Pub Date : 2023-01-01DOI: 10.21638/spbu13.2023.207
Nikolay N. Telitsin, Kamilla A. Alieva
The article discusses the semantic nature of the Turkic perfect, its semantic zone limitations and possible grammar tools of expressing Perfect in the Old Uighur language. Goals. The study aims to determine grammar tools of expressing Perfect meanings in the Old Uighur language. Morphological tools that are able to perform the meanings included into the semantic zone of Perfect are being studied. Perfect and description of its semantic zone are connected with the concepts of aspect, actionality and ways of verbal action. In this regard, the issue of the relevance of these terms, in relation to the Old Uighur perfect, is under discussion. The grammar tools expressing Perfect are studied according to the point of view that excludes Aspect as a grammar category in the Turkic languages. Studying aspectual and temporal meanings of Perfect diachronically on the basis of the Od Uighur material may give a hint to understand the Turkic perfect and its expressions in genetically related modern languages. Functional-semantic and typological methods are used to identify and describe morphological tools with a perfect meaning. Scripts of the Old Uighur language, dated back to 10th–11th centuries, are of biographical and religious-philosophical content. Work with scripts, comprehension of existing theoretical approaches to understanding Perfect as an element of aspectual functional-semantic field show that Perfect meanings in the Old Uighur language are expressed by morphological tools that can be correlated with models. The study concludes that means expressing the Perfect meaning in the Old Uighur language are able to mark temporal localization and/or aspect.
{"title":"Perfect in the Old Uighur Language","authors":"Nikolay N. Telitsin, Kamilla A. Alieva","doi":"10.21638/spbu13.2023.207","DOIUrl":"https://doi.org/10.21638/spbu13.2023.207","url":null,"abstract":"The article discusses the semantic nature of the Turkic perfect, its semantic zone limitations and possible grammar tools of expressing Perfect in the Old Uighur language. Goals. The study aims to determine grammar tools of expressing Perfect meanings in the Old Uighur language. Morphological tools that are able to perform the meanings included into the semantic zone of Perfect are being studied. Perfect and description of its semantic zone are connected with the concepts of aspect, actionality and ways of verbal action. In this regard, the issue of the relevance of these terms, in relation to the Old Uighur perfect, is under discussion. The grammar tools expressing Perfect are studied according to the point of view that excludes Aspect as a grammar category in the Turkic languages. Studying aspectual and temporal meanings of Perfect diachronically on the basis of the Od Uighur material may give a hint to understand the Turkic perfect and its expressions in genetically related modern languages. Functional-semantic and typological methods are used to identify and describe morphological tools with a perfect meaning. Scripts of the Old Uighur language, dated back to 10th–11th centuries, are of biographical and religious-philosophical content. Work with scripts, comprehension of existing theoretical approaches to understanding Perfect as an element of aspectual functional-semantic field show that Perfect meanings in the Old Uighur language are expressed by morphological tools that can be correlated with models. The study concludes that means expressing the Perfect meaning in the Old Uighur language are able to mark temporal localization and/or aspect.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135556392","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 : 2023-01-01DOI: 10.21638/spbu15.2023.302
Sergey S. Akimov
The contribution of Evsei Rotenberg to the studies in history of the 17th century Dutch art is analyzed in this article. Investigations in Dutch art of the Golden Age were one of the main lines in scientific interests of Evsei Rotenberg, great specialist in classical West-European art, during all his activity. He also wrote about Italian Renaissance, especially Michelangelo and Titian, and about the most important esthetic and creative problems and tendencies of the 17th century art, the greatest masters of this epoch. The paper highlights his evolution as a researcher from point of view subjects and methodology of studies, analyzes the conceptual ideas explaining the specificity of the Dutch art, shows their place in Russian scientific tradition and their significance for the further development of art historian science. His professional formation was held under guidance of Prof. B.R.Vipper in Moscow University and in post-graduate course. Rotenberg’s PhD dissertation (1956) was devoted to realistic bases of Dutch art of the period of flourishing (Rembrandt and masters of genre painting). He is the author of works about Rembrandt and Vermeer, the monograph about development of the Dutch art including architecture, sculpture and decorative crafts. His most fundamental investigations — “West-European 17th Century Art” and “West-European 17th Century Painting. Thematic Principles” — were published in 1971 and 1989. Rotenberg analyzed Dutch school in aspects of style and non-style line and relationships between mythological and non-mythological creative conceptions in art of this epoch.
