Pub Date : 2023-01-01DOI: 10.21638/spbu11.2023.206
Oksana Rybalchenko, Olga Orlova, Maria Netesa, Valentina Kapustina
The widespread antibiotic resistance is associated with the formation of special forms of microbial communities — bacterial biofilms with increased resistance to the impact of various physicochemical factors, including antimicrobial drugs. In this regard, the investigation of antibacterial agents, including herbal preparations that could affect bacterial biofilms, seems to be of current interest. The aim of this work was to identify antibacterial substances of plant origin that can most effectively affect bacterial biofilms. The effect of antibacterial decoctions of lingonberry, sage, and chamomile plants on the sensitivity of bacteria to antimicrobial drugs was assessed. The susceptibility of bacteria to antimicrobial drugs, when combined with herbal decoctions, was determined by the disk-diffusion method. The morphophysiological properties of biofilms were illustrated by light and scanning electron microscopy. The ability of lingonberry, sage, and chamomile decoctions to increase the sensitivity of bacteria to antimicrobial drugs of predominantly bactericidal pharmacological action was revealed. Decoctions of medicinal plants prevented the formation of complete bacterial biofilms. The obtained results indicate the antibiofilm activity of lingonberry, chamomile and sage decoctions, which contribute to a decrease in the level of antibiotic resistance of bacteria and a decrease in the load during antimicrobial therap.
{"title":"Influence of antimicrobial substances of plant origin on the sensitivity of bacterial biofilm to antimicrobial drugs","authors":"Oksana Rybalchenko, Olga Orlova, Maria Netesa, Valentina Kapustina","doi":"10.21638/spbu11.2023.206","DOIUrl":"https://doi.org/10.21638/spbu11.2023.206","url":null,"abstract":"The widespread antibiotic resistance is associated with the formation of special forms of microbial communities — bacterial biofilms with increased resistance to the impact of various physicochemical factors, including antimicrobial drugs. In this regard, the investigation of antibacterial agents, including herbal preparations that could affect bacterial biofilms, seems to be of current interest. The aim of this work was to identify antibacterial substances of plant origin that can most effectively affect bacterial biofilms. The effect of antibacterial decoctions of lingonberry, sage, and chamomile plants on the sensitivity of bacteria to antimicrobial drugs was assessed. The susceptibility of bacteria to antimicrobial drugs, when combined with herbal decoctions, was determined by the disk-diffusion method. The morphophysiological properties of biofilms were illustrated by light and scanning electron microscopy. The ability of lingonberry, sage, and chamomile decoctions to increase the sensitivity of bacteria to antimicrobial drugs of predominantly bactericidal pharmacological action was revealed. Decoctions of medicinal plants prevented the formation of complete bacterial biofilms. The obtained results indicate the antibiofilm activity of lingonberry, chamomile and sage decoctions, which contribute to a decrease in the level of antibiotic resistance of bacteria and a decrease in the load during antimicrobial therap.","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":"135911698","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/spbu11.2023.203
Marat Gurianov, Piotr Yablonsky
Ventricular fibrillation is the most common cause of sudden cardiac death and continues to be an urgent problem. The aim of the paper was to study the organized activity of canine ventricular fibrillation under 1-minute ischemia and 10-minute reperfusion of the heart. A ventricular electrogram was recorded and spectral analysis of 10-second segments of the electrogram was performed under perfusion, ischemia, and reperfusion of the heart in fibrillation using Fast Fourier Transform at 30 frequencies in the range of 0.5–15 Hz. Specific gravity of 0.5–15-Hz oscillations was determined under perfusion, ischemia, and reperfusion in fibrillation. Ventricular fibrillation is characterized by organized activity during perfusion, ischemia, and reperfusion as evidenced by dominant frequency structure. Perfusion of the heart during ventricular fibrillation increases the stability of the organized structure of fibrillation to ischemia: under 1-minute ischemia after 10-minute perfusion, the frequency of dominant oscillations decreases by only 0.5 Hz while organized activity does not decrease. Reperfusion in fibrillation is characterized by the transient 1.5-Hz increase of frequency of dominant oscillations and by a 15 % decrease of organized fibrillation activity at the 1st minute of reperfusion after 1 minute of ischemia. The organized structure of fibrillation is more sensitive to reperfusion than to ischemia.
