Pub Date : 2023-01-01DOI: 10.21638/spbu15.2023.110
A. V. Rykov
The article is devoted to the pragmatic aspects of Edmund Burke’s theory of art. The author identifies pragmatic components in the works of the British philosopher of various genres. The emphasis is on the interdisciplinary nature of Burke’s theory of art, which included artistic, psychological and political dimensions. The pragmatic dimension of Burke’s thought opens up a new field of research in the field of romantic aesthetics and art theory. The pragmatic romanticism of the British thinker complements our ideas about classical and modern art. His ideas shed new light on the development of Western European art from Baroque and classicism to avant-garde and postmodernism. At the same time, the problems of aesthetics, as well as the problems of power, are considered by Burke in a “psychoanalytic” and semiotic way, that is, without evaluation, and romantic special effects are subjected to objective analysis both in literature and art, and in politics. The pragmatic dimension allows us to redefine the role of Burke as the true founder of scientific art studies, who anticipated the most modern methods of analyzing artistic processes. The physiological, natural-scientific connotations of Burke’s work are also studied in the context of pragmatic strategies, as opposed to idealistic interpretations of the romantic theory of art.
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Pub Date : 2023-01-01DOI: 10.21638/spbu15.2023.208
T. I. Zhambaeva
The article presents the main stages in the development of tapestry in Buryatia, from the establishment of this form of art based on weaving of nap-free Buryat taara carpets in the 19th–20th centuries, to the formation of the tapestry school in this region. The consideration of the art of tapestry in Buryatia in the context of events and trends in the decorative applied art of Buryatia in the 20th–21st centuries is connected with such issues as the entry of folk artistic traditions into the system of socialist realism, the process of revival of national identity, the author’s creativity in the field of tapestry weaving. The consideration of the stated topic of the article made it possible to summarize the available information and present a more integral picture of the development and current state of this form of decorative applied art of Buryatia as tapestry, as well as to introduce new material about the work of tapestry masters at the turn of the 20th–21st centuries, to consider the significance of the tapestry art in Buryatia in the synthesis of tradition and innovation. The characteristic features of the regional school of tapestry are determined by the specificity of themes and plots, the semantics of the motives of the Buryat ornament, the original author’s style of weaving and the transfer of weaving experience from generation to generation. Furthermore, the originality of the tapestry of Buryatia is connected with the use of horsehair, sarlik hair in the technique of classical weaving. At the same time, in the process of weaving, the natural shades of the hair are preserved, which endow the woven product with a subtle color palette. The attention is paid to transfer of the experience of horsehair weaving to the younger generation. For illustrative purposes, the educational institutions in the Republic of Buryatia, in which the “Tapestry” discipline is taught. In general, the role of educational institutions in the popularization of this form of art is highlighted.
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Pub Date : 2023-01-01DOI: 10.21638/spbu15.2023.305
Ekaterina S. Lyashenko
The article is devoted to the research of Transbaikal painting history in the context of regional fine arts formation, artistic direction development. The Transbaikal art features are connected with region’s distance from cultural centers. Transbaikal painting has formed as result of penetration Russian art traditions and influence of regional national cultures. It’s possible to conditionally distinguish several stages in the history of Transbaikal painting. The first stage of formation (18th–19th centuries) was associated with creativity of visiting artists and with emergence of self-educated artists. The drawings were being made during the ethnographic expeditions in Siberia, also the Decemberists made their contribution. Besides, the icon painting was presented. The Transbaikal visual art heyday (the 2nd stage, 20th century) was presented with period of creativity and exhibition activities activation of the 20th century beginning, period of war years’ poster art, and period of realistic painting heyday. A lot of various in colorit landscapes were made in period of realistic painting heyday (the middle and second half of the 20th century). These are open spaces, steppes, roads, lyrical overcast landscapes, majestic north Transbaikalia and Buryatia mountains, landscapes of the Lake Baikal. The plot and historical paintings were being depicted scenes of Soviet reality, events of the region history and culture. Socialist realism was reflected in portraits and in subject painting, works of “austere style” were created. Individual artists with a pronounced style, manner stood out. Paintings were created with decorative, symbolic, ethnic motifs, impressionistic. At the present stage (beginning of the 21st century) artists of Transbaikalia create in the traditional and modernist direction, in the direction of ethnofuturism. Globalization processes, digitalization stimulate the penetration of creativity various forms into the region, and modern art projects begin to be implemented. System of art education traditions are emerging.
