Eloquently extolled by President John F. Kennedy, the idea that only artists in free societies can produce great art became a bedrock assumption of the Cold War. In counterpoint, Horowitz investigates personal, social, and political factors that actually shape the creative act.
Eloquently extolled by President John F. Kennedy, the idea that only artists in free societies can produce great art became a bedrock assumption of the Cold War. In counterpoint, Horowitz investigates personal, social, and political factors that actually shape the creative act.
Apologia Preface: Why and What 1. JFK, the Artist, and “Free Societies”: A Cold War Myth 2. Nicolas Nabokov and the Cultural Cold War 3. Lines of Battle: The Case for Stravinsky; the Case against Shostakovich 4. CIA Cultural Battlegrounds: New York and Paris 5. Survival Strategies: Stravinsky and Shostakovich 6. Survival Strategies: Nicolas Nabokov 7. Cold War Music, East and West 8. Enter Cultural Exchange Summing Up: Culture, the State, and the “Propaganda of Freedom” Afterword: The Arts, National Purpose, and the Pandemic Appendix A: Nicolas Nabokov, “The Case of Dmitri Shostakovitch” (1943) Appendix B: President John F. Kennedy/Arthur Schlesinger, Jr., The Amherst Speech (1963) Notes Acknowledgments Index
Apologia Preface: Why and What 1. JFK, the Artist, and “Free Societies”: A Cold War Myth 2. Nicolas Nabokov and the Cultural Cold War 3. Lines of Battle: The Case for Stravinsky; the Case against Shostakovich 4. CIA Cultural Battlegrounds: New York and Paris 5. Survival Strategies: Stravinsky and Shostakovich 6. Survival Strategies: Nicolas Nabokov 7. Cold War Music, East and West 8. Enter Cultural Exchange Summing Up: Culture, the State, and the “Propaganda of Freedom” Afterword: The Arts, National Purpose, and the Pandemic Appendix A: Nicolas Nabokov, “The Case of Dmitri Shostakovitch” (1943) Appendix B: President John F. Kennedy/Arthur Schlesinger, Jr., The Amherst Speech (1963) Notes Acknowledgments Index
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