{"title":"The 17th Century Dutch Art in E.I.Rotenberg’s Studies","authors":"Sergey S. Akimov","doi":"10.21638/spbu15.2023.302","DOIUrl":"https://doi.org/10.21638/spbu15.2023.302","url":null,"abstract":"The contribution of Evsei Rotenberg to the studies in history of the 17th century Dutch art is analyzed in this article. Investigations in Dutch art of the Golden Age were one of the main lines in scientific interests of Evsei Rotenberg, great specialist in classical West-European art, during all his activity. He also wrote about Italian Renaissance, especially Michelangelo and Titian, and about the most important esthetic and creative problems and tendencies of the 17th century art, the greatest masters of this epoch. The paper highlights his evolution as a researcher from point of view subjects and methodology of studies, analyzes the conceptual ideas explaining the specificity of the Dutch art, shows their place in Russian scientific tradition and their significance for the further development of art historian science. His professional formation was held under guidance of Prof. B.R.Vipper in Moscow University and in post-graduate course. Rotenberg’s PhD dissertation (1956) was devoted to realistic bases of Dutch art of the period of flourishing (Rembrandt and masters of genre painting). He is the author of works about Rembrandt and Vermeer, the monograph about development of the Dutch art including architecture, sculpture and decorative crafts. His most fundamental investigations — “West-European 17th Century Art” and “West-European 17th Century Painting. Thematic Principles” — were published in 1971 and 1989. Rotenberg analyzed Dutch school in aspects of style and non-style line and relationships between mythological and non-mythological creative conceptions in art of this epoch.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135107058","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 : 2023-01-01DOI: 10.21638/spbu15.2023.202
O. Averyanova
The article is devoted to the analysis of the works by the French artist of American origin Man Ray. The objects of the first New York period were studied, later they repeatedly have been reproduced by the author. We consider prints of non-preserved objects as the author’s version of a photographic readymade. Reproductions and replications have become an important part of the artist’s strategy in Paris and especially in America. These practices represent an example of the branding technology traditionally associated with Andy Warhol. Man Ray invented it long before the commercialization of pop art. The idea as the main artistic value, regardless of the method of its implementation and originality, becomes not only the basis of conceptual art, but also the quintessence of the phenomenon that we call an art brand. We define it as an ideology that includes the characteristics of the artist’s personality, his work and general strategies, including the marketing ones. Ray’s experiments as a modernist, artist and photographer significantly expanded the spectrum of theoretical and practical issues related to the relationship between art and commerce in an era when the aesthetic value of a work depended not only on the conditions and on circumstances of the order, but on the novelty and radicality — the time when the experiments have being absolutized. In the avant-garde, this criterion has become an indicator of the artist’s talent and success. If we define a brand as a mental cover of a product, then the application of this term to a work of art is quite justified, especially since the 20th century approved the priority of design methods of creativity, the cognitive value of an artwork became more important than the retinal one. The artist required a certain amount of ingenuity to remain a radical and be part of the market system, transforming the symbolic value of his work into an economic one. Seeming independence from the artistic conjuncture turned into a skillful balancing act between creativity and commerce.
{"title":"Reproduction Technology. From Replica to Brand","authors":"O. Averyanova","doi":"10.21638/spbu15.2023.202","DOIUrl":"https://doi.org/10.21638/spbu15.2023.202","url":null,"abstract":"The article is devoted to the analysis of the works by the French artist of American origin Man Ray. The objects of the first New York period were studied, later they repeatedly have been reproduced by the author. We consider prints of non-preserved objects as the author’s version of a photographic readymade. Reproductions and replications have become an important part of the artist’s strategy in Paris and especially in America. These practices represent an example of the branding technology traditionally associated with Andy Warhol. Man Ray invented it long before the commercialization of pop art. The idea as the main artistic value, regardless of the method of its implementation and originality, becomes not only the basis of conceptual art, but also the quintessence of the phenomenon that we call an art brand. We define it as an ideology that includes the characteristics of the artist’s personality, his work and general strategies, including the marketing ones. Ray’s experiments as a modernist, artist and photographer significantly expanded the spectrum of theoretical and practical issues related to the relationship between art and commerce in an era when the aesthetic value of a work depended not only on the conditions and on circumstances of the order, but on the novelty and radicality — the time when the experiments have being absolutized. In the avant-garde, this criterion has become an indicator of the artist’s talent and success. If we define a brand as a mental cover of a product, then the application of this term to a work of art is quite justified, especially since the 20th century approved the priority of design methods of creativity, the cognitive value of an artwork became more important than the retinal one. The artist required a certain amount of ingenuity to remain a radical and be part of the market system, transforming the symbolic value of his work into an economic one. Seeming independence from the artistic conjuncture turned into a skillful balancing act between creativity and commerce.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73654107","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 : 2023-01-01DOI: 10.21638/spbu15.2023.101