{"title":"Transbaikal Painting of the 18th — the Early 20th Centuries: Periodization Problems","authors":"Ekaterina S. Lyashenko","doi":"10.21638/spbu15.2023.305","DOIUrl":"https://doi.org/10.21638/spbu15.2023.305","url":null,"abstract":"The article is devoted to the research of Transbaikal painting history in the context of regional fine arts formation, artistic direction development. The Transbaikal art features are connected with region’s distance from cultural centers. Transbaikal painting has formed as result of penetration Russian art traditions and influence of regional national cultures. It’s possible to conditionally distinguish several stages in the history of Transbaikal painting. The first stage of formation (18th–19th centuries) was associated with creativity of visiting artists and with emergence of self-educated artists. The drawings were being made during the ethnographic expeditions in Siberia, also the Decemberists made their contribution. Besides, the icon painting was presented. The Transbaikal visual art heyday (the 2nd stage, 20th century) was presented with period of creativity and exhibition activities activation of the 20th century beginning, period of war years’ poster art, and period of realistic painting heyday. A lot of various in colorit landscapes were made in period of realistic painting heyday (the middle and second half of the 20th century). These are open spaces, steppes, roads, lyrical overcast landscapes, majestic north Transbaikalia and Buryatia mountains, landscapes of the Lake Baikal. The plot and historical paintings were being depicted scenes of Soviet reality, events of the region history and culture. Socialist realism was reflected in portraits and in subject painting, works of “austere style” were created. Individual artists with a pronounced style, manner stood out. Paintings were created with decorative, symbolic, ethnic motifs, impressionistic. At the present stage (beginning of the 21st century) artists of Transbaikalia create in the traditional and modernist direction, in the direction of ethnofuturism. Globalization processes, digitalization stimulate the penetration of creativity various forms into the region, and modern art projects begin to be implemented. System of art education traditions are emerging.","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":"135107233","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/spbu15.2023.309
Tatyana A. Folieva
The article talks about the creation by the director Konstantin Konstantinovich Pipinashvili of his first film “Kajana” (1941). In 1932, Pipinashvili entered the workers’ faculty of the State Institute of Cinematography (GIK), graduated from it in 1936 and decided to make a film based on the story of the classic of Georgian literature N. Lomouri. In the Russian State Archive of Literature and Art (RGALI), documents were found that were not previously published, which shed light on the relationship of Pipinashvili with his teacher S. M. Eisenstein. It was possible to find out that strong friendly relations arose between them, it was planned that Pipinashvili’s film “Kajana” would be the preface to the film “Bezhin Meadow”. However, the prohibition of the latter and the persecution of Eisenstein did not allow these plans to come true — the filming of Kazhdana was stopped, despite all the efforts of the young director. himself Pipinashvili after graduating from the GIK, arrives at the Tbilisi film studio and tries to re-launch the film “Kajana” into film production. The film studio went to meet Pipinashvili, a full-length film was shot, which was released in Georgian and Russian in May 1941. We found a transcript of the discussion of the film “Kajana” in the Cinema House. This document shows how the figure of Eisenstein was perceived in the early 1940s, how anti-religious cinematography was treated at that time, how the problem of formalism was touched upon. We also see how the official goal differs from the artist’s idea. In the letters of Konstantin Konstantinovich it is clear to Pipinashvili that he is aimed at co-creation, he is captured by the ideas of the teacher. In the documents, we see what film functionaries want: “Kajana” as a pedagogical anti-religious story about the dangers of superstition and the bright future of the Georgian people. Pipinashvili managed to preserve his own style and national flavor. The composition, thoughtfulness of shots, the use of light and shadow, editing — all this is under the influence of Eisenstein.
