Abstract
In the 1920s, competing interpretations of the Decembrists’ legacy could still coexist. The Decembrists’ image remained in flux during the 1925 centennial celebration, though attempts were made at a standard interpretation. Some Soviet scholars still spoke of foreign influences upon the Decembrists and followed in the footsteps of pre revolutionary historians, emphasizing the Decembrists’ liberal leanings rather than taking a strictly Marxist-Leninist approach. During the Stalin era, Russian history was rewritten to conform to the political demands of an increasingly controlling regime. Limitations were imposed upon all sectors of culture, corresponding to the demands placed upon ideologists for a single, unified genealogy of the Bolsheviks’ pre revolutionary precursors. Though this process initially coincided with the cultural revolution in the late 1920s, it came to full fruition by 1937, a pivotal year in the formation of Soviet cultural iconography and historiography. Events taking place on the cultural and political fronts would permanently shape Soviet thinking about the relationship of present to past. For scholars and ideologists, two important moments would be the centennial of Pushkin’s death in February 1937 and the publication of the definitive Short Course on the History of the USSR (Kratkii kurs istorii SSSR) in November 1937.
The Decembrists! That word was pronounced in our home with reverence… Maria Volkonskaia’s and Ekaterina Trubetskaia’s feat… so struck our childish imagination that for some time we forgot our usual games… and extricated from the shed an old carriage with missing wheels and a tattered leather seat, and, surrounding ourselves with bundles of our favorite toys and dolls… would “go” to Siberia, to the Decembrists. We dreamed of saving them and sharing their proud and bitter lot…
—Lidiia Libedinskaia1
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Notes
Lidiia Libedinskaia, “Zelenaia lampa” i mnogoe drugoe (Moscow: Raduga, 2000), 29
David Brandenberger, National Bolshevism: Stalinist Mass Culture and the Formation of Modern Russian National Identity, 1931–1956 (Cambridge, MA: Harvard University Press, 2002), 44.
Brandenberger, 40, See also Karen Pétrone, Life Has Become More Joyous, Comrades: Celebrations in the time of Stalin (Bloomington, IN: Indiana University Press, 2000)
V. M. Esipov, Pushkin v zerkale mifov (Moscow: Iazyki slavianskoi kul’tury, 2006), especially 127–172
Brintlinger, 170, For more detail on the mixed messages of jubilee rhetoric, see Jonathan Brooks Platt, “Feast in the Time of Terror: Stalinist Temporal Paradox and the 1937 Pushkin Jubilee” (Ph.D. dissertation, Columbia University, 2008) and Stephanie Sandler, Commemorating Pushkin: Russia’s Myth of a National Poet (Stanford, CA: Stanford Univeristy Press, 2004), 107–119.
D. Zaslavskii, “Pushkin na ekrane,” Pravda, Feb. 4, 1937, No. 35 (7000), 6. S. Ginzburg exclaims: “Pushkin in the scenario and film is one of the Decembrists’ leaders, and reads poetry in convenient situations. Pushkin the artist has disappeared from the film.” See his article, “Obraz Pushkina na ekrane ‘Iunost poeta’,” Iskusstvo kino 3 (Mar. 1937): 39.
A. Novogrudskii, “Film o velikom grazhdanine,” Iskusstvo kino 3 (Mar. 1937): 37
A. V. Shestakov, Kratkii kurs istorii SSSR (Moscow: Gosudarstvennoe Uchebno-Pedagogicheskoe Izdatel’stvo, 1937), 85.
For discussion of composers’ use of the Short Course, see Stanley Krebs, Soviet Composers and the Development of Soviet Music (New York: W. W. Norton & Company, 1970), 53–59.
David Brandenberger, “Who Killed Pokrovskii? (the second time): The Prelude to the Denunciation of the Father of Soviet Marxist Historiography, January 1936,” Revolutionary Russia 11, no. 1 (Jun. 1998): 69–71.
M. Nechkina, “Vosstanie dekabristov v kontseptsii M. N. Pokrovskogo,” in Protiv istoricheskoi kontseptsii M. N. Pokrovskogo (Moscow-Leningrad: Izdatel’stvo Akademii nauk SSSR, 1939), 303.
E. S. Seniavskaia, 1941–1945 Frontovoe pokolenie: istoriko-psikhologicheskoe issledovanie (Moscow: Institut rossiiskoi istorii RAN, 1995), 164
Jeffrey Brooks, Thank You, Comrade Stalin: Soviet Public Culture from Revolution to Cold War (Princeton: Princeton University Press, 2000), 196.
Naum Korzhavin, Vremena. Izbrannoe (Frankfurt: Possev-Verlag, 1976), 13.
Cited in Margaret Ziolkowski, Literary Exorcisms of Stalinism: Russian Writers and the Soviet Past (Columbia, SC: Camden House, 1998), 164.
Several memoirists recall jokes about how long Shaporin took to complete the opera. M. Chulaki relates the following lines (from “The History of Music from Adam to Aram”): “Oborin has already become famous / Shaporin was writing “Polina Gebl” / Deborin was already debunked / Shaporin was writing “Polina Gebl’,” etc., etc.” (E. Grosheva [ed.], lurii Aleksandrovich Shaporin: Stat’i, Materialy. Vospominaniia [Moscow: Sovetskii kompozitor, 1989], 311).
S. Levit, Iurii Shaporin: ocherk zhizni i tvorchestva (Moscow: Nauka, 1964), 118.
N. Malkov, “Polina Gebl’,” Zhizn’ iskusstva 12 (1926): 10
B. Gorev, “Pamiati dekabristov,” Pahochii teatr, Jan, 5 1926, No, 1 (68), 12.
James Bakst, History of Russian-Soviet Music (New York: Dodd, Mead and Co., 1966), 360.
Bakst, 390 n, 18, The quote is from S. Prokofiev, Pastzvet iskusstva, 97–98, cited in T. Govdanova, Natsionalnorusskie traditsii v muzyke S. S. Prokofiev (Moscow: Sovetskii kom-pozitor, 1961), 5.
This montage corresponded to the libretto’s second version and was excerpted as 17 different numbers. See S. Katonova, “Istoriia sozdaniia opery ‘Dekabristy’ Iu. A. Shaporina,” Uchenye zapiski. Sektor muzyki (Leningrad: Gosudarstvennyi nauchno-issledovatel’skii institut teatra, muzyka i kinematografii, 1958), 2: 142–143.
Iu. Shaporin, “Mysli ob opernoi dramaturgii,” Sovetskaia muzyka 10 (1940): 15.
E. Grosheva, “Traditsii vysokogo patriotizma: opera ‘Dekabristy’ v Moskve i Leningrade,” Teatr 10 (Oct, 1953), 82.
E. Grosheva, “‘Dekabristy’ (Opera Iu, Shaporina),” Sovetskaia muzyka 8 (Aug, 1953): 11.
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© 2009 Ludmilla A. Trigos
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Trigos, L.A. (2009). Rewriting Russian History: Stalin Era Representations. In: The Decembrist Myth in Russian Culture. Palgrave Macmillan, New York. https://doi.org/10.1057/9780230104716_6
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