ending prepub-lication censorship in Russia, but other forms of state pressure on media outlets remained in effect. See also: CENSORSHIP; GLASNOST; JOURNALISM; NEWSPAPERS; SAMIZDAT; TELEVISION AND RADIO; THEATER
BIBLIOGRAPHY
Fox, Michael S. (1992). “Glavlit, Censorship, and the Problem of Party Policy in Cultural Affairs, 1922- 1928.” Soviet Studies 44(6):1045-1068. Plamper, Jan. (2001). “Abolishing Ambiguity: Soviet Censorship Practices in the 1930s.” Russian Review 60(4):526-544. Tax Choldin, Marianna, and Friedberg, Maurice, eds. (1989). The Red Pencil: Artists, Scholars and Censors in the USSR. Boston: Unwin-Hyman.
(1804-1857), composer, regarded as founder of Russian art music, especially as creator of Russian national opera.
Mikhail Glinka, the musically gifted son of a landowner, gained much of his musical education during a journey to Europe (1830-1834). In Italy he became acquainted with the opera composers Vincenzo Bellini and Gaetano Donizetti, and in Berlin he studied music theory. After his return, Glinka channeled the spiritual effects of the trip into the composition of a work that went down in history as the first Russian national opera, “A Life for
GLINSKAYA, YELENA VASILIEVNA
the Tsar” (1836). Three aspects of this opera were formative to operatic style in Russia: the national subject (here taken from the seventeenth century), the libretto in Russian, and the musical language, which combined the European basic techniques with Russian melodic patterns. The patriotic character of the subject fit extremely well into the conservative national attitudes of the 1830s under Tsar Nicholas I. In spite of Glinka’s stylistic borrowings from European tradition, the Russian features of the music made way for a national art music apart form the dominant foreign models. Overnight, Glinka became famous and soon was admired as the father of Russian music. Whereas the “Life for the Tsar” marked the beginning of the historical opera in Russia, “Ruslan and Lyudmila” (1842) established the genre of the Russian fairy-tale opera. Thus, Glinka embodied the two strands of Russian opera that would flourish in the nineteenth century. Stylistically Glinka’s Russian and Oriental elements exerted greatest influence on the following generations. Glinka became not only a creative point of reference for many Russian composers but also a national and cultural role model, and later a figure of cult worship with the reestablishment of Soviet patriotism under Josef Stalin. See also: MUSIC; OPERA
BIBLIOGRAPHY
Brown, David. (1974). Mikhail Glinka: A Biographical and Critical Study. London: Oxford University Press. Orlova, Aleksandra A. (1988). Glinka’s Life in Music: A Chronicle. Ann Arbor: University of Michigan Research Press.
(d. 1538), the second wife of Grand Prince Basil III and regent for her son Ivan IV from 1533 to 1538.
Yelena Vasilievna Glinskaya was the daughter of Prince Vasily Lvovich Glinsky and his wife Anna, daughter of the Serbian military governor, Stefan Yakshich. After Basil III forced his first wife, Solomonia Saburova, to take the veil in 1525 because of her inability to produce offspring, he entered into a second marriage with Glinskaya in the following year. They bore two sons, the future Ivan IV and his younger brother Yury Vasilyevich. Because Ivan IV was only three years old at the time of Basil III’s death in 1533, Glinskaya became a regent of the Russian state during his minority. Although Basil III had entrusted the care of his widow and sons to relatives of Glinskaya and apparently had not made specific provisions for her regency, the royal mother used her pivotal dynastic position to defend her son’s interests against those of rival boyar factions at court. Aided by her presumed lover, Prince Ivan Ovchina-Telepnev-Obolensky, and Metropolitan Daniel, Glinskaya headed up a government marked by efficient policies, both abroad and at home. Her government successfully fended off the efforts of Lithuania, the Crimean khan, and Kazan to encroach on Russian territories. At Glinskaya’s death in 1538, Russia was at peace with its neighbors. Domestically, Glinskaya moved to eliminate the power of the remaining appanage princes, who presented a dynastic challenge to the Grand Prince. She initiated the creation and fortification of towns throughout the Russian realm, increasing the protection of the population and that of the realm substantially. In 1535 the regency government introduced a currency reform, adopting a single monetary system, which significantly improved economic conditions in Russia. Glinskaya’s government also worked toward the institution of a system of local judicial officials, which was eventually realized in Ivan IV’s reign. While Glinskaya managed to keep in check the various aristocratic factions, which sought to increase their influence vis-?-vis the young heir to the throne, the situation quickly reversed after her death. Without the protecting hand of his mother, the young Ivan IV was exposed to the political intrigues of the boyars until his ascendance to the throne in 1547.
As a royal wife, Glinskaya shared the problems of all Muscovite royal women, especially their concern about the production of children and their health. Glinskaya joined her husband on arduous pilgrimages to pray for offspring. Like her predecessor, Saburova, she seems to have believed that her womb could be divinely blessed. Five letters to Glinskaya attributed to Basil III portray the Grand Princess as a devoted mother who struggled to maintain her children’s physical and emotional well-being.
Glinskaya’s legitimacy and effectiveness as a regent have been the subject of scholarly debate. While earlier studies have treated the grand princess as a figurehead and her regency as a period of transition, recent work on the early sixteenth century
GODUNOV, BORIS FYODOROVICH
stresses Glinskaya’s political achievements in her own right. During the reign of her son, the Grand Princess’s political and social status was enhanced in the chronicles produced at the royal court, and Glinskaya became a model for future tsars’ wives. See also: BASIL III; IVAN IV
Miller, David. (1993). “The Cult of Saint Sergius of Radonezh and Its Political Uses.” Slavic Review 52(4): 680-699. Pushkareva, Natalia. (1997). Women in Russian History from the Tenth to the Twentieth Century, tr. and ed. Eve Levin. Armonk, NY: M. E. Sharpe. Thyr?t, Isolde. (2001). Between God and Tsar: Religious Symbolism and the Royal Women of Muscovite Russia. DeKalb, IL: Northern Illinois University Press.
Ladoga and Riurikovo gorodishche. Gnezdovo’s most intense period of settlement dates to the period from 920 to the 960s, when its settlements had reached their maximum size and when many of the largest burial mounds were raised. Gnezdovo was abandoned in the early eleventh century, when a new center, Smolensk, assumed Gnezdovo’s role in international and regional trade. See also: KIEVAN RUS; ROUTE TO THE GREEKS; VIKINGS
BIBLIOGRAPHY
Avdusin D.A. (1969). “Smolensk and the Varangians according to Archaeological Data.” Norwegian Archaeological Review 2:52-62.
Located in the Upper Dnepr River, thirteen kilometers west of Smolensk, Gnezdovo was a key portage and transshipment point along the “Route to the Greeks” in the late ninth through the early eleventh centuries. The area provided easy access to the upper reaches of the Western Dvina, Dnepr, and Volga rivers. The archaeological complex consists of several pagan and early Christian cemeteries (17 hectares), one fortified settlement (1 hectare), and several unfortified settlements. More than 1,200 of the estimated 3,500 to 4,000 burial mounds have been excavated. While Balt and Slav burials are found in great number, the mounds with Scandinavian ethnocultural traits (cremations in boats and rich inhumations and chamber graves) receive the most attention. However, no more than fifty mounds can be positively identified as Scandinavian. Gnezdovo’s burials are among the richest for European Russia in the tenth century and include glass beads, swords, horse riding equipment, silver and bronze jewelry, and Islamic, Byzantine, and western European coins.
