Pub Date : 2023-01-01DOI: 10.21638/11701/spbu21.2023.112
Irina Taratonkina
The article introduces Alexander Kuchin and his “Small Russian-Norwegian dictionary”, which was published in 1907 by the publishing house “Pomor” (Finnmarken) in Vardø (Norway) and was very popular at that time. Its author, Alexander Stepanovich Kuchin, a man with a unique destiny, is known to compatriots as the only Russian who participated in the discovery of the South Pole in the Roald Amundsen’s expedition, and also as the first of our countrymen who, after the discovery of Antarctica in 1820 by the expedition of Faddey F. Bellingshausen and Michael P. Lazarev, landed on the coast of the Southern continent. A talented young man who died in the expedition of Vladimir A. Rusanov at the age of only 25, made a great contribution to science, research and navigation. Born in the village of Kushereka in the Onega district of the Arkhangelsk province, Alexander received a good education for that time. He graduated from a two-grade parochial school in Kushereka, brilliantly studied at the Onega City School, attended classes at the Tromsø school for a year and was the only one in the course graduated from the Arkhangelsk Merchant and Maritime School with a gold medal. He read H. Ibsen, K. Hamsun, J. Falkberget and other writers in the original. Alexander was also lucky to work at the biological station in Bergen under the direction of Bjørn Hjelland-Hansen, one of the founders of oceanography as a science; here he also met Fridtjof Nansen, one of the national Norwegian heroes, which played a significant role in A. Kuchin’s life. The “Small Russian-Norwegian dictionary” was published in 2,000 copies and was very popular that time. The dictionary contains around 4,000 words on 48 pages. There are no proper names in it, but at the end of the dictionary basic information about the phonetics and grammar of the Norwegian language is disposed. It is focused on Russian users and arouses undoubted interest among linguists, since it appeared in 1907, two years after the termination of the union with Sweden. It is valuable that Alexander Kuchin, not being a linguist, fixed the language used by common people such as fishermen and trawlermen in the North of Norway (particularly in Finnmark and Troms). Such a democratic version of the language is also of special scientific interest. In general, the dictionary was caused by necessity, appeared at a proper time, was well compiled and completely fulfilled the functions assigned to it.
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Pub Date : 2023-01-01DOI: 10.21638/11701/spbu21.2023.111
V. Statkevich
The article analyses five drawings by the Dutch painter Pieter Quast (circa 1606– 1647) from the collection of the State Hermitage Museum. The sheets shown are unpublished. They are executed in the artist’s characteristic technique: in black chalk on vellum; some sheets are signed and dated. They come from three different collections, four of the drawings came into the museum in the 18th century and one is a late acquisition and was purchased in 1972. The little-known master’s diverse body of work is represented in museum collections and private collections mainly by graphic material, including numerous drawings. The artist’s passion for drawing seems to have also been caused by his poor financial situation. Although Quast’s biography is known in fragments, published archival materials reveal the artist’s complex creative path. A study of his works from the national collection confirms their authorship and gives grounds for speculation about the reading of the subjects. The themes chosen by the master are inextricably linked with the pictorial tradition: the work of the 16th century masters, in particular Pieter Bruegel the Elder, and Quast’s contemporaries Adriaen Braouwer, Adriaen van Ostade and others. The artist relied heavily on theatrical representations, both biblical and humorous folk sketches, as an important source of inspiration. This research paper analyses the master’s drawings both in terms of iconography and using the formal and stylistic method, using comparative analysis and putting the works in line with the artist’s other famous works.
