Pub Date : 1900-01-01DOI: 10.28995/2686-7249-2021-7-74-82
A. Astashov
The article, based on archival materials, deals with the transformation of the power formula in Russia during World War I from the “government of trust” to the “government responsible to the people”. The evolution of that political strategy is analyzed in relation to the objective requirements for all warring countries to a new type of war, which were the national unity, including the widest strata of the population, and the national economy regulation, limiting market mechanisms and leading to the transition of the economy to the rails of comprehensive regulation right up to planning. The article focuses on the specifics in the formation of representation for public and democratic elements in the public organizations of All-Russian unions of zemstvos ( system of local administration) and cities, which provided support for the change of the formula of power depending on the socio-political processes during the war. The author comes to the conclusion that in the Russia conditions it occurred within the framework of the change of the power formula: from the “trust government”, responsible to the “Progressive bloc” of the census State Duma (1915), to the concept of the government responsible to the bloc of census public elements within the “trust government before the country” (1915–1916) and then under the pressure of a broad bloc of democratic public elements in the city and the countryside involved in the organization of the country for defense and of the national economy to the formula of “government responsible to the people” (1916 – early 1917).
{"title":"THE FORMULA “GOVERNMENT OF TRUST” IN THE PERCEPTIONS OF THE PUBLIC. FROM THE HISTORY OF POLITICAL CONCEPTS ON THE EVE OF 1917","authors":"A. Astashov","doi":"10.28995/2686-7249-2021-7-74-82","DOIUrl":"https://doi.org/10.28995/2686-7249-2021-7-74-82","url":null,"abstract":"The article, based on archival materials, deals with the transformation of the power formula in Russia during World War I from the “government of trust” to the “government responsible to the people”. The evolution of that political strategy is analyzed in relation to the objective requirements for all warring countries to a new type of war, which were the national unity, including the widest strata of the population, and the national economy regulation, limiting market mechanisms and leading to the transition of the economy to the rails of comprehensive regulation right up to planning. The article focuses on the specifics in the formation of representation for public and democratic elements in the public organizations of All-Russian unions of zemstvos ( system of local administration) and cities, which provided support for the change of the formula of power depending on the socio-political processes during the war. The author comes to the conclusion that in the Russia conditions it occurred within the framework of the change of the power formula: from the “trust government”, responsible to the “Progressive bloc” of the census State Duma (1915), to the concept of the government responsible to the bloc of census public elements within the “trust government before the country” (1915–1916) and then under the pressure of a broad bloc of democratic public elements in the city and the countryside involved in the organization of the country for defense and of the national economy to the formula of “government responsible to the people” (1916 – early 1917).","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"38 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":"127594759","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: 10.28995/2686-7249-2021-5-69-92
D. Antonov
The article discusses four key principles of demonstrating the inner space in Russian iconography. The first three techniques are different variations of framing the characters with an architectural or geometric ‘border’. These are: placing the figures against the background of buildings that in such case themselves play the role of a frame that bringing the characters inside the depicted house; a ‘retractable’ architectural element– a colonnade or wall that frames the characters from behind and brings them into the interior space; finally, the nutrovye palaty (inner chambers) – a frame that ‘cuts’ the building with high arches and allows the painter to show both the interior of the building and fragments of its exterior. Similar principles of ‘cutting’ the composition with frames, ‘bordering’ a number of characters with a geometric line, were used to demonstrate scenes related to another time or space (visions, events of the past or future, etc.). The fourth technique was the partial overlap of the depicted figure with an architectural element (a person looking out from behind a column, from a window, from a doorway). It is based on the impression of an outside observer and refers no longer to the conventional, but to realistic techniques in painting. As shown in the article, all four variants coexisted in Russian iconography and could easily complement each other in a composition. The paper demonstrates the functioning of each of those techniques based on the corpus of Russian icons and miniatures.
