City” (introduction to the second pattern of the fourth act). The main theme of the second movement evoke associations with the Queen of Shemakha theme from “The Golden Cockerel” of Rimsky-Korsakov. In the second group of Rakhmaninov’s works, such borrowings polemically transform the meanings of the borrowed models. In the “Russian Rhapsody” for two pianos, deliberate rethought of theme from the third movement of “Scheherazade” by Rimsky-Korsakov is obvious. There is a reference to the leitmotif of Bomelius from the “Tsar’s Bride” in the second theme of the first movement of the Second sonata. The intonations of the song of the Indian guest from “Sadko” are distinctly showed in the outro of the Prelude in B Minor op. 32 № 10. In both cases, the signs of romantic exoticism grow into the subjective lyrics, introducing into it the painfully broken note of the Art Nouveau style of the early twentieth century.

Ensaios de Anna Akhmátova sobre “O conto do galo de ouro” de Púchkin: entre a vida e a arte

Akhmátova escreveu − e reescreveu − diversos ensaios sobre Púchkin durante sua vida. Dois de seus textos mais completos e que mostram uma outra faceta da poeta são sobre o “conto do galo de ouro” do autor. Este artigo tem como objetivo mostrar de que maneira o referido conto de Púchkin pode não apenas ser considerado autobiográfico, mas também um instrumento usado pela poeta para fazer uma comparação com suas próprias vida e trajetória pela literatura.

Beasley, Rebecca and Bullock, Philip Ross (eds). Russia in Britain, 1880–1940: From Melodrama to Modernism (review)

REVIEWS 549 forced the dancers to supplement their earnings by performing in cabarets all over Petrograd, innovation became central. It was during this time (NEP) that Balanchine switched from dancing to choreographing, making works for his group, the Young Ballet, as well as for operas and plays in the Maly Theatre. There, in 1923, he choreographed dances for a new production of RimskiiKorsakov ’s Golden Cockerel, working with the ‘soon-to-be-legendary’ (p. 204) conductor Samuil Samosud. According to Kendall, Samosud ‘not only heard the music but saw it’ (p. 205), something for which Balanchine would later become renowned. The aim of the Maly was to bring the arts more in line with the new Revolutionary tradition. Later that year, George Bernard Shaw’s Caesar and Cleopatra with music written by Iuri Shaporin was mounted, for which Balanchine again made the dances. By then he had become the city’s ‘go-to guy’ (p. 207). Had Lenin not died in January 1924, leading to the abandonment of the NEP, it is debatable whether Balanchine would have left the Soviet Union at all and American ballet would have been significantly poorer. As Kendall has shown in this well researched and highly readable book, these opportunities for Balanchine to choreograph in stimulating projects showcased his talents and gave him the background he needed for his eventual assimilation into the Ballets Russes in 1924, and ultimately for his work in the USA. Department of Dance, University of Roehampton Geraldine Morris Beasley, Rebecca and Bullock, Philip Ross (eds). Russia in Britain, 1880–1940: From Melodrama to Modernism. Oxford University Press, Oxford and New York, 2013. xv + 309 pp. Illustrations. Tables. Notes. Bibliography. Index. £55.00. The thirteen essays in this beautifully produced volume are based on a conference held at the University of London in 2009. The publishers’ claim that it ‘offers the first comprehensive account of the breadth and depth of the British fascination with Russian and Soviet culture’ is misleading. For one thing, it focuses on only sixty or so years of a relationship that goes back several centuries; for another, as Ken Hirschkop notes in the Afterword, ‘most of the events recorded and discussed […] take place in London’ (p. 259); and finally it follows hard on the heels of Anthony Cross’s A People Passing Rude (Cambridge, 2012). Nevertheless, the essays cover a wide range of topics embracing literature, drama, history, art history, film studies, dance and music. The propensity for single volumes arising from conference papers to lack overall coherence is moreover partially offset by a tightly-focused introduction together with the authors’ mutual awareness of their colleagues’ contributions. SEER, 92, 3, JULY 2014 550 The chapters are organized along chronological lines. After Laurence Senelick’s survey of the presence and influence of Russia on the British stage during the nineteenth century, Michael Newton sets out to show that, although the British often regarded the figure of the Russian nihilist as a representation of Russianexcess,itcouldalsobeadaptedforconcernsthatwereclosertohome,as illustrated by Oscar Wilde’s play Vera; or the Nihilists, based on the trial of Vera Zasulich. Charlotte Alston discusses the impact of the international Tolstoyan movement on Britain, including in particular aspects such as the vegetarian movement and the international peace movement. Robert Henderson charts the history of the Free Russian Library in Whitechapel and the part played by its founder, Aleksei Teplov. Stuart Young documents the range of productions of Russian plays in London from 1900 to 1945, examining in particular the contribution of Fedor Komissarzhevskii. We then turn to two chapters on musical topics. Philip Ross Bullock explores the impact of Russian music in London from 1895 to 1926, arguing that the ‘Russian repertoire owed its success principally to figures who worked outside of and even against scholarship and criticism, and who derived their authority by appealing directly to popular taste’ (p. 116), while Ramsay Burt explores the contrasting British responses to Nizhinskii’s choreographic approach to Le Sacre du printemps within the broader context of the Ballets Russes and their European reception. Further chapters continue to demonstrate the volume’s eclectic approach. Caroline Maclean looks at the modernist magazine Rhythm, published between 1911 and 1913, in particular the...

