Pub Date : 1900-01-01DOI: 10.22394/0869-5377-2022-4-121-151
The article examines major modes of costume as a trope in the cultural texts of high and late Stalinism, primarily in journalism and official literature. Successive changes in these modes can be traced through shifts in vestimentary semantics. As the analysis of the texts shows, each period in the history of Stalinism is characterized by one dominant costume trope. Schematically, the evolution of costume tropology in the second half of the 1930s — early 1950s. follows the trajectory: costume as a metaphor for achievements in the period of high Stalinism — costume as a metonymy of socialism in the period of late Stalinism.The thesis is argued that the history of the Stalinist discourse of fashion can and should be considered as a branch of cultural policy, since the evolution of the official rhetoric of fashion correlated with changes in the political agenda and formed a vestimentary projection of the power discourse. Despite the significant differences in costume semantics in different periods of Stalinism, a single axiological basis of the costume in Stalinist culture is revealed: a combination of the state pride and personal modesty. It is also concluded that in the years of high and late Stalinism, the costume and the institution of the official “Soviet fashion” functioned in culture according to the principles of socialist realism and were, in fact, one of its offshoots. In other words, the costume was not merely a cultural text, but a socialist realist text of Stalinist culture.
{"title":"Costume Tropology of Socialist Realism: Shifts in Vestimentary Semantics in the Texts of High and Late Stalinism","authors":"","doi":"10.22394/0869-5377-2022-4-121-151","DOIUrl":"https://doi.org/10.22394/0869-5377-2022-4-121-151","url":null,"abstract":"The article examines major modes of costume as a trope in the cultural texts of high and late Stalinism, primarily in journalism and official literature. Successive changes in these modes can be traced through shifts in vestimentary semantics. As the analysis of the texts shows, each period in the history of Stalinism is characterized by one dominant costume trope. Schematically, the evolution of costume tropology in the second half of the 1930s — early 1950s. follows the trajectory: costume as a metaphor for achievements in the period of high Stalinism — costume as a metonymy of socialism in the period of late Stalinism.\u0000The thesis is argued that the history of the Stalinist discourse of fashion can and should be considered as a branch of cultural policy, since the evolution of the official rhetoric of fashion correlated with changes in the political agenda and formed a vestimentary projection of the power discourse. Despite the significant differences in costume semantics in different periods of Stalinism, a single axiological basis of the costume in Stalinist culture is revealed: a combination of the state pride and personal modesty. It is also concluded that in the years of high and late Stalinism, the costume and the institution of the official “Soviet fashion” functioned in culture according to the principles of socialist realism and were, in fact, one of its offshoots. In other words, the costume was not merely a cultural text, but a socialist realist text of Stalinist culture.","PeriodicalId":227990,"journal":{"name":"POWER AND ADMINISTRATION IN THE EAST OF RUSSIA","volume":"1 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":"123382211","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: 10.22394/0869-5377-2022-4-199-233
The Odyssey places “the city of the Cimmerian men” in the immediate vicinity of the realm of the dead — in an area that is never illuminated by the rays of the sun. Meanwhile, Greek writers call by the same name «Cimmerians» a real people who invaded in the 7th century BC Asia Minor and who are called “gimir”/“gamir” in Assyrian sources. This context gave rise to many ingenious, sometimes extravagant lines of thought in the minds of scholars — ancient and modern. Two ideas became especially influential: according to one, the Cimmerians are the most northern people living in the conditions of the polar night; according to another, the Homeric image was due to the reports of fogs covering the shores of the Black Sea Colchis. A common tendency, however, was to ignore the poet’s words that “the breath of the North Wind” will bear Odysseus’s ship towards the realm of the dead. These words clearly imply that this realm is located in the extreme south, but such a conclusion seemed so strange to scholars that they preferred to pass over the issue in silence.The article explains that the unusual localization of the realm of the dead goes back to the Bronze Age. It is the notion of a solar disk bright only on one side, which stands behind such a localization. The Odyssey depends on a particular version of this notion that came, apparently, from Scandinavia. As for similar sounding of the names of imagined and real peoples, it is the whim of chance.