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Pub Date : 2023-01-01DOI: 10.21638/spbu15.2023.107
N. Kazhar, Mariusz Zadworny, Nina Sołkiewicz-Kos
The article examines new facts about the beginning of the formation of the European (primarily German) doctrine of the protection of monuments, which also laid the foundations of the modern Polish theory and practice of preserving the architectural heritage and scientific restoration. The role of the aesthetics of romanticism in the formation of historicism and awareness of the importance of cultural heritage is shown. The history of the development of the theoretical, systemic and legal basis for the protection of monuments, based on a new assessment of their role in the formation of the culture of the nation, is presented. The role of the memorandum “Preservation of all monuments and antiquities of our country” (1815) by Karl Friedrich Schinkel in the preservation of German architectural monuments was noted. The authorship of the drawings of Marienburg in 1794 is proved. Evidence is given that he was Friedrich Gilly (1748–1808), i. e. Gilly-a son. It is noted, that the exhibition of these drawings at the Berlin Academy of Arts (1795) played an important role in re-evaluating the culture of the Middle Ages during the period of the “conflict” of the ideas of the Enlightenment and Romanticism at the turn of the 18th–19th centuries (“about 1800”). On the example of the history of the “restoration” of the Marienburg castle (today Malbork) the change in the methods of restoration of the 19th century is shown, the contribution of famous cultural figures and leading architects to the organization and conduct of restoration work is noted.
本文考察了欧洲(主要是德国)古迹保护学说形成之初的新事实，该学说也为现代波兰保护建筑遗产和科学修复的理论和实践奠定了基础。揭示了浪漫主义美学在形成历史主义和文化传承意识中的作用。基于对其在国家文化形成中的作用的新评估，提出了保护纪念碑的理论、系统和法律基础的发展历史。会议指出，卡尔·弗里德里希·辛克尔(Karl Friedrich Schinkel)的备忘录《保护我国所有古迹和古物》(1815年)在保护德国建筑古迹方面所起的作用。证明了1794年马里恩堡绘画的作者身份。有证据表明他就是弗里德里希·吉利(1748-1808)，也就是吉利的儿子。值得注意的是，这些画作在柏林艺术学院(1795年)的展览在重新评估中世纪文化方面发挥了重要作用，在18 - 19世纪之交(“大约1800年”)启蒙运动和浪漫主义思想的“冲突”时期。以“修复”马里恩堡城堡(今天的马尔堡)的历史为例，展示了19世纪修复方法的变化，并指出了著名文化人物和主要建筑师对修复工作的组织和实施的贡献。
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Pub Date : 2023-01-01DOI: 10.21638/spbu15.2023.106
Elena V. Borshch
French literary illustration of the 18th century is studied from the point of view of depicting an interior as a locale. The problem of the influence of literary and visual sources on the formation of the image of an interior is studied through several series of illustrations for Racine’s Works in 18th century editions. The main sources of comparative research are the illustrations for J. Racine’s Berenice, engraved from drawings by French artists L. Cheron (1723), L.-F. Dubourg (1743), J. de Sève (1760), H.-F. Gravelot (1768), J.-J.-F. Lebarbier (1796). Reading Racine’s Berenice in French and Russian, reading critical works about “Racine’s space” helps to understand the image of locale in the playwright’s version. The events of Racine’s Berenice take place in the confined space of an ancient Roman palace. The author modernizes the locale, using the concepts of the French noble interior of his time — “cabinet”, “apartments”. The description of the scene has a minimum of detail, is contradictory and insufficient for literal depictions. The artists, following the example of the playwright, interpreted the scene in the spirit of modernity, but changed and supplemented the main and secondary details. As a rule, they depicted the reception area of the ceremonial apartments and accurately conveyed the styles of interior decoration (Grand style, Transition style, Neoclassicism, Directory style). The artists explained the episode and the play as a whole by means of compositional tools that had a wide semantic range. Comparison the illustrations among themselves and comparison the book engravings with architectural engravings shows the continuity of the artistic tradition and adherence to the academic rules of working with depiction. The artists repeated the compositions of similar illustrations and quoted the interior design projects of the 17th–18th centuries. The image of a locale in the illustration was directly dependent on visual sources, and not on the text. The method of depicting an interior in the illustrations was based on selective and arbitrary reflection of the text, actualizing the appearance of a locale, using the semantics of details and partial copying of samples.
