Pub Date : 2021-06-09DOI: 10.21638/SPBU15.2021.207
F. Heidari, Seyed Reza Hosseini
A tree is one of the most beautiful creations in the world. The development of mythical concepts and the prevalence of some beliefs about it have led to certain connotations and the emergence of specific beliefs in human thought. Among trees, there is the talking tree (Waqwaq), which has a long history and has been mentioned in various books, including reliable geographic sources such as Qazvini’s the Wonders of Creation. The article examines the pictorial motif of talking tree in the Persian version of Qazvini’s Wonders of Creation and considers the similarities and differences of its presentation in Persian versions as well as the origin of its aesthetic principles. The results of the research show that all versions have human heads or a statue on the tree. Among them, the Wonders of Creation 1816 AD has a female motif and depicts a female statue on the tree. The head motif in the Wonders of Creation of 1550–1560 AD is male and illustrates masculine statues on the tree. The head motif in the Wonders of Creation 1566 AD, the Wonders of Creation of the 16 century AD, the Wonders of Creation 1651 AD and the Wonders of Creation 1695 AD and the two heads in the Wonders of Creation 1822 AD was male and only depict human heads on the tree, not the full body. In some versions, in addition to human heads, animal heads are also portrayed on the tree. What is interesting is the presence of the head of legendary animals and birds such as Dragon and Simurgh.
{"title":"A Comparative Study of the Talking Tree Motif in Persian Versions of Qazvini’s Wonders of Creation (Ajā’ib al-makhlūqāt wa gharā’ib al-mawjūdāt)","authors":"F. Heidari, Seyed Reza Hosseini","doi":"10.21638/SPBU15.2021.207","DOIUrl":"https://doi.org/10.21638/SPBU15.2021.207","url":null,"abstract":"A tree is one of the most beautiful creations in the world. The development of mythical concepts and the prevalence of some beliefs about it have led to certain connotations and the emergence of specific beliefs in human thought. Among trees, there is the talking tree (Waqwaq), which has a long history and has been mentioned in various books, including reliable geographic sources such as Qazvini’s the Wonders of Creation. The article examines the pictorial motif of talking tree in the Persian version of Qazvini’s Wonders of Creation and considers the similarities and differences of its presentation in Persian versions as well as the origin of its aesthetic principles. The results of the research show that all versions have human heads or a statue on the tree. Among them, the Wonders of Creation 1816 AD has a female motif and depicts a female statue on the tree. The head motif in the Wonders of Creation of 1550–1560 AD is male and illustrates masculine statues on the tree. The head motif in the Wonders of Creation 1566 AD, the Wonders of Creation of the 16 century AD, the Wonders of Creation 1651 AD and the Wonders of Creation 1695 AD and the two heads in the Wonders of Creation 1822 AD was male and only depict human heads on the tree, not the full body. In some versions, in addition to human heads, animal heads are also portrayed on the tree. What is interesting is the presence of the head of legendary animals and birds such as Dragon and Simurgh.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85198568","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 : 2021-06-09DOI: 10.21638/SPBU15.2021.208
Илья Владимирович Антипов
The article is devoted to the history of Novgorodian architecture in the middle of the 15th to the first quarter of the 16th century. In 1433, one of the key events in the history of Novgorodian architecture took place — the German and local builders constructed the Faceted Palace commissioned by the archbishop Eufimiy II on the Vladychny Dvor. The article focuses on two interconnected problems: 1) did the German master builders continue to work on the Archbishop’s Court after 1433; 2) did the Faceted Palace influence the architecture of Novgorod in the middle of the 15th to the first quarter of the 16th century? An analysis of available written sources and the results of research bear no evidence of the presence of the German builders in Novgorod later than 1433. Several new features in Novgorod edifices in the middle — second half of the 15th century should be interpreted as traces of the influence the Faceted Palace had upon the later Novgorodian architecture. Most likely the German Builders returned overseas upon completing the Archbishop’s Palace and never came back to Rus. Overall, the 15th century Brick Gothic architecture influenced the Novgorod architecture of the middle — second half of the 15th century: new construction and decorative features in one way or another are connected with the architecture of the Faceted Palace that appeared in the edifices of the 1440–1460s. However, not all the striking features of the outstanding Palace of the Archbishop are reflected in buildings of the middle — second half of the 15th century.
