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By Spencer Jay Golub

"How, why, and in accordance with whose definitions and standards does a tradition self-consciously create reminiscence and venture its destiny. during this impressive book--the first in English to regard Russian historical past as theatre and cultural performance--Spencer Golub finds the performative nature of Russian background within the 20th century and romantic imprisonment / self-imprisonment of the artistic intelligentsia inside this scenario." (back disguise)

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Conceptually and methodologically, this study owes much to the historical models presented by members of the Moscow-Tartu School of Cultural Semiotics, especially those of Yury Lotman. " This coded social text amplifies or silences for the purpose of its structural cohesiveness the dissenting, self-dramatizing voice or personality. " 3 Cultural fetishism and historical improvisation arose from such interruption(s), redefining romantic and realistic behavioral and societal norms so that they became in places not merely symbiotic but identical.

1 In relating this theatrical narrative, I place great stock in images and correspondences, deployed as the stage props of history. Each chapter composes from a combination of elementsactor/icon/archetype; geographic, cultural, and scenic design; theatrical and societal mise en scène; dramatic, narrative, and historical textthe always elusive picture of stage figures imbued with the assumption of spectatorship and a stage seen from an audience's shifting point of view. Conceptually and methodologically, this study owes much to the historical models presented by members of the Moscow-Tartu School of Cultural Semiotics, especially those of Yury Lotman.

This coded social text amplifies or silences for the purpose of its structural cohesiveness the dissenting, self-dramatizing voice or personality. " 3 Cultural fetishism and historical improvisation arose from such interruption(s), redefining romantic and realistic behavioral and societal norms so that they became in places not merely symbiotic but identical. Lotman and other Russian cultural historians point to Peter the Great's early-eighteenth-century ''theatrical" fiat requiring Russian nobles to act like Europeans as the primary cultural interruption.

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