Z. Guseinova
In the N. A. Rimskii-Korsakov’s legacy there are operas that seem to be in the shadow of his great creations; among them is the opera Pan Voyevoda (1903) to a libretto by I. F. Tyumenev (without using any historical or literary source). The opera was the result of the composer’s long-cherished plan to create an opera on a Polish plot, so that in it “there would be no place for politics or national enmity”. Romantic events that took place in the 16th–17th centuries are presented in many respects in the traditional musical solution, which does not exclude the presence of bright dramatic situations, dramatic alignment, magnificent melodies, famous national dances. The surviving documents: letters, memoirs of both authors, as well as autographs of the libretto, clavier (partially) and scores from the archives of St Petersburg allow us to recreate the process of working on the work. The main time of work on the musical text was in the summer of 1902, when the composer left for Heidelberg to live with his son. The execution of several other creative works in parallel, including the re-interpretation of the Stone Guest by A. S. Dargomyzhsky, did not interfere with the active process of working on Pan Voyevoda. The first three acts of the four (the last act is very short) were written in less than three months, and during the winter and spring of 1903 N. A. Rimsky-Korsakov performed the orchestration. Musical autographs show how the work was carried out: the text of the libretto was clarified, sometimes expanded or shortened, the composition of the characters was determined, intonation and harmonic variants were introduced, the orchestration changed, and so on. The composer strenuously searched for optimal means of expression, creating a national color and a special “timeless aura” of Polish antiquity. It is no coincidence that the composer marked on the title page a dedication to the Memory of Frédéric Chopin.
{"title":"Pan Voyevoda by N. A. Rimskii-Korsakov. To the Creative History of Opera","authors":"Z. Guseinova","doi":"10.21638/spbu15.2023.101","DOIUrl":"https://doi.org/10.21638/spbu15.2023.101","url":null,"abstract":"In the N. A. Rimskii-Korsakov’s legacy there are operas that seem to be in the shadow of his great creations; among them is the opera Pan Voyevoda (1903) to a libretto by I. F. Tyumenev (without using any historical or literary source). The opera was the result of the composer’s long-cherished plan to create an opera on a Polish plot, so that in it “there would be no place for politics or national enmity”. Romantic events that took place in the 16th–17th centuries are presented in many respects in the traditional musical solution, which does not exclude the presence of bright dramatic situations, dramatic alignment, magnificent melodies, famous national dances. The surviving documents: letters, memoirs of both authors, as well as autographs of the libretto, clavier (partially) and scores from the archives of St Petersburg allow us to recreate the process of working on the work. The main time of work on the musical text was in the summer of 1902, when the composer left for Heidelberg to live with his son. The execution of several other creative works in parallel, including the re-interpretation of the Stone Guest by A. S. Dargomyzhsky, did not interfere with the active process of working on Pan Voyevoda. The first three acts of the four (the last act is very short) were written in less than three months, and during the winter and spring of 1903 N. A. Rimsky-Korsakov performed the orchestration. Musical autographs show how the work was carried out: the text of the libretto was clarified, sometimes expanded or shortened, the composition of the characters was determined, intonation and harmonic variants were introduced, the orchestration changed, and so on. The composer strenuously searched for optimal means of expression, creating a national color and a special “timeless aura” of Polish antiquity. It is no coincidence that the composer marked on the title page a dedication to the Memory of Frédéric Chopin.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84601800","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 : 2023-01-01DOI: 10.21638/spbu15.2023.102
S. V. Lavrova
The article is devoted to the concept of “sound object”, fundamental category for music of the late 20th — early 21st century. It is considered from the standpoint of Pierre Schaeffer’s theory of concrete music, Helmut Lachenmann’s concrete instrumental music, Dennis Smalley’s spectromorphology, James Tenney’s gestalt theory, and is also interpreted within the philosophical framework of Graham Harman’s object-oriented ontology and Bruno Latour’s actornetwork theory. The works of Beat Furrer, Peter Ablinger and Georg Friedrich Haas are also analyzed. The conclusion from the research is that in order to interpret the concept and phenomenon of a sound object in modern compositional practice, which is extremely diverse, musicological methods are not enough, and therefore, an appeal to modern philosophy can contribute to a more accurate interpretation and help analyze the objects of modern sound world in all their diversity.