{"title":"ON THE PRINCIPLES OF DEPICTING INTERNAL SPACE IN RUSSIAN ICONOGRAPHY","authors":"D. Antonov","doi":"10.28995/2686-7249-2021-5-69-92","DOIUrl":"https://doi.org/10.28995/2686-7249-2021-5-69-92","url":null,"abstract":"The article discusses four key principles of demonstrating the inner space in Russian iconography. The first three techniques are different variations of framing the characters with an architectural or geometric ‘border’. These are: placing the figures against the background of buildings that in such case themselves play the role of a frame that bringing the characters inside the depicted house; a ‘retractable’ architectural element– a colonnade or wall that frames the characters from behind and brings them into the interior space; finally, the nutrovye palaty (inner chambers) – a frame that ‘cuts’ the building with high arches and allows the painter to show both the interior of the building and fragments of its exterior. Similar principles of ‘cutting’ the composition with frames, ‘bordering’ a number of characters with a geometric line, were used to demonstrate scenes related to another time or space (visions, events of the past or future, etc.). The fourth technique was the partial overlap of the depicted figure with an architectural element (a person looking out from behind a column, from a window, from a doorway). It is based on the impression of an outside observer and refers no longer to the conventional, but to realistic techniques in painting. As shown in the article, all four variants coexisted in Russian iconography and could easily complement each other in a composition. The paper demonstrates the functioning of each of those techniques based on the corpus of Russian icons and miniatures.","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"20 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":"133248933","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: 10.28995/2686-7249-2019-9-151-159
Y. Yakovleva
. Article is devoted to the one of the debatable linguistic issues – the emergence in the Russian language of foreign loanwords and their adaptation in media. Media-centric quality of the modern culture makes the journalistic text the basic platform for linguistic innovation, including emergence of derivative words. The purpose of this article – to establish whether some latest loanwords functioning in texts of media match the criteria elaborated by linguists for words which are capable to take the place among terminological lexicon. One of indicators for the viability of the latest loanwords is their word-formation potential. The author draws a conclusion that using those words in the media text journalists seek to give to the issue considered by them a legal status. At the same time using the derivative of those lexemes of various parts of speech in media demonstrates the viability of the latest loanwords in the Russian-speaking environment and allows predicting their further absorption by Russian language, in particular – in publicistic style.
{"title":"\"NOT FAT BUT BODY POSITIVE\": WORD-FORMATION ACTIVITY OF THE LATEST LOAN WORDS IN TEXTS OF MEDIA","authors":"Y. Yakovleva","doi":"10.28995/2686-7249-2019-9-151-159","DOIUrl":"https://doi.org/10.28995/2686-7249-2019-9-151-159","url":null,"abstract":". Article is devoted to the one of the debatable linguistic issues – the emergence in the Russian language of foreign loanwords and their adaptation in media. Media-centric quality of the modern culture makes the journalistic text the basic platform for linguistic innovation, including emergence of derivative words. The purpose of this article – to establish whether some latest loanwords functioning in texts of media match the criteria elaborated by linguists for words which are capable to take the place among terminological lexicon. One of indicators for the viability of the latest loanwords is their word-formation potential. The author draws a conclusion that using those words in the media text journalists seek to give to the issue considered by them a legal status. At the same time using the derivative of those lexemes of various parts of speech in media demonstrates the viability of the latest loanwords in the Russian-speaking environment and allows predicting their further absorption by Russian language, in particular – in publicistic style.","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"91 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":"131847375","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: 10.28995/2686-7249-2022-1-211-226
Anna V. Pozhidaeva
The allegorical painting by Frans Floris (Louvre collection) was given a number of names, including ‘Allegory of the Trinity’. There are some unconventional elements in the composition of the ‘Adoration of the Trinity’, including the wings flanking the cross, and a hen with her chicks underneath it. Several quotations from both the Old and the New Testaments are used to clarify the message of the painting. In this article an attempt is made to review the significance of the image of a bird spreading its wings over its nestlings. Old and New Testament traditions, both textual and iconographic, will be reviewed. Recent analysis by Edward W. Wouk will be complemented with several texts and relating to the Holy Mother in the Franciscan tradition. These images and texts come from late medieval miscellanies of “exempla”, and are believed by Wouk to be inspired by the poem ‘Gallina’ by Alardus of Amsterdam and for the conception of Floris’ painting of the Trinity
