Pub Date : 2022-10-31eCollection Date: 2023-01-01DOI: 10.1080/17543266.2022.2131913
Jane Wood, James Redfern, Joanna Verran
The textile industry needs to adopt environmentally sustainable approaches to address ecologically damaging practices. Whilst driven by initiatives such as Textiles 2030, it is current students who will carry this agenda forward. This project investigated pedagogical approaches to develop sustainable textiles for the fashion design curriculum. Pilot studies, using bacterial cellulose (BC) as a material for millinery, revealed members of the public were prepared to experiment with this novel material, and BC was compatible with traditional hat-making techniques. A further study challenged secondary school students, based on an experiential learning model, to grow their own BC biofilm, exploring this as a sustainable apparel fabric. Initial attitudes of reluctance developed into acceptance once engaged in the practical activity. This study illustrates that with appropriate communication and education strategies, the principles of sustainability in fashion, and the acceptability of novel materials, can be engendered in different audiences.
纺织业需要采用环境可持续发展的方法来解决破坏生态的做法。在《纺织业 2030》等倡议的推动下，目前的学生将推动这一议程。本项目研究了为时装设计课程开发可持续纺织品的教学方法。试点研究使用细菌纤维素（BC）作为制帽材料，结果表明公众愿意尝试这种新型材料，而且细菌纤维素与传统制帽技术兼容。另一项研究以体验式学习模式为基础，让中学生自己种植 BC 生物膜，探索将其作为可持续服装面料的可能性。学生们从最初的不情愿到参与实践活动后的接受。这项研究表明，通过适当的交流和教育策略，时尚的可持续性原则以及新型材料的可接受性可以被不同的受众所接受。
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Traced the desire of star artists from France, Italy, Spain, Great Britain, Russia, different generations and with fundamentally different worldview foundations of creativity, in recent decades to include antique motifs in their imaginative programs; moreover, making them the translators of individual artistic expressions reflecting socio-cultural reception. The portrayal of ancient images, on different aesthetic and worldview bases, are present in the experimental works of the modernism, in the postmodernism (which became a reflection of the collapse of the whole picture of the world observed in modern psychology, philosophy, history), are a means of actualization gender issues, the problems of the LDF community, a reflection of glamorous aesthetics, arise in examples of street art and arte-pover, elite and mass culture, etc. For the first time in many centuries, «antique» sculptures appear at city crossroads and squares, bearing signs of the formal vocabulary of new trends. Over the past more than half a century, the individual statements of artists, in an attempt to remain in the field of polemical discourse, in an effort to expand the boundaries of the norm, including the recently approved ones, took place within the framework of large-scale (it is important to be aware) conceptual projects, thematically completely based on the interpretation of the images of Antiquity, which takes place for the first time in the history of exhibition practice. Moreover, these projects sometimes seem to be milestones in the development of contemporary art
{"title":"«Eternal Images» of Antiquity: Functional Analysis in the Scope of the Late 20th – Early 21st Centuries Visual Culture","authors":"N. Getashvili","doi":"10.17516/1997-1370-0873","DOIUrl":"https://doi.org/10.17516/1997-1370-0873","url":null,"abstract":"Traced the desire of star artists from France, Italy, Spain, Great Britain, Russia, different generations and with fundamentally different worldview foundations of creativity, in recent decades to include antique motifs in their imaginative programs; moreover, making them the translators of individual artistic expressions reflecting socio-cultural reception. The portrayal of ancient images, on different aesthetic and worldview bases, are present in the experimental works of the modernism, in the postmodernism (which became a reflection of the collapse of the whole picture of the world observed in modern psychology, philosophy, history), are a means of actualization gender issues, the problems of the LDF community, a reflection of glamorous aesthetics, arise in examples of street art and arte-pover, elite and mass culture, etc. For the first time in many centuries, «antique» sculptures appear at city crossroads and squares, bearing signs of the formal vocabulary of new trends. Over the past more than half a century, the individual statements of artists, in an attempt to remain in the field of polemical discourse, in an effort to expand the boundaries of the norm, including the recently approved ones, took place within the framework of large-scale (it is important to be aware) conceptual projects, thematically completely based on the interpretation of the images of Antiquity, which takes place for the first time in the history of exhibition practice. Moreover, these projects sometimes seem to be milestones in the development of contemporary art","PeriodicalId":37201,"journal":{"name":"Journal of Siberian Federal University - Humanities and Social Sciences","volume":"124 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87809199","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}