“声对象”是20世纪末至21世纪初音乐的基本范畴。从谢弗的具体音乐理论、拉赫曼的具体乐器音乐理论、斯莫利的光谱形态学、滕尼的完形理论等角度进行思考，并在哈曼的面向对象本体论和拉图尔的演员网络理论的哲学框架内进行阐释。本文还分析了垮掉的Furrer、Peter Ablinger和Georg Friedrich Haas的作品。研究的结论是，在现代创作实践中，要解释一个声音对象的概念和现象，这是极其多样化的，音乐学的方法是不够的，因此，诉诸现代哲学有助于更准确地解释和分析现代声音世界的对象的多样性。
{"title":"To the Concept of “Sound Object” in Musical Theory and Composition Practice of the End of the 20th — the Beginning of the 21st Century","authors":"S. V. Lavrova","doi":"10.21638/spbu15.2023.102","DOIUrl":"https://doi.org/10.21638/spbu15.2023.102","url":null,"abstract":"The article is devoted to the concept of “sound object”, fundamental category for music of the late 20th — early 21st century. It is considered from the standpoint of Pierre Schaeffer’s theory of concrete music, Helmut Lachenmann’s concrete instrumental music, Dennis Smalley’s spectromorphology, James Tenney’s gestalt theory, and is also interpreted within the philosophical framework of Graham Harman’s object-oriented ontology and Bruno Latour’s actornetwork theory. The works of Beat Furrer, Peter Ablinger and Georg Friedrich Haas are also analyzed. The conclusion from the research is that in order to interpret the concept and phenomenon of a sound object in modern compositional practice, which is extremely diverse, musicological methods are not enough, and therefore, an appeal to modern philosophy can contribute to a more accurate interpretation and help analyze the objects of modern sound world in all their diversity.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84515507","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 : 2023-01-01DOI: 10.21638/spbu15.2023.203
I. A. Afanaseva
The article is devoted to the study of visual semantics in the artworks of the famous artist Vladimir Makovsky (1846–1920). This painter entered the history of Russian art as an outstanding master of “small genre”, the author of a short, fascinating story in painting. It is no coincidence that the contemporaries compared the characters in V. Makovsky’s paintings with the heroes of N. Gogol’s, I. Turgenev’s, A. Ostrovsky’s, L. Tolstoy’s, M. Gorky’s, A. Chekhov’s works. The author makes an attempt of interdisciplinary research, analyzing the “Artistic text” in V.Makovsky’s paintings in the aspect of philological problems, using the appropriate methodology and terminology, as well as touching upon the issues of psychological perception and comprehension of his works of art. The article draws parallels between the rhetorical figures (antithesis, comparison, metaphor, metonymy, hyperbole) and the visual tropes in V.Makovsky’s paintings and, using specific examples, examines the role of the psychological landscape, quotation, artistic detail, mirror, observer’s position, the techniques of “story in a story” (“picture in a picture”) in painting. Language — a cultural code — performs two formally opposite functions: on the one hand, it preserves and reproduces traditions, and on the other, it provides dynamics through creative innovation. Verbal language affects the viewer gradually in time, with a clear sequence of language elements, visual language affects the viewer one-step and complex. It is argued that in V. Makovsky’s artworks there is an intense penetration of techniques and image-associative references associated with literary tradition. The means of artistic expression in literature and in visual arts reflect the action of general mental operators associated with creation and transformation activities.
