The historical study on the censorship system in the cultural policies of Stalin era.
Grant-in-Aid for Scientific Research (C)
|Allocation Type||Single-year Grants|
|Research Institution||Tokyo University of Foreign Studies|
KAMEYAMA Ikuo Tokyo University of Foreign Studies, Faculty of foreign studies, Professor, 外国語学部, 教授 (00122359)
|Project Period (FY)
2002 – 2004
Completed(Fiscal Year 2004)
|Budget Amount *help
¥3,200,000 (Direct Cost : ¥3,200,000)
Fiscal Year 2004 : ¥800,000 (Direct Cost : ¥800,000)
Fiscal Year 2003 : ¥1,000,000 (Direct Cost : ¥1,000,000)
Fiscal Year 2002 : ¥1,400,000 (Direct Cost : ¥1,400,000)
|Keywords||stalinism / censorship / russian avantgard / socialist realism / enthusiasm / euphoria / double-dealing / the great terror / 全体主義 / プロコフィエフ / ショスタコーヴィチ / 公共の嘘 / 「音楽ならざる荒唐無稽」 / 芸術問題委員会 / ゾーシチェンコ / ジターノフ / 形式主義批判 / グラヴリト / スターリン|
In this study I mainly considered the censorship system in the Stalin era from the side of the Soviet power. As for the theme itself, it surfaced after Soviet Union's collapse and has been studied in Russia and overseas. Based on the findings of such studies, I investigated the mutual relations between Prokofiev and Stalin (who both have greeted posthumously 50 years together in 2003.), and between artists and Stalin's power more generally, and published the following articles as a step toward the establishment of ≪Stalinology≫, a new research sphere I am now attempting to construct. In addition, apart from these articles, I am now preparing a book entitled ≪Stalin. A great censor --Cacophony between culture and political power in the 20^<th> century Russia≫ which will be published in October, 2005 by Shogakukan.
In the article that focused on the relationship between Prokofiev and Stalin's power, I clarified the reasons and motives which urged the composer to return to the Soviet Union
in 1936 after 15 years stay abroad and analized the political meanings of his works composed for the purpose of admiring Soviet Union and Stalin personally.
In the second article on Shostakovich, I threw light on his early works (in 1920's) and analized how they had been forced to change their style and musical language under the influence of the establishment of the Stalin's power (though this article is still unfinished).
In the third article which treated the relationship of the geneticist Lysenko and the linguist Marr with Stalin's power, I reevaluated and described the present-age meanings of their relationships, shedding light from the viewpoint of poetry and world-views of Russian avant-garde movements.
In the fourth article focusing on the relationships between Mayerhold and Stalin's power, I clarified, based on the most recent material, the unsolved mysteries of Mayerhold's last year found in his biographies, in particular, the truth of his death.
In the fifth article, I described the reality of Boris Pasternak and his worship for Stalin, and the reasons why it was impossible to incorporate the era after 1929 in the historical framework in his most important work of "Doctor Givago". Less
Research Products (19results)