{"title":"VISUALIZATION OF THE IMAGE OF A “BIRD SPREADING ITS WINGS OVER ITS NESTLINGS” (MAT. 23:37–38) IN WESTERN CHRISTIAN ART","authors":"Anna V. Pozhidaeva","doi":"10.28995/2686-7249-2022-1-211-226","DOIUrl":"https://doi.org/10.28995/2686-7249-2022-1-211-226","url":null,"abstract":"The allegorical painting by Frans Floris (Louvre collection) was given a number of names, including ‘Allegory of the Trinity’. There are some unconventional elements in the composition of the ‘Adoration of the Trinity’, including the wings flanking the cross, and a hen with her chicks underneath it. Several quotations from both the Old and the New Testaments are used to clarify the message of the painting. In this article an attempt is made to review the significance of the image of a bird spreading its wings over its nestlings. Old and New Testament traditions, both textual and iconographic, will be reviewed. Recent analysis by Edward W. Wouk will be complemented with several texts and relating to the Holy Mother in the Franciscan tradition. These images and texts come from late medieval miscellanies of “exempla”, and are believed by Wouk to be inspired by the poem ‘Gallina’ by Alardus of Amsterdam and for the conception of Floris’ painting of the Trinity","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"31 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":"132239119","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: 10.28995/2686-7249-2022-8-253-265
I. Baklanova
The subject of the article is the linguistic means of reflecting in a scientific text the personality of its author in terms of, firstly, the communicative intentions of the author, and secondly, the perception of the recipient of this text. The article also considers the degree of objectivity in the construction of a scientific text. It is shown that the image of the author of a scientific text, revealed in terms of the communicative intentions of the sender of the text, and the image of the author, perceived by its recipient, may not coincide. As a theoretical basis of the study, the observations of M.Yu. Fedosyuk about different types of implicit information were used. On the basis of so-called “subtext” implicit information, i.e. information, the transmission of which was a part of the hidden communicative intentions of the sender of the text, the so-called “intentional” image of the author can be deduced. On the basis of so-called “non-text” implicit information, i.e. information, the transmission of which was not included in the communicative intentions of the sender of the text, the “perceptual” image of the author can be deduced. In addition, as a basis for determining the degree of objectivity of the construction of the text the typology of the observer’s points of view, developed by B.A. Uspensky, was used. As a result of the analysis, it was found that the coincidence of the intentional and perceptual images of the author testifies to the objectivity of the construction of the text, the discrepancy – to its subjectivity.
{"title":"THE IDENTITY OF THE AUTHOR OF A SCIENTIFIC TEXT FROM THE PERSPECTIVE OF THE SENDER AND RECIPIENT","authors":"I. Baklanova","doi":"10.28995/2686-7249-2022-8-253-265","DOIUrl":"https://doi.org/10.28995/2686-7249-2022-8-253-265","url":null,"abstract":"The subject of the article is the linguistic means of reflecting in a scientific text the personality of its author in terms of, firstly, the communicative intentions of the author, and secondly, the perception of the recipient of this text. The article also considers the degree of objectivity in the construction of a scientific text. It is shown that the image of the author of a scientific text, revealed in terms of the communicative intentions of the sender of the text, and the image of the author, perceived by its recipient, may not coincide. As a theoretical basis of the study, the observations of M.Yu. Fedosyuk about different types of implicit information were used. On the basis of so-called “subtext” implicit information, i.e. information, the transmission of which was a part of the hidden communicative intentions of the sender of the text, the so-called “intentional” image of the author can be deduced. On the basis of so-called “non-text” implicit information, i.e. information, the transmission of which was not included in the communicative intentions of the sender of the text, the “perceptual” image of the author can be deduced. In addition, as a basis for determining the degree of objectivity of the construction of the text the typology of the observer’s points of view, developed by B.A. Uspensky, was used. As a result of the analysis, it was found that the coincidence of the intentional and perceptual images of the author testifies to the objectivity of the construction of the text, the discrepancy – to its subjectivity.","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"19 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":"133805017","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: 10.28995/2686-7249-2020-6-38-44
D. I. Buldakova
The article is about the coverage of European Parliament’s resolution “On the importance of European remembrance for the future of Europe” in the articles of web portal “Sputnik Estonia” which is a part of IIA “Rossiya segodnya” and is focused on the Baltic countries. The attitude on the Molotov–Ribbentrop Pact (that was signed in 1939 by USSR and the Hitler’s Germany) is analysed; this treaty is deeply condemned in the resolution and, oppositely, is justified by Russian politics and media. The articles of other Russian media contextually related to the topic are contemplated. The conclusion is about “Sputnik Estonia”’s propagandic matrix: the European countries are trying to rewrite the history what eventually may lead to the rehabilitation of Nazism. Russia is standing opposite to that and interpreting the Molotov–Ribbentrop Pact and the consequences the right way. It seems that this matrix geared towards the senior generation of the Baltics’ citizens grown up on Soviet traditions.
