Peter J. Schmelz
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780195341935
- eISBN:
- 9780199866854
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195341935.003.0007
- Subject:
- Music, History, Western
This chapter discusses the musical repercussions of the 1968 Soviet invasion of Czechoslovakia by focusing on an “unofficial” concert that took place in 1970 featuring two compositions, one of which ...
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This chapter discusses the musical repercussions of the 1968 Soviet invasion of Czechoslovakia by focusing on an “unofficial” concert that took place in 1970 featuring two compositions, one of which was Edison Denisov's Laments (Plachi, 1966), the other a collectively composed work usually credited to Andrey Volkonsky called Rejoinder (Replika). Rejoinder in particular encapsulates many of the shifts that 1968 signaled even as it illuminates the ambiguous possibilities for resistance at a pivotal moment in “unofficial” Soviet music. By looking more closely at both Laments and Rejoinder, this chapter helps pinpoint the most important artistic and social changes that were occurring around 1970, near the end of the “Thaw” and the beginnings of both “Stagnation” and Yurchak's “late socialism.” These two works help further define the “paradox” of the 1970s simultaneous “immutability” and “displacement” that anthropologist Alexei Yurchak so provocatively proposes in his work. Edison Denisov Laments (Plachi) Andrey Volkonsky Rejoinder (Replika) 1968 Czechoslovakia resistance Alexei Yurchak Stagnation late socialismLess
This chapter discusses the musical repercussions of the 1968 Soviet invasion of Czechoslovakia by focusing on an “unofficial” concert that took place in 1970 featuring two compositions, one of which was Edison Denisov's Laments (Plachi, 1966), the other a collectively composed work usually credited to Andrey Volkonsky called Rejoinder (Replika). Rejoinder in particular encapsulates many of the shifts that 1968 signaled even as it illuminates the ambiguous possibilities for resistance at a pivotal moment in “unofficial” Soviet music. By looking more closely at both Laments and Rejoinder, this chapter helps pinpoint the most important artistic and social changes that were occurring around 1970, near the end of the “Thaw” and the beginnings of both “Stagnation” and Yurchak's “late socialism.” These two works help further define the “paradox” of the 1970s simultaneous “immutability” and “displacement” that anthropologist Alexei Yurchak so provocatively proposes in his work. Edison Denisov Laments (Plachi) Andrey Volkonsky Rejoinder (Replika) 1968 Czechoslovakia resistance Alexei Yurchak Stagnation late socialism
Elaine Kelly
- Published in print:
- 2014
- Published Online:
- October 2014
- ISBN:
- 9780199998098
- eISBN:
- 9780199394371
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199998098.003.0004
- Subject:
- Music, History, Western, Theory, Analysis, Composition
This chapter investigates how the onset of late socialism gave rise to a discourse of lateness. As the GDR stagnated, its foundation myths were deconstructed by disillusioned artists. They contested ...
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This chapter investigates how the onset of late socialism gave rise to a discourse of lateness. As the GDR stagnated, its foundation myths were deconstructed by disillusioned artists. They contested the hegemony of Enlightenment ideals, and challenged the emphasis on revolutionary heroism and progress in the ruling discourse. Beethoven emerged as a focal point for this dissent. In the years surrounding his bicentenary in 1970, artists rejected the construct of the heroic composer, which had become synonymous with the authoritarian state, and turned instead towards Adorno’s late Beethoven, finding parallels with their own political impotence in this alienated model. The chapter explores official attempts to deal with the growing preoccupation with lateness, and analyzes alternative readings of Beethoven in artworks of the period. Works examined include Kunze’s “Die bringer Beethovens,” Bredemeyer’s Bagatellen für B, and Seemann’s and Kunert’s Beethoven—Tage aus einem Leben.Less
This chapter investigates how the onset of late socialism gave rise to a discourse of lateness. As the GDR stagnated, its foundation myths were deconstructed by disillusioned artists. They contested the hegemony of Enlightenment ideals, and challenged the emphasis on revolutionary heroism and progress in the ruling discourse. Beethoven emerged as a focal point for this dissent. In the years surrounding his bicentenary in 1970, artists rejected the construct of the heroic composer, which had become synonymous with the authoritarian state, and turned instead towards Adorno’s late Beethoven, finding parallels with their own political impotence in this alienated model. The chapter explores official attempts to deal with the growing preoccupation with lateness, and analyzes alternative readings of Beethoven in artworks of the period. Works examined include Kunze’s “Die bringer Beethovens,” Bredemeyer’s Bagatellen für B, and Seemann’s and Kunert’s Beethoven—Tage aus einem Leben.