There’s More Than One Way to Skin a Book: Experimental Interfaces for Reading Illustrated Books

Different readers approach a text in different ways and for different reasons, so designers of interfaces for electronic reading and scholarship must strive for flexibility. Eric Gill’s illustrations for the Golden Cockerel Press invite exploration into the social function of erotic texts, public versus private reading, fine book-making practices, and more, and we hope to provide the tools to allow scholars to engage with these texts in their multiplicity. There may also be readers who just want to read the texts and look at the pictures, and we need to make sure we do not ignore their needs. Most importantly, there are, or will be, readers who want to interact with the texts in ways that we cannot imagine, and we need to do all we can to make this experimentation possible.

‘Сказка о золотом петушке’ А. С. Пушкина: Сюжет о добывании беды

We suggest an integral interpretation of Pushkin's ‘The Tale of the Golden Cockerel’. We argue that the Shamakhan Queen is nothing else than the disaster mentioned in the “guarantee” of the golden cockerel's work presented by the eunuch. The tsar turns out to be an unintentional seeker of Disaster, which the eunuch actually sends to obtain. Motifs of the magic disaster overlap with those of a human one, the source of a human disaster being a weak tsar behaving himself in a monstrous way. In Pushkin's work common fairytale elements are replaced by their negative counterparts and the “lack” becomes the constructive principle on its own. In this respect, the theme of castration, the explicit bearer of which is the eunuch, is embodied on the structural level.

Eastern naturalness versus western artificiality: Rimsky Korsakov's influence on Manoles Kalomoires' early operas

In this article the writer investigates the relations between perceptions of the East and the West in nineteenth century Greece, their connection to national identity, to the language question and to political tendencies. The composer Manoles Kalomoires was influenced by a group of progressive intellectuals striving to liberate Greek literature and language from its dependence on Ancient Greek legacy, a dependence motivated by Western idealists (who saw in the Greek Revolution of 1821 a renaissance of Ancient Greece). Most were educated in the West, but promoted an oriental image of Greeks. Kalomoires' musical expression of this image was inspired by Rimsky-Korsakov's Sheherazade and the Golden Cockerel. In 1909-910 he wrote an unfinished opera, Mavrianos and the King, on the model of the Golden Cockerel. He later used this music in his best known opera, The Mother's Ring (1917). In the present article the similarities in the three works are for the first time shown. An essential influence from Rimsky-Korsakov's work is the contrast between the world of freedom, nature and fantasy and that of oppression.

'The Bridegroom', with 'Count Nulin', and 'The Tale of the Golden Cockerel' by Alexander s&gt; Pushkin Antony Wood (review)

