!52 SEER, 86, I, 2008 career, ensure his survival, and allow his prolific and poetic painting to achieve success, and through it to address the world. On the cover of thisbook Chagall's SelfPortraitwith SevenFingers shows the painter working fastwith Paris through thewindow but Russia in his mind. He signed inHebrew at the top and French-style lower right. When Chagall was latermade responsible for art in Soviet Vitebsk, he signed his Cubist Landscape (p. 16) again and again in a stream of letteringfalling like raindrops on a window pane, first in Hebrew then Russian, French and again in Russian, a list of his identities in his early life, in St Petersburg, in Paris and in Soviet Russia where he was deeply committed to the revival of Jewish Theatre. Many years later he was buried in a Christian cemetery at St-Paul-de-Vence in France. For Moyshe Shagal/Marc Chagall, as Harshav reveals it in this invaluable source book, the issue of identitywas never far away. Courtauld Instituteof Art,London John Milner Dufour, Val?rie. Stravinskiet ses ex?g?tes (igio-iQ4o). Facult? de Philosophie et Lettres, 112 ? Art. Editions de l'Universit? de Bruxelles, Brussels, 2006. 276 pp. Tables. Notes. Bibliography. Index. 24.00 (paperback). Stravinskii's love-hate relationship with the press and his despotic attitude towards his critics became inseparable aspects of his rigorous profile, a profile that reflected his aesthetic ideals of order, control and objectivity. It is this complex relationship and the interactionwith some of his critics thatDufour investigates in her book, focusing not on the reception, but on the exegesis of Stravinskii's output by various intellectuals during theyears 1910 to 1940.The former, she explains, involved occasional reviews of his music, while the latter refers to systematic attempts to grasp and interpret the Stravinskii 'phenom enon' based on each writer's personal set of ideas. Dufour studies texts by a number of 'exegetes' from several countries (Russia, USSR, France, Belgium, Germany, Italy and England), thus shedding light on their dialectical exchanges with the composer. No less than twenty cases of critics are explored whose connection and degree of proximity to Stravinskii varied substantially, ranging from opposition (Andrei Rimskii-Korsakov), to autonomy (Boris Asafev, Boris de Shletser), to close friendship and collaboration (Andr? Schaeffner, Charles-Albert Cingria, Petr Suvchinskii, Artur Lure). To be sure, Dufour is not the firstmusicologist to expose Stravinskii's relationship with his critics. In fact, the bottom line of her argument is his previously acknowledged desire for complete control over his image which, forDufour, renders him an incarnation of themedia epoch inwhich he lived. Yet, her study is a valuable contribution to understanding not only this specific issue, but also Stravinskii's neoclassicism more broadly. By analysing a vast number of contemporaneous articles and books ? many of them long overlooked ? by all thewriters she could correlate with Stravinskii, Dufour establishes thathis involvement in criticism of his production was much more systematic than formerly thought. On a second level, she demonstrates how REVIEWS IOS Stravinskii's interactionwith some of those intellectuals,many ofwhom acted as his propagandists, actually influenced his neoclassical aesthetics. She thus contextualizes and puts in perspective some of Stravinskii's neoclassical ideals and concepts. The strongest point of her research is undoubtedly the examina tion of hitherto unpublished archival sources, which she uses, for instance, to confirm Suvchinskii's key role in the composition of Stravinskii's Poetics of Music. Dufour does not hesitate to make some bold statements in her book. She claims, for example, that Robert Craft minimized the importance of Suvchinskii for Stravinskii, because the twomen played a very similar role in the composer's life (pp. 51, 57). She also makes some original associations, such as her interpretation of Lur'e's 'Neogothic and Neoclassic' as a response to Schoenberg's mocking Stravinskii's neoclassicism (pp. 93-97). However, on thewhole, the reader will probably feel overwhelmed by the amount of infor mation presented; at times, the book admittedly reads like a reference book. Dufour's investigation would have benefited from the examination of fewer case studies on those intellectualswho interactedmore closelywith Stravinskii, and a more thorough analysis of their texts and thought...
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