The authors address the problem of the attribution of the chanting cycle «Most Blessed Father», ascribed in science as work of Tsar Ivan the Terrible’s authorship. The study was carried out by means of a comparative textual analysis of sources of the 16th‑17th centuries, the main of which is the Stichirar writtten by outstanding raspevshik (church chant master) Login Shishelov. It contains the cycle «Most Blessed Father Saint Peter», the first stichera of which was attributed by Login to Tsar Ivan the Terrible. The preservation of the tsar’s musical creation by Login Shishelov is one of the most important evidence in favour of the reliability of this attribution. It is established that in 1585 Login was a monk of the Chudov Monastery, located in the Moscow Kremlin, and could have the opportunity to obtain written evidence of the work of Tsar Ivan the Terrible. The authors reveals the history of this manuscript after its introduction into scientific circulation in 1887, pointing out that this study is in fact the first reference to the tsar’s cycle from it after a century of interruption. The researchers also analyse the scientific works of N. S. Seregina, who in the 90s, when the manuscript was considered lost, believed that she had discovered rewritten several times version of the Tsar Ivan the Terrible cycle, but without attributing remark. The authors of the article found out that this version contains the same verbal texts as the Login’s, but is radically different in musical terms. Therefore, the musical content of the nameless cycle, performed by N. S. Seregina, cannot be attributed to the work of the tsar. The authors of the article established that there are two differing musical versions of the single verbal text of the stichera, while the structure of the cycle with attribution to the tsar consists of four chants, and in the nameless masters – of three. The cycle from Login’s manuscript is unique musically, since so far such neumanic record of its text is found only in this single source. The authors conclude that Login Shishelov’s definitely attribution to the tsar’s authorship the musical and hymnographic text of only the first stichera of the cycle inspires confidence. Whether the other three stichera of the cycle are belonging to the tsar’s authorship remains to be seen in the future. The probability of their belonging to the work of the tsar is also great
{"title":"On the attribution of the Stichera Cycle «Most Blessed Father» in honour of the Metropolitan of All Russia Peter to the musical and hymnographic works of Tsar Ivan the Terrible","authors":"N. Parfentieva","doi":"10.17516/1997-1370-0878","DOIUrl":"https://doi.org/10.17516/1997-1370-0878","url":null,"abstract":"The authors address the problem of the attribution of the chanting cycle «Most Blessed Father», ascribed in science as work of Tsar Ivan the Terrible’s authorship. The study was carried out by means of a comparative textual analysis of sources of the 16th‑17th centuries, the main of which is the Stichirar writtten by outstanding raspevshik (church chant master) Login Shishelov. It contains the cycle «Most Blessed Father Saint Peter», the first stichera of which was attributed by Login to Tsar Ivan the Terrible. The preservation of the tsar’s musical creation by Login Shishelov is one of the most important evidence in favour of the reliability of this attribution. It is established that in 1585 Login was a monk of the Chudov Monastery, located in the Moscow Kremlin, and could have the opportunity to obtain written evidence of the work of Tsar Ivan the Terrible. The authors reveals the history of this manuscript after its introduction into scientific circulation in 1887, pointing out that this study is in fact the first reference to the tsar’s cycle from it after a century of interruption. The researchers also analyse the scientific works of N. S. Seregina, who in the 90s, when the manuscript was considered lost, believed that she had discovered rewritten several times version of the Tsar Ivan the Terrible cycle, but without attributing remark. The authors of the article found out that this version contains the same verbal texts as the Login’s, but is radically different in musical terms. Therefore, the musical content of the nameless cycle, performed by N. S. Seregina, cannot be attributed to the work of the tsar. The authors of the article established that there are two differing musical versions of the single verbal text of the stichera, while the structure of the cycle with attribution to the tsar consists of four chants, and in the nameless masters – of three. The cycle from Login’s manuscript is unique musically, since so far such neumanic record of its text is found only in this single source. The authors conclude that Login Shishelov’s definitely attribution to the tsar’s authorship the musical and hymnographic text of only the first stichera of the cycle inspires confidence. Whether the other three stichera of the cycle are belonging to the tsar’s authorship remains to be seen in the future. The probability of their belonging to the work of the tsar is also great","PeriodicalId":37201,"journal":{"name":"Journal of Siberian Federal University - Humanities and Social Sciences","volume":"132 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74888069","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}