{"title":"‘Artistic Text’ in the Artworks of V.E.Makovsky: Rhetorical Figures and Visual Tropes","authors":"I. A. Afanaseva","doi":"10.21638/spbu15.2023.203","DOIUrl":"https://doi.org/10.21638/spbu15.2023.203","url":null,"abstract":"The article is devoted to the study of visual semantics in the artworks of the famous artist Vladimir Makovsky (1846–1920). This painter entered the history of Russian art as an outstanding master of “small genre”, the author of a short, fascinating story in painting. It is no coincidence that the contemporaries compared the characters in V. Makovsky’s paintings with the heroes of N. Gogol’s, I. Turgenev’s, A. Ostrovsky’s, L. Tolstoy’s, M. Gorky’s, A. Chekhov’s works. The author makes an attempt of interdisciplinary research, analyzing the “Artistic text” in V.Makovsky’s paintings in the aspect of philological problems, using the appropriate methodology and terminology, as well as touching upon the issues of psychological perception and comprehension of his works of art. The article draws parallels between the rhetorical figures (antithesis, comparison, metaphor, metonymy, hyperbole) and the visual tropes in V.Makovsky’s paintings and, using specific examples, examines the role of the psychological landscape, quotation, artistic detail, mirror, observer’s position, the techniques of “story in a story” (“picture in a picture”) in painting. Language — a cultural code — performs two formally opposite functions: on the one hand, it preserves and reproduces traditions, and on the other, it provides dynamics through creative innovation. Verbal language affects the viewer gradually in time, with a clear sequence of language elements, visual language affects the viewer one-step and complex. It is argued that in V. Makovsky’s artworks there is an intense penetration of techniques and image-associative references associated with literary tradition. The means of artistic expression in literature and in visual arts reflect the action of general mental operators associated with creation and transformation activities.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84089767","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 : 2023-01-01DOI: 10.21638/spbu15.2023.105
N. Semenova
The article focuses on the recycling of Soviet culture in productions of contemporary Russian theatre. In 2017, Victor Ryzhakov staged at Alexandrinsky theatre An Optimistic tragedy. A Farewell Ball, Asya Voloshina’s remake of a play written by Vsevolod Vishnevsky in 1932–1933. Such directors as Alexander Tairov, Georgy Tovstonogov, Mark Zakharov, and others had turned to An Optimistic Tragedy during the crucial moments of Soviet theatre history. In the 21st century this play has become claimed again. However, the interpretation of the text and its theatrical language drastically changed. The issues of intergenerational relationships and memory of the historical past have come to the fore. The story of anarchist sailors got a new birth largely due to an experimental approach to music in the performance. Music and chorus were central components of Vishnevsky’s play. In the first edition of An Optimistic Tragedy, the chorus represented a metaphor of the court of history. In the following stage versions of An Optimistic Tragedy its role has been decreased till in Ryzhakov’s production the sailors that constituted the chorus became passive witnesses of history, the ghosts of the past. Such evolution of the chorus was accompanied by techniques of postdramatic theatre (cross-casting, retreat from the original play), engagement of top hits, poems, popular music, and rap songs, written by Voloshina specifically for A Farewell Ball. Thus, A Farewell Ball may be called a complicated pastiche that combines texts of different periods and genres. To disclose the mechanisms of cultural selection, Ryzhakov applies the method of etudes. Such fragmentality and polyphony embody the chaos of revolution with juxtaposed voices narrating its personal stories.
{"title":"From An Optimistic Tragedy to a “Revolutionary Concert”: Recycling of Soviet Historical Past in Contemporary Russian Theatre","authors":"N. Semenova","doi":"10.21638/spbu15.2023.105","DOIUrl":"https://doi.org/10.21638/spbu15.2023.105","url":null,"abstract":"The article focuses on the recycling of Soviet culture in productions of contemporary Russian theatre. In 2017, Victor Ryzhakov staged at Alexandrinsky theatre An Optimistic tragedy. A Farewell Ball, Asya Voloshina’s remake of a play written by Vsevolod Vishnevsky in 1932–1933. Such directors as Alexander Tairov, Georgy Tovstonogov, Mark Zakharov, and others had turned to An Optimistic Tragedy during the crucial moments of Soviet theatre history. In the 21st century this play has become claimed