从描绘室内作为场所的角度来研究18世纪法国文学插图。文学和视觉来源对室内图像形成的影响问题通过拉辛作品的几个系列插图在18世纪的版本进行了研究。比较研究的主要来源是J.拉辛的《贝蕾妮斯》的插图，由法国艺术家L. Cheron (1723)， L. f .;杜布尔(1743年)，德·斯特洛夫(1760年)，h.f。格雷夫洛特(1768)Lebarbier(1796)。阅读拉辛的法文和俄文《贝蕾妮丝》，阅读关于“拉辛的空间”的批评作品，有助于理解剧作家版本中的场所形象。拉辛的《贝蕾妮斯》的故事发生在一个狭小的古罗马宫殿里。作者运用他那个时代法国贵族内部的概念——“内阁”、“公寓”，使场所现代化。场景的描述有最小的细节，是矛盾的，不充分的文字描述。艺术家们以剧作家为榜样，以现代精神来诠释这一场景，但对主要和次要细节进行了改变和补充。通常，他们描绘了礼仪公寓的接待区，并准确地传达了室内装饰的风格(大风格，过渡风格，新古典主义，目录风格)。艺术家们通过具有广泛语义范围的作曲工具将情节和戏剧作为一个整体来解释。将插图相互比较，将书籍雕刻与建筑雕刻进行比较，显示了艺术传统的连续性和对绘画工作的学术规则的坚持。艺术家们重复了类似插图的构图，并引用了17 - 18世纪的室内设计项目。插图中区域的图像直接依赖于视觉来源，而不是文本。在插图中描绘室内的方法是基于对文本的选择性和任意反映，实现现场的外观，使用细节语义和部分复制样本。
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Pub Date : 2023-01-01DOI: 10.21638/spbu13.2023.201
Valentin Ts. Golovachev
This publication aims to review and conceptually evaluate the collective monograph “The Image of Peter the Great in East Asia countries”, published in the year of the 350th anniversary of the first Russian Emperor and representing a new milestone in Russian science. The monograph prepared by a group of well-known St. Petersburg orientalists testifies to the significant development of comparative Imagology in Russian Oriental studies, caused by the rapid rapprochement of Russians and Asian peoples, the growing number of scholars, as well as the relevance, quantity and quality of their research in this field. The new book can be put on a par with the “Leo Tolstoy and the Orient” (1971) — a landmark book for Russian historiography, while the topic “Peter the Great and the Orient” is comparable in scale to the Oriental Space of the great Russian writer and serves as a unique refraction of Tolstoy’s “War and Peace” paradigm, which is extremely complicated, meaningful and interesting for academic study. As the review of the monograph reveals, during the study of Peter the Great’s image in the East Asia countries, the authors surpassed the title theme in quite a positive and creative way. But, considering the fundamental immensity of such theme as “Peter the Great’s Image in the Oriental countries”, it seems necessary to issue the second more expanded edition, enriched by the new countries and peoples of Asia and Africa, just like the “Leo Tolstoy and the Orient” monograph. The imagological research work could be also continued in the foreseeable future (before 2037) by the new fundamental international study, such as “Pushkin and the Orient: A. S. Pushkin’s Image in the Oriental countries and the Orient in the masterpieces of the great Russian poet”. The groundwork for such an academic project already exists in Russian Orientology for a very long time.
