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":"43 1","pages":"0"},"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/spbu15.2023.106
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/spbu15.2023.205
Yuri A. Kreydun, Elena M. Reutova
The article is devoted to the collection of works of art by the Grand Duke Mikhail Nikolaevich, which was located in the New Mikhail Palace before the revolution, which today does not exist as a single whole, but has been preserved as separate parts in central and regional Russian museums. On the basis of the reconstruction of the collection, carried out with the help of written sources and the revealed pictorial series, its composition was analyzed, the main thematic blocks were highlighted and the characteristic features of the collecting activity of its owner were determined. Until now, this aspect has not become the subject of special study. The novelty of the study also lies in the use of previously unpublished archival documents, the main place among which is occupied by the surviving inventories of the movable property of the New Mikhail Palace, compiled during the life of Grand Duke Mikhail Nikolaevich, as well as after the nationalization of the palace. The study of sources, as well as works of art stored in Russian museums, made it possible to fully recreate and reconstruct the composition of this collection. The study showed that numerous items related to military history, Caucasian life, and hunting were kept in the New Mikhail Palace, which reflected the professional occupations and interests of Grand Duke Mikhail Nikolaevich. Works of art have been an integral part of these thematic collections. The main criterion for their selection was the plot, and the main requirement for works of art was the exact fixation of the events depicted, many of which were witnessed or participated by the owner himself. The authors of numerous paintings, graphic works and sculptural compositions located in the New Mikhail Palace were both renowned artists of their time and lesser-known Russian and European masters. The significant role of Emperor Nicholas I in the formation of the artistic tastes of the Grand Duke Mikhail Nikolaevich and the requirements that he set for works of art is noted.
{"title":"Works of Art in the Thematic Collections of the Grand Duke Mikhail Nikolaevich. From the Experience of the Collection Reconstruction","authors":"Yuri A. Kreydun, Elena M. Reutova","doi":"10.21638/spbu15.2023.205","DOIUrl":"https://doi.org/10.21638/spbu15.2023.205","url":null,"abstract":"The article is devoted to the collection of works of art by the Grand Duke Mikhail Nikolaevich, which was located in the New Mikhail Palace before the revolution, which today does not exist as a single whole, but has been preserved as separate parts in central and regional Russian museums. On the basis of the reconstruction of the collection, carried out with the help of written sources and the revealed pictorial series, its composition was analyzed, the main thematic blocks were highlighted and the characteristic features of the collecting activity of its owner were determined. Until now, this aspect has not become the subject of special study. The novelty of the study also lies in the use of previously unpublished archival documents, the main place among which is occupied by the surviving inventories of the movable property of the New Mikhail Palace, compiled during the life of Grand Duke Mikhail Nikolaevich, as well as after the nationalization of the palace. The study of sources, as well as works of art stored in Russian museums, made it possible to fully recreate and reconstruct the composition of this collection. The study showed that numerous items related to military history, Caucasian life, and hunting were kept in the New Mikhail Palace, which reflected the professional occupations and interests of Grand Duke Mikhail Nikolaevich. Works of art have been an integral part of these thematic collections. The main criterion for their selection was the plot, and the main requirement for works of art was the exact fixation of the events depicted, many of which were witnessed or participated by the owner himself. The authors of numerous paintings, graphic works and sculptural compositions located in the New Mikhail Palace were both renowned artists of their time and lesser-known Russian and European masters. The significant role of Emperor Nicholas I in the formation of the artistic tastes of the Grand Duke Mikhail Nikolaevich and the requirements that he set for works of art is noted.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":"16 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81941390","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/spbu15.2023.307
Denis V. Khlebnikov
The proposed article is addressed to the phenomenon of typical graphic elements used in Russian late medieval visual art; the study is based on the material of miniatures of the wellknown illuminated manuscript of the Commentated Prophet Book from the collection of the Moscow Theological Academy. Previously, a detailed comparison of the drawing of paper icon samples, and later of the icons themselves of the 15th–16th centuries as well, led to the conclusion that icon painters widely use a set of the same systematically repeating graphic elements. They can always be seen in almost any icon, in different numbers and different combinations, in the most dissimilar images and regardless of who or what is depicted on the icon: the Savior, the Virgin or a prophet; regardless of whether the image in front of us is a half-length image, shoulder-length or full-length figure; regardless of the pose, gestures and type of clothing. Those elements are used constantly, although their number and set may vary significantly from case to case. In addition, their graphics vary quite freely: the proportions within the block and its dimensions change relative to other parts of the image, straight lines may be more or less curved, or part of the block may be hidden by another detail or, on the contrary, shown two or more times. Sometimes some part of the block is inverted, shifted or reduced, but the structure of the block remains the same. This observation makes it possible to significantly clarify the ideas about the principles of icon-painter work in the 15th–17th centuries: the drawing, for example, of a human figure and their robes was not copied literally from icon to icon, neither was invented completely anew each time; the image was more or less “constructed” from already existing ready-made blocks, either in the literal sense, or they filled in a ready-made general compositional scheme or a part of it, which itself can be considered as a standard block of a higher order. The miniatures of the manuscript under study serve as a clear example of the use of standard blocks in the Moscow illuminated book of the 15th century. The article for the first time compares a large number of deesis and prophetic images.