{"title":"The So-Called Faceted Palace (1433) and the Architecture of Novgorod from the Middle of the 15th to the First Quarter of the 16th Century","authors":"Илья Владимирович Антипов","doi":"10.21638/SPBU15.2021.208","DOIUrl":"https://doi.org/10.21638/SPBU15.2021.208","url":null,"abstract":"The article is devoted to the history of Novgorodian architecture in the middle of the 15th to the first quarter of the 16th century. In 1433, one of the key events in the history of Novgorodian architecture took place — the German and local builders constructed the Faceted Palace commissioned by the archbishop Eufimiy II on the Vladychny Dvor. The article focuses on two interconnected problems: 1) did the German master builders continue to work on the Archbishop’s Court after 1433; 2) did the Faceted Palace influence the architecture of Novgorod in the middle of the 15th to the first quarter of the 16th century? An analysis of available written sources and the results of research bear no evidence of the presence of the German builders in Novgorod later than 1433. Several new features in Novgorod edifices in the middle — second half of the 15th century should be interpreted as traces of the influence the Faceted Palace had upon the later Novgorodian architecture. Most likely the German Builders returned overseas upon completing the Archbishop’s Palace and never came back to Rus. Overall, the 15th century Brick Gothic architecture influenced the Novgorod architecture of the middle — second half of the 15th century: new construction and decorative features in one way or another are connected with the architecture of the Faceted Palace that appeared in the edifices of the 1440–1460s. However, not all the striking features of the outstanding Palace of the Archbishop are reflected in buildings of the middle — second half of the 15th century.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81912447","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 : 2021-01-01DOI: 10.21638/spbu15.2021.407
E. Khodakovsky
The article represents a historiographical review of publications on the wooden architecture of the Russian North, published in 2000–2010s. In these years the main perspectives of the research of the wooden church architecture of the Russian North can be distinguished as follows: the regional studies in the framework of large-scale scientific projects; studying the construction history and analysing the architectural features of specific objects, including in connection with their restoration; “rehabilitation” of the late period (19th–20th centuries) in the history of church wooden church building, which is a fundamentally new approach to this segment of the architectural heritage of the North; attracting a wide range of archival sources and gradually moving away from the speculative nature of unsubstantiated theoretical conclusions. An analytical review of publications on wooden church architecture published over the past twenty years is important not only for summing up intermediate results, but also for indicating further prospects for creating a complete panorama of wooden church building in the Russian North, which still remains unconnected and fragmentary, that is, forming from the history of individual monuments in different regions. The interaction of researchers of Russian wooden architecture with each other in the framework of long-term scientific projects is the key to successful joint work on the identification and introduction into scientific circulation of archival documents of the early period (16th–18th centuries) and conducting field surveys of preserved objects. The subsequent integration of the obtained data on chronological, quantitative and typological indicators will allow us to obtain a new objective picture of the historical development and artistic diversity of the monuments of wooden architecture of the Russian North.
