Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2022-2-61-75
S. A. Borisova
The research of terms denoting emotions is the main approach for the study of notions about human feelings that existed in the past. Because of the peculiarities of the ancient Russian book culture, we cannot find thorough and detailed descriptions related to the experiences of people in the works of that period. However, those texts contain emotive vocabulary. Exactly its anal- ysis is especially important for understanding the ideas about the emotions of the Middle Ages. The analysis of the emotive language of fear shows, however, that the authors of the Tale of Bygone Years not only and not so much sought to express the feeling of their characters’ fear, but created the characteristics of the characters of the chronicle with the help of emotives. The article analyses the stories of the Tale of Bygone Years about the princes that contain lexemes of fear. Particular attention is paid to the usage contexts of the discovered emotives. The key result of the analysis presented that chroniclers used the emotive language of fear for the moral characterization of princes. The mention of this emotion marks the characters as villains and defines their actions as un- righteous. Fearlessness is as a positive characteristic of princes. Therefore, the emotive language of fear in the chronicle narrative primarily plays a symbolic role and becomes an important element of the evaluation that chroniclers give to their characters.
{"title":"“I WAS FOR THAT REASON OVERCOME BY FEAR”. EMOTIVE LANGUAGE OF FEAR AS CHARACTERISTIC OF PRINCES IN “THE TALE OF BYGONE YEARS”","authors":"S. A. Borisova","doi":"10.28995/2686-7249-2022-2-61-75","DOIUrl":"https://doi.org/10.28995/2686-7249-2022-2-61-75","url":null,"abstract":"The research of terms denoting emotions is the main approach for the study of notions about human feelings that existed in the past. Because of the peculiarities of the ancient Russian book culture, we cannot find thorough and detailed descriptions related to the experiences of people in the works of that period. However, those texts contain emotive vocabulary. Exactly its anal- ysis is especially important for understanding the ideas about the emotions of the Middle Ages. The analysis of the emotive language of fear shows, however, that the authors of the Tale of Bygone Years not only and not so much sought to express the feeling of their characters’ fear, but created the characteristics of the characters of the chronicle with the help of emotives. The article analyses the stories of the Tale of Bygone Years about the princes that contain lexemes of fear. Particular attention is paid to the usage contexts of the discovered emotives. The key result of the analysis presented that chroniclers used the emotive language of fear for the moral characterization of princes. The mention of this emotion marks the characters as villains and defines their actions as un- righteous. Fearlessness is as a positive characteristic of princes. Therefore, the emotive language of fear in the chronicle narrative primarily plays a symbolic role and becomes an important element of the evaluation that chroniclers give to their characters.","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122070726","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2022-9-132-138
Pavel E. Spivakovskii
The earthly locus of this story, located at the crossroads of many seemingly incompatible yet vibrant and tragically profound worlds, is encompassed, among other things, by the multi-personal “ego” of the diegetic narrator. These worlds are imbued with pain and despair, but, according to Zamyatin, we are faced with manifestations of a living beginning, filled with the energies of revolution. As is known, Zamyatin, based on the teachings of R. Mayer, contrasted energy, which he understood as a revolutionary beginning, with entropy – stagnation and immortality. Energetic explosion, according to Zamyatin, is a necessary blow from the left to the quasi-left Bolshevik regime, which suppresses freedom and loses its living face
{"title":"EGO WORLDS AND EXPLOSION: ‘A STORY ABOUT THE MOST IMPORTANT THING’ BY YEVGENY ZAMYATIN","authors":"Pavel E. Spivakovskii","doi":"10.28995/2686-7249-2022-9-132-138","DOIUrl":"https://doi.org/10.28995/2686-7249-2022-9-132-138","url":null,"abstract":"The earthly locus of this story, located at the crossroads of many seemingly incompatible yet vibrant and tragically profound worlds, is encompassed, among other things, by the multi-personal “ego” of the diegetic narrator. These worlds are imbued with pain and despair, but, according to Zamyatin, we are faced with manifestations of a living beginning, filled with the energies of revolution. As is known, Zamyatin, based on the teachings of R. Mayer, contrasted energy, which he understood as a revolutionary beginning, with entropy – stagnation and immortality. Energetic explosion, according to Zamyatin, is a necessary blow from the left to the quasi-left Bolshevik regime, which suppresses freedom and loses its living face","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"114 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117203116","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2021-9-49-66