{"title":"Obverse and Reverse of the Imagology: A New Monograph by St. Petersburg Orientalists on Peter the Great’s Image in East Asia, and Vice Versa","authors":"Valentin Ts. Golovachev","doi":"10.21638/spbu13.2023.201","DOIUrl":"https://doi.org/10.21638/spbu13.2023.201","url":null,"abstract":"This publication aims to review and conceptually evaluate the collective monograph “The Image of Peter the Great in East Asia countries”, published in the year of the 350th anniversary of the first Russian Emperor and representing a new milestone in Russian science. The monograph prepared by a group of well-known St. Petersburg orientalists testifies to the significant development of comparative Imagology in Russian Oriental studies, caused by the rapid rapprochement of Russians and Asian peoples, the growing number of scholars, as well as the relevance, quantity and quality of their research in this field. The new book can be put on a par with the “Leo Tolstoy and the Orient” (1971) — a landmark book for Russian historiography, while the topic “Peter the Great and the Orient” is comparable in scale to the Oriental Space of the great Russian writer and serves as a unique refraction of Tolstoy’s “War and Peace” paradigm, which is extremely complicated, meaningful and interesting for academic study. As the review of the monograph reveals, during the study of Peter the Great’s image in the East Asia countries, the authors surpassed the title theme in quite a positive and creative way. But, considering the fundamental immensity of such theme as “Peter the Great’s Image in the Oriental countries”, it seems necessary to issue the second more expanded edition, enriched by the new countries and peoples of Asia and Africa, just like the “Leo Tolstoy and the Orient” monograph. The imagological research work could be also continued in the foreseeable future (before 2037) by the new fundamental international study, such as “Pushkin and the Orient: A. S. Pushkin’s Image in the Oriental countries and the Orient in the masterpieces of the great Russian poet”. The groundwork for such an academic project already exists in Russian Orientology for a very long time.","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":"135556386","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/spbu15.2023.310
Baazr A. Bicheev
The Old White Man is a local deity revered by Buddhists in Russia. His image, based on textual traditions and Buddhist iconography, prompted the name — the Old White Man, now widely accepted. In the written sources he is also known as the “Conqueror and subduer of the [master spirits] of earth and water”. The early images appeared in Mongolia under the influence of the Chinese traditional pictures of Tú Dì, ancient deities associated with localities, while later they were influenced by traditional images of Shòuxing, the deity of longevity. At an early stage of the iconographic tradition, the Old White Man is depicted as a priest or a high official; his functions are rendered via the characters of his companions, the host spirits of mountains (sabdaks) that have the features of man and animal or animals, such as a pair of deer, chained leopard (wolf), as well as ritual objects, including a carved staff or a dragon head staff. At a later stage, there may be symbols associated with the giver of longevity and fertility (bald phallic head, cave, and peach). The text of the “Sutra of the Old White Man” includes the description of his appearance (a white-bearded, bare-headed old man in a white robe), attributes (a dragon head staff) and an allegorical landscape of a mountain and fruit trees. Neither early nor recent Mongolian and Buryat pictures fully correspond to the description. Much closer to it is the Kalmyk iconographic tradition. The Old White Man’s image of the Kalmyk nomads goes back to the ancient mythological idea of the deity as the keeper of domestic animals. Due to transformations in the religious sphere, the keeper of domestic animals becomes the Old White Man, the lord of all living beings and all earthly space. Traditionally, he is presented as a standing old man, bare-headed and his long gray hair gathered in the form of a triratna. He is dressed in a belted robe, with another swinging robe thrown on it. In his right hand, he holds a staff with a dragon’s head and a rosary in his left. There are no companions or animals. The symbolic landscape serves to enhance the grandiose figure of the old man. The details of the attire and the landscape refer to the former Chinese influence.