{"title":"Wooden Church Architecture of the Russian North in the Russian Art History of the Early 21st Century","authors":"E. Khodakovsky","doi":"10.21638/spbu15.2021.407","DOIUrl":"https://doi.org/10.21638/spbu15.2021.407","url":null,"abstract":"The article represents a historiographical review of publications on the wooden architecture of the Russian North, published in 2000–2010s. In these years the main perspectives of the research of the wooden church architecture of the Russian North can be distinguished as follows: the regional studies in the framework of large-scale scientific projects; studying the construction history and analysing the architectural features of specific objects, including in connection with their restoration; “rehabilitation” of the late period (19th–20th centuries) in the history of church wooden church building, which is a fundamentally new approach to this segment of the architectural heritage of the North; attracting a wide range of archival sources and gradually moving away from the speculative nature of unsubstantiated theoretical conclusions. An analytical review of publications on wooden church architecture published over the past twenty years is important not only for summing up intermediate results, but also for indicating further prospects for creating a complete panorama of wooden church building in the Russian North, which still remains unconnected and fragmentary, that is, forming from the history of individual monuments in different regions. The interaction of researchers of Russian wooden architecture with each other in the framework of long-term scientific projects is the key to successful joint work on the identification and introduction into scientific circulation of archival documents of the early period (16th–18th centuries) and conducting field surveys of preserved objects. The subsequent integration of the obtained data on chronological, quantitative and typological indicators will allow us to obtain a new objective picture of the historical development and artistic diversity of the monuments of wooden architecture of the Russian North.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73485530","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 : 2021-01-01DOI: 10.21638/spbu15.2021.206
A. N. Fomenko
One of the features of photography is the fact that the process of formation of the image is invisible — in contrast to painting. It is as if photography, which makes the world more visible, evades visual control. The transition to digital techniques partly reduces this “dark side” of photography, but it also allows us to make better sense of analogous photography and reflect on its dual nature. Alexander Ugay, a contemporary artist from Kazakhstan, who in his practice shifts from photography as an image to photography as an object, substance and process, is an example of such a reflection; the thematization of the nature of the medium is combined in his practice with the theme of memory and oblivion. In his Objects of Memory (2013), he photographed the back of pictures from several archives of the Stalinist camps — the procedure that emphasizes the material and ephemeral character of the prints. The iconic aspect is almost entirely excluded from Time Capsule (2011 — present time) that reveals the self-destructive nature of the act of taking picture. The series of “obscuratons” (2017–2018) — complex pinhole cameras with a lot of holes — is a preliminary result of this reflection of photographic dialectics of the visible and the invisible. Every obscuraton functions alternately as a devise for creating an image (equivalent to human vision) and as an object integrated in some environment side by side with the other things. The polemics with an idea of total visual control can be read here; the machines of vision prove to be machines of blindness. The general impression is that the sole purpose of the emphasis on physical and chemical processes, the use of the particular iconographic resources and references to historical realities have a single goal in Ugay’s projects: the dissolution of meanings and disintegration of forms.
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Pub Date : 2021-01-01DOI: 10.21638/spbu15.2021.405
A. Sechin
The Morning of a Lady of the Manor (1823) by Alexey Venetsianov embodies a veiled polemic of the artist with representatives of the academic school of painting concerning the academic method. The work demonstrates not only the painter’s credo, but also his possible steps on adjusting the educational system of the Imperial Academy of Arts. He occupied an intermediate position between the supporters of mindless copying of nature and the banal poses of classical statues. Here, he tried to prove the fruitfulness of the true academic method of creating a composition based on the characters (types) of “graceful nature”, the storehouse of which was the art of his famous predecessors. The work contains references to notable images of the indisputable authorities of academic classicism: Raphael Santi and Anton Raphael Mengs. The ancient art is also presented here both by a statuette of the Crouching Venus and its pictorial recreation: a peasant woman in the same attitude. The images which had served as the basis for Venetsianov’s visual metaphors were well-known to the professors of the Academy because they were literally right before their eyes — in the Hermitage. The picture by Venetsianov, on the one hand, demonstrates his commitment to academic values, first of all to сlassical art that had inspired both Raphaels as well as Winckelmann, an outstanding theorist of neoclassicism. Behind Venetsianov’s figures, we can also see the images of those “three Greek Venuses”, about which he later wrote in his theoretical notes Something about the perspective: Aphrodite Medici, Venus of Taurida (which in fact hides the type of Venus of Milo) and the Crouching Venus. On the other hand, the amazing skill of animating ancient statues by assimilating them into painting à la Natura was meant to attest to the real truth of his artistic method.