{"title":"Standard Units in Miniatures of the Manuscript no. 20 in Russian State Library, Fund 173.I","authors":"Denis V. Khlebnikov","doi":"10.21638/spbu15.2023.307","DOIUrl":"https://doi.org/10.21638/spbu15.2023.307","url":null,"abstract":"The proposed article is addressed to the phenomenon of typical graphic elements used in Russian late medieval visual art; the study is based on the material of miniatures of the wellknown illuminated manuscript of the Commentated Prophet Book from the collection of the Moscow Theological Academy. Previously, a detailed comparison of the drawing of paper icon samples, and later of the icons themselves of the 15th–16th centuries as well, led to the conclusion that icon painters widely use a set of the same systematically repeating graphic elements. They can always be seen in almost any icon, in different numbers and different combinations, in the most dissimilar images and regardless of who or what is depicted on the icon: the Savior, the Virgin or a prophet; regardless of whether the image in front of us is a half-length image, shoulder-length or full-length figure; regardless of the pose, gestures and type of clothing. Those elements are used constantly, although their number and set may vary significantly from case to case. In addition, their graphics vary quite freely: the proportions within the block and its dimensions change relative to other parts of the image, straight lines may be more or less curved, or part of the block may be hidden by another detail or, on the contrary, shown two or more times. Sometimes some part of the block is inverted, shifted or reduced, but the structure of the block remains the same. This observation makes it possible to significantly clarify the ideas about the principles of icon-painter work in the 15th–17th centuries: the drawing, for example, of a human figure and their robes was not copied literally from icon to icon, neither was invented completely anew each time; the image was more or less “constructed” from already existing ready-made blocks, either in the literal sense, or they filled in a ready-made general compositional scheme or a part of it, which itself can be considered as a standard block of a higher order. The miniatures of the manuscript under study serve as a clear example of the use of standard blocks in the Moscow illuminated book of the 15th century. The article for the first time compares a large number of deesis and prophetic images.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":"2014 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135106789","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/spbu13.2023.210
Igor V. Gerasimov, Ekaterina S. Vlasenkova
The paper addresses the actual topic of migrations that have been occured for centuries on the African continent. The authors analyze the routes of West African pilgrims who made the hajj to Mecca, the reasons and areas of settlement of these groups in the territory of modern Sudan. It is described in detail about the ethnonyms which sudanic people use for “alien” population, paying special attention to the terms “takrur” and “fellata”. Despite the preservation of their native language, the settlers mastered the Arabic language and culture. West African migrants try to live in compact groups together with their compatriots in various areas of the Sudanese state. Their settlements are located in Jibal Nuba (Kordofan), in Darfur, on the banks of the Blue Nile and even in Eastern Sudan, not to mention the Sudanese capital and other major cities. A large group of Takrur has been living for several centuries on the border of Sudan and Ethiopia, in an area known in Arabic as Ras al-fil (Elephant’s Head). Attention is drawn to their quite peaceful interaction with local Arab tribes, such as, for example, the Dabaina. Natives of West Africa were early involved in the orbit of Sufi orders, as reported in Ibn Daifallah’s large-scale work “Kitab at-Tabaqat”. Some people from Takrur themselves were active propagandists of both official and Sufi Islam in Sudan. Religious and economic factors undoubtedly had a huge impact on the waves of migration to the area of modern Sudan. The authors refer to the works of Western, Russian, Sudanese and Nigerian researchers, the reports of early Arab geographers thereby summarizing the phenomena, information about the regions, resettlement, and people from the observations in Sudan.