Professor of the Leningrad State Conservatory composer Feodosy Antonovich Rubtsov (1904-1986) entered the history of Russian musicology as the author of the original concept of the structure of scales of folk songs. The scientist formulated main positions in monographs “Intonation Relations in the Songs of Slavs” (1962) and “The principles of mode construction in Russian Folk Songs” (1964). Comprehension of the concept of “genre”, the definition of genre features of traditional folk songs is a little-known side of Rubtsov’s scientific heritage. The study of archival documents (in particular, the transcripts of the report “Principles for Determining Genres of Folk Songs”, which was made in 1966 at the Leningrad department of the Union of Composers at the scientific conference “Theoretical Problems of Musical Forms and Genres”) shows that the scientist formulated a number of positions that were relevant for the 1960–1970. “Genre” is a genus and species concept, multi-level concept. The main criterion for determining the genre is the function, the stylistic features and the type of form are important too. Rubtsov noted that the genre system of folklore is capable of renewal, and the characteristic property of the genres of musical folklore lies in their ability in a certain context to act as a function of another genre
{"title":"The Concept of “Genre” in the Scientific Heritage of Feodosy Rubtsov","authors":"Evgenia S. Redkova","doi":"10.17516/1997-1370-0879","DOIUrl":"https://doi.org/10.17516/1997-1370-0879","url":null,"abstract":"Professor of the Leningrad State Conservatory composer Feodosy Antonovich Rubtsov (1904-1986) entered the history of Russian musicology as the author of the original concept of the structure of scales of folk songs. The scientist formulated main positions in monographs “Intonation Relations in the Songs of Slavs” (1962) and “The principles of mode construction in Russian Folk Songs” (1964). Comprehension of the concept of “genre”, the definition of genre features of traditional folk songs is a little-known side of Rubtsov’s scientific heritage. The study of archival documents (in particular, the transcripts of the report “Principles for Determining Genres of Folk Songs”, which was made in 1966 at the Leningrad department of the Union of Composers at the scientific conference “Theoretical Problems of Musical Forms and Genres”) shows that the scientist formulated a number of positions that were relevant for the 1960–1970. “Genre” is a genus and species concept, multi-level concept. The main criterion for determining the genre is the function, the stylistic features and the type of form are important too. Rubtsov noted that the genre system of folklore is capable of renewal, and the characteristic property of the genres of musical folklore lies in their ability in a certain context to act as a function of another genre","PeriodicalId":37201,"journal":{"name":"Journal of Siberian Federal University - Humanities and Social Sciences","volume":"57 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75527715","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}
The article is based on a study aimed to the possibility of applying the fractal concept for the region’s artistic life study and the formation of its professional art education system. There are main features of the application of the fractal concept in this study, its subject is the activity of creative leaders at the initial stage of the formation of the professional art education system in Krasnoyarsk at the turn of the XIX–XX centuries. Historical analysis and historiographic approach for studying the formation of art education makes it possible to determine the key origin points of the regional art school, and due to use of an anthropological approach the role of the individuals in the periphery artistic life reveals, as well as the launch and coordination of self-organizing processes. There were a set of factors which determined the unique appearance of the regional art culture and the features of its educational tradition at the initial stage of the professional art education system formation which were manifested primarily through the activities of creative leaders: M. A. Rutchenko and P. I. Ivanov-Radkevich, who could be called as anthropological fractals. The main directions of their work and artistic and teaching methods made it possible to determine the basic provisions for the development of the culture of the region and important steps towards the historical, geographical and ethnographic self-identification in the culture and art of Krasnoyarsk
{"title":"Art School of the Krasnoyarsk Region: Formation Features Analysis Through the Prism of the Fractal Concept","authors":"L. Stroj","doi":"10.17516/1997-1370-0882","DOIUrl":"https://doi.org/10.17516/1997-1370-0882","url":null,"abstract":"The article is based on a study aimed to the possibility of applying the fractal concept for the region’s artistic life study and the formation of its professional art education system. There are main features of the application of the fractal concept in this study, its subject is the activity of creative leaders at the initial stage of the formation of the professional art education system in Krasnoyarsk at the turn of the XIX–XX centuries. Historical analysis and historiographic approach for studying the formation of art education makes it possible to determine the key