Thematische Bibliographien / Lady Macbeth of the Mtsensk District

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Auswahl der wissenschaftlichen Literatur zum Thema „Lady Macbeth of the Mtsensk District“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 1. Februar 2022

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Zeitschriftenartikel zum Thema "Lady Macbeth of the Mtsensk District"

Roseberry, Eric, Shostakovich, Haugland, Langridge, Ewing und Myung-Whun Chung. „Lady Macbeth of the Mtsensk District“. Musical Times 135, Nr. 1813 (März 1994): 176. http://dx.doi.org/10.2307/1002921.

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Chapple, Freda. „Adaptation as Education:A Lady Macbeth of the Mtsensk District“. Journal of Adaptation in Film & Performance 1, Nr. 1 (07.11.2007): 17–31. http://dx.doi.org/10.1386/jafp.1.1.17_1.

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McBurney, Gerard. „SOME FREQUENTLY-ASKED QUESTIONS ABOUT SHOSTAKOVICH'S ‘ORANGO’“. Tempo 64, Nr. 254 (Oktober 2010): 38–40. http://dx.doi.org/10.1017/s0040298210000409.

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Bellmunt-Serrano, Manel. „Leskov’s rewriting of Lady Macbeth and the processes of adaptation and appropriation“. Sederi, Nr. 29 (2019): 11–33. http://dx.doi.org/10.34136/sederi.2019.1.

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This article tries to provide a thorough analysis of Nikolai Leskov’s rewriting of Lady Macbeth, the Shakespearean character, in the novella Lady Macbeth of the Mtsensk District, from the perspective of Translation and Adaptation Studies. The focus will be placed on the ideology of the author who, with full knowledge, rewrites a previous work to adapt it to a specific context. Apart from Leskov’s work, attention will be also paid to two of its subsequent adaptations: Dmitri Shostakovich’s homonymous opera and William Oldroyd’s filmic version, Lady Macbeth. Finally, the importance of these processes for the development of target literary systems will be discussed and emphasized.

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Klimova, M. N. „Lady Macbeth in the Context of Russian Culture: From a Character to a Plot“. Studies in Theory of Literary Plot and Narratology 15, Nr. 1 (2020): 73–88. http://dx.doi.org/10.25205/2410-7883-2020-1-73-88.

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Lady Macbeth, the ambitious wife of the title character of the Scottish tragedy of W. Shakespeare, became a household name. Her name is represented in collective consciousness both as a symbol of insidiousness and as a reminder of the torments of a guilty conscience. Lady Macbeth entered the world culture, as an image of a strong and aggressive woman, who is ready for a conscious violation of ethical norms and rises even against the laws of her nature. N. S. Leskov describes appearance of that kind of a character in a musty atmosphere of a Russian province in his famous novella “Lady Macbeth of the Mtsensk District” (1864). He pegged this image as the product of a suffocating lack of freedom of his contemporary reality. The author moved typical features of the Shakespearean heroine to a Russian soil, into the thick of people’s life and created a special love-criminal plot of complex origin for the purposes of its full disclosure in new conditions. The novella plot organically absorbs a number of Shakespearean motifs and images despite of the fact that it is outwardly far from the events of the tragedy “Macbeth”. Notwithstanding that Leskov’s novella had been leaving out by critics’ attention for more than 60 years, it was included in the gold fund of Russian classics in the 20 th century, evoked many artistic responses in literature and art, gained international fame and complemented the content of the “Russian myth” in world culture. Not only Leskov’s novella is discussed in the article but also other variants of the Russian Lady Macbeth’s plot such as the poem of N. Ushakov, the story of Yu. Dombrovsky, named after the Shakespearean heroine, as well as a fragment of the novel by L. Ulitskaya “Jacob’s Ladder” with discussing of the draft of one of the possible staging of the essay. Also, a hidden presence of this plot for the first time is noticed in the story “Rus” by E. I. Zamyatin and in the ballad-song “Lesnichikha” by V. Dolina. Moreover, the article gives analysis of transpositions of this literary source into theater, music and cinema languages: its first stage adaptation by director A. Dikiy, the opera “Katerina Izmailova” by D. D. Shostakovich, and its screen versions and cinema remakes such as “Siberian Lady Macbeth” by A. Wajda, “Lady Macbeth of the Mtsensk District” by R. Balayan, “Moscow Nights” by V. Todorovsky, “Lady Macbeth” by W. Oldroyd. The moral evaluation of the Katerina Izmailova’s story left for Leskov as a frightening mystery of an immense Russian soul, but in the further processing of the plot it ranges from condemnation to justification and even apology of the heroine. Adaptations of this plot are also differ in the degree of dependence of the central female image from his Shakespearean prototype.