{"title":"Organized activity of canine ventricular fibrillation under reperfusion after 1-minute ischemia of the heart","authors":"Marat Gurianov, Piotr Yablonsky","doi":"10.21638/spbu11.2023.203","DOIUrl":"https://doi.org/10.21638/spbu11.2023.203","url":null,"abstract":"Ventricular fibrillation is the most common cause of sudden cardiac death and continues to be an urgent problem. The aim of the paper was to study the organized activity of canine ventricular fibrillation under 1-minute ischemia and 10-minute reperfusion of the heart. A ventricular electrogram was recorded and spectral analysis of 10-second segments of the electrogram was performed under perfusion, ischemia, and reperfusion of the heart in fibrillation using Fast Fourier Transform at 30 frequencies in the range of 0.5–15 Hz. Specific gravity of 0.5–15-Hz oscillations was determined under perfusion, ischemia, and reperfusion in fibrillation. Ventricular fibrillation is characterized by organized activity during perfusion, ischemia, and reperfusion as evidenced by dominant frequency structure. Perfusion of the heart during ventricular fibrillation increases the stability of the organized structure of fibrillation to ischemia: under 1-minute ischemia after 10-minute perfusion, the frequency of dominant oscillations decreases by only 0.5 Hz while organized activity does not decrease. Reperfusion in fibrillation is characterized by the transient 1.5-Hz increase of frequency of dominant oscillations and by a 15 % decrease of organized fibrillation activity at the 1st minute of reperfusion after 1 minute of ischemia. The organized structure of fibrillation is more sensitive to reperfusion than to ischemia.","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":"135913641","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/spbu15.2023.205
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":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"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":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":"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":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":"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":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":"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/spbu15.2023.103
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。
{"title":"Sources of Figurenlehren of the Baroque Era in Musicology of the German Language Space","authors":"Anastasiya А. Maltseva","doi":"10.21638/spbu15.2023.103","DOIUrl":"https://doi.org/10.21638/spbu15.2023.103","url":null,"abstract":"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.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73612739","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/spbu15.2023.303
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":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":"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/spbu15.2023.207
Ida A. Shik
In the article, the researcher made a comprehensive study the American photographer Jerry Uelsmann art as a kind of contemporary digital photo-surrealism “prehistory”. The author revealed connections of Jerry Uelsmann works with American modernist photography and historical surrealist photography. The researcher analyzed the structure of Jerry Uelsmann’s hybrid images in the context of the ideas of analytical psychology, and also outlined the themes and concepts proposed in the works of the photographer that would be relevant in contemporary digital photography. The study showed that Jerry Uelsmann art continued the traditions of American modernist photography and started a new, post-modernist period in the development of photographic art in the United States characterized by the use of photography as a tool of self-knowledge and philosophical expression. Jerry Uelsmann applied such important for the historical Surrealist photography conceptions as convulsive beauty, the principle of “encounter of images”, surreality. He used experimental techniques (negative print, solarization, photomontage) and aimed to demonstrate the limitless creative possibilities of photography as well as the Surrealists. Uelsmann appealed to archetypal images which provided his works by intellectual simplicity and external showiness that contributed to the popularity of his photomontages and their strong influence on the development of contemporary manipulative photography. Uelsmann set a kind of “standard” for photo-Surrealism of the late 20th–21st centuries: these are technically perfect photomontages that require a high level of professional skills and time expenditure. Many of Jerry Uelsmann’s motives and ideas found parallels in contemporary digital photography. Among their common features it’s possible to single out concentration on the inner world of the person, interest in archetypes and symbols, the desire to poeticize nature, and the introduction of elements of mass culture into hybrid images.
{"title":"Jerry Uelsmann and Contemporary Digital Photography: Jungian Images of ‘Photoshop’s Godfather’","authors":"Ida A. Shik","doi":"10.21638/spbu15.2023.207","DOIUrl":"https://doi.org/10.21638/spbu15.2023.207","url":null,"abstract":"In the article, the researcher made a comprehensive study the American photographer Jerry Uelsmann art as a kind of contemporary digital photo-surrealism “prehistory”. The author revealed connections of Jerry Uelsmann works with American modernist photography and historical surrealist photography. The researcher analyzed the structure of Jerry Uelsmann’s hybrid images in the context of the ideas of analytical psychology, and also outlined the themes and concepts proposed in the works of the photographer that would be relevant in contemporary digital photography. The study showed that Jerry Uelsmann art continued the traditions of American modernist photography and started a new, post-modernist period in the development of photographic art in the United States characterized by the use of photography as a tool of self-knowledge and philosophical expression. Jerry Uelsmann applied such important for the historical Surrealist photography conceptions as convulsive beauty, the principle of “encounter of images”, surreality. He used experimental techniques (negative print, solarization, photomontage) and aimed to demonstrate the limitless creative possibilities of photography as well as the Surrealists. Uelsmann appealed to archetypal images which provided his works by intellectual simplicity and external showiness that contributed to the popularity of his photomontages and their strong influence on the development of contemporary manipulative photography. Uelsmann set a kind of “standard” for photo-Surrealism of the late 20th–21st centuries: these are technically perfect photomontages that require a high level of professional skills and time expenditure. Many of Jerry Uelsmann’s motives and ideas found parallels in contemporary digital photography. Among their common features it’s possible to single out concentration on the inner world of the person, interest in archetypes and symbols, the desire to poeticize nature, and the introduction of elements of mass culture into hybrid images.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82740728","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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