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1. |
Record Nr. |
UNINA9910779544703321 |
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Autore |
Shakespeare William <1564-1616.> |
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Titolo |
A reconstructed text of Pericles, Prince of Tyre [[electronic resource] /] / by William Shakespeare and George Wilkins ; edited by Roger Warren on the basis of a text prepared by Gary Taylor and Macd. P. Jackson |
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Pubbl/distr/stampa |
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Oxford, : Oxford University Press, c2003 |
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ISBN |
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Edizione |
[1st ed.] |
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Descrizione fisica |
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1 online resource (ix, 306 p.) : ill., map |
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Collana |
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Altri autori (Persone) |
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JacksonMacDonald P (MacDonald Pairman) |
TaylorGary <1953-> |
WarrenRoger <1943-> |
WilkinsGeorge <fl. 1607.> |
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Disciplina |
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Soggetti |
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Princes - Lebanon - Tyre |
Tyre (Lebanon) Drama |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Bibliographic Level Mode of Issuance: Monograph |
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Nota di bibliografia |
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Includes bibliographical references and indexes. |
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Sommario/riassunto |
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'Pericles' was one of the most popular plays in the Jacobean theatre, and it has regained much of that popularity in the modern theatre. In a wide-ranging introduction, Roger Warren draws on his experience of the play in rehearsal and performance to explore the reasons for this enduring popularity. |
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2. |
Record Nr. |
UNISA996248337703316 |
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Autore |
Clark Katerina |
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Titolo |
Moscow, the fourth Rome : Stalinism, cosmopolitanism, and the evolution of Soviet culture, 1931-1941 / / Katerina Clark |
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Pubbl/distr/stampa |
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Cambridge, Mass., : Harvard University Press, 2011 |
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ISBN |
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Descrizione fisica |
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1 online resource (431 p.) |
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Disciplina |
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Soggetti |
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Cosmopolitanism - Russia (Federation) - Moscow - History |
Popular culture - Russia (Federation) - Moscow - History |
Communism - Russia (Federation) - Moscow - History |
Social change - Russia (Federation) - Moscow - History |
Social change - Soviet Union - History |
Moscow (Russia) History 20th century |
Moscow (Russia) Intellectual life 20th century |
Soviet Union History 1925-1953 |
Soviet Union Intellectual life 1917-1970 |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Bibliographic Level Mode of Issuance: Monograph |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Front matter -- Contents -- Introduction: The Cultural Turn -- Chapter 1. The Author as Producer: Cultural Revolution in Berlin and Moscow (1930-1931) -- Chapter 2. Moscow, the Lettered City -- Chapter 3. The Return of the Aesthetic -- Chapter 4. The Traveling Mode and the Horizon of Identity -- Chapter 5. "World Literature"/ "World Culture" and the Era of the Popular Front (c. 1935-1936) -- Chapter 6. Face and Mask: Theatricality and Identity in the Era of the Show Trials (1936-1938) -- Chapter 7. Love and Death in the Time of the Spanish Civil War (1936-1939) -- Chapter 8. The Imperial Sublime -- Chapter 9. The Battle over the Genres (1937-1941) -- Epilogue -- Notes -- Acknowledgments -- Index |
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Sommario/riassunto |
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In the early sixteenth century, the monk Filofei proclaimed Moscow the "Third Rome." By the 1930's, intellectuals and artists all over the world thought of Moscow as a mecca of secular enlightenment. In Moscow, |
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the Fourth Rome, Katerina Clark shows how Soviet officials and intellectuals, in seeking to capture the imagination of leftist and anti-fascist intellectuals throughout the world, sought to establish their capital as the cosmopolitan center of a post-Christian confederation and to rebuild it to become a beacon for the rest of the world. Clark provides an interpretative cultural history of the city during the crucial 1930's, the decade of the Great Purge. She draws on the work of intellectuals such as Sergei Eisenstein, Sergei Tretiakov, Mikhail Koltsov, and Ilya Ehrenburg to shed light on the singular Zeitgeist of that most Stalinist of periods. In her account, the decade emerges as an important moment in the prehistory of key concepts in literary and cultural studies today-transnationalism, cosmopolitanism, and world literature. By bringing to light neglected antecedents, she provides a new polemical and political context for understanding canonical works of writers such as Brecht, Benjamin, Lukacs, and Bakhtin. Moscow, the Fourth Rome breaches the intellectual iron curtain that has circumscribed cultural histories of Stalinist Russia, by broadening the framework to include considerable interaction with Western intellectuals and trends. Its integration of the understudied international dimension into the interpretation of Soviet culture remedies misunderstandings of the world-historical significance of Moscow under Stalin. |
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