SiteImage

Dr Rosamund Bartlett

Dr. Rosamund Bartlett completed her doctorate at St. Antony’s in 1991, and returned to the College as the Max Hayward Fellow in 1993. She has held posts at universities in the UK and the US, and was most recently Reader and Head of the Department of Russian at the University of Durham. She has supervised and examined postgraduate research in Russian music, history and literature, and is currently teaching courses in the Music Department at at King’s College London, and at the Guildhall School of Music and Drama.   She became Visiting Fellow in the Russian and Eurasian Studies Centre in autumn 2008.
 Her field of expertise is Russian cultural history, with a particular focus on the 19th and early 20th centuries, the links between music and literature, cultural politics, and opera. Her books include Wagner and Russia (CUP, 1995), Chekhov: Scenes from a Life (Free Press, 2004), and Literary Russia: A Guide (new edition, Duckworth, 2007).  Her forthcoming volume Victory over the Sun:  The World’s First Futurist Opera , co-edited with Sarah Dadswell (Exeter UP), is supported by a grant from the Modern Humanities Research Association, and includes the first fully annotated translation of Khlebnikov and Kruchenykh’s libretto, and essays by art historians, theatre specialists, musicologists and scholars of Russian history. In addition to writing the chapter on “Russian Culture 1801-1917” for The Cambridge History of Russia, Dr. Bartlett has contributed to the New Grove Dictionary of Music and Musicians. Other recent articles have explored post-Soviet musical life, Stravinsky’s Russian origins, Chekhov’s punctuation, Russian Japonisme, and the contrapuntal structures used by Bach and Dostoevsky.  She has also worked extensively as a translator, and in 2004 published the first unexpurgated edition of Chekhov's letters for Penguin Classics (Anton Chekhov: A Life in Letters). Her Chekhov anthology About Love and Other Stories (OUP, 2004) was shortlisted for the Weidenfeld Translation Prize. Her current research at St. Antony’s focuses on Chekhov and zemstvo statistics, Tolstoy, and the history of opera in Russia.
 
Dr. Bartlett has particularly enjoyed the possibilities for scholarly and creative collaboration offered by the organisation of conferences and symposia. The Shostakovich conference she directed at the University of Michigan in connection with the residency of the Borodin String Quartet led to her edited volume Shostakovich in Context (OUP, 2000), while the proceedings of “Re-imagining the Russo-Japanese War”, a conference organised with Dr. Naoko Shimazu at Birkbeck College were published in a special issue of Russian Review in 2008. As Fellow at the European Humanities Research Centre, she has organised several conferences on "the politics of opera", which have brought together modern linguists, historians and musicologists to discuss questions pertaining to the ideology of opera production and reception. The most recent of these , “The French Revolution and Its Consequences”, took place on 18 April 2008 (http://www.ehrc.ox.ac.uk/opera.htm). In 2002 she collaborated with Oxford Contemporary Music during the residency of the Studio for New Music from the Moscow Conservatoire to organise a conference on “Issues in Russian and Soviet Musical Identity”, whose proceedings were published in a special issue of Slavonica in 2007.   The recent “Russia’s Musical Revolutionaries” Study Day, which was organised in collaboration with the Bate Collection at the Oxford Music Faculty, included a workshop led by theremin virtuoso Lydia Kavina (http://www.basees.org.uk/sgreem.shtml).
 
Dr. Bartlett has served on the Council of the Royal Musical Association, and is currently Chair of its Proceedings Committee.   She is founder and co-convenor of the British Association for Slavonic and East European Studies Russian and East European Music Study Group