This 1994 pioneering study documents the extent and diversity of the impact of Nietzschean ideas on Soviet literature and culture. It shows how these ideas, unacknowledged and reworked, entered and shaped that culture and stimulated the imagination of both supporters and detractors of the regime.

A comprehensive account of the influence of occult beliefs and doctrines on intellectual and cultural life in twentieth-century Russia.

Nietzsche says "good Europeans" must not only cultivate a "supra-national" view, but also "supra-European" perspective to transcend their European biases and see beyond the horizon of Western culture. The volume takes up such conceptual frontier crossings and syntheses. Emphasizing Nietzsche's genealogy of European culture and his reflections upon the constitution of Europe in the broadest sense, its essays examine peoples and nations, values and arts, knowledge and religion. Nietzsche's apprehensions about the crises of nihilism and decadence and their implications for Europe's (and humankind’s) future are investigated in this context. Concerning the crossing of notional frontiers, contributors examine Nietzsche’s hoped-for dismantling of Europe’s state borders, the overcoming of national prejudices and rivalries, and the propagation of a revitalizing "supra-European" perspective on the continent, its culture(s) and future. They also illuminate lines of syntheses, notably the syncretism of the ancient Greeks and its possible example for the European culture to-be. Finally certain of Europe's current problems are considered via the critical apparatus furnished by Nietzsche's philosophy and the diagnostic tools it provides.

A prevailing belief among Russia’s cultural elite in the early twentieth century was that the music of composers such as Sergei Rachmaninoff, Aleksandr Scriabin, and Nikolai Medtner could forge a shared identity for the Russian people across social and economic divides. In this illuminating study of competing artistic and ideological visions at the close of Russia’s “Silver Age,” author Rebecca Mitchell interweaves cultural history, music, and philosophy to explore how “Nietzsche’s orphans” strove to find in music a means to overcome the disunity of modern life in the final tumultuous years before World War I and the Communist Revolution.

Examines how Nietzschean ideas influenced the composition of Mahler's first four, so-called Wunderhorn, symphonies. Gustav Mahler and Friedrich Nietzsche both exercised a tremendous influence over the twentieth century. All the more fascinating, then, is Mahler's intellectual engagement with the writings of Nietzsche. Given the limited and frequently cryptic nature of the composer's own comments on Nietzsche, Mahler's specific understanding of the elusive thinker is achieved through the examination of Nietzsche's reception amongst the people who introduced composer to philosopher: members of the Pernerstorfer Circle at the University of Vienna. Mahler's Nietzsche draws on a variety of primary sources to answer two key questions. The first is hermeneutic: what do Mahler's allusions to Nietzsche mean? The second is creative: how can Mahler's own characterization of Nietzsche as an "epoch-making influence" be identified in his compositional techniques? By answering these two questions, the book paints a more accurate picture of the intersections of the arts, philosophy and politics in fin-de-siècle Vienna. Mahler's Nietzsche will be required reading for scholars and students of nineteenth and early twentieth century German music and philosophy.

At the end of the nineteenth and the beginning of the twentieth century, a large and varied group of the Russian intelligentsia became fascinated by Friedrich Nietzsche, whose provocative ideas inspired many of them to overcome obsolete traditions and to create new values. Paradoxically, the German philosopher, who vigorously challenged the established Christian worldview, invigorated the rich ferment of religious philosophy in the Russian Silver Age: his ideas served as a fruitful source of inspiration for the philosophers of the Russian religious renaissance, the so-called God-seekers, in their quest for a new religious consciousness. Especially Nietzsche’s anthropology of the Übermensch was instrumental in their reformulation of Christianity. This book explores how three pivotal figures in the Russian religious reception of Nietzsche, i.e. Vladimir Solov’ëv, Dmitrii Merezhkovskii and Nikolai Berdiaev, engaged in a vacillating yet highly prolific debate with Nietzsche and how each of them appropriated his anthropology of the Übermensch in their religious philosophy. In order to explain Merezhkovskii’s and Berdiaev’s assessment of Nietzsche, the author highlights the significance of Dostoevskii: only by reading Nietzsche through the prism of Dostoevskii could both God-seekers pin down the religious ramifications of Nietzsche’s thought. This book will be of interest to anyone fascinated by Nietzsche, Dostoevskii, Russian religious philosophy, Russian history of ideas and reception studies.