{"title":"West African Immigration to Sudan: Areas of Settlement, Interaction with Sudanese Tribes and Cultural Characteristics","authors":"Igor V. Gerasimov, Ekaterina S. Vlasenkova","doi":"10.21638/spbu13.2023.210","DOIUrl":"https://doi.org/10.21638/spbu13.2023.210","url":null,"abstract":"The paper addresses the actual topic of migrations that have been occured for centuries on the African continent. The authors analyze the routes of West African pilgrims who made the hajj to Mecca, the reasons and areas of settlement of these groups in the territory of modern Sudan. It is described in detail about the ethnonyms which sudanic people use for “alien” population, paying special attention to the terms “takrur” and “fellata”. Despite the preservation of their native language, the settlers mastered the Arabic language and culture. West African migrants try to live in compact groups together with their compatriots in various areas of the Sudanese state. Their settlements are located in Jibal Nuba (Kordofan), in Darfur, on the banks of the Blue Nile and even in Eastern Sudan, not to mention the Sudanese capital and other major cities. A large group of Takrur has been living for several centuries on the border of Sudan and Ethiopia, in an area known in Arabic as Ras al-fil (Elephant’s Head). Attention is drawn to their quite peaceful interaction with local Arab tribes, such as, for example, the Dabaina. Natives of West Africa were early involved in the orbit of Sufi orders, as reported in Ibn Daifallah’s large-scale work “Kitab at-Tabaqat”. Some people from Takrur themselves were active propagandists of both official and Sufi Islam in Sudan. Religious and economic factors undoubtedly had a huge impact on the waves of migration to the area of modern Sudan. The authors refer to the works of Western, Russian, Sudanese and Nigerian researchers, the reports of early Arab geographers thereby summarizing the phenomena, information about the regions, resettlement, and people from the observations in Sudan.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135556684","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/spbu13.2023.212
Natalia D. Tregubova, Alexander M. Stepanov, Pavel P. Lisitsyn
The paper presents the results of a study that is part of a broader project aimed at analyzing online activities of migrants to Russia from Azerbaijan, Kazakhstan, Kyrgyzstan, Tajikistan, and Uzbekistan. This research lies at the intersection of migration studies and nationalism studies. The authors seek to characterize the images of the nation and related discussions in online communities on migration topics. The focus of empirical analysis is five VKontakte groups discussing various news and stories about the country of origin, including news on migration to Russia. The methods are online observation supplemented by discourse analysis of posts and comments. The authors aim to answer the following questions: How do the participants construct the images of the nation? What is debatable and what is in consensus? How are the images of the nation and Islam related? How is migration to Russia characterized? Basing on empirical analysis, the authors characterize three images of the nation: “modernizing state” (Kazakhstan and Kyrgyzstan), “Muslim nation, but not Islamic state” (Tajikistan and Uzbekistan), “nation united by common enemies” (Azerbaijan). For the first one, the main sources of tension are class divisions and vectors of nation’s development. For the second one, Islam is considered as an important part of the national culture, and there are discussions, which type of identity, national or religious, is more significant. The third image is characterized by internal divisions which lose their importance in the face of the external enemy. In conclusion the authors discuss implications of research results for understanding migration processes in the post-Soviet space, including radicalization of migrants.
{"title":"The Images of the Nation in Migrant Social Media: А Comparative Analysis of VKontakte Groups from Azerbaijan, Kazakhstan, Kyrgyzstan, Tajikistan, and Uzbekistan","authors":"Natalia D. Tregubova, Alexander M. Stepanov, Pavel P. Lisitsyn","doi":"10.21638/spbu13.2023.212","DOIUrl":"https://doi.org/10.21638/spbu13.2023.212","url":null,"abstract":"The paper presents the results of a study that is part of a broader project aimed at analyzing online activities of migrants to Russia from Azerbaijan, Kazakhstan, Kyrgyzstan, Tajikistan, and Uzbekistan. This research lies at the intersection of migration studies and nationalism studies. The authors seek to characterize the images of the nation and related discussions in online communities on migration topics. The focus of empirical analysis is five VKontakte groups discussing various news and stories about the country of origin, including news on migration to Russia. The methods are online observation supplemented by discourse analysis of posts and comments. The authors aim to answer the following questions: How do the participants construct the images of the nation? What is debatable and what is in consensus? How are the images of the nation and Islam related? How is migration to Russia characterized? Basing on empirical analysis, the authors characterize three images of the nation: “modernizing state” (Kazakhstan and Kyrgyzstan), “Muslim nation, but not Islamic state” (Tajikistan and Uzbekistan), “nation united by common enemies” (Azerbaijan). For the first one, the main sources of tension are class divisions and vectors of nation’s development. For the second one, Islam is considered as an important part of the national culture, and there are discussions, which type of identity, national or religious, is more significant. The third image is characterized by internal divisions which lose their importance in the face of the external enemy. In conclusion the authors discuss implications of research results for understanding migration processes in the post-Soviet space, including radicalization of migrants.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135556687","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/spbu15.2023.209
N. Tochilova
The aim of this research is to study the development of Scandinavian art outside of Scandinavia. The main attention is focused on the process of influence of the Borre style elementon the applied art development in North-West Russia of the 10th–12th centuries. The main sources of artistical influence should be not Scandinavia, but the territory of distribution of Scandinavian art, in particular, Pomerania and the British Isles. The stylistic analysis revelates the use of identical elements of decor, where the main place have the highly simplified Borre style motifs (chains and scale motifs), supplemented by a double contour and hatching. It is possible to trace the process of Borre’s assimilation using carved wooden artefacts from Novgorod the Great. Development of this art in the 10th century was influenced by the art of Viking Age. The preservation of these stylistic features can be traced in Novgorod art up to and including the 12th century. One of the actual problems of this phenomenon is the analysis of the decorative schemes and the appearance of the main visual elements.