Elaine Kelly
- Published in print:
- 2014
- Published Online:
- October 2014
- ISBN:
- 9780199998098
- eISBN:
- 9780199394371
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199998098.001.0001
- Subject:
- Music, History, Western, Theory, Analysis, Composition
National identity in the German Democratic Republic was heavily predicated on the past. The state was posited as the second German Enlightenment, and socialism as the culmination of a legacy of ...
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National identity in the German Democratic Republic was heavily predicated on the past. The state was posited as the second German Enlightenment, and socialism as the culmination of a legacy of rational thought dating back to the French Revolution. Nineteenth-century music featured prominently in this foundation myth. A heritage of classical realism originating with Beethoven was heralded as the precursor to socialist realism. Romanticism, in contrast, was identified as the locus for the irrationalism that had led to fascism and capitalism. This book charts the reception of this canon in the GDR. It explores the role that the musical heritage played in the construction of East German socialism, and demonstrates how the changing landscape of canon reception in later decades anticipated the GDR’s demise. As the GDR stagnated, disillusioned intellectuals deconstructed the socialist canon’s unifying narratives, and positioned it firmly within a discourse of late socialism. The book considers processes of canon formation in a variety of contexts, including musicology, composition, opera, literature, and film. It draws on a broad range of primary sources, and combines empirical archival research with conceptual methodologies adapted from discourse theory, theories of nationalism, and theories of lateness, both artistic and political. The resulting study illuminates not only the nuances of musical thought in the GDR, it also reveals the extent to which the state’s aesthetic discourse encoded a trajectory of societal ascent and decline.Less
National identity in the German Democratic Republic was heavily predicated on the past. The state was posited as the second German Enlightenment, and socialism as the culmination of a legacy of rational thought dating back to the French Revolution. Nineteenth-century music featured prominently in this foundation myth. A heritage of classical realism originating with Beethoven was heralded as the precursor to socialist realism. Romanticism, in contrast, was identified as the locus for the irrationalism that had led to fascism and capitalism. This book charts the reception of this canon in the GDR. It explores the role that the musical heritage played in the construction of East German socialism, and demonstrates how the changing landscape of canon reception in later decades anticipated the GDR’s demise. As the GDR stagnated, disillusioned intellectuals deconstructed the socialist canon’s unifying narratives, and positioned it firmly within a discourse of late socialism. The book considers processes of canon formation in a variety of contexts, including musicology, composition, opera, literature, and film. It draws on a broad range of primary sources, and combines empirical archival research with conceptual methodologies adapted from discourse theory, theories of nationalism, and theories of lateness, both artistic and political. The resulting study illuminates not only the nuances of musical thought in the GDR, it also reveals the extent to which the state’s aesthetic discourse encoded a trajectory of societal ascent and decline.
Amelia Rosenberg Weinreb
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9780813033693
- eISBN:
- 9780813039695
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813033693.003.0001
- Subject:
- Society and Culture, Latin American Studies
This book introduces a population that, until now, has been un-theorized and under-described, despite their importance for any full understanding of contemporary Cuba. This group is called ...
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This book introduces a population that, until now, has been un-theorized and under-described, despite their importance for any full understanding of contemporary Cuba. This group is called unsatisfied citizen-consumers. The book argues that they are a shadow public whose activity illuminates the cultural shifts and social and economic transformations taking place in Cuba in an era of late socialism. Scholars have argued that Cubans accept material scarcity as part of a revolutionary sacrifice; that the absence of ideal public spheres, elections, or freedom of assembly provides an alternative landscape upon which to explore agency. However, the Cuba described in this book, highlights the importance of purposeful obscurity, rather than activism, as a coping mechanism during the liminal years of a prolonged Special Period. Rather than sidelining consumer desire as superficial or apolitical, the book places it at the center of significant social change and citizen-state relationships.Less
This book introduces a population that, until now, has been un-theorized and under-described, despite their importance for any full understanding of contemporary Cuba. This group is called unsatisfied citizen-consumers. The book argues that they are a shadow public whose activity illuminates the cultural shifts and social and economic transformations taking place in Cuba in an era of late socialism. Scholars have argued that Cubans accept material scarcity as part of a revolutionary sacrifice; that the absence of ideal public spheres, elections, or freedom of assembly provides an alternative landscape upon which to explore agency. However, the Cuba described in this book, highlights the importance of purposeful obscurity, rather than activism, as a coping mechanism during the liminal years of a prolonged Special Period. Rather than sidelining consumer desire as superficial or apolitical, the book places it at the center of significant social change and citizen-state relationships.
Elaine Kelly
- Published in print:
- 2014
- Published Online:
- October 2014
- ISBN:
- 9780199998098
- eISBN:
- 9780199394371
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199998098.003.0001
- Subject:
- Music, History, Western, Theory, Analysis, Composition
The introduction provides an overview of the major arguments of the book. It discusses how the canon served both to legitimize the ruling discourse and as a site of dissent, and it offers parameters ...