{"title":"Baneful Night of Cimmerian Land: Poetry, History and the Whim of Chance","authors":"","doi":"10.22394/0869-5377-2022-4-199-233","DOIUrl":"https://doi.org/10.22394/0869-5377-2022-4-199-233","url":null,"abstract":"The Odyssey places “the city of the Cimmerian men” in the immediate vicinity of the realm of the dead — in an area that is never illuminated by the rays of the sun. Meanwhile, Greek writers call by the same name «Cimmerians» a real people who invaded in the 7th century BC Asia Minor and who are called “gimir”/“gamir” in Assyrian sources. This context gave rise to many ingenious, sometimes extravagant lines of thought in the minds of scholars — ancient and modern. Two ideas became especially influential: according to one, the Cimmerians are the most northern people living in the conditions of the polar night; according to another, the Homeric image was due to the reports of fogs covering the shores of the Black Sea Colchis. A common tendency, however, was to ignore the poet’s words that “the breath of the North Wind” will bear Odysseus’s ship towards the realm of the dead. These words clearly imply that this realm is located in the extreme south, but such a conclusion seemed so strange to scholars that they preferred to pass over the issue in silence.\u0000The article explains that the unusual localization of the realm of the dead goes back to the Bronze Age. It is the notion of a solar disk bright only on one side, which stands behind such a localization. The Odyssey depends on a particular version of this notion that came, apparently, from Scandinavia. As for similar sounding of the names of imagined and real peoples, it is the whim of chance.","PeriodicalId":227990,"journal":{"name":"POWER AND ADMINISTRATION IN THE EAST OF RUSSIA","volume":"14 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":"116253104","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: 10.22394/0869-5377-2022-4-51-55
This article introduses proceedings of the international scientific conference “Puns, Neologisms, Reservations, and Shifts in Russian Culture in the 18th–20th Centuries,” held at the Faculty of Liberal Arts and Sciences at St. Petersburg State University on November 27–28, 2020. It took place in the interval between the first and the second wave of the pandemic, when the very possibility of a face-to-face meeting of speakers seemed unique. The article opens with a description of the specifics of the mixed format in which the conference took place, and then reconstructs the discussion among its participants, which greatly expanded the scope of the research of the problem. While the initial intention was to focus on Russian culture, limiting the discussion to the period between the reforms of Peter the Great and the present, as the discussion unfolded, it became clear to the participants that there is no Russian specificity in this project. On the contrary, it is much more interesting and relevant in a broader, sociocultural context. As for the timeframes, they were removed in order to provide an opportunity to talk about the play of words and images, having the opportunity to resort to broad and quite unexpected comparisons and analogies.Philologists, philosophers, cultural anthropologists, historians, art historians, specialists in visual studies, history and theory of fashion saw in comparative typology a common ground for dialogue in which it was possible to talk about the practices of word and image play, namely puns, neologisms, communication disorders and shifts. We were able to distinguish three conceptual fields in which the polemic unfolded: the play of words, the play of representations, and the play of meanings.
