César Cui's Opera «Feast in Time of Plague»

Драматические сцены А.С. Пушкина

Музыка Ц. Кюи

Lyle Neff, Translator


Prefatory Note[1]

César Antonovich Cui[2] (1835-1918), a Russian of French-Lithuanian descent, was by vocation a professor of fortifications in St. Petersburg's military schools, but also a prolific composer and music critic. Although much of his musical output—except for some standard songs and piano pieces—was largely forgotten after his death until recently, he is remembered in Russian musical life as spokesman in the 1860s-80s for the "mighty handful," or "new Russian school," that group of composers which was headed by Milij Balakirv, mentored by Vladimir Stasov, and included Nikolaj Rimskij-Korsakov, Modest Musorgskij, Aleksandr Borodin, and Cui himself.

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Pushkin in the West: A Bibliography of Recent Works Published Outside of the Former Soviet Union

Allan Urbanic


The bibliography includes monographs and articles published either in journals or as chapters of collected essays or individual works. A broad cultural approach was taken, hence the inclusion of Pushkin's works as they relate to music. Also, a few stragglers overlooked in earlier years are now listed. Brief annotations are provided for works whose titles are not self-explanatory. Not all works could be examined first hand for various reasons. In these cases, bibliographic accuracy cannot be guaranteed and such entries are marked with an [*]. The Library of Congress scheme of transliteration was used except in cases when quoting directly the transliteration of the authors. The compiler would like to encourage others to forward references of items that have been overlooked for inclusion in subsequent installments. Send references and comments to the compiler.

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Review: Boris Gasparov, et al, eds. «Cultural Mythologies of Russian Modernism»

Cultural Mythologies of Russian Modernism: From the Golden Age to the Silver Age. Edited by Boris Gasparov, Robert P. Hughes, and Irina Paperno. California Slavic Studies, vol. 15. Berkeley: University of California Press, 1992. 494 pp.


The twenty-three essays in this volume are the product of a conference held at the University of California, Berkeley in May of 1987 to commemorate the one hundred fiftieth anniversary of Pushkin's death. The focus and underlying assumptions of this conference, however, were quite different than those of other conferences held to commemorate the Pushkin jubilee, and consequently the papers themselves are quite different. Rather than focusing on specific problems of Pushkin studies or different approaches to Pushkin, as was the case for example at the conference held the same year at the University of Wisconsin-Madison (the papers from teh Madison conference have been published by Indiana University Press), these essays celebrate tehnotion of "cultural return" and are based on two assumptions: 1) that there are deep affinities between the Golden and Silver Ages of Russian literature; and 2) that the Pushkin myth occupies a central place in the Modernist culture of the Silver Age. In fact, as one of teh participants, Monika Greenleaf, noted, the time frame of teh period virtually coincides, at a century's distance, with the dates of Pushkin's own life.

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Review: Sam Driver, «Puškin: Literature and Social Ideals»

Sam Driver. Puškin: Literature and Social Ideals. New York: Columbia University Press, 1989. xii, 143 pp.


Sam Driver worked many years on this subject, publishing selected parts as articles along the way; now we have the fine result in book form. The word "politics" is not in the title, but this is a study of Pushkin's development as a political, as well as social, thinker. Driver concentrates on the poet's thought after 1828 without neglecting teh earlier, more liberal, sometimes radical political position. Central to his approach is a carefully defined notion of Pushkin's leadership of the "aristocratic party," understood as a defense of his own class of the nobility (dvorianstvo) and a rationale for a legally established class which would be at once a counter to the autocracy and its bureaucracy and a caretaker of the peasantry. Driver cautions us to be wary of interpretations of Pushkin the Decembrist fellow-traveler, and he refutes attempts to prove that teh mature Pushkin rejected his class (Blagoi's literal understanding of the sarcastic jeer "Ia meshchanin!"). His conclusion, stated early and argued throughout, is that Pushkin matured to a conservative gradualism tempered by quite liberal attitudes on such questions as serfdom, law, violence and revolution, monarchy, and the necessity of enlightenment.

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Vol. 01 (1998)