Музыка боли. Образ травмы в советской и восточноевропейской музыке конца XX века

11. Kornetchuk E. Soviet Art under Government Control: From the 1917 Revolution to Khrushchev’s Thaw // Nonconformist Art: The Soviet Experience 1956–19861 Ed. by Alla Rosenfeld and Norton T Dodge. New York: The Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey and Thames and Hudson, 1995. P. 43–45. Cm. также: Suny. The Soviet Experiment. P. 404.

12. Suny. The Soviet Experiment. P. 392–393.

13. Boobbyer. Conscience, Dissent and Reform. P. 61–63, 69–70; Smith. Remembering Stalin’s Victims. P. 20–33.

14. Smith. Remembering Stalin’s Victims. P. 33; Merridale. Night of Stone. P. 266–270; Figes. The Whisperers. P. 535–596, 599.

15. Suny. The Soviet Experiment. P. 406–407, 415–420, 425–429.

16. Dobson M. Khrushchev’s Cold Summer: Gulag Returnees, Crime and the Fate of Reform after Stalin. Ithaca, N.Y: Cornell University Press, 2009.

17. Scammell M. Art as Politics and Politics in Art // Nonconformist Art: The Soviet Experience 1956–1986 I Ed. by Alla Rosenfeld and Norton T Dodge. New York: The Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey and Thames and Hudson, 1995. P. 51.

18. Smith. Remembering Stalin’s Victims. P. 39; Figes. The Whisperers. P. 605.

19. Yurchak A. Everything Was Forever, Until It Was No More: The Last Soviet Generation. Princeton, N.J.: Princeton University Press, 2006. Р. 126–157. Уильям Томпсон отмечает все более репрессивный подход к открытому несогласию и распространению инакомыслия и протестной деятельности. См.: Tompson W. J. The Soviet Union under Brezhnev. Harlow, U.K.: Pearson/Longman, 2003. P. 98–108. Марк Сандл рассматривает жизненный опыт нацеленных на реформы представителей «официальной интеллигенции» в 1960-е и 1970-е годы. Именно эти люди в дальнейшем задавали общий тон перестройке. См.: Sandle М. A Triumph of Ideological Hairdressing? Intellectual Life in the Brezhnev Era Reconsidered // Brezhnev Reconsidered I Ed. by Edwin Bacon and Mark Sandle. New York: Palgrave Macmillan, 2002. P. 136.

20. Boobbyer. Conscience, Dissent and Reform. P. 34–36, 89–91.

21. Svirski G. A History of Post-War Soviet Writing: The Literature of Moral Opposition I Ed. by Robert Dessaix and Michael Ulman; trans, by Robert Dessaix and Michael Ulman. Ann Arbor, Mich.: Ardis, 1981. P. 11–18.

22. Boobbyer. Conscience, Dissent and Reform. P. 71–73; Clark. Changing Historical Paradigms. P. 298; Suny. The Soviet Experiment. P. 406; Yurchak. Everything Was Forever. P. 95.

23. Yurchak. Everything Was Forever. P. 1–35, 157.

24. Svirski. A History of Post-War Soviet Writing. P. 77–86.

25. Kennedy J. Realism, Surrealism and Photorealism: The Reinvention of Reality in Soviet Art of the 1970s and 1980s // Nonconformist Art: The Soviet Experience 1956–1986 / Ed. by Alla Rosenfeld and Norton T. Dodge. New York: The Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey and Thames and Hudson, 1995. P. 273–292.

26. Merridale. Night of Stone. P. 300–302, 307.

27. Clark. Changing Historical Paradigms. P. 298–299.

28. Ivashkin A. Letter from Moscow Post October Soviet Art: Canon and Symbol II Musical Quarterly. 1990. Vol. 74, № 2. P. 303–317.

29. Clark. Changing Historical Paradigms. P. 289, 299–302.

30. Epstein M. After the Future: On the New Consciousness in Literature // Late Soviet Culture: From Perestroika to Novostroika / Ed. by Thomas Lahusen and Gene Kuperman. Durham, N.C. and London: Duke University Press, 1993. P. 257–258.

31. Groys B. The Total Art of Stalinism: Avant-Garde, Aesthetic Dictatorship and Beyond. Princeton, N.J.: Princeton University Press, 1992. P. 41–42, 49, 73, 75, 108, 110.

32. Herman J. L. Trauma and Recovery. New York: Harper Collins, 1992. P. 37–39; van der Kolk B. A. and van der Hart O. The Intrusive Past: The Flexibility of Memory and the Engraving of Trauma // Trauma: Explorations in Memory I Ed. by Cathy Caruth. Baltimore and London: Johns Hopkins University Press, 1995. P. 159–164.

33. Van der Kolk and van der Hart. The Intrusive Past. P. 172.

34. Young A. The Harmony of Illusions: Inventing Posttraumatic Stress Disorder. Princeton, N.J.: Princeton University Press, 1995. P. 7; Herman. Trauma and Recovery. P. 37.

35. LaCapra D. Writing History, Writing Trauma. Baltimore: Johns Hopkins University Press, 2001. P. 186.

36. Ivashkin. Alfred Schnittke. P. 10–34; Шульгин Д. И. Годы неизвестности Альфреда Шнитке (Беседы с композитором). М.: Деловая Лига,

1993. С. 10–11; Ивашкин А. В. Беседы с Альфредом Шнитке. М.: РИК «Культура», 1994. С. 13–22, 29–31.

37. Schmelz Р. J. Such Freedom, If Only Musical: Unofficial Soviet Music During the Thaw. Oxford and New York: Oxford University Press, 2009. P. 35–37.

38. О соцреализме в музыке см.: Bek М., Chew G. and Macek P. (eds). Socialist Realism and Music. Prague and Brno: KLP, Institute of Musicology, Masaryk University, 2004.

39. Schmelz. Such Freedom, If Only Musical. P. 6.