{"title":"The Play of Words / Representations / Meanings","authors":"","doi":"10.22394/0869-5377-2022-4-51-55","DOIUrl":"https://doi.org/10.22394/0869-5377-2022-4-51-55","url":null,"abstract":"This article introduses proceedings of the international scientific conference “Puns, Neologisms, Reservations, and Shifts in Russian Culture in the 18th–20th Centuries,” held at the Faculty of Liberal Arts and Sciences at St. Petersburg State University on November 27–28, 2020. It took place in the interval between the first and the second wave of the pandemic, when the very possibility of a face-to-face meeting of speakers seemed unique. The article opens with a description of the specifics of the mixed format in which the conference took place, and then reconstructs the discussion among its participants, which greatly expanded the scope of the research of the problem. While the initial intention was to focus on Russian culture, limiting the discussion to the period between the reforms of Peter the Great and the present, as the discussion unfolded, it became clear to the participants that there is no Russian specificity in this project. On the contrary, it is much more interesting and relevant in a broader, sociocultural context. As for the timeframes, they were removed in order to provide an opportunity to talk about the play of words and images, having the opportunity to resort to broad and quite unexpected comparisons and analogies.\u0000Philologists, philosophers, cultural anthropologists, historians, art historians, specialists in visual studies, history and theory of fashion saw in comparative typology a common ground for dialogue in which it was possible to talk about the practices of word and image play, namely puns, neologisms, communication disorders and shifts. We were able to distinguish three conceptual fields in which the polemic unfolded: the play of words, the play of representations, and the play of meanings.","PeriodicalId":227990,"journal":{"name":"POWER AND ADMINISTRATION IN THE EAST OF RUSSIA","volume":"68 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":"130140704","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: 10.22394/0869-5377-2022-4-105-119
The problem of the book cover has gained little attention from researchers (philologists, art historians, literary historians, designers). However, what is in plain sight in a book may paradoxically remain invisible, both to contemporaries and to posterity. In other words, the reader/viewer/researcher may not even realize that he is dealing with a kind of “cipher,” “code,” “secret,” “rebus,” “secret writing.” The article demonstrates the cryptographic nature of one of these covers, created by Alexander Rodchenko for Vladimir Mayakovsky’s collection of poems NO. S (Moscow, 1928). Any reader should be immediately intrigued by the very obvious “weirdness” of both the cover and the title of this book. On the title page this weirdness is partially cleared up, for here the title is subtitled: NO. S: New Poems. However, such an author’s “transcription” is deliberately deceitful and provocative, due to a deliberately illiterate abbreviation of the adjective. It is noteworthy that this book opens with a poem with the program title Incomprehensible for the Masses.We can, with equal reason, assume that the occasion for the cover could equally serve as a verbal pun, as well as a visual one. That is, the question could be posed as follows: what exactly determined the letter composition of the cover? It could be some kind of visual artifact that became the source for mastering in Rodchenko’s work, in which case the graphics of the cover itself are not random, but strictly constructed and possess an implicit program. Or, on the contrary, Rodchenko’s recognizable constructivist style bears in this case only a secondary and incidental plastic decorative function, and all the unobvious meaning for the public is concentrated only in the title, reduced to three mysterious letters. The deciphering of the cover of this book is undertaken for the first time, 94 years after its publication.
{"title":"A Play of Letters, Words, and Images: On One Line by Mayakovsky and Its Visualization (The Experience of Decoding the Cover of Rodchenko’s NO.S)","authors":"","doi":"10.22394/0869-5377-2022-4-105-119","DOIUrl":"https://doi.org/10.22394/0869-5377-2022-4-105-119","url":null,"abstract":"The problem of the book cover has gained little attention from researchers (philologists, art historians, literary historians, designers). However, what is in plain sight in a book may paradoxically remain invisible, both to contemporaries and to posterity. In other words, the reader/viewer/researcher may not even realize that he is dealing with a kind of “cipher,” “code,” “secret,” “rebus,” “secret writing.” The article demonstrates the cryptographic nature of one of these covers, created by Alexander Rodchenko for Vladimir Mayakovsky’s collection of poems NO. S (Moscow, 1928). Any reader should be immediately intrigued by the very obvious “weirdness” of both the cover and the title of this book. On the title page this weirdness is partially cleared up, for here the title is subtitled: NO. S: New Poems. However, such an author’s “transcription” is deliberately deceitful and provocative, due to a deliberately illiterate abbreviation of the adjective. It is noteworthy that this book opens with a poem with the program title Incomprehensible for the Masses.\u0000We can, with equal reason, assume that the occasion for the cover could equally serve as a verbal pun, as well as a visual one. That is, the question could be posed as follows: what exactly determined the letter composition of the cover? It could be some kind of visual artifact that became the source for mastering in Rodchenko’s work, in which case the graphics of the cover itself are not random, but strictly constructed and possess an implicit program. Or, on the contrary, Rodchenko’s recognizable constructivist style bears in this case only a secondary and incidental plastic decorative function, and all the unobvious meaning for the public is concentrated only in the title, reduced to three mysterious letters. The deciphering of the cover of this book is undertaken for the first time, 94 years after its publication.","PeriodicalId":227990,"journal":{"name":"POWER AND ADMINISTRATION IN THE EAST OF RUSSIA","volume":"23 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":"133893976","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: 10.22394/0869-5377-2022-4-1-49