Zhanna V. Umanskaya
The article provides a primary analysis of the Russian corpus of illustration studies as a systematic theoretical understanding of illustration. The author emphasizes the interdisciplinary nature of research on illustration as a sociocultural phenomenon. The presentation of the topic in Russian dissertation research, in periodical scientific and theoretical journals of various cultural and scientific institutions (universities, libraries, museums, research institutes), in thematic collections and monographs devoted to illustration as a media, artistic practice and visual research is studied. The necessity of studying and including educational projects and activities of independent researchers into the analyzed resources is additionally substantiated. The author draws attention to the ambiguity of the situation. On the one hand, there is a regular appearance of new events (exhibitions, conferences, articles, collections, dissertations) related to book, magazine and web graphics. On the other hand, most of the publications and studies are directed to historically remote objects, only a minimal number of scientists work with the present. The author records the disunity of the scientific community and weak interdepartmental communication in Russian illustration studies. The author also speaks about the need to create an interdisciplinary and international publication platform, uniting researchers of illustration of all forms of its modern existence, about the need for Russian specialized scientific and theoretical.
{"title":"ILLUSTRATION AS AN OBJECT OF RESEARCH IN THE RUSSIAN SCIENTIFIC SPACE","authors":"Zhanna V. Umanskaya","doi":"10.28995/2686-7249-2021-9-49-66","DOIUrl":"https://doi.org/10.28995/2686-7249-2021-9-49-66","url":null,"abstract":"The article provides a primary analysis of the Russian corpus of illustration studies as a systematic theoretical understanding of illustration. The author emphasizes the interdisciplinary nature of research on illustration as a sociocultural phenomenon. The presentation of the topic in Russian dissertation research, in periodical scientific and theoretical journals of various cultural and scientific institutions (universities, libraries, museums, research institutes), in thematic collections and monographs devoted to illustration as a media, artistic practice and visual research is studied. The necessity of studying and including educational projects and activities of independent researchers into the analyzed resources is additionally substantiated. The author draws attention to the ambiguity of the situation. On the one hand, there is a regular appearance of new events (exhibitions, conferences, articles, collections, dissertations) related to book, magazine and web graphics. On the other hand, most of the publications and studies are directed to historically remote objects, only a minimal number of scientists work with the present. The author records the disunity of the scientific community and weak interdepartmental communication in Russian illustration studies. The author also speaks about the need to create an interdisciplinary and international publication platform, uniting researchers of illustration of all forms of its modern existence, about the need for Russian specialized scientific and theoretical.","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124022105","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2022-4-201-215
Victoria A. Chervaneva
{"title":"CHANGING POINTS OF VIEW AS A DEVICE IN THE TEXTS OF ORAL TRADITION. ON THE ISSUE OF THE OBSERVER IN FOLKLORE","authors":"Victoria A. Chervaneva","doi":"10.28995/2686-7249-2022-4-201-215","DOIUrl":"https://doi.org/10.28995/2686-7249-2022-4-201-215","url":null,"abstract":"","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"179 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124461856","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2022-6-70-81
Bao Tingting
. “Sentimental Tales” is a book about the struggle of a “little man” for existence during the NEP period. The prose demonstrates a “mosaic of quotations” in which classical tradition is clearly discernible, specifically, the artistic intertextuality of sentimentalism is particularly strong. The author uses the method of intertextual analysis to study how Zoshchenko transforms the tradition of sentimental literature and what functions the intertexts perform. Following the study he concludes that “Sentimental tales” as a whole is a variation on the theme of sentimentalism. Elements of idyll became a means of philosophical comprehension of human existence at the turn of time for the writer. Zoshchenko transforms the motive and plot reminiscences from sentimentalism, and puts them in his time in order to demonstrate a hard distinction between the old and new eras. Through the titles of the stories there runs author’s sentimentalism as well as his empathy and compassion for the characters of his works. Besides the theme of the destruction of idyll have a kind of connotation of anti-utopia manifested in two directions – the correlation between “Personality and Society” and “Technology and Art”.