origin points of the regional art school, and due to use of an anthropological approach the role of the individuals in the periphery artistic life reveals, as well as the launch and coordination of self-organizing processes. There were a set of factors which determined the unique appearance of the regional art culture and the features of its educational tradition at the initial stage of the professional art education system formation which were manifested primarily through the activities of creative leaders: M. A. Rutchenko and P. I. Ivanov-Radkevich, who could be called as anthropological fractals. The main directions of their work and artistic and teaching methods made it possible to determine the basic provisions for the development of the culture of the region and important steps towards the historical, geographical and ethnographic self-identification in the culture and art of Krasnoyarsk","PeriodicalId":37201,"journal":{"name":"Journal of Siberian Federal University - Humanities and Social Sciences","volume":"29 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81219847","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}
This publication analyzes the possibilities of using polychromy in the creative practice of Russian sculptors. The emphasis is on highlighting the main criteria for the use of color. Hermeneutical and analytical approaches are used in combination with induction and comparison. In general, formal stylistic analysis prevails in the research methodology. The novelty of the study is due to the low level of study of the work of Russian sculptors and the weak elaboration of the problem of polychromy in the theory of sculpture as a whole. Having briefly demonstrated the experience of using polychromy in sculpture throughout the history of the development of world cultures, the authors, based on the analysis of modern sculptural compositions, draw conclusions about the relevance and diversity of the use of polychromy in domestic sculpture of the twenty-first century. Two functions of using color in sculpture are highlighted, namely: imitation/animation and symbolic/sacred. The characteristics of these functions are considered on the basis of concrete examples, in conclusion, the prospects for the development of polychromy as one of the most expressive compositional techniques of plastics are evaluated
{"title":"Polychromy in Modern Russian Sculpture","authors":"Marina V. Moskaliuk","doi":"10.17516/1997-1370-0876","DOIUrl":"https://doi.org/10.17516/1997-1370-0876","url":null,"abstract":"This publication analyzes the possibilities of using polychromy in the creative practice of Russian sculptors. The emphasis is on highlighting the main criteria for the use of color. Hermeneutical and analytical approaches are used in combination with induction and comparison. In general, formal stylistic analysis prevails in the research methodology. The novelty of the study is due to the low level of study of the work of Russian sculptors and the weak elaboration of the problem of polychromy in the theory of sculpture as a whole. Having briefly demonstrated the experience of using polychromy in sculpture throughout the history of the development of world cultures, the authors, based on the analysis of modern sculptural compositions, draw conclusions about the relevance and diversity of the use of polychromy in domestic sculpture of the twenty-first century. Two functions of using color in sculpture are highlighted, namely: imitation/animation and symbolic/sacred. The characteristics of these functions are considered on the basis of concrete examples, in conclusion, the prospects for the development of polychromy as one of the most expressive compositional techniques of plastics are evaluated","PeriodicalId":37201,"journal":{"name":"Journal of Siberian Federal University - Humanities and Social Sciences","volume":"37 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73338512","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}
The paper is devoted to the study of Siberian bibliophile G. V. Yudin’s West-European graphic arts collection, which is owned by the Krasnoyarsk Regional Local Lore Museum. There is an objective need to give additional information on the attribution of auteur, reproductive and book engravings in art and documentary research. The authors address the authorship attribution through art analysis using stylistic and biographical factors. The article also responds to the problem of relevant translation of proper nouns (artists, engravers, printers, publishers) and texts on graphics. The study presents the results of literary translation of engraving texts (legends, book illustrations, caricatures). The translation is based on the knowledge of characters’ language, intentions of the author and reflects the unity of visual artwork and the literary source
这篇论文致力于研究西伯利亚藏书家g·v·尤丁(G. V. Yudin)的西欧图形艺术收藏，这些收藏归克拉斯诺亚尔斯克地区地方艺术博物馆所有。客观需要提供更多的资料，说明艺术和纪录片研究中作者、生殖和书籍雕刻的归属。作者通过艺术分析，运用文体因素和传记因素来探讨作者归属。文章还对图形的专有名词(艺术家、雕刻家、印刷商、出版商)和文本的相关翻译问题进行了回应。本研究介绍了雕刻文本(传说、书籍插图、漫画)的文学翻译结果。翻译是建立在对人物语言的了解和作者意图的基础上，体现了视觉艺术与文学来源的统一
