Through numerous interviews with Brodsky's contemporaries and vast archival research, MacFadyen offers a vital new slant on Brodsky's early verse, providing the first published translations of these poems, examining his work in relation to a broad international spectrum of influences and revealing the art and craft of his poetry.".
During this period estrada - which includes comedy, literary readings, and circus arts as well as popular song - saw the birth of tangos, foxtrots, waltzes, and big bands. MacFadyen shows how a nomadic art form survived the pressures of business before the 1917 Revolution and those of politics afterwards.
Examining the role of dramatized narratives in Russian television, this book stresses the ways in which the Russian government under Putin use primetime television to express a new understanding of what it means to be Russian, answering key questions of national identity for modern Russians in dealing with their recent history: ‘What really happened to us?’ and, accordingly, ‘Why?’ The book covers important issues in Russian television today, including: the reworking of new ‘national’ on-screen heroes its relationship with classic literature the revisionist portrayal of a romantic portrait of life in the Soviet era the role of thematic elements such as love, fidelity, humour and irony the particularly pressing problem of crime and its representation on screen as Mafia or police adventure, and its political usage by the Putin administration. This book provides a detailed account of the critical issues in contemporary Russian television, relating them to broader social and political developments in Russian society.
In 1999, Boris Yeltsin passed a resolution to resurrect the biggest cartoon studio in Eastern Europe, Soiuzmul'tfil'm. From the mid-1930s until its forced demise in the mid-1990s, the studio had produced more than 1,500 films. Yeltsin felt it important that Soiuzmul'tfil'm be restored to its former glory, and even proposed keeping its original name, a nationally famous acronym made from the three Russian words for "union" (soiuz), "animation" (mul'tiplikatsiia) and "film" (fil'm). But the union referred to had vanished in 1991. Was reviving the studio a nostalgic paean to communism?" "David MacFadyen reveals that Soiuzmul'tfil'm, upon reopening, continued doing what it had since its inception in 1936, when it was the only Russian studio able to take cartoons from sketchbook to the silver screen. In a historical and theoretical reassessment of animated cinema in Russia since World War Two, Yellow Crocodiles and Blue Oranges examines a large number of Soviet cartoons to decipher what about them allowed them to survive under communism and continue to survive with equal success under capitalism."--BOOK JACKET.
MacFadyen shows that the works of John Donne, the existential philosophy of Kierkegaard and Sestov, and the cities of St Petersburg and Venice inspired in Brodsky a fundamentally Baroque evolution. He provides a compelling and comprehensive examination of Brodsky's poetry and prose in a fascinating overview of some problems of post-soviet aesthetics. The book concludes with a reassessment of Brodsky's final role, that of cross-cultural, bilingual essayist. Joseph Brodsky and the Baroque will appeal to students and scholars of Russian literature as well as the growing body of Brodsky's admirers.
David MacFadyen investigates what made Riazanov's films so wildly popular and what - if any - relationship that popularity had to Soviet policy. Using the works of Deleuze, Lacan, and Kristeva, MacFadyen looks at how Riazanov's films relate to society, audience demand, and Soviet politics. In more than twenty love stories that have precious little to do with statecraft, Soviet or otherwise, Riazanov captures the willful inclusiveness of socialist culture.
David MacFadyen gives a thought-provoking examination of the predicament of Russian culture in Central Asia, looking at literature, language, cinema, music, and religion.
Their songs, played frequently on Soviet radio and purchased in the hundreds of millions, tell the story of Soviet popular culture since the death of Joseph Stalin, David MacFadyen discusses national identity, gender, and the development of celebrity in a socialist state, ultimately tackling the question of whether it is possible for artists to achieve genuine self-expression while under continuous political scrutiny."--BOOK JACKET.
This book shows how the first institution of global governance was conceived and operated. It provides a new assessment of its architect, Eric Drummond, the first Secretary-General of the League of Nations, appointed a century ago. The authors conclude that he stands in the front rank of the 12 men who have occupied the post of Secretary-General of the League or its successor, the UN. Part 1 describes his character and leadership. His influence in shaping the International Civil Service, the ‘beating heart’ of the League, is the subject of Part 2, which also shows how the young staff he appointed responded with imagination and creativity to the political, economic and social problems that followed World War I. Part 3 shows the influence of these early origins on today’s global organizations and the large scale absorption of League policies, programmes, practices and staff into the UN and its Specialized Agencies.
Russia's funniest and most popular films are the work of Èl'dar Riazanov, a director whose light, lyrical tales of love lost and found have garnered audiences of over one hundred million. Although Western scholars have largely ignored Riazanov's oeuvre in favour of more serious filmmakers, no director in Russia has been so loved by both the public (openly) and politicians (covertly). His early comedies mapped the relations between society and socialism, allowing him to create a radically apolitical art of kindness and kindred spirits. David MacFadyen investigates what made Riazanov's films so wildly popular and what – if any – relationship that popularity had to Soviet policy. Using the works of Deleuze, Lacan, and Kristeva, MacFadyen looks at how Riazanov's films relate to society, audience demand, and Soviet politics. In more than twenty love stories that have precious little to do with statecraft, Soviet or otherwise, Riazanov captures the willful inclusiveness of socialist culture.
An inventive, fast-paced comedy featuring P.G. Wodehouse’s iconic double act. Winner of the 2014 Olivier Award for Best New Comedy. When a country house weekend takes a turn for the worse, Bertie Wooster is unwittingly called on to play matchmaker – reconciling the affections of his host’s drippy daughter Madeline Bassett with his newt-fancying acquaintance Gussie Fink-Nottle. If Bertie, ably assisted by the ever-dependable Jeeves, can’t pull off the wedding of the season he’ll be forced to abandon his cherished bachelor status and marry the ghastly girl himself! Based on P.G. Wodehouse’s delightfully bonkers stories, especially The Code of the Woosters, the Goodale Brothers’ dramatisation premiered at the Duke of York's Theatre, West End, in November 2013, prior to a UK tour. Written for a cast of three, who play multiple roles, this adaptation will suit any theatre company or drama group looking for a comic play to perform.
Through numerous interviews with Brodsky's contemporaries and vast archival research, MacFadyen offers a vital new slant on Brodsky's early verse, providing the first published translations of these poems, examining his work in relation to a broad international spectrum of influences and revealing the art and craft of his poetry.".
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