Progressiv weil national?

IF 0.1 Q3 HISTORY JAHRBUCHER FUR GESCHICHTE OSTEUROPAS Pub Date : 2019-01-01 DOI:10.25162/JGO-2019-0013
Michel Abesser
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Abstract

The article analyses debates on jazz after 1953 through the lens of Soviet national cultures. Within the context of Cultural Cold War and the limited opening of the country, the question of a unique Soviet Jazz quickly gained political relevance. Soviet Estonia, at the multinational empire’s periphery, was often imagined as the “Soviet West” by contemporaries. The republic was home to a small but well-educated jazz scene that already developed during the time of the anti-western campaigns of the late 1940s. In the post-Stalin period, Party and cultural elites in Moscow and Leningrad increasingly struggled with a growing number of young jazz enthusiasts that aimed at establishing jazz as art music based on improvisation and influenced by the American model. In these debates on the establishment of a specifically Soviet Jazz, conservative and reform-minded members of the cultural elites envisioned Estonian jazz as an early role model for a number of reasons: Its members were not only highly qualified, but also willing to make traditional Estonian folklore a key element of jazz. What is more, the musicians kept close ties with the Estonian cultural institutions. The growing number of jazz festivals hosted in the Estonian Soviet Republic provided an important public space for the emerging young Soviet jazz culture. At the same time, many Estonian jazz musicians advocated a more critical approach towards improvisation than musicians from Moscow and Leningrad. Their discussions resembled arguments against American superficiality brought forward by party ideologists in the late 1940s. The article questions narratives of jazz as cultural resistance to political oppression, and argues that a focus on cultural transfer from behind the Iron Curtain is too narrow for explaining the genesis, heterogeneity and durability of late Soviet culture. Greater emphasis on the non-Russian peripheries as cradles of culture can provide us with more nuanced interpretations on the renewal of Soviet culture after Stalin’ death.
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进步的国家?
本文从苏联民族文化的角度分析了1953年以后关于爵士乐的争论。在文化冷战和国家有限开放的背景下,独特的苏联爵士乐问题很快获得了政治相关性。苏联时期的爱沙尼亚位于多民族帝国的边缘,常被同时代的人想象成“苏联西部”。在20世纪40年代末的反西方运动期间,共和国内出现了一批规模虽小但受过良好教育的爵士乐坛。在后斯大林时期,莫斯科和列宁格勒的党和文化精英们越来越多地与越来越多的年轻爵士乐爱好者作斗争,这些爵士乐爱好者旨在将爵士乐建立在即兴创作的基础上,并受到美国模式的影响。在这些关于建立一个特别的苏联爵士的辩论中,文化精英中的保守派和改革派成员将爱沙尼亚爵士视为早期的榜样,原因有很多:它的成员不仅高素质,而且愿意将传统的爱沙尼亚民间传说作为爵士乐的一个关键元素。此外,音乐家们与爱沙尼亚文化机构保持密切联系。在爱沙尼亚苏维埃共和国举办的越来越多的爵士音乐节为新兴的年轻苏维埃爵士文化提供了重要的公共空间。与此同时,与莫斯科和列宁格勒的音乐家相比,许多爱沙尼亚爵士音乐家主张对即兴演奏采取更为批判的方法。他们的讨论类似于20世纪40年代末党内理论家提出的反对美国肤浅的争论。这篇文章质疑了爵士乐作为对政治压迫的文化抵抗的叙述,并认为把重点放在铁幕后面的文化转移上,对于解释苏联晚期文化的起源、异质性和持久性来说太狭隘了。更多地强调非俄罗斯外围地区作为文化摇篮,可以为我们提供对斯大林死后苏联文化复兴更细致入微的解释。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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