R. Kapeliushnikov
The paper examines the genealogy and metamorphosis of the term “neoliberalism” as one of the most fashionable and widespread concepts, actively used today in wide array of social disciplines from sociology, history, and geography to anthropology and gender studies. Neoliberalism is regarded by its critics as the most successful ideology in the whole history. It is argued to constitute the meaning and essence of the modern era and to be the cause of all the problems of today’s world — inequality, poverty, climate change, globalization, financial crises, the COVID-19 pandemic, etc. The first part analyzes the unique features of this concept: the absence of real “neoliberals,” pejorativeness, ideological asymmetry (existence only in the lexicon of leftist theorists), semantic emptiness, vastness. The second part examines five different historical incarnations of neoliberalism, from the original one, which emerged in the first decades of the twentieth century, to the contemporary one.Neoliberalism 1 was born in Austria in the 1920s due to efforts of Marxist and protonazi authors. Neoliberalism 2 originated from the famous economist and sociologist Alexander Rüstow, a member of the German Ordoliberal circle. Neoliberalism 3 appeared in Latin America in the 1970s, when leftist intellectuals began to label in such a way the economic reforms in Chile under Augusto Pinochet. Neoliberalism 4 was the intellectual brainchild of the French philosopher Michel Foucault, who chose the term as the generic term for all schools of “economic” liberalism. Finally, modern Neoliberalism 5 emerged as a hybrid of Neoliberalism 3 and Neoliberalism 4. In the course of these metamorphoses, “neoliberalism” has changed its meaning and evaluative character more than once. The author concludes that “neoliberalism” is a key element in the worldview of contemporary leftist intellectuals, where it takes the form of a faceless metaphysical evil that spreads its wings over all mankind and leads it from one disaster to another.
{"title":"The Adventures of “Neoliberalism”","authors":"R. Kapeliushnikov","doi":"10.22394/0869-5377-2022-4-1-49","DOIUrl":"https://doi.org/10.22394/0869-5377-2022-4-1-49","url":null,"abstract":"The paper examines the genealogy and metamorphosis of the term “neoliberalism” as one of the most fashionable and widespread concepts, actively used today in wide array of social disciplines from sociology, history, and geography to anthropology and gender studies. Neoliberalism is regarded by its critics as the most successful ideology in the whole history. It is argued to constitute the meaning and essence of the modern era and to be the cause of all the problems of today’s world — inequality, poverty, climate change, globalization, financial crises, the COVID-19 pandemic, etc. The first part analyzes the unique features of this concept: the absence of real “neoliberals,” pejorativeness, ideological asymmetry (existence only in the lexicon of leftist theorists), semantic emptiness, vastness. The second part examines five different historical incarnations of neoliberalism, from the original one, which emerged in the first decades of the twentieth century, to the contemporary one.\u0000Neoliberalism 1 was born in Austria in the 1920s due to efforts of Marxist and protonazi authors. Neoliberalism 2 originated from the famous economist and sociologist Alexander Rüstow, a member of the German Ordoliberal circle. Neoliberalism 3 appeared in Latin America in the 1970s, when leftist intellectuals began to label in such a way the economic reforms in Chile under Augusto Pinochet. Neoliberalism 4 was the intellectual brainchild of the French philosopher Michel Foucault, who chose the term as the generic term for all schools of “economic” liberalism. Finally, modern Neoliberalism 5 emerged as a hybrid of Neoliberalism 3 and Neoliberalism 4. In the course of these metamorphoses, “neoliberalism” has changed its meaning and evaluative character more than once. The author concludes that “neoliberalism” is a key element in the worldview of contemporary leftist intellectuals, where it takes the form of a faceless metaphysical evil that spreads its wings over all mankind and leads it from one disaster to another.","PeriodicalId":227990,"journal":{"name":"POWER AND ADMINISTRATION IN THE EAST OF RUSSIA","volume":"24 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":"116316378","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: 10.22394/0869-5377-2022-4-181-197
Researchers of contemporary culture still discuss the significance of the gap between “historical” and “fictional” (or “invented”) religions, “serious” and “playful” emotions felt by their followers, and the very understanding of reality informing respective ontologies. It is important, however, that every newly appeared religious community have to either employ existing models of social and ritual relations or create them anew or borrow them from other — sometimes very distant — contexts. From this perspective, history of post-Soviet religious culture can provide us with certain insights into social and moral expectations and anxieties characteristic to the citizens of the former USSR in the time of collapse of Soviet “symbolic universe.”The article deals with certain concepts of social and moral imagination borrowed from the late Soviet culture and being especially important for the Last Testament Church, a post-Soviet religious movement. Such borrowings imply more or less significant semantic shifts, but at the same time retain partly erased “trains” of previous meanings. This allows reconstructing with certain precision cultural and social needs that inform “invention” of new religions. The analysis presented in the article demonstrates that social utopia of the Last Testament Church proceeds from concepts and images of late Soviet childhood where literary and cinematographic fairy tales and pedagogic ethics were easily connected to the image of nuclear apocalypse and survival in the world burnt and poisoned by radiation.