{"title":"Iconography of Buddhism: The Tradition of Depicting the Old White Man","authors":"Baazr A. Bicheev","doi":"10.21638/spbu15.2023.310","DOIUrl":"https://doi.org/10.21638/spbu15.2023.310","url":null,"abstract":"The Old White Man is a local deity revered by Buddhists in Russia. His image, based on textual traditions and Buddhist iconography, prompted the name — the Old White Man, now widely accepted. In the written sources he is also known as the “Conqueror and subduer of the [master spirits] of earth and water”. The early images appeared in Mongolia under the influence of the Chinese traditional pictures of Tú Dì, ancient deities associated with localities, while later they were influenced by traditional images of Shòuxing, the deity of longevity. At an early stage of the iconographic tradition, the Old White Man is depicted as a priest or a high official; his functions are rendered via the characters of his companions, the host spirits of mountains (sabdaks) that have the features of man and animal or animals, such as a pair of deer, chained leopard (wolf), as well as ritual objects, including a carved staff or a dragon head staff. At a later stage, there may be symbols associated with the giver of longevity and fertility (bald phallic head, cave, and peach). The text of the “Sutra of the Old White Man” includes the description of his appearance (a white-bearded, bare-headed old man in a white robe), attributes (a dragon head staff) and an allegorical landscape of a mountain and fruit trees. Neither early nor recent Mongolian and Buryat pictures fully correspond to the description. Much closer to it is the Kalmyk iconographic tradition. The Old White Man’s image of the Kalmyk nomads goes back to the ancient mythological idea of the deity as the keeper of domestic animals. Due to transformations in the religious sphere, the keeper of domestic animals becomes the Old White Man, the lord of all living beings and all earthly space. Traditionally, he is presented as a standing old man, bare-headed and his long gray hair gathered in the form of a triratna. He is dressed in a belted robe, with another swinging robe thrown on it. In his right hand, he holds a staff with a dragon’s head and a rosary in his left. There are no companions or animals. The symbolic landscape serves to enhance the grandiose figure of the old man. The details of the attire and the landscape refer to the former Chinese influence.","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":"135107249","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/spbu11.2023.205
Olga Shapoval, Anna Sheremetyeva, Natalia Durnova, Nurali Mukhamadiev, Gulnora Rabbimova, Mavlon Nazirbekov
Plant essential oils of certain genera and species are important sources of antimicrobial substances.The goal of this study was a screening assessment of antibacterial activity of Thymus serpyllum L., Thymus marsсhallianus Willd. and Pimpinella anisum L. essential oils against opportunistic gram-negative uropathogens. The essential oils were obtained by steam hydrodistillation, and the screening assessment of their antibacterial activity was performed by the disk diffusion method. Two standard species (Pseudomonas aeruginosa ATCC 27853, Escherichia coli ATCC 25922) and 6 clinical strains (1 — P. aeruginosa, 5 — E. coli), isolated from the pregnant women with infections of the urinary passages, were used as the test bacterial cultures. The study determined that T. marsсhallianus Willd. and T. serpyllum L. essential oils possess strong inhibitory action on all test cultures until the absence of the bacterial lawn. P. anisum L. essential oil did not show antibacterial activity against all test strains, no zones of visible bacterial growth inhibition were formed. T. serpyllum L. and T. marsсhallianus Willd. essential oils are promising antibacterial agents against uropathogens of the species P. aeruginosa and E. coli.