{"title":"West-European Engraving in Siberian Collection: the Problems of Attribution (on the Basis of Yudin’s Collection)","authors":"S. Iakovleva","doi":"10.17516/1997-1370-0885","DOIUrl":"https://doi.org/10.17516/1997-1370-0885","url":null,"abstract":"The paper is devoted to the study of Siberian bibliophile G. V. Yudin’s West-European graphic arts collection, which is owned by the Krasnoyarsk Regional Local Lore Museum. There is an objective need to give additional information on the attribution of auteur, reproductive and book engravings in art and documentary research. The authors address the authorship attribution through art analysis using stylistic and biographical factors. The article also responds to the problem of relevant translation of proper nouns (artists, engravers, printers, publishers) and texts on graphics. The study presents the results of literary translation of engraving texts (legends, book illustrations, caricatures). The translation is based on the knowledge of characters’ language, intentions of the author and reflects the unity of visual artwork and the literary source","PeriodicalId":37201,"journal":{"name":"Journal of Siberian Federal University - Humanities and Social Sciences","volume":"158 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76796610","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}
The introductory article reveals the principles of forming a science direction, dedicated to the theory and history of arts, for the journal of the Siberian Federal University «Humanities & Social Sciences». To analyze the topical problems of regional scientific schools of contemporary Russian art history, several principles were chosen: geographical (when studies are presented by regions where the corresponding scientific schools are developing), historical (in accordance with the problems characteristic of one or another significant era in the history of world and domestic art), conceptual (in accordance with the basic ideas, theories, concepts that are shared by the authors), thematic (uniting scientists dealing with similar art history issues). The main approaches of the authors, the topics of their articles, art history ideas and theories that they develop are presented. At this point the schools of Russian art history are associated with the cities of Moscow, St. Petersburg, Chelyabinsk and Krasnoyarsk
{"title":"Regional Art Studies in Modern Russia (Introductory Article)","authors":"N. P. Koptseva","doi":"10.17516/1997-1370-0872","DOIUrl":"https://doi.org/10.17516/1997-1370-0872","url":null,"abstract":"The introductory article reveals the principles of forming a science direction, dedicated to the theory and history of arts, for the journal of the Siberian Federal University «Humanities & Social Sciences». To analyze the topical problems of regional scientific schools of contemporary Russian art history, several principles were chosen: geographical (when studies are presented by regions where the corresponding scientific schools are developing), historical (in accordance with the problems characteristic of one or another significant era in the history of world and domestic art), conceptual (in accordance with the basic ideas, theories, concepts that are shared by the authors), thematic (uniting scientists dealing with similar art history issues). The main approaches of the authors, the topics of their articles, art history ideas and theories that they develop are presented. At this point the schools of Russian art history are associated with the cities of Moscow, St. Petersburg, Chelyabinsk and Krasnoyarsk","PeriodicalId":37201,"journal":{"name":"Journal of Siberian Federal University - Humanities and Social Sciences","volume":"50 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77558624","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}
The article is to commemorate the 200th anniversary of Fedor Mikhailovich Dostoyevsky; it concerns a musical version of his novel, «The Idiot». The Russian writer’s work has attracted attention of many composers. In 1986 Mieczysław Weinberg completed the eponymous opera. The librettist Aleksandr Medvedev follows the logic of the original story and constructs the musical drama preserving the specific features and versatility of each character, which is also reflected in the music. The image of Parfen Rogozhin reveals the development of his contradictory nature. The character is represented with ensemble and solo scenes. Parfen’s Song from Scene Nine stands out among the solos. The song «Akh, talan li moi, talan» (Oh My Bad Luck) is quoted as its source. The lyrics of the song were first published together with its tune in 1790, in a book edited by N. A. Lvov and I. G. Prach, «Collection of Russian Folk Songs with Their Tunes» (Lvov-Prach Collection). The study has found that there are different versions of the text in the oral tradition. Their variety can be reduced to two types: the bridal song and the jailhouse ballad with its steady archetype of «beauty and the rogue». Each type has a semantic correlation in the context of the opera. The quotation obviously changes in the opera. The librettist has introduced his own lines enhancing the tragic focus of the song. The composer renders them in the tune emphasizing the intonation intrinsic to the genre of lamentation