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Pub Date : 2021-01-01DOI: 10.21638/spbu15.2021.302
Алексей Анатольевич Панов, Иван Васильевич Розанов
The article deals with the problems of interpreting English ornaments (embellishments, graces) of the second half of the 17th century in the process of their evolution. The authors consistently analyze the recommendations of the early English musicians Edward Bevin, Christopher Simpson, Matthew Locke, John Playford, and Henry Purcell. Emphasis in this study is allotted to the first ever published in England full table of ornaments with their execution written by Christopher Simpson in his The Division-Violist (London, 1659). Detailed consideration here is given to the ornament named “Shaked Beat”. It should be noted that the first full table “Marques des Agréments et leur signification” in France was enclosed only in D’Anglebert’s Pièces de Clavecin (c1689). For comparison, recommendations of the performance of ornaments are provided by some Italian, German and French composers and theorists of this time, such as Emilio del Cavalieri, Guillaume-Gabriel Nivers, Jean Rousseau, Gilles Jullien, Étienne Loulié and Johann Gottfried Walther. A critical revision of scholarly publications on the problems of this study beginning from Edward Dannreuther and Arnold Dolmetsch to the present time has been carried out. Serious inaccuracies were found in the works of modern researchers and in reference and encyclopedic publications, including The New Grove Dictionary of Music and Musicians and Die Musik in Geschichte und Gegenwart.
本文论述了17世纪下半叶英国装饰品(装饰物，graces)在演变过程中的解释问题。作者一致地分析了早期英国音乐家爱德华·贝文、克里斯托弗·辛普森、马修·洛克、约翰·普莱福德和亨利·珀塞尔的建议。本研究的重点是在英国首次出版的由克里斯托弗·辛普森(Christopher Simpson)在他的《Division-Violist》(伦敦，1659)中所写的装饰物的完整表格。这里详细考虑了名为“摇摆节拍”的装饰品。应当指出的是，法国第一个完整的表格“关于农业和农业的意义”只载于昂格勒贝尔的《克拉维琴手册》(1689年)。为了比较，当时意大利、德国和法国的一些作曲家和理论家，如Emilio del Cavalieri、Guillaume-Gabriel Nivers、Jean Rousseau、Gilles Jullien、Étienne louli和Johann Gottfried Walther，提供了对装饰品性能的建议。对从Edward Dannreuther和Arnold Dolmetsch开始到现在的关于这一研究问题的学术出版物进行了批判性的修订。在现代研究人员的著作以及参考文献和百科全书出版物中发现了严重的不准确，包括《新格罗夫音乐与音乐家词典》和《音乐在Geschichte und Gegenwart》。
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Pub Date : 2021-01-01DOI: 10.21638/spbu15.2021.401
I. Gerasimova, Nina Zakharina, Nadezhda Shchepkina
Direct speech in liturgical hymns is one of the essential features of Byzantine and Slavic hymnography, which interprets the subjects of the Old and New Testaments. The hymns in honor of the twelve feasts of the Mother of God contain the direct speech of the Archangel Gabriel, King David, the Apostle Peter, and the worshipers in the temple. A standard, but not the only, way of correlation between text and music in these fragments is melismatic formulas, so called fita. The main objective of the article is to identify ways of musical interpretation of direct speech in the Greek-Slavic traditions of Church singing and musical writing by analysing the location of the fitas in the composition. Copies of 9 stichera from Greek, Old Russian and Kiev manuscripts of the 10–17th centuries were compared. Neumatic shape and five-line deciphering were taken into account. As a result of the analysis, techniques of musical decoration of direct speech and Gospel / Psalter quotation are shown. In hymnographical composition, direct speech demonstrates a changing of the point of view. The beginning of direct speech and / or the previous line with the words “to say”, “to cry”, “to sing”, etc., have fita in the tune. Fita is a cantilena tune put into recitative musical line; therefore, it changes the point of view from a narrative to emotional type of music utterance. Fita accompanying direct speech is an adequate musical tool. Fitas are often used with additional techniques such as modal changing or mutation. The use of fitas underscores text structure; it is the oldest technique of Byzantine origin that was adopted by Slavs. In the 15–16th centuries, a new type of composition appeared musical formulas highlight the theological meaning of a hymnographic text. This new technique was combined with the ancient type, and sometimes replaced it.