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The introduction provides an overview of the major arguments of the book. It discusses how the canon served both to legitimize the ruling discourse and as a site of dissent, and it offers parameters for the concepts of socialist modernism and late socialism. It addresses the question of why the bourgeois heritage was so feted in the GDR, discussing variously the status assigned to it in Marxist thought, the difficulties associated with it in the context of the Third Reich, and the role that Lukács’s theories of reflection and antifascism played in facilitating its appropriation after the War. It examines the GDR’s foundation myths, and demonstrates how art music was incorporated into the project of building a socialist state based on Enlightenment principles.Less
The introduction provides an overview of the major arguments of the book. It discusses how the canon served both to legitimize the ruling discourse and as a site of dissent, and it offers parameters for the concepts of socialist modernism and late socialism. It addresses the question of why the bourgeois heritage was so feted in the GDR, discussing variously the status assigned to it in Marxist thought, the difficulties associated with it in the context of the Third Reich, and the role that Lukács’s theories of reflection and antifascism played in facilitating its appropriation after the War. It examines the GDR’s foundation myths, and demonstrates how art music was incorporated into the project of building a socialist state based on Enlightenment principles.
Elaine Kelly
- Published in print:
- 2014
- Published Online:
- October 2014
- ISBN:
- 9780199998098
- eISBN:
- 9780199394371
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199998098.003.0006
- Subject:
- Music, History, Western, Theory, Analysis, Composition
This chapter investigates Ruth Berghaus’s rethinking of the canon in her post-Brechtian stagings of Der Freischütz, Der Ring des Nibelungen, and Parsifal. Invoking Brecht’s call for historicity, ...
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This chapter investigates Ruth Berghaus’s rethinking of the canon in her post-Brechtian stagings of Der Freischütz, Der Ring des Nibelungen, and Parsifal. Invoking Brecht’s call for historicity, Berghaus exposed the totalizing romantic ideologies that underpinned both the socialist canon and the reception of opera in the twentieth century more generally. Rejecting coherence as a dominant principle, she separated text from author, she divested the canon of its positive heroes and unconflicted teleological narratives, and she shattered the myth of the total work of art. Her semiotic approach was symptomatic of the wider shift from content to form that Alexei Yurchak identifies as a defining characteristic of late socialism. As the chapter explores, her stagings had resonances beyond the GDR’s borders. Her Wagner productions at Oper Frankfurt offered audiences a theatrical experience that encoded the irony and alienation of late modernity.Less
This chapter investigates Ruth Berghaus’s rethinking of the canon in her post-Brechtian stagings of Der Freischütz, Der Ring des Nibelungen, and Parsifal. Invoking Brecht’s call for historicity, Berghaus exposed the totalizing romantic ideologies that underpinned both the socialist canon and the reception of opera in the twentieth century more generally. Rejecting coherence as a dominant principle, she separated text from author, she divested the canon of its positive heroes and unconflicted teleological narratives, and she shattered the myth of the total work of art. Her semiotic approach was symptomatic of the wider shift from content to form that Alexei Yurchak identifies as a defining characteristic of late socialism. As the chapter explores, her stagings had resonances beyond the GDR’s borders. Her Wagner productions at Oper Frankfurt offered audiences a theatrical experience that encoded the irony and alienation of late modernity.
Dieter Segert
- Published in print:
- 2019
- Published Online:
- March 2019
- ISBN:
- 9780198829911
- eISBN:
- 9780191868368
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198829911.003.0025
- Subject:
- Political Science, Comparative Politics
This chapter examines European state socialism, which emerged in the Russian Revolution of 1917. It has two roots, the social democratic labour movement and specific problems of underdeveloped, ...
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This chapter examines European state socialism, which emerged in the Russian Revolution of 1917. It has two roots, the social democratic labour movement and specific problems of underdeveloped, peripheral capitalist societies. While generally relying on Marx, the Bolsheviks invented the doctrine of the ‘new type of party’. After the conquest and stabilization of power, they built in Russia the institutions of classical state socialism and led the country on a specific path of modernization. After 1945, there was a second wave of state-socialist transformation in eight states of East Central and South East Europe. In all countries except Yugoslavia, the formal institutions of the Soviet model were established but the informal practices between countries differed considerably. At the end of the chapter, the blind spots and desiderata of three scholarly interpretations of state socialism are discussed.Less
This chapter examines European state socialism, which emerged in the Russian Revolution of 1917. It has two roots, the social democratic labour movement and specific problems of underdeveloped, peripheral capitalist societies. While generally relying on Marx, the Bolsheviks invented the doctrine of the ‘new type of party’. After the conquest and stabilization of power, they built in Russia the institutions of classical state socialism and led the country on a specific path of modernization. After 1945, there was a second wave of state-socialist transformation in eight states of East Central and South East Europe. In all countries except Yugoslavia, the formal institutions of the Soviet model were established but the informal practices between countries differed considerably. At the end of the chapter, the blind spots and desiderata of three scholarly interpretations of state socialism are discussed.
