In his short essay about Chopin (1945), Pasternak poses the question:What does realism in music mean?The answer to this question is far from obvious. And certainly the answer given byPasternak, in which he points to Chopin, together with Bach, as one of the great realistsin music; realist, that is, in the same meaning of the word as was Lev Tolstoj - this answer can of course be disputed. But perhaps even more interesting than theanswer is the question, what it was in Chopin's music that for Pasternak made it into analmost paradigmatic example of realism, not only in music, but in art in general?To try to get an understanding of the possible motives behind such a view, we need totake a closer look at the biography of Boris Pasternak, the development of his views ofart and music in particular, his philosophical view of reality (the possible lastinginfluence from Hermann Cohen and the Marburg school), his idea of realism in generaland his relationship to the ruling idea of socialist realism. In particular, analyzingPasternak's view of realism, as it is expressed in Lejtenant Shmidt (1927), and theviews expounded in Shopen (1945) we will try to discern the development - if any -that has taken place in the 18 years that separate these two works. Other works byPasternak that are central to getting closer to understand his views on realism are Neskol'ko polozhenij (1922), Okhrannaja gramota (1931), which is a kind ofminiature autobiography, as is also Ljudi i polozhenija (1956), equally important.
| Identifer | oai:union.ndltd.org:UPSALLA1/oai:DiVA.org:su-219393 |
| Date | January 2002 |
| Creators | Philipson, Joakim |
| Publisher | Stockholms universitet, Universitetsbiblioteket, Stockholms universitet, Slaviska institutionen |
| Source Sets | DiVA Archive at Upsalla University |
| Language | English |
| Detected Language | English |
| Type | Student thesis, info:eu-repo/semantics/bachelorThesis, text |
| Format | application/pdf |
| Rights | info:eu-repo/semantics/openAccess |
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