{"title":"Screening assessment of antibacterial activity of Thymus serpyllum L., Thymus marsсhallianus Willd. and Pimpinella anisum L. essential oils against uropathogens, isolated from pregnant women","authors":"Olga Shapoval, Anna Sheremetyeva, Natalia Durnova, Nurali Mukhamadiev, Gulnora Rabbimova, Mavlon Nazirbekov","doi":"10.21638/spbu11.2023.205","DOIUrl":"https://doi.org/10.21638/spbu11.2023.205","url":null,"abstract":"Plant essential oils of certain genera and species are important sources of antimicrobial substances.The goal of this study was a screening assessment of antibacterial activity of Thymus serpyllum L., Thymus marsсhallianus Willd. and Pimpinella anisum L. essential oils against opportunistic gram-negative uropathogens. The essential oils were obtained by steam hydrodistillation, and the screening assessment of their antibacterial activity was performed by the disk diffusion method. Two standard species (Pseudomonas aeruginosa ATCC 27853, Escherichia coli ATCC 25922) and 6 clinical strains (1 — P. aeruginosa, 5 — E. coli), isolated from the pregnant women with infections of the urinary passages, were used as the test bacterial cultures. The study determined that T. marsсhallianus Willd. and T. serpyllum L. essential oils possess strong inhibitory action on all test cultures until the absence of the bacterial lawn. P. anisum L. essential oil did not show antibacterial activity against all test strains, no zones of visible bacterial growth inhibition were formed. T. serpyllum L. and T. marsсhallianus Willd. essential oils are promising antibacterial agents against uropathogens of the species P. aeruginosa and E. coli.","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":"135911687","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/spbu11.2023.202
Elena Proskurnina, Denis Ivanov, Alexander Redko
Acute respiratory infection caused by the SARS-CoV-2 coronavirus was the cause of the pandemic announced in March 2020. To prevent this disease, various vaccines have been developed and introduced into mass use, including on an innovative gene platform. The aim of the review is to analyze foreign literature on post-vaccination complications with the use of foreign vaccines, as well as whole-virion vaccines for the period 2021 — January 2023. The sources used in the publication were obtained from the Medline database, as well as articles in peer-reviewed journals and official reports. Post-vaccination complications are associated with specific damage to organs or systems either directly by the vaccine itself or indirectly as a result of exacerbation of the chronic process. The pathogenesis of post-vaccination complications depends on the composition of the vaccine. All complications were grouped by organs and systems. Vaccines containing SARS-CoV-2 antigens can activate autoimmune reactions due to homology, as well as activation of existing reactions in predisposed patients, which is confirmed by the effectiveness of immunosuppressive therapy. Innovative platforms using gene technologies are so complex and profoundly active that they can be introduced into broad medical practice only after a thorough and comprehensive study of the effects and mechanisms. Scientific achievements should follow the ethical principles of healing, and above all primum non nocere. Experts around the world emphasize the need for continued monitoring of people’s condition in order to protect their health and assess the long-term safety of drugs.
{"title":"SARS-CoV-2 post-vaccination adverse reports: A review","authors":"Elena Proskurnina, Denis Ivanov, Alexander Redko","doi":"10.21638/spbu11.2023.202","DOIUrl":"https://doi.org/10.21638/spbu11.2023.202","url":null,"abstract":"Acute respiratory infection caused by the SARS-CoV-2 coronavirus was the cause of the pandemic announced in March 2020. To prevent this disease, various vaccines have been developed and introduced into mass use, including on an innovative gene platform. The aim of the review is to analyze foreign literature on post-vaccination complications with the use of foreign vaccines, as well as whole-virion vaccines for the period 2021 — January 2023. The sources used in the publication were obtained from the Medline database, as well as articles in peer-reviewed journals and official reports. Post-vaccination complications are associated with specific damage to organs or systems either directly by the vaccine itself or indirectly as a result of exacerbation of the chronic process. The pathogenesis of post-vaccination complications depends on the composition of the vaccine. All complications were grouped by organs and systems. Vaccines containing SARS-CoV-2 antigens can activate autoimmune reactions due to homology, as well as activation of existing reactions in predisposed patients, which is confirmed by the effectiveness of immunosuppressive therapy. Innovative platforms using gene technologies are so complex and profoundly active that they can be introduced into broad medical practice only after a thorough and comprehensive study of the effects and mechanisms. Scientific achievements should follow the ethical principles of healing, and above all primum non nocere. Experts around the world emphasize the need for continued monitoring of people’s condition in order to protect their health and assess the long-term safety of drugs.","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":"135911695","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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