{"title":"“Welcome to the fairytale world…”: Belief, Play, and Semantic Shifts in Contemporary Religious Culture","authors":"","doi":"10.22394/0869-5377-2022-4-181-197","DOIUrl":"https://doi.org/10.22394/0869-5377-2022-4-181-197","url":null,"abstract":"Researchers of contemporary culture still discuss the significance of the gap between “historical” and “fictional” (or “invented”) religions, “serious” and “playful” emotions felt by their followers, and the very understanding of reality informing respective ontologies. It is important, however, that every newly appeared religious community have to either employ existing models of social and ritual relations or create them anew or borrow them from other — sometimes very distant — contexts. From this perspective, history of post-Soviet religious culture can provide us with certain insights into social and moral expectations and anxieties characteristic to the citizens of the former USSR in the time of collapse of Soviet “symbolic universe.”\u0000The article deals with certain concepts of social and moral imagination borrowed from the late Soviet culture and being especially important for the Last Testament Church, a post-Soviet religious movement. Such borrowings imply more or less significant semantic shifts, but at the same time retain partly erased “trains” of previous meanings. This allows reconstructing with certain precision cultural and social needs that inform “invention” of new religions. The analysis presented in the article demonstrates that social utopia of the Last Testament Church proceeds from concepts and images of late Soviet childhood where literary and cinematographic fairy tales and pedagogic ethics were easily connected to the image of nuclear apocalypse and survival in the world burnt and poisoned by radiation.","PeriodicalId":227990,"journal":{"name":"POWER AND ADMINISTRATION IN THE EAST OF RUSSIA","volume":"1 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":"134147021","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: 10.22394/0869-5377-2022-4-85-103
The article examines several episodes from life in the Soviet Union in the 1930s cases of political persecution of artists, photographers, newspaper editors and printing workers for unwanted visual effects created by publishing images showing political leaders and some politically neutral images. In addition, the article analyzes the psychological mechanisms of “politically vigilant seeing.” Since a certain moment (about 1937), visual effects that were previously interpreted as accidental, and most often remained unnoticed, are interpreted as deliberate wrecking: a lock of hair on the forehead of a communist leader, a bouquet of flowers on a notebook, and a pattern that forms the leaves of the trees in a photograph.The article shows that the boundaries of randomness and non-randomness in question are not arbitrary. As Immanuel Kant pointed out, our vision is not a purely sensory process of grasping and registering data. The vision process is heavily influenced by intelligence and thinking, which shape raw sensory data into complete perception. Following Kant the author argues that physiological vision is invested by ideology. Differences in the perception of one object (not metaphorical, but rather physiological in this case) occur not only between representatives of different eras and cultures, but also in the perception of the same image by people with different ideological attitudes.
