108. L. Siegelbaum and L. Sokolov (eds) Stalinism as a Way of Life (New Haven, Conn., 2000), p. 239.

109. Davies, Popular Opinion in Stalin’s Russia, p. 135.

110. Siegelbaum and Sokolov, Stalinism as a Way of Life, p. 176.

111. Siegelbaum and Sokolov, Stalinism as a Way of Life, p. 241.

112. Schadt, Verfolgung und Widerstand, p. 117.

113. D. Kahn Hitler’s Spies: German Military Intelligence in World War II (London, 1978), pp. 181–2.

114. Davies, Popular Opinion in Stalin’s Russia, pp. 52, 177.

115. Davies, Popular Opinion in Stalin’s Russia, p. 177.

116. S. Graham Stalin: An Impartial Study of the Life and Work of Joseph Stalin (London, 1931), pp. 78–9; see too Thurston, ‘Social Dimensions’, pp. 544–7.

117. V. A. Nevezhin ‘The Pact with Germany and the Idea of an “Offensive War” (1939–1941)’, Journal of Slavic Military Stduies, 8 (1995), pp. 813–15.

118. I. Kershaw Popular Opinion and Political Dissent in the Third Reich; Bavaria, 1933–1945 (Oxford, 1983), pp. 334–57.

119. H. Boberach (ed.) Meldungen aus dem Reich: Auswahl aus den geheimen Lageberichten der Sicherheitsdienst der SS, 1939–1945 (Berlin, 1965).

120. E. Radzinsky Stalin (London, 1996), p. 429.

Глава 9

1. B. Brecht Poems 1913–1956 (London, 1976), p. 294.

2. S. Reid ‘Socialist Realism in the Stalinist Terror: the Industry of Socialism Art Exhibition, 1935–41’, Russian Review, 60 (2001), pp. 153–6.

3. S. Barron (ed.) ‘Degenerate Art’: the Fate of the Avant-Garde in Nazi Germany (New York, 1991), p. 17; P. Adam Arts of the Third Reich (London, 1992), pp. 36–7.

4. Reid, ‘Socialist Realism’, pp. 161–4.

5. Reid, ‘Socialist Realism’, pp. 169–72.

6. Reid, ‘Socialist Realism’, pp. 169, 173–4, 179.

7. Barron, ‘Degenerate Art’, p. 17; F. Spotts Hitler and the Power of Aesthetics (London, 2002), pp. 171–2; Adam, Arts of the Third Reich, p. 94.

8. Spotts, Hitler and the Power of Aesthetics, pp. 171, 176; Barron, ‘Degenerate Art’, p. 18; R. S. Wistrich Weekend in Munich: Art, Propaganda and Terror in the Third Reich (London, 1995), pp. 80, 82–3.

9. Reid, ‘Socialist Realism’, pp. 182–3.

10. Spotts, Hitler and the Power of Aesthetics, p. 172.

11. Adam, Arts of the Third Reich, p. 114; Spotts, Hitler and the Power of Aesthetics, p. 169; Reid, ‘Socialist Realism’, p. 168.

12. H. Ermolaev Soviet Literary Theories 1917–1934: the Genesis of Socialist Realism (New York, 1977), pp. 144, 147; K. Clark The Soviet Novel: History as Ritual (Bloomington, Ind., 2000), pp. 27–31.

13. Ermolaev, Soviet Literary Theories, p. 145; T. Yedlin Maxim Gorky: a Political Biography (Westport, Conn., 1999), pp. 198–9.

14. Ermolaev, Soviet Literary Theories, pp. 166–7.

15. S. Fitzpatrick The Cultural Front: Power and Culture in Revolutionary Russia (Ithaca, NY, 1992), pp. 187–8; Pravda, 28 January 1936. Attacks on Shostakovich were followed by an article in Pravda on 6 February 1936 on modern ballet (‘ballet’s trickery’) and, in the issue for 20 February, on modern building, ‘cacophony in architecture’.

16. I. Golomstock Totalitarian Art (London, 1990), p. 174.

17. R. Hingley Russian Writers and Society 1917–1978 (London, 1979), pp. 198–200.

18. Golomstock, Totalitarian Art, p. 179.

19. S. Tregub The Heroic Life of Nikolai Ostrovsky (Moscow, 1964), pp. 4, 38, 47.

20. W. N. Vickery ‘Zhdanovism (1946–1953)’, in M. Hayward and L. Labedz (eds) Literature and Revolution in Soviet Russia 1917–1962 (Oxford, 1963), p. 110.

21. E. J. Brown The Proletarian Episode in Russian Literature 1928–1932 (New York, 1953), p. 88.

22. Golomstock, Totalitarian Art, p. 86; Ermolaev, Soviet Literary Theories, p. 197.

23. M. Meyer ‘A Musical Facade for the Third Reich’, in Barron ‘Degenerate Art’, p. 174; Golomstock, Totalitarian Art, p. 169.

24. Golomstock, Totalitarian Art, pp. 184–5.

25. Barron, ‘Degenerate Art’, p. 46; Golomstock, Totalitarian Art, p. 83; D. Welch ‘Nazi Film Policy: Control, Ideology, and

Propaganda’, in G. R. Cuomo (ed.) National Socialist Cultural Policy (London, 1995), p. 98.

26. Adam, Arts of the Third Reich, p. 94.

27. E. Bahr ‘Nazi Cultural Politics: Intentionalism vs. Functionalism’, in Cuomo, National Socialist Cultural Policy, p. 9.

28. A. Steinweis Art, Ideology, and Economics in Nazi Germany (Chapel Hill, NC, 1993), p. 22.

29. Golomstock, Totalitarian Art, pp. 81–3; L. Richard Le Nazisme et la Culture (Brussels, 1988), pp. 184–90.

30. Golomstock, Totalitarian Art, p. 83.

31. Spotts, Hitler and the Power of Aesthetics, p. 176; Golomstock, Totalitarian Art, pp. 150–51.

32. Yedlin, MaximGorky, p. 199;Golomstock, TotalitarianArt, pp. 183, 191.

33. Barron, ‘Degenerate Art’, p. 174.

34. A. Lawton (ed.) Russian Futurism through its Manifestoes, 1912–1928 (Ithaca, NY, 1988), p. 253.

35. A. Gladkov Meetings with Pasternak: a Memoir (London, 1977), p. 72.

36. L. Mally Culture of the Future: the Proletkult Movement in Revolutionary Russia (Berkeley, 1990), pp. 246–50, 253–5.

37. Lawton, Russian Futurism, p. 48.

38. V. Erlich Russian Formalism: History – Doctrine (3rd edn, New Haven, Conn., 1981), pp. 99–103, 118.