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.
39. Brown, Proletarian Episode, p. 88.
40. Brown, Proletarian Episode, p. 89.
41. Ermolaev, Soviet Literary Theories, pp. 94–5.
42. Barron, ‘Modern Art and Polities’, p. 9; for a memoir of the exhibition see P. Guenther Three Days in Munich, July 1937’, in Barron, ‘Degenerate Art’, pp. 33–43.
43. W. Moritz ‘Film Censorship during the Nazi Era’, in Barron, ‘Degenerate Art’, p. 190; Meyer, ‘Musical Façade’, pp. 180–82.
44. O. Figes Natasha’s Dance: a Cultural History of Russia (London, 2002), pp. 476–7; P. Kenez Cinema and Soviet Society: From the Revolution to the Death of Stalin (London, 2001), pp. 94–5.
45. J. Garrard and C. Garrard Inside the Soviet Writers’ Union (London, 1990), pp. 31–2; Golomstock, Totalitarian Art, pp. 93–4.
46. Fitzpatrick, Cultural Front, pp. 197–8.
47. Vickery, ‘Zhadanovism’, pp. 101–5.
48. R. A. Brady The Spirit and Structure of German Fascism (London, 1937), pp. 90–91; Barron, ‘Modern Art and Polities’, p. 10; E. Fröhlich ‘Die kultur-politicische Pressekonferenz des Reichspropagandaministeriums’, Vierteljahrshefte für Zeitgeschichte, 22 (1974), pp. 353–6; V. Dahm ‘Der Reichskulturkammer als Instrument Kulturpolitischer Stenerung und Sozialer Reglementierung’, Vierteljahrshefte für Zeitgeschichte, 34 (1986) pp. 53–84; J. Petropoulos ‘A Guide through the Visual Arts Administration of the Third Reich’, in Cuomo, National Socialist Cultural Policy, pp. 121–52.
49. Brady, Spirit and Structure, p. 92.
50. S. Roberts The House that Hitler Built (London, 1937), p. 242; J. London (ed.) Theatre Under the Nazis (Manchester, 2000), pp. 8–9, 12.
51. Brady, Spirit and Structure, p. 88.
52. Steinweis, ‘Weimar Culture’, pp. 406–19.
53. Steinweis, Art;, Ideology, and Economics, pp. 4–6.
54. Golomstock, Totalitarian Art, pp. 220–22; Garrard and Garrard, Soviet Writers’Union, p. 24; Hingley, Russian Writers and Society, p. 207.
55. Steinweiss, Art, Ideology and Economics, pp. 74–9, 81–95.
56. J. W. Baird To Die for Germany: Heroes in the Nazi Pantheon (Bloom-ington, Ind., 1990), p. 145.
57. Baird, To Die for Germany, pp. 146–7.
58. Baird, To Die for Germany, p. 148.
59. E. J. Simmons ‘The Organization Writer (1934–46)’, in Hayward and Labedz, Literature and Revolution, pp. 84–5; Tregub, The Heroic Life of Nikolai Ostrovsky, pp. 7, 14, 38.
60. T. Lahusen How Life Writes the Book: Real Socialism and Socialist Realism in Stalin’s Russia (Ithaca, NY, 1997), pp. 13–15, 48–50, 53, 64–8, 79–80, 189–91.
61. R. Bartlett Wagner in Russia (Cambridge, 1995), pp. 227, 259–67, 271–2, 288–9.
62. Figes, Natasha’s Dance, pp. 480–81; Simmons, The Organization Writer’, p. 96; Fitzpatrick, Cultural Front, p. 207.
63. H. Ermolaev Censorship in Soviet Literature (Lanham, Md, 1997), p. 53.
64. Clark, The Soviet Novel, p. 4; M. Gorky Mother (Moscow, 1949). The introduction claimed: ‘though it was written ten years before the establishment of Soviet power in Russia, we count it the fi rst stone laid in the foundations of Soviet literature’ (p. 5).
65. Yedlin, Maxim Gorky, pp. 178, 180–83, 186, 192–3, 209 ff.
66. E. Levi Music in the Third Reich (London, 1994), pp. 178–82; P. McGilli-gan Fritz Lang: the Nature of the Beast (London, 1997), pp. 173, 174–6.
67. Levi, Music in the Third Reich, pp. 98–9, 192–3.
68. Meyer, ‘Musical Façade’, p. 175; on literary conventions see J. M. Ritchie German Literature under National Socialism (London, 1983), pp. 96–101; T. Alkemeyer and A. Pichantz ‘Insezenierte Körperträume: Reartikulation von Herrschaft und Selbstbeherrschung in Körperbildern des Faschismus’, in U. Hermann and U. Nassen (eds) Formative Ästhetik im Nationalsozialismus. Intentionen, Medien und Praxisformen totalitärer ästhetischer Herrschaft und Beherrschung (Weinheim, 1994), p. 88; R. Taylor Literature and Society in Germany 1918–1945 (Brighton, 1980), pp. 236–44.
69. Ermolaev, Censorship in Soviet Literature, pp. 1–6; G. V. Kostyrchenko ‘Soviet Censorship in 1945–52’, Voprosii istorii, 11–12 (1996), pp. 87–8.
70. Ermolaev, Censorship in Soviet Literature, pp. 7, 57; Kostyrchenko, ‘Soviet Censorship’, p. 92, gives the number of censors in the organization as 1,000; J. Plumper ‘Abolishing Ambiguity: Soviet Censorship Practices in the 1930s’, Russian Review, 60 (2001), pp. 527–8, 533.
71. Ermolaev, Censorship in Soviet Literature, p. 57; Kostyrchenko, ‘Soviet Censorship’, p. 92, gives the following fi gures for censorship work during the war: 235,031 newspaper editions checked; 207,942 Journal articles; 71,740 books; 158,998 brochures.
72. Plumper, ‘Abolishing Ambiguity’, pp. 530–31.
73. Plumper, ‘Abolishing Ambiguity’, pp. 535–7.
74. Plumper, ‘Abolishing Ambiguity’, p. 527.
75. Reid, ‘Socialist Realism’, p. 179.
76. Ermolaev, Censorship in Soviet Literature, pp. 43–5, 56; V. G. Lebedeva Totalitarian and Mass Elements in Soviet Culture of the 1930s’, Russian Studies in History, 42 (2003), pp. 81–4. On Fadayev see Vickery, ‘Zhdanov-ism’, pp. 114–15; R. Cockrell (ed.), introduction to A. Fadeev The Rout (London, 1995), pp. xi – xii.