{"title":"Photographer as a Wrecker: Fighting Unwanted Visuals in Stalin’s Russia","authors":"","doi":"10.22394/0869-5377-2022-4-85-103","DOIUrl":"https://doi.org/10.22394/0869-5377-2022-4-85-103","url":null,"abstract":"The article examines several episodes from life in the Soviet Union in the 1930s cases of political persecution of artists, photographers, newspaper editors and printing workers for unwanted visual effects created by publishing images showing political leaders and some politically neutral images. In addition, the article analyzes the psychological mechanisms of “politically vigilant seeing.” Since a certain moment (about 1937), visual effects that were previously interpreted as accidental, and most often remained unnoticed, are interpreted as deliberate wrecking: a lock of hair on the forehead of a communist leader, a bouquet of flowers on a notebook, and a pattern that forms the leaves of the trees in a photograph.\u0000The article shows that the boundaries of randomness and non-randomness in question are not arbitrary. As Immanuel Kant pointed out, our vision is not a purely sensory process of grasping and registering data. The vision process is heavily influenced by intelligence and thinking, which shape raw sensory data into complete perception. Following Kant the author argues that physiological vision is invested by ideology. Differences in the perception of one object (not metaphorical, but rather physiological in this case) occur not only between representatives of different eras and cultures, but also in the perception of the same image by people with different ideological attitudes.","PeriodicalId":227990,"journal":{"name":"POWER AND ADMINISTRATION IN THE EAST OF RUSSIA","volume":"88 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":"126369029","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: 10.22394/0869-5377-2022-4-235-248
The article is devoted to the initial stage of activity of the famous writer, critic, literary critic Zoya Boguslavskaya (up to her marriage to the poet Andrei Voznesensky). The work uses unique, previously unpublished materials from Boguslavska’s archives: manuscripts, documents and letters. Boguslavskaya’s early literary activities include three writers: Vera Panova, Leonid Leonov, and Alexander Korneychuk. The first significant work of Boguslavskaya is related to the study of the productions of Korneychuk’s plays in Moscow theaters, followed by a book on the works of writer Leonid Leonov and, in 1963, a book on the works of Panova.In the initial period Boguslavskaya acts as a literary, theatrical and film critic.She was published in the major periodicals of the time: Literaturnaya Gazeta, Sovetskaya Kultura, Literatura i Zhizn’, Ogonyok, and other newspapers and magazines. The article deals with her interaction with cultural figures of the mid-twentieth century. Her formation as a writer is studied. Important formal milestones in the life of Boguslavskaya were defending her PhD thesis in 1952 and joining the Union of Soviet Writers in 1960. Her activity at the initial stage is multifaceted and finds recognition both in the writing community and among readers. By the mid-1960s, her formation as a writer was completed, and her own style and manner of writing was formed. The crown of the initial stage in Boguslavskaya’s work is a book about the writer Panova, and the poet Voznesensky appears in Boguslavskaya’s life.
{"title":"Zoya Boguslavskaya’s Worlds","authors":"","doi":"10.22394/0869-5377-2022-4-235-248","DOIUrl":"https://doi.org/10.22394/0869-5377-2022-4-235-248","url":null,"abstract":"The article is devoted to the initial stage of activity of the famous writer, critic, literary critic Zoya Boguslavskaya (up to her marriage to the poet Andrei Voznesensky). The work uses unique, previously unpublished materials from Boguslavska’s archives: manuscripts, documents and letters. Boguslavskaya’s early literary activities include three writers: Vera Panova, Leonid Leonov, and Alexander Korneychuk. The first significant work of Boguslavskaya is related to the study of the productions of Korneychuk’s plays in Moscow theaters, followed by a book on the works of writer Leonid Leonov and, in 1963, a book on the works of Panova.\u0000In the initial period Boguslavskaya acts as a literary, theatrical and film critic.\u0000She was published in the major periodicals of the time: Literaturnaya Gazeta, Sovetskaya Kultura, Literatura i Zhizn’, Ogonyok, and other newspapers and magazines. The article deals with her interaction with cultural figures of the mid-twentieth century. Her formation as a writer is studied. Important formal milestones in the life of Boguslavskaya were defending her PhD thesis in 1952 and joining the Union of Soviet Writers in 1960. Her activity at the initial stage is multifaceted and finds recognition both in the writing community and among readers. By the mid-1960s, her formation as a writer was completed, and her own style and manner of writing was formed. The crown of the initial stage in Boguslavskaya’s work is a book about the writer Panova, and the poet Voznesensky appears in Boguslavskaya’s life.","PeriodicalId":227990,"journal":{"name":"POWER AND ADMINISTRATION IN THE EAST OF RUSSIA","volume":"214 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":"134084012","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: 10.22394/0869-5377-2022-4-57-83