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Pub Date : 2023-01-01DOI: 10.21638/spbu15.2023.103
Anastasiya А. Maltseva
It is hardly possible to immediately give an exact answer to the question: what is the exact number of authors of musical-theoretical treatises containing catalogs of musical-rhetorical figures. But very often the “recognized” number (with a fairly stable set of theoretical sources) is considered to be fifteen authors. How did scholars of the German language space gradually discover catalogs of musical figures in treatises and include them in scientific circulation? Is it possible to consider the “recognized” list of works of fifteen Baroque authors exhaustive? Why is he firmly entrenched in musicology? Which of the musicologists wanted to expand the range of treatises and on what grounds? This article is devoted to finding answers to these questions. As a result of the analysis of dictionary and scientific articles, books and dissertations by such authors as C. J. A. Hoffmann (1830), C. Kossmaly (1846), H. Gehrmann (1891), А. Schering (1908), K. Ziebler (1933), H. Brandes (1935), H. H. Unger (1941), A. Schmitz (1955), H. H. Eggebrecht (1957), D. Bartel (1985, 1997), W. Braun (1994), H. Krones (1997), J. Klassen (2001) and others, the following conclusion was made: the researchers did not have a common opinion in the selection of sources and their belonging to the discourse about Figurenlehren. The heterogeneity of figure catalogs, the presence of Manieren, diminution and late Renaissance rules of counterpoint in them are the main reasons for the potential openness of the list of treatises involved in the doctrine of figures. To explain the reasons for the formation of the “recognized” list of authors (largely due to the English edition of D. Bartel’s book) and a certain inertia of musicology in different countries in the issue of Figurenlehren sources in the current century, the article uses the research of scientists — representatives of American, Bulgarian, English, Israeli, Italian, Mexican, Polish, Russian musicology.
几乎不可能立即给出这个问题的确切答案:包含音乐修辞人物目录的音乐理论论文的作者的确切数量是多少?但通常“公认的”数字(有相当稳定的理论来源)被认为是15位作者。德语语言领域的学者是如何逐渐发现论文中的音乐人物目录并将其纳入科学流通的?有可能认为“公认的”十五位巴洛克作家的作品列表是详尽的吗?为什么他对音乐学有坚定的信念?哪位音乐学家想要扩大论文的范围?基于什么理由?本文致力于寻找这些问题的答案。通过对C. J. a . Hoffmann(1830)、C. Kossmaly(1846)、H. Gehrmann(1891)等作者的词典和科学文章、书籍和论文的分析，А。Schering(1908)、K. Ziebler(1933)、H. Brandes(1935)、H. H. Unger(1941)、a . Schmitz(1955)、H. H. Eggebrecht(1957)、D. Bartel(1985、1997)、W. Braun(1994)、H. Krones(1997)、J. Klassen(2001)等人得出以下结论:研究者在关于Figurenlehren的话语来源选择和归属问题上没有统一的意见。人物目录的异质性，曼尼莲的存在，减少和文艺复兴后期对位规则是人物学说中论文列表潜在开放性的主要原因。为了解释“公认的”作者名单的形成原因(主要是由于D. Bartel的书的英文版)以及本世纪不同国家在Figurenlehren来源问题上的音乐学的一定惯性，文章使用了科学家的研究-美国，保加利亚，英国，以色列，意大利，墨西哥，波兰，俄罗斯音乐学的代表。
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Pub Date : 2023-01-01DOI: 10.21638/spbu15.2023.303
Khazar A. Zeynalov
The article highlights the Azerbaijani and St Petersburg interrelation in the field of fine arts. The author studies factual materials and investigates works related to these interrelationships. These are works of painting, sculpture and graphics created at different times by Leningrad and Azerbaijani artists. Studying these materials, the author substantiates the importance of scientific research in this direction. The study is divided historically into two main stages: Soviet and post-Soviet, which is the simplest form of chronological division. This division is acceptable, because, the author researches not a certain period or area of interrelationships, but offers a general methodological form of art historical investigation. According to the author, the main directions are thematic works, studies and holding exhibitions (or other events) in the considered interrelations. Exactly, these three points of activity (in many variations) form the basis of the factual material to be studied in the future. According to the author, studies at the universities of Leningrad had a beneficial effect on the development of creativity and the formation of the artistic worldview of most Azerbaijani artists. While studying at the prestigious art universities of Leningrad, these young artists returned to the republic as mature specialists, often proficient in the norms of academic painting and sculpture. Their work significantly enriched the fine arts of Azerbaijan, especially in the 50s–80s of the last century. The availability of interesting materials, friendly interrelations between the government of St Petersburg and the Republic of Azerbaijan create favorable preconditions for conducting active artistic research in this direction on more specific topics. The research of interrelationships contributes greatly to highlighting our common cultural heritage and supports to the strengthening of friendships in our time.