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Emerson, Caryl. „Back to the future: Shostakovich's revision of Leskov's ‘Lady Macbeth of Mtsensk District’“. Cambridge Opera Journal 1, Nr. 1 (März 1989): 59–78. http://dx.doi.org/10.1017/s0954586700002767.

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‘Librettology’ has begun to acquire a working vocabulary. Critics now investigate the relationship between a libretto and its literary source in terms other than fidelity; a text adapted for musical setting no longer disappears from the realm of the ‘literary’. Historians and musicologists are considering the role of opera librettos in cultural history, with special attention to librettos that rework historical, national or mythic themes. How operatic texts transpose and thus ‘re-accent’ a nation's literary classics is emerging as a fruitful and still unexplored field.

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WELLS, ELIZABETH A. „‘The New Woman’: Lady Macbeth and sexual politics in the Stalinist era“. Cambridge Opera Journal 13, Nr. 2 (Juli 2001): 163–89. http://dx.doi.org/10.1017/s095458670100163x.

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Shostakovich's Lady Macbeth of the Mtsensk District became extraordinarily infamous after its damnation by Pravda in 1936. The amount of violence and sex in the opera distinguishes it from the Leskov novella on which it was based, and seems to have underpinned Stalin's disapproval. The complex relation between Shostakovich's detailed representation of sexuality and his portrait of Katerina, the opera's tragic heroine, mirrors the social tensions of the sexual revolution and the conservative backlash of the 1920s and 1930s. The writings of feminist Alexandra Kollontai (1872–1952) about the new Soviet woman display striking similarities to Shostakovich's portrayal of his female characters and offer a context for his approach.

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Géry, Catherine. „La « soviétisation » des héritages du XIXe siècle : l'exemple de Nikolaï Leskov (Lady Macbeth du district de Mtsensk)“. Revue Russe 39, Nr. 1 (2012): 27–38. http://dx.doi.org/10.3406/russe.2012.2512.

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BULLOCK, PHILIP ROSS. „Staging Stalinism: The search for Soviet opera in the 1930s“. Cambridge Opera Journal 18, Nr. 1 (März 2006): 83–108. http://dx.doi.org/10.1017/s0954586706002114.

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With the exception of Shostakovich's Lady Macbeth of the Mtsensk District, Soviet opera in the 1930s has been relatively little studied. Yet this was an era in which opera was vigorously promoted as an ideal Soviet form after more than a decade of criticism from radical proletarian groups. This article considers three main aspects of Soviet operatic culture in the 1930s. First, opera's emotional power was valued as a way to mobilise mass opinion and the opera house was increasingly seen as a highly ideological site. Second, whilst most of the work in founding a Soviet repertory was carried out at Leningrad's Malyi Opera Theatre, Moscow became increasingly involved as the decade continued. Third, Soviet opera was highly dependent on adaptations of socialist realist novels. This phenomenon of ‘transposition’ is seen here as an attempt to invest scores with an unimpeachable political message. Moreover, transposition was an ideal method of regulating ambiguous literary texts by condensing their cardinal features in dramatic form. Although the story of Soviet opera was largely one of failure, its study sheds important light not only on the development of the Russian operatic tradition, but also on the dynamics of Stalinist culture.

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Jiang, Yuan. „REPRESENTATION OF SHORT HAPPINESS IN TRAGIC LIFE THROUGH NOMAINATION AND PREDICATION MEANS IN N. S. LESKOV’S NOVELLA «LADY MACBETH OF THE MTSENSK DISTRICT»“. Verhnevolzhski Philological Bulletin 20, Nr. 1 (2020): 66–72. http://dx.doi.org/10.20323/2499-9679-2020-1-20-66-72.

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Dissertationen zum Thema "Lady Macbeth of the Mtsensk District"

Cassell, Holly. „Looking through a Different Lens, Beyond Censorship: The American Reception of Lady Macbeth of the Mtsensk District“. Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011793/.