again. However, the interpretation of the text and its theatrical language drastically changed. The issues of intergenerational relationships and memory of the historical past have come to the fore. The story of anarchist sailors got a new birth largely due to an experimental approach to music in the performance. Music and chorus were central components of Vishnevsky’s play. In the first edition of An Optimistic Tragedy, the chorus represented a metaphor of the court of history. In the following stage versions of An Optimistic Tragedy its role has been decreased till in Ryzhakov’s production the sailors that constituted the chorus became passive witnesses of history, the ghosts of the past. Such evolution of the chorus was accompanied by techniques of postdramatic theatre (cross-casting, retreat from the original play), engagement of top hits, poems, popular music, and rap songs, written by Voloshina specifically for A Farewell Ball. Thus, A Farewell Ball may be called a complicated pastiche that combines texts of different periods and genres. To disclose the mechanisms of cultural selection, Ryzhakov applies the method of etudes. Such fragmentality and polyphony embody the chaos of revolution with juxtaposed voices narrating its personal stories.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81024133","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 : 2023-01-01DOI: 10.21638/spbu15.2023.301
Irina B. Teplova
The article is devoted to Ella von Schultz-Adajewski, who left a convincing mark in the Russian and European musical culture of the second half of the 19th — early 21st centuries. The talented musician, born in Russia, continued her creative life in Italy and Germany. Her natural talents and brilliant education (she studied with leading professors of the St Petersburg Conservatory: A.Dreyshok, N.I.Zaremba, A. S.Famintsyn, I.K.Voyachek) allowed her to maximize her professional potential as a pianist, composer, and music researcher. The author of original works in various genres that are attractive to modern performers, Ella von Schultz-Adajewski combined the role of a practicing musician with deep, original theoretical works in the field of comparative musicology. Actually, she became one of the discoverers of this method, which formed the basis of the science of ethnomusicology. The bright artistic and scientific heritage has not yet received a decent assessment in Russian musicology. Meanwhile, in the history of world culture, Ella von Schultz was destined to become the discoverer of the musical folklore of the Friulian Christians, whose folk culture was also the subject of serious scientific interests of outstanding philologists, linguists of St. Petersburg University: I.I. Sreznevsky, I.Baudouin de Courtenay. The works of the musician and wordsmiths laid the foundation of knowledge about the culture of the Slavs, who have been living in Northern Italy for centuries. In the articles devoted to the folklore of various European peoples, the author seeks to find a deep “matrix” reflecting the genetic features of the culture of a particular ethnic group. Innovative for its time are the idea of Ella von Schultz about the inseparable connection of musical folklore and the context of its existence, methods of musical analysis using synoptic tables. The article publishes archival materials for the first time, provides information reflecting the period of Ella von Schultz’s studies at the St. Petersburg Conservatory, her contacts with Russian musicians after her departure abroad. For the first time, unknown scientific articles are also characterized, in which folklore samples are considered from the standpoint of “ethnological documents”.
这篇文章是献给艾拉·冯·舒尔茨-阿达耶夫斯基的，她在19世纪下半叶至21世纪初的俄罗斯和欧洲音乐文化中留下了令人信服的印记。这位出生于俄罗斯的天才音乐家在意大利和德国继续着她的创作生活。她的天赋和良好的教育(师从圣彼得堡音乐学院的顶尖教授:a . dreyshok, N.I.Zaremba, a . S.Famintsyn, i.k.voayachek)使她最大限度地发挥了她作为钢琴家、作曲家和音乐研究者的专业潜力。艾拉·冯·舒尔茨-阿达耶夫斯基创作了各种流派的原创作品，吸引了现代表演者，她将实践音乐家的角色与比较音乐学领域深刻的原创理论作品结合在一起。事实上，她是这种方法的发现者之一，这种方法奠定了民族音乐学的基础。在俄罗斯音乐学中，这一辉煌的艺术和科学遗产尚未得到应有的评价。同时，在世界文化史上，艾拉·冯·舒尔茨注定要成为弗留利亚基督徒音乐民俗的发现者，其民俗文化也是杰出的语言学家、圣彼得堡大学语言学家斯列兹涅夫斯基、博杜安·德·考特内严肃的科学研究课题。这位音乐家和文字大师的作品为斯拉夫人的文化知识奠定了基础，斯拉夫人已经在意大利北部生活了几个世纪。在研究欧洲各民族民间传说的文章中，作者试图找到反映某一特定族群文化遗传特征的深层“母体”。艾拉·冯·舒尔茨关于音乐民间传说与其存在背景之间不可分割的联系的观点，以及使用概观表的音乐分析方法，在当时是具有创新性的。这篇文章首次发表了档案材料，提供了反映艾拉·冯·舒尔茨在圣彼得堡音乐学院学习期间的信息，以及她出国后与俄罗斯音乐家的接触。本文首次从“民族学文献”的角度对民间传说样本进行了考察，并对未知科学文献进行了刻画。