{"title":"Artistic Ties between Azerbaijan and St Petersburg: History and Modernity","authors":"Khazar A. Zeynalov","doi":"10.21638/spbu15.2023.303","DOIUrl":"https://doi.org/10.21638/spbu15.2023.303","url":null,"abstract":"The article highlights the Azerbaijani and St Petersburg interrelation in the field of fine arts. The author studies factual materials and investigates works related to these interrelationships. These are works of painting, sculpture and graphics created at different times by Leningrad and Azerbaijani artists. Studying these materials, the author substantiates the importance of scientific research in this direction. The study is divided historically into two main stages: Soviet and post-Soviet, which is the simplest form of chronological division. This division is acceptable, because, the author researches not a certain period or area of interrelationships, but offers a general methodological form of art historical investigation. According to the author, the main directions are thematic works, studies and holding exhibitions (or other events) in the considered interrelations. Exactly, these three points of activity (in many variations) form the basis of the factual material to be studied in the future. According to the author, studies at the universities of Leningrad had a beneficial effect on the development of creativity and the formation of the artistic worldview of most Azerbaijani artists. While studying at the prestigious art universities of Leningrad, these young artists returned to the republic as mature specialists, often proficient in the norms of academic painting and sculpture. Their work significantly enriched the fine arts of Azerbaijan, especially in the 50s–80s of the last century. The availability of interesting materials, friendly interrelations between the government of St Petersburg and the Republic of Azerbaijan create favorable preconditions for conducting active artistic research in this direction on more specific topics. The research of interrelationships contributes greatly to highlighting our common cultural heritage and supports to the strengthening of friendships in our time.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135107045","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/spbu11.2023.204
Ali Talyshinskii, Irina Kamyshanskaya, Andrey Mischenko, Bakhman Guliev, Rustam Bakhtiozin
This review examines the current methodologies employed in utilizing artificial intelligence for the identification and classification of prostate cancer using magnetic resonance imaging data. It outlines the volume of data utilized and highlights the most commonly sought-after sequences employed for training neural networks. The review further presents the accuracy metrics of the neural networks analyzed, accompanied by a succinct explanation of each metric. Furthermore, the review pinpoints the limitations associated with contemporary neural networks devised for the detection and classification of prostate cancer using magnetic resonance imaging data, as well as the challenges encountered during their creation and implementation.In summary, this comprehensive analysis delves into the existing approaches in leveraging artificial intelligence for prostate cancer detection and stratification through magnetic resonance imaging data. It addresses the data scale and preferred magnetic resonance imaging sequences employed for neural network training. The review provides a breakdown of accuracy indicators for the neural networks evaluated, elucidating their respective capabilities. Moreover, the review identifies the drawbacks associated with current neural network models developed for prostate cancer detection and stratification via magnetic resonance imaging data, while also recognizing the complexities involved in their development and practical application.
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