{"title":"Musical Interpretation of Direct Speech in Chants of the Two-Hundredth Feasts of the Mother of God: Greek-Slavonic Parallels on Manuscripts of the 10th–17th Centuries","authors":"I. Gerasimova, Nina Zakharina, Nadezhda Shchepkina","doi":"10.21638/spbu15.2021.401","DOIUrl":"https://doi.org/10.21638/spbu15.2021.401","url":null,"abstract":"Direct speech in liturgical hymns is one of the essential features of Byzantine and Slavic hymnography, which interprets the subjects of the Old and New Testaments. The hymns in honor of the twelve feasts of the Mother of God contain the direct speech of the Archangel Gabriel, King David, the Apostle Peter, and the worshipers in the temple. A standard, but not the only, way of correlation between text and music in these fragments is melismatic formulas, so called fita. The main objective of the article is to identify ways of musical interpretation of direct speech in the Greek-Slavic traditions of Church singing and musical writing by analysing the location of the fitas in the composition. Copies of 9 stichera from Greek, Old Russian and Kiev manuscripts of the 10–17th centuries were compared. Neumatic shape and five-line deciphering were taken into account. As a result of the analysis, techniques of musical decoration of direct speech and Gospel / Psalter quotation are shown. In hymnographical composition, direct speech demonstrates a changing of the point of view. The beginning of direct speech and / or the previous line with the words “to say”, “to cry”, “to sing”, etc., have fita in the tune. Fita is a cantilena tune put into recitative musical line; therefore, it changes the point of view from a narrative to emotional type of music utterance. Fita accompanying direct speech is an adequate musical tool. Fitas are often used with additional techniques such as modal changing or mutation. The use of fitas underscores text structure; it is the oldest technique of Byzantine origin that was adopted by Slavs. In the 15–16th centuries, a new type of composition appeared musical formulas highlight the theological meaning of a hymnographic text. This new technique was combined with the ancient type, and sometimes replaced it.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81404233","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 : 2021-01-01DOI: 10.21638/spbu15.2021.202
Vera Belozerova
Shen Zhou is the founder of the Wumen-Pai movement, which was prominent in southern China in the XV–XVI centuries. Shen Zhou became famous as a poet, painter, and calligrapher. In the article, the late stage of his creative work is investigated by the example of the vertical scroll “Ba bridge in the snow”. The technique of monochrome writing and the composition of the winter landscape are analyzed. The article examines the influence of biographical and social factors, Confucian teachings and Taoist practices on Shen Zhou’s painting. A comprehensive study of the scroll makes it possible to reveal the master’s worldview. The scroll, without any topographical accuracy, depicts an imaginary view of the bridge on the Bashui River. The study of the poetic inscription demonstrates the discrepancy between the poetic rhyme and the rhythm of calligraphic forms. The gradations of ink tone in calligraphy combine it with the color of painting. Shen Zhou transfers the calligraphic technique of working with the wrist and holding the brush to painting. The scroll uses the composition type “one river three banks”, in which the elements mirror each other upside down. The artist creates a dynamic balance of empty and filled spaces. The most valuable quality of Shen Zhou painting is considered by Chinese experts to be its “desalination” (tribute), which implies a balanced mental attitude, sublime clarity of thoughts and heartfelt sincerity of their expression. Behind the simplicity and naturalness of Shen Zhou’s painting are effective energetic practices and a high mastery of hidden stylistic quotations from masterpieces of previous eras. By the end of his life, Shen Zhou realized the utopian ideal of unlimited longevity and, as the analysis of the scroll shows, found humility before the inevitability of death. Shen Zhou’s art has made his name famous for centuries.