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The censorship of Lady Macbeth of the Mtsensk District is a familiar story to musicologists, but reception of the opera is not frequently mentioned. Examining the reception of a work can bring a work's relative importance into focus. In this thesis, German literary and reception theorist Hans Robert Jauss's model of the horizon of expectations is applied to reviews of American productions of Lady Macbeth. Curiosity about communism following the Great Depression in 1930s, America and American music critics' knowledge that Soviet composers worked for the Soviet regime led to the belief that Lady Macbeth was officially approved export from the Soviet Union. When the article condemning the opera as a Western formalism appeared in the Soviet magazine, Pravda, Americans needed to adjust their understanding of Lady Macbeth as a socialist expression. Following the work's revival in San Francisco in 1981, the influence of Solomon Volkov's Testimony is prevalent in many reviews. Many reviewers use Volkov's narrative of Shostakovich as covert dissident of the Soviet Union to assert that the censorship of the opera was about the content of the plot and not the music. Following the Soviet rejection of the work, American critics tried to claim Shostakovich for the West based on the values of individual freedom and feminism set forth in Lady Macbeth.

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Jones, Laura Frances. „Towards a differently politicised Shostakovich : an analytical, hermeneutical and feminist exploration of the opera "Lady Macbeth of the Mtsensk District"“. Thesis, University of York, 2012. http://etheses.whiterose.ac.uk/3384/.

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This thesis provides a feminist interpretation of Shostakovich’s opera, Lady Macbeth of the Mtsensk District (1932) that draws on musical analysis – particularly of tonality – and explores cultural contexts – particularly the history of Soviet women – in order to do so. If Shostakovich scholarship has been dominated by overtly politicised readings hitherto, this study contributes to the broadening of research methods and areas through which we might examine these compositions – yet for its own, differently political ends. Similarly, it adds to that limited body of literature – in the field of Shostakovich specifically, yet also in musicology in general – that profitably combines both analytical and hermeneutical approaches. Lady Macbeth is often held to be a ‘feminist’ opera: an assessment that is highly problematic. A conventional feminist musical analysis of the work reveals its fundamental tonal-dramatic narrative to tell a familiar story of the heroine Katerina’s struggle and subjugation; moreover, her final defeat is endorsed by aspects of the musical setting in a manner that is regressive. A richer contextual reading demonstrates that more is at stake here: Shostakovich’s opera is shown to embody a shift from experiment to thermidor that took place in the 1920s and 1930s in various cultural and social spheres, and its strategies of endorsement also work to celebrate a move to traditionalism with far-reaching historical implications. Yet several analytical and hermeneutical readings of short extracts from the piece uncover moments in which its monolithic and pessimistic message is complicated: a project in line with other recent feminist and critical musicological developments.

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Bücher zum Thema "Lady Macbeth of the Mtsensk District"

Leskov, Nikolai Semenovich. Lady Macbeth of Mtsensk: A sketch. London: Hesperus, 2003.

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Leskov, Nikolai Semenovich. Lady Macbeth of Mtsensk, and other stories. Harmondsworth, Middlesex, England: Penguin, 1987.

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Shostakovich, Dmitriĭ Dmitrievich. Lady Macbeth of Mtsensk: Opera in four acts. London: [s.n], 1987.

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Shostakovich, Dmitriĭ Dmitrievich. Lady Macbeth of Mtsensk: Opera in four acts and nine scenes by Dmitry Shostakovich. London: English national Opera, 1987.

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Lady Macbeth de Mtsensk. Madrid: Nórdica Libros, 2015.

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Leskov, Nikolai Semenovich. Lady Macbeth De Mtsensk (Clasica). Alba, 2003.

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Chandler, Robert, Donald Rayfield und Nikolai Leskov. Lady Macbeth of Mtsensk: Selected Stories. New York Review of Books, Incorporated, The, 2020.

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Lady Macbeth Of Mtsensk And Othe. Penguin Classic, 2015.

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Leskov, Nikolai Semenovich. "Lady Macbeth of Mtsensk" and Other Stories. Penguin Books, 2001.

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Leskov, Nikolai Semenovich. Lady Macbeth of Mtsensk and Other Stories (Hesperus Classics). Hesperus Press, 2003.

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Buchteile zum Thema "Lady Macbeth of the Mtsensk District"

Emerson, Caryl. „Back to the future: Shostakovich’s revision of Leskov’s ‘Lady Macbeth of Mtsensk District’“. In Opera after 1900, 219–38. Routledge, 2017. http://dx.doi.org/10.4324/9781315090337-11.

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„19. Shostakovich’s “Lady Macbeth of Mtsensk”“. In All the Same The Words Don't Go Away, 342–61. Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618118479-021.

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Hakobian, Levon. „The beginnings of the ‘big Soviet style’. Shostakovich’s Lady Macbeth of Mtzensk District and the first offensives on ‘formalism’“. In Music of the Soviet Era: 1917–1991, 75–139. Routledge, 2016. http://dx.doi.org/10.4324/9781315596822-3.

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