{"title":"Ella von Schultz-Adajewski (1846–1926): The Creative Fate of a Musician and Studies of the Musical Folklore of European Peoples","authors":"Irina B. Teplova","doi":"10.21638/spbu15.2023.301","DOIUrl":"https://doi.org/10.21638/spbu15.2023.301","url":null,"abstract":"The article is devoted to Ella von Schultz-Adajewski, who left a convincing mark in the Russian and European musical culture of the second half of the 19th — early 21st centuries. The talented musician, born in Russia, continued her creative life in Italy and Germany. Her natural talents and brilliant education (she studied with leading professors of the St Petersburg Conservatory: A.Dreyshok, N.I.Zaremba, A. S.Famintsyn, I.K.Voyachek) allowed her to maximize her professional potential as a pianist, composer, and music researcher. The author of original works in various genres that are attractive to modern performers, Ella von Schultz-Adajewski combined the role of a practicing musician with deep, original theoretical works in the field of comparative musicology. Actually, she became one of the discoverers of this method, which formed the basis of the science of ethnomusicology. The bright artistic and scientific heritage has not yet received a decent assessment in Russian musicology. Meanwhile, in the history of world culture, Ella von Schultz was destined to become the discoverer of the musical folklore of the Friulian Christians, whose folk culture was also the subject of serious scientific interests of outstanding philologists, linguists of St. Petersburg University: I.I. Sreznevsky, I.Baudouin de Courtenay. The works of the musician and wordsmiths laid the foundation of knowledge about the culture of the Slavs, who have been living in Northern Italy for centuries. In the articles devoted to the folklore of various European peoples, the author seeks to find a deep “matrix” reflecting the genetic features of the culture of a particular ethnic group. Innovative for its time are the idea of Ella von Schultz about the inseparable connection of musical folklore and the context of its existence, methods of musical analysis using synoptic tables. The article publishes archival materials for the first time, provides information reflecting the period of Ella von Schultz’s studies at the St. Petersburg Conservatory, her contacts with Russian musicians after her departure abroad. For the first time, unknown scientific articles are also characterized, in which folklore samples are considered from the standpoint of “ethnological documents”.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135106785","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 : 2023-01-01DOI: 10.21638/spbu15.2023.304
Evgenia M. Kishkinova
The article is devoted to the study of eclectic facade sculpture in the historical center of Rostov-on-Don, considered in accordance with specific neo-styles. Sculpture plays an important compositional role in the design of the facades of Neo-Baroque monuments, emphasizing the rhythmic organization of facades, emphasizing the central and corner parts of buildings. Sculptural decor in the design of facades, designed within the neo-Greek and Neo-Renaissance, obeys the compositional rhythm set by architectural forms, is most often placed in architecturally limited fields, highlights the compositional axes of facades and more actively uses motifs of ancient origin. In general, the iconography of the sculptural decor includes plant motifs (laurel, flower, fruit garlands, flower baskets, acanthus, wreaths, rosettes), images of objects, including symbolic ones (shells, cartouches, caduceus, flowerpots, a cornucopia, a fountain, attributes of industry, trade, sciences and arts, armorial shields), zoomorphic images (mainly lion mascarons, griffins), mixanthropic and anthropomorphic images. Among the latest figurines are putti, mascarons of satyrs, Aphrodite, Hermes; belt herms of Hercules, Omphale, Deianira; sculptures of nymphs, Apollo, Ceres, goddesses of Glory; scenes from the history of Cupid and Psyche. The symbolism of the sculptural decor corresponds to the purpose of the building, expresses the ideas of prosperity and progress: Ceres, Apollo, the goddess of Glory — on the building of the City Duma; musical instruments and theatrical masks — on the theater building; plots symbolizing various types of activities — on the building of the Property Pledge Society; attributes of trade, industry, sciences, arts, mascarons of Hermes and his caduceus, cornucopia — on tenement houses; Hercules, Dejanira, Omphala, Aphrodite’s mascarons are on the mansions. There is a “universalization” of the mascarons of Hermes and his caduceus, which are used everywhere, regional motifs appear (bees, salting fish), the use of neo-style decor on the building, reproducing the type of kuren, is noted. Stylistically, the sculpture is focused mainly on classicism and the Renaissance, using the techniques of mannerism, baroque, rococo. The prototypes are the motifs of the sculptural decoration of famous buildings in St Petersburg, Vienna, Berlin, Brussels, chronologically close to the monuments under consideration.
