Consumerism in urban Russia in the 1880s and 90s: Exploring conceptions of time, space, and modernity through bicycle and watch advertisements

This paper discusses the urban consumer culture in Moscow and Petersburg during the 1880s and 1890s and uses the consumption of bicycles and watches as a lens through which to explore changing perceptions of time and space within the experience of modernity at the end of the nineteenth century. Specifically, I argue that the way in which consumers and merchants constructed a dialogue of meaning around particular objects; the way in which objects are consumed by a culture gives insight into the values, morals, and tenure of that culture. The paper preferences newspaper ads and photographs as the mouthpieces of merchants and consumers respectively as they constructed a dialogue in the language of consumerism, and explores the ways in which both parties sought to assign meaning to objects during the experience of modernity. I am particularly interested in the way consumers perform elements of cultural modernity in photographs and how these instances of performance relate to their negotiation of modernity. The paper takes as its focus large section of the urban Russian population, much of whom can traditionally be called “middle class” but whose diversity has led me to the adoption of the term “consumer community,” and whose makeup is described in detail. The paper contributes to the continuing scholarly discourse on the makeup of the middle class in Russia and the social boundaries of late tsarist society. It speaks to the the developing sensibilities and values of a generation struggling to define itself in a rapidly changing world, to the ways in which conceptualizations of public and private space, as well as feminine and masculine space were redefined, and to the developing visual culture of the Russian consumer society, largely predicated on the display of objects to signify socially desirable traits. Whereas other explorations of consumer culture and advertisements have portrayed the relationship between merchants and consumers as a one-sided monologue in which merchants convince consumers that certain objects have cultural value, I emphasis the dialogue between merchants and consumers, and their mutual negotiation of cultural meaning through objects.

Nietzsche's orphans: music and the search for unity in revolutionary Russia, 1905-1921

At the dawn of the twentieth century, Imperial Russia was in the throes of immense social, political and cultural upheaval. The effects of rapid industrialization, rising capitalism and urbanization, as well as the trauma wrought by revolution and war, reverberated through all levels of society and every cultural sphere. In the aftermath of the 1905 revolution, amid a growing sense of panic over the chaos and divisions emerging in modern life, a portion of Russian educated society (obshchestvennost’) looked to the transformative and unifying power of music as a means of salvation from the personal, social and intellectual divisions of the contemporary world. Transcending professional divisions, these “orphans of Nietzsche” comprised a distinct aesthetic group within educated Russian society. While lacking a common political, religious or national outlook, these philosophers, poets, musicians and other educated members of the upper and middle strata were bound together by their shared image of music’s unifying power, itself built upon a synthesis of Russian and European ideas. They yearned for a “musical Orpheus,” a composer capable of restoring wholeness to society through his music. My dissertation is a study in what I call “musical metaphysics,” an examination of the creation, development, crisis and ultimate failure of this Orphic worldview. To begin, I examine the institutional foundations of musical life in late Imperial Russia, as well as the explosion of cultural life in the aftermath of the 1905 Revolution, a vibrant social context which nourished the formation of musical metaphysics. From here, I assess the intellectual basis upon which musical metaphysics rested: central concepts (music, life-transformation, theurgy, unity, genius, nation), as well as the philosophical heritage of Nietzsche and the Christian thinkers Vladimir Solov’ev, Aleksei Khomiakov, Ivan Kireevskii and Lev Tolstoi. Nietzsche’s orphans’ struggle to reconcile an amoral view of reality with a deeply felt sense of religious purpose gave rise to neo-Slavophile interpretations of history, in which the Russian nation (narod) was singled out as the savior of humanity from the materialism of modern life. This nationalizing tendency existed uneasily within the framework of the multi-ethnic empire. From broad social and cultural trends, I turn to detailed analysis of three of Moscow’s most admired contemporary composers, whose individual creative voices intersected with broader social concerns. The music of Aleksandr Scriabin (1871-1915) was associated with images of universal historical progress. Nikolai Medtner (1879-1951) embodied an “Imperial” worldview, in which musical style was imbued with an eternal significance which transcended the divisions of nation. The compositions of Sergei Rachmaninoff (1873-1943) were seen as the expression of a Russian “national” voice. Heightened nationalist sentiment and the impact of the Great War spelled the doom of this musical worldview. Music became an increasingly nationalized sphere within which earlier, Imperial definitions of belonging grew ever more problematic. As the Germanic heritage upon which their vision was partially based came under attack, Nietzsche’s orphans found themselves ever more divided and alienated from society as a whole. Music’s inability to physically transform the world ultimately came to symbolize the failure of Russia’s educated strata to effectively deal with the pressures of a modernizing society. In the aftermath of the 1917 revolutions, music was transformed from a symbol of active, unifying power into a space of memory, a means of commemorating, reinterpreting, and idealizing the lost world of Imperial Russia itself.