{"title":"THE RESOLUTION OF EUROPEAN PARLIAMENT \"ON THE IMPORTANCE OF EUROPEAN REMEMBRANCE FOR THE FUTURE OF EUROPE\" FROM THE POINT OF VIEW OF WEB PORTAL \"SPUTNIK ESTONIA\"","authors":"D. I. Buldakova","doi":"10.28995/2686-7249-2020-6-38-44","DOIUrl":"https://doi.org/10.28995/2686-7249-2020-6-38-44","url":null,"abstract":"The article is about the coverage of European Parliament’s resolution “On the importance of European remembrance for the future of Europe” in the articles of web portal “Sputnik Estonia” which is a part of IIA “Rossiya segodnya” and is focused on the Baltic countries. The attitude on the Molotov–Ribbentrop Pact (that was signed in 1939 by USSR and the Hitler’s Germany) is analysed; this treaty is deeply condemned in the resolution and, oppositely, is justified by Russian politics and media. The articles of other Russian media contextually related to the topic are contemplated. The conclusion is about “Sputnik Estonia”’s propagandic matrix: the European countries are trying to rewrite the history what eventually may lead to the rehabilitation of Nazism. Russia is standing opposite to that and interpreting the Molotov–Ribbentrop Pact and the consequences the right way. It seems that this matrix geared towards the senior generation of the Baltics’ citizens grown up on Soviet traditions.","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"86 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":"130306360","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: 10.28995/2686-7249-2021-5-10-30
Darya M. Omelchenko
The article studies the question whether bishop Caesarius of Arles (503–542) could be the owner of a leather belt with an ivory buckle from the Museum of Antique Arles. The issue is the absence of narrative sources directly proving that idea. High price of the object did not match the bishop’s ascetic reputation. Still that did not preclude that someone from the closest circle of his associates or supporters could make that gift to Caesarius. The article studies the ornament of the movable ring of the buckle and the iconographic type of the plot of the Resurrection of Christ carved on its surface. Some parts of the belt, its decoration and manufacturing techniques find parallels with various artifacts (buckles, sarcophagi, diptychs) stored in other museums or discovered during archaeological excavations in Gaul. A review of the elements of the liturgical vestments of the clergy of Late Antiquity led to the conclusion that the belt could not have a liturgical status. On the basis of narrative sources related to the life and work of Caesarius, the author makes assumptions about the possible extra-liturgical contexts of wearing such a belt. The data presented in the study make it possible not only to attribute the belt to the period of bishop Caesarius’s life, but also to consider the latter as the most likely owner of the thing.
{"title":"THE BELT OF BISHOP CAESARIUS OF ARLES. BETWEEN THE \"THING\" AND THE \"SYMBOL\"","authors":"Darya M. Omelchenko","doi":"10.28995/2686-7249-2021-5-10-30","DOIUrl":"https://doi.org/10.28995/2686-7249-2021-5-10-30","url":null,"abstract":"The article studies the question whether bishop Caesarius of Arles (503–542) could be the owner of a leather belt with an ivory buckle from the Museum of Antique Arles. The issue is the absence of narrative sources directly proving that idea. High price of the object did not match the bishop’s ascetic reputation. Still that did not preclude that someone from the closest circle of his associates or supporters could make that gift to Caesarius. The article studies the ornament of the movable ring of the buckle and the iconographic type of the plot of the Resurrection of Christ carved on its surface. Some parts of the belt, its decoration and manufacturing techniques find parallels with various artifacts (buckles, sarcophagi, diptychs) stored in other museums or discovered during archaeological excavations in Gaul. A review of the elements of the liturgical vestments of the clergy of Late Antiquity led to the conclusion that the belt could not have a liturgical status. On the basis of narrative sources related to the life and work of Caesarius, the author makes assumptions about the possible extra-liturgical contexts of wearing such a belt. The data presented in the study make it possible not only to attribute the belt to the period of bishop Caesarius’s life, but also to consider the latter as the most likely owner of the thing.","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":"114452643","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: 10.28995/2686-7249-2019-2-128-142