{"title":"THE POETICS OF SENTIMENTALISM IN THE WORK OF M.M. ZOSHCHENKO","authors":"Bao Tingting","doi":"10.28995/2686-7249-2022-6-70-81","DOIUrl":"https://doi.org/10.28995/2686-7249-2022-6-70-81","url":null,"abstract":". “Sentimental Tales” is a book about the struggle of a “little man” for existence during the NEP period. The prose demonstrates a “mosaic of quotations” in which classical tradition is clearly discernible, specifically, the artistic intertextuality of sentimentalism is particularly strong. The author uses the method of intertextual analysis to study how Zoshchenko transforms the tradition of sentimental literature and what functions the intertexts perform. Following the study he concludes that “Sentimental tales” as a whole is a variation on the theme of sentimentalism. Elements of idyll became a means of philosophical comprehension of human existence at the turn of time for the writer. Zoshchenko transforms the motive and plot reminiscences from sentimentalism, and puts them in his time in order to demonstrate a hard distinction between the old and new eras. Through the titles of the stories there runs author’s sentimentalism as well as his empathy and compassion for the characters of his works. Besides the theme of the destruction of idyll have a kind of connotation of anti-utopia manifested in two directions – the correlation between “Personality and Society” and “Technology and Art”.","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124699237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2021-1-197-205
E. Litovskikh
One of the most peculiar stories about the naming of the island, which the introductory chapters of The Book of Settlements (Landnámabók) open with, is the þáttr about Hrafna-Flóki, presented completely differently in the early editions of Sturlubók and Hauksbók. The dynamics of plot development, which are similar to those of a fairy tale, fragments that fully coincide in the different editions, the release of three sacrificial ravens and the three main actors (Flóki Vilgerðarson himself and his two companions who bear the rhyming names Þórólfr and Herjólfr) go back to the oral tradition. In the plot of the ‘magic helper’, Faxi, endowed with a name typical for a magic horse in the Old Norse tradition, direct structural and stylistic analogies can be traced in other hydronymic legends of Landnámabók. The þáttr of Flóki is an alternative socioetiological legend, ignored by Ari fróði Þorgilsson due to its inconsistency with his idealised image of the leader of the Norwegian settlers.
{"title":"TATTR ABOUT HRAFNA-FLOKI IN ICELANDIC WRITTEN SOURCES","authors":"E. Litovskikh","doi":"10.28995/2686-7249-2021-1-197-205","DOIUrl":"https://doi.org/10.28995/2686-7249-2021-1-197-205","url":null,"abstract":"One of the most peculiar stories about the naming of the island, which the introductory chapters of The Book of Settlements (Landnámabók) open with, is the þáttr about Hrafna-Flóki, presented completely differently in the early editions of Sturlubók and Hauksbók. The dynamics of plot development, which are similar to those of a fairy tale, fragments that fully coincide in the different editions, the release of three sacrificial ravens and the three main actors (Flóki Vilgerðarson himself and his two companions who bear the rhyming names Þórólfr and Herjólfr) go back to the oral tradition. In the plot of the ‘magic helper’, Faxi, endowed with a name typical for a magic horse in the Old Norse tradition, direct structural and stylistic analogies can be traced in other hydronymic legends of Landnámabók. The þáttr of Flóki is an alternative socioetiological legend, ignored by Ari fróði Þorgilsson due to its inconsistency with his idealised image of the leader of the Norwegian settlers.","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"79 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124831518","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2022-4-50-69
D. Antonov
The paper considers the votive practices and gifts known in the Russian religious tradition. The author gives an overview of individual and collective vows common in medieval and imperial Russia, as well as the main types of votive gifts: buildings (churches, chapels), crosses, icons, reliquaries, icon salaries, church embroidery, fabrics, anatomical weights, precious gifts to icons, etc. Votive actions were the most important social tool for creating a variety of religious objects, from monumental (like monastery buildings and city cathedrals) to small (like shawls, towels or pendants in the form of a diseased organ). At the same time, the action of making, bringing, using the votive object and the material object itself were inextricably linked – the word ‘vow’ in Russia meant not only a promise, but also a monetary contribution to a monastery or church, and a votive object, and animals fattened for a sacrifice to a saint (holiday), and any other kind of gift, material or actional. As the author notes, a review of these traditions helps to better understand modern votive practices that have actively spread in Russia in the last decade.