714 SEER, 82, 3, 2004 detailed description of the manuscriptwhich forms the basis of this edition, the Vilna manuscript or, with much else, e.g. various books of the Bible and the chronicles of George Hamartolus and John Matalas, the 'Vilna Chronograph ', is given. We have a biography of Josephus Flavius, a comparison of the Slavonic translationwith the Greek original, and an exploration of issues concerningthelanguageof the original.Attentionthenfocuseson the Slavonic manuscript:evidence for Greek influence (Graecisms,calques), the style and linguisticcharacterof the Slavonictranslation(includingan enormousamount of data).Fromhere we move to considerthe time and place of the translation, bearingin mind archaisms(muchin evidence in spiteof the constantupdating of the original by the many copyists and editors through whose hands the manuscriptpassed).The case is alsomade forseeing the translationas a signal achievement of the 'Old Russian' language (it was made in Kievan Rus' no laterthan the eleventh century)and detailed referenceis made to the Hebrew ]osippon.Finally, evidence for the popularity of the work among generations of Russianreadersplaces it firmlyin the centre of Russiansocietyand culture. Bearing in mind that one of the editors, H. Leeming, was unwell at important times during the completion of the task, the entire text has been edited with admirablecare and is presentedin a way pleasing to the eye; only trivial misprintshave been noted, e.g. 'Mes_erskij'(p. xiii), and there are a few minor corrigendaand omissions. This is an immense contribution to scholarshipfor all students of Russian history,philology (in the European sense), and literature;it is the best type of edition, an unassuming one, which makes the text and much accompanying material available, exercising minimum judgement and applying judicious and expert selection the editors and those who helped them deserve our thanks. University ofStAndrews J. IAN PRESS Pushkin, Alexander. 'TheBridegroom', with 'Count Julin', and 'TheTaleof the Golden Cockerel'. Translatedwith an afterwordby Antony Wood. Angel Books,London, 2002. 6i pp. Illustrations.Notes. fI4.95; ?7.95. IF translatingverse is difficult,translatingPushkin'sverse is doubly so. Some translatorshalve the problemby ignoringthe rhymes,a stratagemakinto that of a footballerwho ignores the colour of his opponents' shirts.Antony Wood is not such a translator. His versions of these three poems follow both the metricalpatternand the rhyme scheme of the originals.Only in one area does he depart from the original:the alternation of 'masculine' (i.e. stressed)and 'feminine'(i.e. unstressed)rhymes.Anyone who has ever triedto emulate this major feature of Russian verse will find themselves with a surfeit of words ending in '-ing'. Rhyme is, as Wood points out, much easier in Russian than in English, and Pushkin is quite happy to rhyme past tenses and adjectival endings. Thus, in the opening stanza of TheBridegroom we find the rhyme propadala/vbezhala, rendered by Wood as disappeared/reappeared. In the seventh stanza Pushkin's'I perstni zolotye/I plat'ia parchevye' becomes 'Gold rings and necklaces/And rich-brocadeddresses'(p. iI), where the rhyme does not REVIEWS 7I5 work, a fact exacerbated by the extra syllable in the second line. Generally, however, Wood's rhymes are much more successful and, at their best, recapture Pushkin'sfluent lightness. Thus, in Count Nulin,we read how the latter-dayTarquin'Once more setsforthto seekLucretia/Resolved to hazard all to reach her' (p. 28). The three poems offered here a very different. 7he Bridegroom, Pushkin's contribution to Gothic verse, borrows both the metre and rhyme scheme of Burger'sLenore. Count Nulin,a witty parody of Shakespeare'sRapeofLucrece is in iambic tetrametre,while the pseudo-fairytaleTheTaleoftheGolden Cockerel is in trochaictetrametre.In each case Woodfollowsthe originalwith some style. Like all translators, Wood has to sacrifice something. Unlike some translators, however, he is clearly aware exactly what he is sacrificing. It behoves anyreviewerwho feelshe sacrificestoo muchto suggestimprovements and to takenote of Wood'sbriefbut usefulafterword.Here he regretsthat the rise in translation theory has not been matched by a rise in the quantity of good Pushkin translations. Only exponents of translation theory will be surprisedby this. Maidenhead D. M. PURSGLOVE Andrew,J. and Reid, R. (eds). TwoHundred Years ofPushkin. Studies in Slavic Literatureand Poetics,vols 37 and 39. EditionsRodopi, Amsterdamand New York, 2003. Volume i.- 'Pushkin's Secret'. RussianWriters ReadandReReadPushkin .xi + 213 pp...

Review: Marianne Tidcombe, The Dove Press; Roderick Cave and Sarah Manson, A History of the Golden Cockerel Press 1920–1960

The Art BookVolume 11, Issue 2 p. 47-48 Review: Marianne Tidcombe, The Dove Press; Roderick Cave and Sarah Manson, A History of the Golden Cockerel Press 1920–1960 Patricia R. Andrew, Patricia R. AndrewSearch for more papers by this author Patricia R. Andrew, Patricia R. AndrewSearch for more papers by this author First published: 10 February 2004 https://doi.org/10.1111/j.1467-8357.2004.00416.xAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat No abstract is available for this article. Volume11, Issue2March 2004Pages 47-48 RelatedInformation