The article offers an analysis of the speech manner of the protagonist of Nikolay Gogol’s story The Overcoat described by Gogol through the tendency of Akaky Akakievich to express himself “mostly with prepositions, adverbs, and finally such particles as have decidedly no meaning.” The hypothesis of the article is that there is a certain concept behind the manner of speech of this character, which is not only linguistic but also political in nature. The latter becomes obvious if we trace the evolution of the hero’s speech from the words “That, really, is altogether sort of…” to “Secretaries are altogether sort of… the untrustworthy race…”Grounding of the hypothesis is based on two theoretical sources. The first of them is the study of the specifics of Martin Heidegger’s language, presented by Andrey Paribok in his article On the Philosophical Legitimateness of Heidegger’s Language Licences (Voprosy filosofii. 2018. Vol. 11). The emphasis in this article is on the role played by non-root words (for example, Inheit) in Being and Time. The second concept that we use is the linguistic model proposed by Gilles Deleuze and Felix Guattari in their A Thousand Plateaus. In this concept, it is proposed to understand speech not on the basis of shifters that bind it to the subjectivity, but on the basis of tensors, which serve to express impersonal affects that are not reducible to the speaker’s ego. Thus the relaxed and free speech manner of Gogol himself can be viewed as a utopian ideal in relation to the inability of the hero of The Overcoat to verbal articulation of his thoughts. However, the strong side of Akaky Akakievich’s speech is its power to express the affect that testifies to the hero’s belonging to the multitude of those who have a “strong enemy” represented by “our northern frost.” The climate here is an obvious metaphor for social order. So, “particles devoid of meaning” reveal their potential, and Akaky Akakievich’s speech turns from plaintive babble into a formidable demand to articulate his desire in a generally valid form.
{"title":"“That, really, is altogether sort of…”: On the Meaning of Particles That Have Decidedly no Meaning","authors":"","doi":"10.22394/0869-5377-2022-4-57-83","DOIUrl":"https://doi.org/10.22394/0869-5377-2022-4-57-83","url":null,"abstract":"The article offers an analysis of the speech manner of the protagonist of Nikolay Gogol’s story The Overcoat described by Gogol through the tendency of Akaky Akakievich to express himself “mostly with prepositions, adverbs, and finally such particles as have decidedly no meaning.” The hypothesis of the article is that there is a certain concept behind the manner of speech of this character, which is not only linguistic but also political in nature. The latter becomes obvious if we trace the evolution of the hero’s speech from the words “That, really, is altogether sort of…” to “Secretaries are altogether sort of… the untrustworthy race…”\u0000Grounding of the hypothesis is based on two theoretical sources. The first of them is the study of the specifics of Martin Heidegger’s language, presented by Andrey Paribok in his article On the Philosophical Legitimateness of Heidegger’s Language Licences (Voprosy filosofii. 2018. Vol. 11). The emphasis in this article is on the role played by non-root words (for example, Inheit) in Being and Time. The second concept that we use is the linguistic model proposed by Gilles Deleuze and Felix Guattari in their A Thousand Plateaus. In this concept, it is proposed to understand speech not on the basis of shifters that bind it to the subjectivity, but on the basis of tensors, which serve to express impersonal affects that are not reducible to the speaker’s ego. Thus the relaxed and free speech manner of Gogol himself can be viewed as a utopian ideal in relation to the inability of the hero of The Overcoat to verbal articulation of his thoughts. However, the strong side of Akaky Akakievich’s speech is its power to express the affect that testifies to the hero’s belonging to the multitude of those who have a “strong enemy” represented by “our northern frost.” The climate here is an obvious metaphor for social order. So, “particles devoid of meaning” reveal their potential, and Akaky Akakievich’s speech turns from plaintive babble into a formidable demand to articulate his desire in a generally valid form.","PeriodicalId":227990,"journal":{"name":"POWER AND ADMINISTRATION IN THE EAST OF RUSSIA","volume":"116 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":"128062371","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: 10.22394/0869-5377-2022-4-153-179