这篇文章是为了纪念陀思妥耶夫斯基诞辰200周年;它涉及他的小说《白痴》的音乐版本。这位俄罗斯作家的作品引起了许多作曲家的注意。1986年Mieczysław温伯格完成了同名歌剧。编剧亚历山大·梅德韦杰夫遵循原著故事的逻辑，构建了音乐剧，保留了每个角色的特点和多样性，这也体现在音乐上。罗戈津的形象揭示了他矛盾本性的发展。这个角色是用合奏和独奏的场景来表现的。帕芬的《第九幕之歌》在众多独唱中脱颖而出。歌曲«Akh, talan li moi, talan»(哦，我的坏运气)被引用为其来源。这首歌的歌词在1790年首次与曲调一起出版，在一本由n.a.利沃夫和i.g.普拉奇编辑的书中，“俄罗斯民歌与曲调合集”(利沃夫-普拉奇合集)。研究发现，在口述传统中有不同的文本版本。它们的种类可以减少到两种类型:新娘之歌和监狱民谣，其稳定的原型是“美女与流氓”。每种类型在歌剧的上下文中都有语义关联。这句话在歌剧中有明显的变化。歌词作者加入了自己的歌词，增强了这首歌的悲剧性。作曲家在曲调中演奏它们，强调悲歌体裁固有的语调
{"title":"The Image of Parfen Rogozhin in «The Idiot», the Opera by M. Weinberg and A. Medvedev","authors":"S. Voitkevich","doi":"10.17516/1997-1370-0883","DOIUrl":"https://doi.org/10.17516/1997-1370-0883","url":null,"abstract":"The article is to commemorate the 200th anniversary of Fedor Mikhailovich Dostoyevsky; it concerns a musical version of his novel, «The Idiot». The Russian writer’s work has attracted attention of many composers. In 1986 Mieczysław Weinberg completed the eponymous opera. The librettist Aleksandr Medvedev follows the logic of the original story and constructs the musical drama preserving the specific features and versatility of each character, which is also reflected in the music. The image of Parfen Rogozhin reveals the development of his contradictory nature. The character is represented with ensemble and solo scenes. Parfen’s Song from Scene Nine stands out among the solos. The song «Akh, talan li moi, talan» (Oh My Bad Luck) is quoted as its source. The lyrics of the song were first published together with its tune in 1790, in a book edited by N. A. Lvov and I. G. Prach, «Collection of Russian Folk Songs with Their Tunes» (Lvov-Prach Collection). The study has found that there are different versions of the text in the oral tradition. Their variety can be reduced to two types: the bridal song and the jailhouse ballad with its steady archetype of «beauty and the rogue». Each type has a semantic correlation in the context of the opera. The quotation obviously changes in the opera. The librettist has introduced his own lines enhancing the tragic focus of the song. The composer renders them in the tune emphasizing the intonation intrinsic to the genre of lamentation","PeriodicalId":37201,"journal":{"name":"Journal of Siberian Federal University - Humanities and Social Sciences","volume":"58 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83956058","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}
In this article the author examines the peculiarities of the personalities of the Stroganovs, entrepreneurs and patrons of the arts at the example of the Nikita Grigorevich. The main pivotal concepts that existed in the culture of the Late Middle Ages are determined, the channels of their transmission in society are indicated. To understand the factors that influenced his worldview and were reflected in the art of the Late Middle Ages, the theory of identity was chosen, which determines the involvement of a person in certain areas of culture at universal, national and regional level. This phenomenon is realized through the adoption of fundamental values characteristic of society. The translators of these values and cultural codes in Russia during the late Middle Ages were the church, chronicles and books, public and family institutions and art. The latter is able to convey semantic concepts through a system of images and symbols filled with emotions and forming a person’s involvement with the themes and ideas of the works. The author describes the influence of the fundamental ideas of that time on the formation N. G. Stroganov’s spiritual world. It’s identified cultural codes that shape the personality of entrepreneur and found their manifestation in the art he revered
{"title":"Reflection of the Spiritual World of Nikita Grigorievich Stroganov in Church Art","authors":"S. Voroshin","doi":"10.17516/1997-1370-0884","DOIUrl":"https://doi.org/10.17516/1997-1370-0884","url":null,"abstract":"In this article the author examines the peculiarities of the personalities of the Stroganovs, entrepreneurs and patrons of the arts at the example of the Nikita Grigorevich. The main pivotal concepts that existed in the culture of the Late Middle Ages are determined, the channels of their transmission in society are indicated. To understand the factors that influenced his worldview and were reflected in the art of the Late Middle Ages, the theory of identity was chosen, which determines the involvement of a person in certain areas of culture at universal, national and regional level. This phenomenon is realized through the adoption of fundamental values characteristic of society. The translators of these values and cultural codes in Russia during the late Middle Ages were the church, chronicles and books, public and family institutions and art. The latter is able to convey semantic concepts through a system of images and symbols filled with emotions and forming a person’s involvement with the themes and ideas of the works. The author describes the influence of the fundamental ideas of that time on the formation N. G. Stroganov’s spiritual world. It’s identified cultural codes that shape the personality of entrepreneur and found their manifestation in the art he revered","PeriodicalId":37201,"journal":{"name":"Journal of Siberian Federal University - Humanities and Social Sciences","volume":"287 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77142608","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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