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Nietzsche's orphans: Music and the search for unity in Revolutionary Russia, 1905--1921.

机译：尼采的孤儿：1905--1921年的音乐与“革命俄国”中的团结追求。

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摘要

At the dawn of the twentieth century, Imperial Russia was in the throes of immense social, political and cultural upheaval. The effects of rapid industrialization, rising capitalism and urbanization, as well as the trauma wrought by revolution and war, reverberated through all levels of society and every cultural sphere. In the aftermath of the 1905 revolution, amid a growing sense of panic over the chaos and divisions emerging in modern life, a portion of Russian educated society (obshchestvennost') looked to the transformative and unifying power of music as a means of salvation from the personal, social and intellectual divisions of the contemporary world. Transcending professional divisions, these "orphans of Nietzsche" comprised a distinct aesthetic group within educated Russian society. While lacking a common political, religious or national outlook, these philosophers, poets, musicians and other educated members of the upper and middle strata were bound together by their shared image of music's unifying power, itself built upon a synthesis of Russian and European ideas. They yearned for a "musical Orpheus," a composer capable of restoring wholeness to society through his music. My dissertation is a study in what I call "musical metaphysics," an examination of the creation, development, crisis and ultimate failure of this Orphic worldview.;To begin, I examine the institutional foundations of musical life in late Imperial Russia, as well as the explosion of cultural life in the aftermath of the 1905 Revolution, a vibrant social context which nourished the formation of musical metaphysics. From here, I assess the intellectual basis upon which musical metaphysics rested: central concepts (music, life-transformation, theurgy, unity, genius, nation), as well as the philosophical heritage of Nietzsche and the Christian thinkers Vladimir Solov'ev, Aleksei Khomiakov,;Ivan Kireevskii and Lev Tolstoi. Nietzsche's orphans' struggle to reconcile an amoral view of reality with a deeply felt sense of religious purpose gave rise to neo-Slavophile interpretations of history, in which the Russian nation (narod) was singled out as the savior of humanity from the materialism of modern life. This nationalizing tendency existed uneasily within the framework of the multi-ethnic empire. From broad social and cultural trends, I turn to detailed analysis of three of Moscow's most admired contemporary composers, whose individual creative voices intersected with broader social concerns. The music of Aleksandr Scriabin (1871-1915) was associated with images of universal historical progress. Nikolai Medtner (1879-1951) embodied an "Imperial" worldview, in which musical style was imbued with an eternal significance which transcended the divisions of nation. The compositions of Sergei Rachmaninoff (1873-1943) were seen as the expression of a Russian "national" voice. Heightened nationalist sentiment and the impact of the Great War spelled the doom of this musical worldview. Music became an increasingly nationalized sphere within which earlier, Imperial definitions of belonging grew ever more problematic. As the Germanic heritage upon which their vision was partially based came under attack, Nietzsche's orphans found themselves ever more divided and alienated from society as a whole. Music's inability to physically transform the world ultimately came to symbolize the failure of Russia's educated strata to effectively deal with the pressures of a modernizing society. In the aftermath of the 1917 revolutions, music was transformed from a symbol of active, unifying power into a space of memory, a means of commemorating, reinterpreting, and idealizing the lost world of Imperial Russia itself.
机译：在二十世纪初，俄罗斯帝国处于巨大的社会，政治和文化动荡时期。快速的工业化，不断上升的资本主义和城市化的影响，以及革命和战争造成的创伤，在社会的各个层面和每个文化领域都产生了影响。 1905年革命后，随着人们对现代生活中出现的混乱和分裂越来越感到恐慌，俄国受过良好教育的社会（obshchestvennost'）将音乐的变革性和统一性视为拯救人类的手段。当代世界的个人，社会和知识部门。超越专业领域，这些“尼采孤儿”在受过良好教育的俄罗斯社会中构成了独特的审美群体。尽管缺乏统一的政治，宗教或民族视野，但这些哲学家，诗人，音乐家和其他受过教育的上层和中层人士，被共同分享的音乐统一力量形象所束缚，而这些力量本身就是基于俄罗斯和欧洲思想的综合。他们渴望一个“音乐的奥菲斯”，一个能够通过他的音乐恢复整个社会的作曲家。我的论文是对所谓的“音乐形而上学”的研究，是对这种Orphic世界观的创造，发展，危机和最终失败的考察。首先，我还将考察俄罗斯帝国晚期音乐生活的制度基础。作为1905年革命后文化生活的爆炸式增长，充满活力的社会环境滋养了音乐形而上学的形成。从这里，我评估了音乐形而上学赖以存在的知识基础：中心概念（音乐，人生转变，外科，统一，天才，民族），以及尼采和基督教思想家弗拉基米尔·索洛夫·埃夫，阿列克谢的哲学遗产霍米亚科夫（Khomiakov），伊万·基里耶夫斯基（Ivan Kireevskii）和列夫·托尔斯泰（Lev Tolstoi）。尼采的孤儿为使现实的不道德观念与强烈的宗教目的意识调和而作的斗争引起了新斯拉夫亲王对历史的解释，其中俄罗斯民族（纳罗德）从现代的唯物主义中被选为人类的救世主生活。在多种族帝国的框架内，这种国有化趋势不安地存在。从广泛的社会和文化趋势，我转向对莫斯科三位最受尊敬的当代作曲家的详细分析，他们的个人创造力与更广泛的社会关注点相交。亚历山大·斯克里亚宾（Aleksandr Scriabin，1871-1915）的音乐与普遍的历史进步影像联系在一起。尼古拉·梅德纳（Nikolai Medtner（1879-1951））体现了一种“帝国”世界观，在这种世界观中，音乐风格充满了超越民族分裂的永恒意义。谢尔盖·拉赫玛尼诺夫（Sergei Rachmaninoff，1873-1943年）的作品被视为俄罗斯“民族”声音的表达。民族主义情绪的提高和大战的影响，标志着这种音乐世界观的灭亡。音乐成为一个日益国有化的领域，在早期，关于帝国归属的定义变得越来越成问题。由于部分视力所基于的日耳曼文化受到了攻击，尼采的孤儿发现自己与社会整体越来越分化和疏远。音乐无法彻底改变世界，最终标志着俄罗斯受过教育的阶层未能有效应对现代化社会的压力。在1917年革命之后，音乐从积极统一的力量象征转变为记忆空间，是纪念，重新诠释和理想化帝国俄罗斯自身迷失世界的一种方式。

著录项

  • 作者

    Mitchell, Rebecca Anne.;

  • 作者单位

    University of Illinois at Urbana-Champaign.;

  • 授予单位 University of Illinois at Urbana-Champaign.;
  • 学科 Music.;History Russian and Soviet.;Aesthetics.
  • 学位 Ph.D.
  • 年度 2011
  • 页码 484 p.
  • 总页数 484
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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