{"title":"Fasad Sculpture of Provincial Eclectics on the Example of Rostov-on-Don: Iconography, Symbols, Stylistics","authors":"Evgenia M. Kishkinova","doi":"10.21638/spbu15.2023.304","DOIUrl":"https://doi.org/10.21638/spbu15.2023.304","url":null,"abstract":"The article is devoted to the study of eclectic facade sculpture in the historical center of Rostov-on-Don, considered in accordance with specific neo-styles. Sculpture plays an important compositional role in the design of the facades of Neo-Baroque monuments, emphasizing the rhythmic organization of facades, emphasizing the central and corner parts of buildings. Sculptural decor in the design of facades, designed within the neo-Greek and Neo-Renaissance, obeys the compositional rhythm set by architectural forms, is most often placed in architecturally limited fields, highlights the compositional axes of facades and more actively uses motifs of ancient origin. In general, the iconography of the sculptural decor includes plant motifs (laurel, flower, fruit garlands, flower baskets, acanthus, wreaths, rosettes), images of objects, including symbolic ones (shells, cartouches, caduceus, flowerpots, a cornucopia, a fountain, attributes of industry, trade, sciences and arts, armorial shields), zoomorphic images (mainly lion mascarons, griffins), mixanthropic and anthropomorphic images. Among the latest figurines are putti, mascarons of satyrs, Aphrodite, Hermes; belt herms of Hercules, Omphale, Deianira; sculptures of nymphs, Apollo, Ceres, goddesses of Glory; scenes from the history of Cupid and Psyche. The symbolism of the sculptural decor corresponds to the purpose of the building, expresses the ideas of prosperity and progress: Ceres, Apollo, the goddess of Glory — on the building of the City Duma; musical instruments and theatrical masks — on the theater building; plots symbolizing various types of activities — on the building of the Property Pledge Society; attributes of trade, industry, sciences, arts, mascarons of Hermes and his caduceus, cornucopia — on tenement houses; Hercules, Dejanira, Omphala, Aphrodite’s mascarons are on the mansions. There is a “universalization” of the mascarons of Hermes and his caduceus, which are used everywhere, regional motifs appear (bees, salting fish), the use of neo-style decor on the building, reproducing the type of kuren, is noted. Stylistically, the sculpture is focused mainly on classicism and the Renaissance, using the techniques of mannerism, baroque, rococo. The prototypes are the motifs of the sculptural decoration of famous buildings in St Petersburg, Vienna, Berlin, Brussels, chronologically close to the monuments under consideration.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135107253","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 : 2023-01-01DOI: 10.21638/spbu13.2023.205
Burkhan A. Berberov
The article is devoted to the representation of zoomorphic images in Karachay-Balkar proverbs and sayings using elements of frequency analysis based on “AntConc” concordancer. During the analysis, we found that the images of sixty animals were reflected in the Karachay-Balkar folklore. To form a more complete picture of the world, the article further reveals the images of individual animals, including by conducting a comparative analysis with proverbs and sayings of other peoples. The author pays special attention to rare zoomorphic images, i. e. those animals that are not represented in the territory of modern residence of Karachays and Balkars (for example, elephants, lions and tigers). The analysis conducted allows to conclude that the zoomorphic images used in Karachay-Balkar proverbs and sayings are largely universal and are reflected in various cultures and languages. However, the most popular images are those that together make up the appearance of the Karachay-Balkar shepherd’s work. The identified animals can be classified into the following four categories: animals watched by the shepherd, his assistants, pests, and animals that make up his ration in the mountains. The results obtained can be used in teaching schoolchildren and students the Karachay-Balkar language, as well as become a starting point for conducting and developing similar studies in the context of other languages, including those belonging to the Turkic language group.
{"title":"Representation of Zoomorphic Images in Karachay-Balkar Proverbs and Sayings Using Elements of Frequency Analysis","authors":"Burkhan A. Berberov","doi":"10.21638/spbu13.2023.205","DOIUrl":"https://doi.org/10.21638/spbu13.2023.205","url":null,"abstract":"The article is devoted to the representation of zoomorphic images in Karachay-Balkar proverbs and sayings using elements of frequency analysis based on “AntConc” concordancer. During the analysis, we found that the images of sixty animals were reflected in the Karachay-Balkar folklore. To form a more complete picture of the world, the article further reveals the images of individual animals, including by conducting a comparative analysis with proverbs and sayings of other peoples. The author pays special attention to rare zoomorphic images, i. e. those animals that are not represented in the territory of modern residence of Karachays and Balkars (for example, elephants, lions and tigers). The analysis conducted allows to conclude that the zoomorphic images used in Karachay-Balkar proverbs and sayings are largely universal and are reflected in various cultures and languages. However, the most popular images are those that together make up the appearance of the Karachay-Balkar shepherd’s work. The identified animals can be classified into the following four categories: animals watched by the shepherd, his assistants, pests, and animals that make up his ration in the mountains. The results obtained can be used in teaching schoolchildren and students the Karachay-Balkar language, as well as become a starting point for conducting and developing similar studies in the context of other languages, including those belonging to the Turkic language group.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135556390","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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