Certain aspects of American popular culture had a formative influence on early Soviet identity and aspirations. Traditionally, Soviet Russia and the United States between the 1920s and the 1940s are regarded as polar opposites on nearly every front. Yet American films and translated adventure fiction were warmly received in 1920s Russia and partly shaped ideals of the New Soviet Person into the 1940s. Cinema was crucial in propagating this new social hero. While open admiration of American film stars and heroes of literary fiction in the Soviet press was restricted from the late 1920s onwards, many positive heroes of Soviet Socialist Realist films in the 1930s and 1940s were partially a product of Soviet Americanism of the previous decade. Some of the new Soviet heroes in films of the 1930s and 1940s possessed traits noticeably evocative of the previously popular American film stars such as Douglas Fairbanks, Pearl White and Mary Pickford. Others cinematically represented the contemporary trope of the 'Russian American,' an ideal worker exemplifying the Stalinist marriage of 'Russian revolutionary sweep' with 'American efficiency. 'Russian Americans' in Soviet Film analyses the content, reception and underlying influences of over 60 Soviet and American films, the book explores new territory in Soviet cinema and Soviet-American cultural relations. It presents groundbreaking archival research encompassing Soviet audience surveys, Soviet film journals and reviews, memoirs and articles by Soviet filmmakers, and scripts, among other sources. The book reveals that values of optimism, technological skill, efficiency and self-reliance - perceived as quintessentially American - were incorporated into new Soviet ideals through channels of cross-cultural dissemination, resulting in cultural synthesis.

Significant German communities existed in Russia for three centuries until the Bolshevik revolution gradually extirpated their presence. These 18 papers explore a number of cultural influences that the German presence had on Russian letters, art, architecture, music, and other cultural pursuits. Spe.

Awarded the Jane Grayson Prize by the International Vladimir Nabokov Society Shortlisted for The European Society for the Study of English (ESSE) Book Award Nabokov and Nietzsche: Problems and Perspectives addresses the many knotted issues in the work of Vladimir Nabokov – Lolita's moral stance, Pnin's relationship with memory, Pale Fire's ambiguous internal authorship – that often frustrate interpretation. It does so by arguing that the philosophy of Friedrich Nietzsche, as both a conceptual instrument and a largely unnoticed influence on Nabokov himself, can help to untie some of these knots. The study addresses the fundamental problems in Nabokov's writing that make his work perplexing, mysterious and frequently uneasy rather than simply focusing on the literary puzzles and games that, although inherent, do not necessarily define his body of work. Michael Rodgers shows that Nietzsche's philosophy provides new, but not always palatable, perspectives in order to negotiate interpretative impasses, and that the uneasy aspects of Nabokov's work offer the reader manifold rewards.

"Nietzsche's ideas were widely disseminated among and appropriated by the first Hebrew Zionist writers and leaders. It seems quite appropriate, then, that the first Zionist Congress was held in Basle, where Nietzsche spent several years as a professor of classical philology. This coincidence gains profound significance when we see Nietzsche's impact on the first Zionist leaders and writers in Europe as well as his presence in Palestine and, later, in the State of Israel."—from the IntroductionThe early Zionists were deeply concerned with the authenticity of the modern Jew qua person and with the content and direction of the reawakening Hebrew culture. Nietzsche too was propagating his highest ideal of a personal authenticity. Yet the affinities in their thought, and the formative impact of Nietzsche on the first leaders and writers of the Zionist movement, have attracted very little attention from intellectual historians. Indeed, the antisemitic uses to which Nietzsche's thought was turned after his death have led most commentators to assume the philosopher's antipathy to Jewish aspirations. Jacob Golomb proposes a Nietzsche whose sympathies overturn such preconceptions and details for the first time how Nietzsche's philosophy inspired Zionist leaders, ideologues, and writers to create a modern Hebrew culture. Golomb cites Ahad Ha'am, Micha Josef Berdichevski, Martin Buber, Theodor Herzl, Max Nordau, and Hillel Zeitlin as examples of Zionists who "dared to look into Nietzsche's abyss." This book tells us what they found.