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Pub Date : 2021-01-01DOI: 10.21638/spbu15.2021.204
D. Martynova
Analyzing the evolution of the iconography of such a phenomenon as mesmerism in the second half of the 18th — mid-19th centuries, the author shows that the scenario of modern hypnotic representation and its gestures were established by mesmerists in the second half of the 18th century, followers of the parascientific theory that caused discussions and intrigued doctors and artists for centuries. Analyzing the development of the iconography of mesmeric seance, the author identifies two waves of popularity of this subject: the first wave in the 70–80s of the 18th century and the second wave during the first decade of the 19th century and beginning of the 20th century. Such a duration is due to the fascination with the supernatural and inexplicable, reflected in various styles and trends. In this article, the author tries to show how the development of the iconography of the mesmeric seance provoked the appearance of the hypnotist or magician trickster, who became integrated into popular culture that later began to mark the majority of hypnotic actions, spiritualistic sessions or miracle shows. The author also illustrates how the image of a “controller” in the face of a man formed and confirmed the paradigm of a powerless, mysterious and controlled woman. As a result, it is concluded that hypnosis and mesmerism became common theatrical spectacles in the 20th century, cultivating the power of men (patriarchal society) over an exhausted woman, which is reflected in the works of Georges Méliès, Alfred Hitchcock, and even in the comic book Wonder woman.
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Pub Date : 2021-01-01DOI: 10.21638/spbu15.2021.209
E. Kononenko
This work is inspired by the article “Local Humanities and Education in Front of the Third Millennium Challenges” by B.G. Sokolov. He discussed the “local challenges” generated by “integration” and “optimization” that have nothing to do with the scientific process, and about simulation actions as the expected response to these challenges. The author considers typical ways of simulating the scientific process, leading to an increase in the quantitative parameters of reports, but not contributing to an increase in scientific knowledge (artificial increase in publication activity; defense of frankly weak qualifying works, including dissertations; imitation pseudoscientific conferences; “omnivorous” paid journals; blurring the lines between genres of work in pursuit of funding). The proliferation of simulation mechanisms that do not contradict normative documents testifies to the loss of the qualitative criteria necessary for the self-preservation of science. The use of regulatory instruments provided for by the current bureaucratic acts is also formal, and often overtly simulated. In fact, many of the identified “challenges” are not “local”, inherent exclusively to Russian science. In addition, as the practice of recent years shows, the problems and consequences of the simulation of scientific work are well understood by domestic scientists who are trying to draw attention to anomalies and develop mechanisms to counter their manifestations (activity of Dissernet and ASEP), which indicates the existence of an “initiative from below”. The author believes that the activity of the professional community of art historians and critics can become a model in restoring regulatory mechanisms for the humanities. The criteria for the quality of scientific work and traditions of criticism that have survived in this community will not replace the imposed quantitative parameters, but can reduce the reputation losses of the Russian humanitarian science.
{"title":"Once Again about Simulation of Scientific Activity in the Humanities","authors":"E. Kononenko","doi":"10.21638/spbu15.2021.209","DOIUrl":"https://doi.org/10.21638/spbu15.2021.209","url":null,"abstract":"This work is inspired by the article “Local Humanities and Education in Front of the Third Millennium Challenges” by B.G. Sokolov. He discussed the “local challenges” generated by “integration” and “optimization” that have nothing to do with the scientific process, and about simulation actions as the expected response to these challenges. The author considers typical ways of simulating the scientific process, leading to an increase in the quantitative parameters of reports, but not contributing to an increase in scientific knowledge (artificial increase in publication activity; defense of frankly weak qualifying works, including dissertations; imitation pseudoscientific conferences; “omnivorous” paid journals; blurring the lines between genres of work in pursuit of funding). The proliferation of simulation mechanisms that do not contradict normative documents testifies to the loss of the qualitative criteria necessary for the self-preservation of science. The use of regulatory instruments provided for by the current bureaucratic acts is also formal, and often overtly simulated. In fact, many of the identified “challenges” are not “local”, inherent exclusively to Russian science. In addition, as the practice of recent years shows, the problems and consequences of the simulation of scientific work are well understood by domestic scientists who are trying to draw attention to anomalies and develop mechanisms to counter their manifestations (activity of Dissernet and ASEP), which indicates the existence of an “initiative from below”. The author believes that the activity of the professional community of art historians and critics can become a model in restoring regulatory mechanisms for the humanities. The criteria for the quality of scientific work and traditions of criticism that have survived in this community will not replace the imposed quantitative parameters, but can reduce the reputation losses of the Russian humanitarian science.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78348366","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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