Eren Tasar
- Published in print:
- 2018
- Published Online:
- November 2017
- ISBN:
- 9780190652104
- eISBN:
- 9780190652135
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190652104.003.0007
- Subject:
- Religion, Islam
After Nikita Khrushchev’s ouster in 1964, Soviet officials dealing with religion assessed the moderate line toward religion that had dominated the 1940s and 1950s, as well as the hard line that had ...
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After Nikita Khrushchev’s ouster in 1964, Soviet officials dealing with religion assessed the moderate line toward religion that had dominated the 1940s and 1950s, as well as the hard line that had animated Khrushchev’s anti-religious campaign. They determined that both had been too extreme and opted to reconcile the two lines. In the 1970s and 1980s the restriction of religion thus became more omnipresent but less potent. A notable example concerned anti-religious propaganda, which was more widespread but less virulent than in the past. In this situation, SADUM struggled unsuccessfully to restore the power it had enjoyed during the 1940s and 1950s while quietly forming ties with “unregistered” Islamic scholars who enjoyed greater breathing room under Late Socialism. An important new development during the final Soviet decades was the appearance in the Valley of illegal study circles (hujras) questioning aspects of the Hanafi school of Sunni Islam practiced in Central Asia. The scholars leading these circles were rapidly labeled as Wahhabis by their detractors in the state and among the ‘ulama.Less
After Nikita Khrushchev’s ouster in 1964, Soviet officials dealing with religion assessed the moderate line toward religion that had dominated the 1940s and 1950s, as well as the hard line that had animated Khrushchev’s anti-religious campaign. They determined that both had been too extreme and opted to reconcile the two lines. In the 1970s and 1980s the restriction of religion thus became more omnipresent but less potent. A notable example concerned anti-religious propaganda, which was more widespread but less virulent than in the past. In this situation, SADUM struggled unsuccessfully to restore the power it had enjoyed during the 1940s and 1950s while quietly forming ties with “unregistered” Islamic scholars who enjoyed greater breathing room under Late Socialism. An important new development during the final Soviet decades was the appearance in the Valley of illegal study circles (hujras) questioning aspects of the Hanafi school of Sunni Islam practiced in Central Asia. The scholars leading these circles were rapidly labeled as Wahhabis by their detractors in the state and among the ‘ulama.
Jeffrey Kinkley
- Published in print:
- 2006
- Published Online:
- June 2013
- ISBN:
- 9780804754859
- eISBN:
- 9780804768108
- Item type:
- book
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804754859.001.0001
- Subject:
- Literature, World Literature
As China's centrally planned economy and welfare state have given way to a more loosely controlled version of “late socialism,” public concern about economic reform's downside has found expression in ...
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As China's centrally planned economy and welfare state have given way to a more loosely controlled version of “late socialism,” public concern about economic reform's downside has found expression in epic novels about official corruption and its effects. While the media shied away from dealing with these issues, novelists stepped in to fill the void. “Anti-corruption fiction” exploded onto the marketplace and into public consciousness, spawning popular films and television series until a clampdown after 2002 that ended China's first substantial realist fiction since the 1989 Beijing massacre. With frankness and imagination seldom allowed journalists, novelists have depicted the death of China's rust-belt industries, the gap between rich and poor, “social unrest”—i.e., riots—and the questionable new practices of entrenched communist party rulers. This book examines this rebirth of the Chinese political novel and its media adaptations, explaining how the works reflect contemporary Chinese life and how they embody Chinese traditions of social criticism, literary realism, and contemplation of taboo subjects. It investigates such novels and includes excerpts from personal interviews with China's three most famous anti-corruption novelists.Less
As China's centrally planned economy and welfare state have given way to a more loosely controlled version of “late socialism,” public concern about economic reform's downside has found expression in epic novels about official corruption and its effects. While the media shied away from dealing with these issues, novelists stepped in to fill the void. “Anti-corruption fiction” exploded onto the marketplace and into public consciousness, spawning popular films and television series until a clampdown after 2002 that ended China's first substantial realist fiction since the 1989 Beijing massacre. With frankness and imagination seldom allowed journalists, novelists have depicted the death of China's rust-belt industries, the gap between rich and poor, “social unrest”—i.e., riots—and the questionable new practices of entrenched communist party rulers. This book examines this rebirth of the Chinese political novel and its media adaptations, explaining how the works reflect contemporary Chinese life and how they embody Chinese traditions of social criticism, literary realism, and contemplation of taboo subjects. It investigates such novels and includes excerpts from personal interviews with China's three most famous anti-corruption novelists.