S. S. Boyko
{"title":"THE MOTIVES OF \"THE NOTES OF AN EYEWITNESS\" IN THE NINA PAVLOVA'S PROSE","authors":"S. S. Boyko","doi":"10.28995/2686-7249-2019-2-128-142","DOIUrl":"https://doi.org/10.28995/2686-7249-2019-2-128-142","url":null,"abstract":"","PeriodicalId":124543,"journal":{"name":"RSUH/RGGU Bulletin. \"Literary Theory. Linguistics. Cultural Studies\" Series","volume":"2 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":"124525267","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: 10.28995/2686-7249-2022-7-185-198
Vadim Danilov
In the 1990s, a new architectural criticism was born, strikingly different from the previous Soviet examples. From the narrowly professional genre, architectural criticism turns back into journalism, combining the artistic interpretation of architectural works and the socio-political views of the authors, placing architecture in broader cultural contexts, inheriting the practices of the pre-revolutionary period. One of the most representative examples of the new post-Soviet criticism is the “Project Russia” journal. In many articles published in this journal in the 1990s the previous architectural era is represented in different contexts, usually in specific negative ways. This article demonstrates that the particular image of Soviet modernism in the 1960s - 1980s is one of the key components of the new discursive identity of post-Soviet architectural criticism, which is being formed against the backdrop of large-scale socio-cultural and political changes.
{"title":"THE IMAGE OF “SOVIET MODERNISM” IN THE ARCHITECTURAL CRITICAL DISCOURSE OF “PROJECT RUSSIA” MAGAZINE IN THE 1990S","authors":"Vadim Danilov","doi":"10.28995/2686-7249-2022-7-185-198","DOIUrl":"https://doi.org/10.28995/2686-7249-2022-7-185-198","url":null,"abstract":"In the 1990s, a new architectural criticism was born, strikingly different from the previous Soviet examples. From the narrowly professional genre, architectural criticism turns back into journalism, combining the artistic interpretation of architectural works and the socio-political views of the authors, placing architecture in broader cultural contexts, inheriting the practices of the pre-revolutionary period. One of the most representative examples of the new post-Soviet criticism is the “Project Russia” journal. In many articles published in this journal in the 1990s the previous architectural era is represented in different contexts, usually in specific negative ways. This article demonstrates that the particular image of Soviet modernism in the 1960s - 1980s is one of the key components of the new discursive identity of post-Soviet architectural criticism, which is being formed against the backdrop of large-scale socio-cultural and political changes.","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":"125168783","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: 10.28995/2686-7249-2022-1-72-84
Liliya M. Evseeva
As special devotional image among the Montreal Cathedral mo- saics is dedicated to the personification of the Wisdom of God on the east side of the arch that separates the central nave from the transept. The Wisdom is depicted as a queen-like wife with her hands raised in prayer, entitled SAPIEN- TIA DEI. Below on the sides of the arch the Archangels Gabriwl and Michael are adoring her. The image is located at the beginning of the Old Testament scenes on the walls of the nave. A personification of the Wisdom of God as a queen-like wife is not known in the Byzantine art of the 11 th – 12 th centuries but is found among Roman min- iatures. This depiction is similar to personifications of the Church in Roman and early Byzantine monumental painting. It is difficult to tell the difference without an inscription. A Roman example could be used by Byzantine artists of the Monreale as а model. The image in the Monreale may be considered as personification of both Wisdom and the Church. Such double personification is found in Medieval images.
作为蒙特利尔大教堂中特殊的虔诚形象，马赛克是献给上帝智慧的化身，位于拱门的东侧，将中央中殿与耳堂分开。智慧被描绘成一个皇后般的妻子，她的双手在祈祷，标题为SAPIEN- TIA DEI。在拱门的两侧，大天使加布里埃尔和迈克尔正在崇拜她。该图像位于中殿墙壁上旧约场景的开头。在11 - 12世纪的拜占庭艺术中，上帝智慧的人格化为女王般的妻子是不为人所知的，但在罗马人的特征中却发现了。这种描绘类似于罗马和早期拜占庭纪念性绘画中的教会人格化。没有题词很难区分。一个罗马的例子可以被monreal的拜占庭艺术家用作模型。《Monreale》中的形象可以被认为是智慧和教会的化身。这种双重人格化在中世纪的图像中随处可见。
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