{"title":"VOTIVE GIFTS IN RUSSIA. OBJECTS AND PRACTICES","authors":"D. Antonov","doi":"10.28995/2686-7249-2022-4-50-69","DOIUrl":"https://doi.org/10.28995/2686-7249-2022-4-50-69","url":null,"abstract":"The paper considers the votive practices and gifts known in the Russian religious tradition. The author gives an overview of individual and collective vows common in medieval and imperial Russia, as well as the main types of votive gifts: buildings (churches, chapels), crosses, icons, reliquaries, icon salaries, church embroidery, fabrics, anatomical weights, precious gifts to icons, etc. Votive actions were the most important social tool for creating a variety of religious objects, from monumental (like monastery buildings and city cathedrals) to small (like shawls, towels or pendants in the form of a diseased organ). At the same time, the action of making, bringing, using the votive object and the material object itself were inextricably linked – the word ‘vow’ in Russia meant not only a promise, but also a monetary contribution to a monastery or church, and a votive object, and animals fattened for a sacrifice to a saint (holiday), and any other kind of gift, material or actional. As the author notes, a review of these traditions helps to better understand modern votive practices that have actively spread in Russia in the last decade.","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124839082","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2019-1-140-154
Olga E. Etingof
{"title":"THE FORGOTTEN KIEV FRESCOES OF THE END OF THE 11TH CENTURY","authors":"Olga E. Etingof","doi":"10.28995/2686-7249-2019-1-140-154","DOIUrl":"https://doi.org/10.28995/2686-7249-2019-1-140-154","url":null,"abstract":"","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128743223","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2021-6-28-41
Maria Lidova
The paper is dedicated to the earliest formative stages of Annunciation imagery. Although it was widely spread in the Middle Ages, only a few examples of the scene survive from the early Christian period. Judging by the existing material evidence, it can be argued that the image of the Annunciation acquired recognizable and fully-fledged form only in the fifth century. Early examples reveal distinct formative stages of the iconography and the gradual introduction of additional features, enriching the content and visual rendering of this highly significant visual theme. This paper analyzes the influence of Apocrypha, as well as of the early theological tradition, on the development of the Annunciation scene and reveals the importance of this material to the study of the cult of the Mother of God.
{"title":"THE ANNUNCIATION IN EARLY CHRISTIAN ART","authors":"Maria Lidova","doi":"10.28995/2686-7249-2021-6-28-41","DOIUrl":"https://doi.org/10.28995/2686-7249-2021-6-28-41","url":null,"abstract":"The paper is dedicated to the earliest formative stages of Annunciation imagery. Although it was widely spread in the Middle Ages, only a few examples of the scene survive from the early Christian period. Judging by the existing material evidence, it can be argued that the image of the Annunciation acquired recognizable and fully-fledged form only in the fifth century. Early examples reveal distinct formative stages of the iconography and the gradual introduction of additional features, enriching the content and visual rendering of this highly significant visual theme. This paper analyzes the influence of Apocrypha, as well as of the early theological tradition, on the development of the Annunciation scene and reveals the importance of this material to the study of the cult of the Mother of God.","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127137929","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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