Titlebook: Soviet Historical Drama; Its Role in the Deve Spencer E. Roberts Book 1965 Martinus Nijhoff, The Hague, Netherlands 1965 Biographie.drama.g

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玩笑

Atmosphere

The Transformation of Lermontov, later replaced by . (Problems of History), with a shift in editors. From articles in the early issues, it became clear that dialectical materialism would again be applied to the past (more or less as in the pre-1934 period)..

消息靈通

Lunacharskii Versus the Proletcult,t—drawn from the four corners of the earth. But, in the first years after the Revolution, only the lowest layers of society were considered worthy of depiction. A number of writers even went so far as to make the masses the play’s protagonist.

THROB

,The Myth of Sten’ka Razin,mbarrassment to rigid Marxists. But if the proletariat was unable to provide the necessary heroes, the peasantry could; and it was the early peasant rebellions which now attracted the attention of writers eager to document continuity between the old and the new.

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災(zāi)難

Introduction, and everyone more at present than do similar works belonging to the realm of pure fiction.”. Although Belinskii was writing in 1841, his statement could equally well apply to the Russia of a century later, when the interest in historical fiction had become, if anything, more intense. In fact, the a

anthesis

The Genre,dom approached it with a dispassionate eye; in defending their viewpoint, they have been more generous with censure than with praise. Drama, considerably limited in scope, has come in for a greater share of this wrath than has the novel. That the problem is not a recent one is evident from Aristotle

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,The Myth of Sten’ka Razin,ywrights wishing to contribute to the mystique would comb their national history for popular representatives who had revolted against the established order. Russian history did not lack rebels, but it was deficient in rebels who had their origin in the proletariat, and this was a constant point of e