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Anna Ross, Beyond the Barricades: Government and State-Building in Post-Revolutionary Prussia, 1848–1858
European History Quarterly ( IF 0.4 ) Pub Date : 2019-10-01 , DOI: 10.1177/0265691419877354r
Bodie A. Ashton

early experience and his acquaintances. His reliance on symbols, philosophical images and past experience to interpret music blends into his life view, his teaching and his performing. Although he was not ‘religious’, he viewed art and music as being spiritual and demanding a high moral standard, and also contributed ‘a spiritual vision’. He himself participated in many forms of learning and debate: poetry reading, the study of philosophers, especially Nietzsche, and the study of the arts. Neuhaus was raised in a multi-ethnic musical family. His father, a musician, and piano maker influenced him in many ways. Neuhaus kept some of this technical interest in the instrument and its use throughout his life. His father also taught him to read German philosophers and study German composers. The family travelled often in Germany and Austria. Neuhaus subsequently spent time in Italy which also shaped his worldview. His career at the Moscow conservatory is depicted well. His classes in room 29 were attended by many observers. He was one of the pillars of the piano department for his lengthy career and trained at least 19 well-known students including Sviatoslav Richter and Emil Gilels. The author claims that Neuhaus was a ‘household word’ in the USSR. A bit more evidence of this would be useful beyond the piano circle. Much of the book is dedicated to examining Neuhaus’s friendships with poets, artists and philosophers (most famously Boris Pasternak) and the influences that his studies reading past masters had on him. The book also attempts to clarify his definitions of reality, history, subjectivity and art. The sources used are flawless, including: biographies and autobiographies, correspondence and archival material as well as secondary literature on Soviet music and culture. Technically the writing is fairly dense, especially in the sections on philosophy. Also, names of musical works are written out which can get lengthy if the reader is not familiar with the various works of composers. There are some small copyediting errors, for example the word ‘were’ appears in place of ‘where’ on page 3. Despite some of these issues, the read is captivating as it depicts a complex and flamboyant character and it brings multiple aspects of Soviet and musical culture together into a mosaic of ideas which were not always acceptable in the politics of the day, but which nevertheless survived and shaped the real creativity and legacy of the era.

中文翻译:

安娜·罗斯,《超越路障:革命后普鲁士的政府和国家建设,1848-1858 年》

早年的经历和他的熟人。他依靠符号、哲学意象和过去的经验来诠释音乐,融入了他的人生观、教学和表演。虽然他不是“宗教”,但他认为艺术和音乐是精神的,要求很高的道德标准,也贡献了“精神愿景”。他本人参与了多种形式的学习和辩论:诗歌阅读、哲学家,尤其是尼采的研究,以及艺术的研究。纽豪斯在一个多民族音乐家庭长大。他的父亲是一位音乐家和钢琴制造商,他在很多方面都影响了他。诺伊豪斯在他的一生中一直对这种乐器及其使用保持着这种技术兴趣。他的父亲还教他阅读德国哲学家和研究德国作曲家。一家人经常去德国和奥地利旅行。诺伊豪斯随后在意大利度过了一段时间,这也塑造了他的世界观。他在莫斯科音乐学院的职业生涯描绘得很好。许多旁听者出席了他在 29 室的课程。在他漫长的职业生涯中,他是钢琴系的支柱之一,培养了至少 19 名知名学生,其中包括斯维亚托斯拉夫·里希特 (Sviatoslav Richter) 和埃米尔·吉列斯 (Emil Gilels)。作者声称 Neuhaus 在苏联是一个“家喻户晓的词”。在钢琴圈之外,更多的证据将是有用的。这本书的大部分内容都致力于研究诺伊豪斯与诗人、艺术家和哲学家(最著名的是鲍里斯·帕斯捷尔纳克)的友谊,以及他阅读过去大师的研究对他的影响。这本书还试图阐明他对现实、历史、主体性和艺术的定义。使用的来源是完美的,包括:传记和自传,书信和档案材料以及关于苏联音乐和文化的二级文献。从技术上讲,写作相当密集,尤其是在哲学部分。此外,如果读者不熟悉作曲家的各种作品,会写出音乐作品的名称,这可能会变得冗长。有一些小的编辑错误,例如第 3 页上的“were”一词代替了“where”。尽管存在这些问题,但阅读仍很吸引人,因为它描绘了一个复杂而华丽的角色,并带来了苏联的多个方面和音乐文化结合在一起,形成了一系列思想,这些思想在当时的政治中并不总是可以接受的,但仍然存在并塑造了那个时代的真正创造力和遗产。从技术上讲,写作相当密集,尤其是在哲学部分。此外,如果读者不熟悉作曲家的各种作品,会写出音乐作品的名称,这可能会变得冗长。有一些小的编辑错误,例如第 3 页上的“were”一词代替了“where”。尽管存在这些问题,但阅读仍很吸引人,因为它描绘了一个复杂而华丽的角色,并带来了苏联的多个方面和音乐文化结合在一起,形成了一系列思想,这些思想在当时的政治中并不总是可以接受的,但仍然存在并塑造了那个时代的真正创造力和遗产。从技术上讲,写作相当密集,尤其是在哲学部分。此外,如果读者不熟悉作曲家的各种作品,会写出音乐作品的名称,这可能会变得冗长。有一些小的编辑错误,例如第 3 页上的“were”一词代替了“where”。尽管存在这些问题,但阅读仍很吸引人,因为它描绘了一个复杂而华丽的角色,并带来了苏联的多个方面和音乐文化结合在一起,形成了一系列思想,这些思想在当时的政治中并不总是可以接受的,但仍然存在并塑造了那个时代的真正创造力和遗产。如果读者不熟悉作曲家的各种作品,会写出音乐作品的名称,这可能会变得冗长。有一些小的编辑错误,例如第 3 页上的“were”一词代替了“where”。尽管存在这些问题,但阅读仍很吸引人,因为它描绘了一个复杂而华丽的角色,并带来了苏联的多个方面和音乐文化结合在一起,形成了一系列思想,这些思想在当时的政治中并不总是可以接受的,但仍然存在并塑造了那个时代的真正创造力和遗产。如果读者不熟悉作曲家的各种作品,会写出音乐作品的名称,这可能会变得冗长。有一些小的编辑错误,例如第 3 页上的“were”一词代替了“where”。尽管存在这些问题,但阅读仍很吸引人,因为它描绘了一个复杂而华丽的角色,并带来了苏联的多个方面和音乐文化结合在一起,形成了一系列思想,这些思想在当时的政治中并不总是可以接受的,但仍然存在并塑造了那个时代的真正创造力和遗产。
更新日期:2019-10-01
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