Vladimir Solovyev possessed many different talents and capacities. He was philosopher and sceptic intellectual, journalist and mystagogue, master of obscene jokes and sophiologian, theologian and eccentric newsmaker. The heterogeneity of interests and skills was typical of thinkers and artists of the Modernist epoch, it even can be considered as a Modernist version of the wholeness of identity. Vassily Rozanov and Andrei Bely, Alfred Jarry and Aby Warburg, Walter Benjamin and André Breton worked in different artistic and scientific fields, and they were quite successful as multidisciplinary intellectuals. François Rabelais, like many representatives of the Renaissance, was also known as a prominent figure of various creative spheres. Taking into account that Solovyev and Rabelais both believed that the game was inextricable linked to the very nature of intellectual activity, the comparison of these two thinkers/writers can help us in understanding Vladimir Solovyev in his creative wholeness, “estranging” his well-known image. Like one of the classics of Russian philosophy (unlike he was its founder), like one of the leaders of the Russian religious Renaissance, Solovyev undoubtedly was and is a key figure of the Modernist epoch. Meanwhile, taken together with François Rabelais, he becomes less familiar and much closer to his authentic personality. Thanks to this comparision, the thinker, known by his contemporaries as an unsurpassed speaker, the ironical interlocutor and incorrigible joker, can be perceived as a skillful writer reinvented language like an individual creative method. Even in his classical works (Three Talks, Panmongolism) Solovyev now is transformed into a Modernist thinker whose intellectual wholeness consists of mystical experience, brilliant writer’s and speaker’s skills, historiosophical insights and peculiar inexhaustible humor.
{"title":"On a Typology of the Wholeness: Vladimir Solovev and François Rabelais","authors":"","doi":"10.22394/0869-5377-2022-4-153-179","DOIUrl":"https://doi.org/10.22394/0869-5377-2022-4-153-179","url":null,"abstract":"Vladimir Solovyev possessed many different talents and capacities. He was philosopher and sceptic intellectual, journalist and mystagogue, master of obscene jokes and sophiologian, theologian and eccentric newsmaker. The heterogeneity of interests and skills was typical of thinkers and artists of the Modernist epoch, it even can be considered as a Modernist version of the wholeness of identity. Vassily Rozanov and Andrei Bely, Alfred Jarry and Aby Warburg, Walter Benjamin and André Breton worked in different artistic and scientific fields, and they were quite successful as multidisciplinary intellectuals. François Rabelais, like many representatives of the Renaissance, was also known as a prominent figure of various creative spheres. Taking into account that Solovyev and Rabelais both believed that the game was inextricable linked to the very nature of intellectual activity, the comparison of these two thinkers/writers can help us in understanding Vladimir Solovyev in his creative wholeness, “estranging” his well-known image. Like one of the classics of Russian philosophy (unlike he was its founder), like one of the leaders of the Russian religious Renaissance, Solovyev undoubtedly was and is a key figure of the Modernist epoch. Meanwhile, taken together with François Rabelais, he becomes less familiar and much closer to his authentic personality. Thanks to this comparision, the thinker, known by his contemporaries as an unsurpassed speaker, the ironical interlocutor and incorrigible joker, can be perceived as a skillful writer reinvented language like an individual creative method. Even in his classical works (Three Talks, Panmongolism) Solovyev now is transformed into a Modernist thinker whose intellectual wholeness consists of mystical experience, brilliant writer’s and speaker’s skills, historiosophical insights and peculiar inexhaustible humor.","PeriodicalId":227990,"journal":{"name":"POWER AND ADMINISTRATION IN THE EAST OF RUSSIA","volume":"149 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":"117280104","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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