The Dancer Defects : The Struggle for Cultural Supremacy During the Cold War...
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eBay-Artikelnr.:203486997757
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- ISBN
- 9780199249084
Über dieses Produkt
Product Identifiers
Publisher
Oxford University Press, Incorporated
ISBN-10
0199249083
ISBN-13
9780199249084
eBay Product ID (ePID)
2727602
Product Key Features
Book Title
Dancer Defects : the Struggle for Cultural Supremacy During the Cold War
Number of Pages
818 Pages
Language
English
Topic
Russia & the Former Soviet Union, Art & Politics, Popular Culture, United States / General
Publication Year
2003
Illustrator
Yes
Genre
Art, Social Science, History
Format
Hardcover
Dimensions
Item Height
1.8 in
Item Weight
45.3 Oz
Item Length
9.2 in
Item Width
6.1 in
Additional Product Features
Intended Audience
Trade
LCCN
2004-297973
Reviews
This is a profound study of a vast subject which was, we now see, a vital aspect of the Cold War. One now eagerly awaits the second volume., This is a remarkably thorough and well-researched book, and will become the standard work on the subject., ... impressive ... Caute encompasses theatre, film, painting, sculpture, classical music, jazz, rock and ballet - with a text that reads with virtuoso fluency., Well-written, meticulously researched, peopled with a cast from Stalin to Nureyev, Eisenstein to Jackson Pollock.
Dewey Edition
22
TitleLeading
The
Dewey Decimal
306/.0973
Table Of Content
Introduction: The Culture WarPart I: Marking the Territory1. Propaganda Wars and Cultural Treaties2. The Gladiatorial ExhibitionPart II: Stage and Screen Wars: Russia and America3. Broadway Dead, Says Soviet Critic4. The Russian Question - a Russian Play5. Soviet Cinema under Stalin6. Hollywood: The Red Menace7. Witch Hunts: Losey, Kazan, Miller8. Soviet Cinema: The New WavePart III: Stage and Screen Wars: Europe9. Germany Divided: Stage and Screen10. Brecht and the Berliner Ensemble11. Dirty Hands: The Political Theatre of Sartre and Camus12. Squaring the Circle: Ionesco, Beckett, Havel and Stoppard13. Andrzej Wajda: Ashes and Diamonds, Marble and IronPart IV: Music and Ballet Wars14. Classical Music Wars15. Shostakovich's Testimony16. All that Jazz: Iron Curtain Falls17. The Ballet Dancer DefectsPart V: Art Wars18. Stalinist Art: The Tractor Driver's Supper19. Passports for Paintings: Abstract Impressionism and the CIA20. Picasso and Communist France21. The Other Russia: Pictures by 'Jackasses'ConclusionBibliographyNotes and References
Synopsis
The cultural Cold War between the Soviet Union and the West was without precedent. At the outset of this original and wide-ranging historical survey, David Caute establishes the nature of the extraordinary cultural competition set up post-1945 between Moscow, New York, London and Paris, with the most intimate frontier war staged in the city of Berlin. Using sources in four languages, Caute explores the cultural Cold War as it rapidly penetrated theatre, film, classical music, popular music, ballet, painting and sculpture, as well as propaganda by exhibition. Artists such as Miller, Picasso, Eisenstein, Shostakovich, and Stravinsky became involved in this fierce cultural competition through which each of the major Cold War protagonists sought to establish their supremacy. Caute challenges some recent, one-dimensional, American accounts of 'Cold War culture', which ignore not only the Soviet performance but virtually any cultural activity outside the USA. The West presented its cultural avant-garde as evidence of liberty, even through monochrome canvases and dodecaphonic music appealed only to a minority audience. Soviet artistic standards and teaching levels were exceptionally high, but the fear of freedom and innovation virtually guaranteed the moral defeat which accelerated the collapse of the Soviet Union., With the onset of the Cold War, cultural competition flared up between Moscow and the West. It rapidly penetrated theatre, film, music, ballet, painting, and sculpture. Artists such as Miller, Picasso, Eisenstein, Shostakovich, and Stravinsky became involved in this fierce cultural competition through which each of the major Cold War protagonists sought to establish their supremacy., The cultural Cold War between the Soviet Union and the West was without precedent. At the outset of this original and wide-ranging historical survey, David Caute establishes the nature of the extraordinary cultural competition set up post-1945 between Moscow, New York, London and Paris, with the most intimate frontier war staged in the city of Berlin. Using sources in four languages, the author of The Fellow-Travellers and The Great Fear explores the cultural Cold War as it rapidly penetrated theatre, film, classical music, popular music, ballet, painting and sculpture, as well as propaganda by exhibition.Major figures central to Cold War conflict in the theatre include Brecht, Miller, Sartre, Camus, Havel, Ionesco, Stoppard and Konstantin Simonov, whose inflammatory play, The Russian Question, occupies a chapter of its own based on original archival research. Leading film directors involved included Eisenstein, Romm, Chiarueli, Aleksandrov, Kazan, Tarkovsky and Wajda.In the field of music, the Soviet Union in the Zhdanov era vigorously condemned 'modernism', 'formalism', and the avant-garde. A chapter is devoted to the intriguing case of Dmitri Shostakovich, and the disputed authenticity of his 'autobiography' Testimony. Meanwhile in the West the Congress for Cultural Freedom was sponsoring the modernist composers most vehemently condemned by Soviet music critics; Stravinsky, Schoenberg, Hindemith among them. Despite constant attempts at repression, the Soviet Party was unable to check the appeal of jazz on the Voice of America, then rock music, to young Russians.Visits to the West by the Bolshoi and Kirov ballet companines, the pride of the USSR, were fraught with threats of cancellation and the danger of defection. Considering the case of Rudolf Nureyev, Caute pours cold water on overheated speculations about KGB plots to injure him and other defecting dancers.Turning to painting, where socialist realism prevailed in Russia, and the impressionist heritage was condemned, Caute explores the paradox of Picasso's membership of the French Communist Party. Re-assessing the extent of covert CIA patronage of abstract expressionism (Pollock, De Kooning), Caute finds that the CIA's role has been much exaggerated, likewise the dominance of the New York School.Caute challenges some recent, one-dimensional, American accounts of 'Cold War culture', which ignore not only the Soviet performance but virtually any cultural activity outside the USA. The West presented its cultural avant-garde as evidence of liberty, even through monochrome canvases and dodecaphonic music appealed only to a minority audience. Soviet artistic standards and teaching levels were exceptionally high, but the fear of freedom and innovation virtually guaranteed the moral defeat which accelerated the collapse of the Soviet Union.
LC Classification Number
D857
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