本文分析了国家冬宫博物馆收藏的荷兰画家彼得·奎斯特(Pieter Quast，约1606 - 1647年)的五幅画作。所示表格未发表。它们是用艺术家的特色技术完成的:在牛皮纸上用黑色粉笔;有些单子上有签名和日期。它们来自三个不同的收藏，其中四幅是在18世纪进入博物馆的，另一幅是1972年购买的。这位鲜为人知的大师的作品种类繁多，在博物馆收藏和私人收藏中主要是图形材料，包括许多图纸。这位艺术家对绘画的热情似乎也是由他贫穷的经济状况造成的。尽管人们对奎斯特的传记知之甚少，但已出版的档案材料揭示了这位艺术家复杂的创作历程。一项对国家收藏的他的作品的研究证实了它们的作者身份，并为猜测这些主题的阅读提供了依据。大师选择的主题与绘画传统密不可分:16世纪大师的作品，特别是老彼得·勃鲁盖尔，以及夸斯特同时代的Adriaen Braouwer, Adriaen van Ostade等人。艺术家很大程度上依赖于戏剧表现，包括圣经和幽默的民间素描，作为重要的灵感来源。本研究论文从肖像学和形式与风格两方面分析大师的绘画，采用比较分析的方法，并将作品与艺术家的其他著名作品进行比较。
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Pub Date : 2023-01-01DOI: 10.21638/11701/spbu21.2023.104
O. Popova
Language interaction has always been a matter of interest to linguists. Despite the fact of profound influence of Latin on many languages in many sciences, including medicine, the question concerning the borrowings of anatomical vocabulary, namely somatisms, or body parts, from Latin in Norwegian and its influence on the Norwegian anatomical terminology is of particular interest. The study focuses on the influence of Latin on the names of different body parts in Norwegian, thereby revealing some peculiarities of somatisms in the Norwegian language. Taking into account the historical background and cross-cultural interaction, some groups of somatisms have been distinguished. The most abundant group includes single word somatisms and compounds that do not have their norwegianized Latin form. The second group consists of the Norwegian somatisms, which have identical or nearly identical morphemic form with somatisms in Latin, incorporating single word somatisms as well as some compounds where one or even two parts are norwegianized Latin forms with some semantic peculiarities. We have also singled out the anatomical terms that have a norwegianized Latin form and a parallel native form. Mostly the borrowings in this group underwent orthographic changes adapting them to the Norwegian language. The results show that on the whole the Norwegian language preserves its identity, uniqueness and selective modifying purism in anatomical vocabulary, with some instances of being dependent on Latin.
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Pub Date : 2023-01-01DOI: 10.21638/11701/spbu21.2023.106
M. Dmitrieva
The purpose of the paper is to identify the mechanisms of interaction between two sign systems: the verbal text of the Dutch rhymed psalms of the 19th century and the musical text of the melodies. The text is broadly understood as an ordered set of semiotic codes that carry certain information. The discussion of both linguistic and musical material with the use of musicological and linguopragmatic analysis is innovative. In the course of the study, an attempt was made to establish the relationship between the type of rhyme and the way of musical arrangement of the text. For poetic texts with a cross rhyme, there is a tendency to use repetitions of the melody in accordance with the rhyme. Texts with a more complex rhythmic organization of the verse are decorated with variations or author’s reworking of the original melody. At the same time, the processing of musical material obeys the generally accepted patterns of melody development within the range of one octave. With a more detailed analytical review, different types of ways of using the original melodies and adapting them to the needs of choral church singing can be identified. The determining factor in the choice and interpretation of the original folk melody is the text of the psalm. Melodies do not have independence, but are completely subordinated to the verbal text. At the same time, the musical arrangement serves as an auxiliary means of accentual articulation and enhances the aesthetic function of the poetic text.
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Pub Date : 2023-01-01DOI: 10.21638/11701/spbu21.2023.107
Andrey V. Korovin
The article deals with the topic of existential loneliness as a category of poetics, which is reflected in works of the Danish philosopher Søren Kierkegaard and Fyodor Dostoevsky’s novels. The question of typological convergences in the world view of Kierkegaard and Dostoevsky has been discussed in philosophical writings, but the question of literary interpretation of the ontological category of loneliness in books of both of writers has not be raised. Loneliness becomes one of the most important concepts for understanding the evolution of human soul (stages on life’s way) in Kierkegaard philosophy. The theme of loneliness has been developed in Romantic literature and it was one of the central problems for it, but Kierkegaard invents a new understanding of human being and uses the concept “existence” to describe it. The human loneliness in this world becomes both the subject of reflection and the subject of analysis, which displays the existential dialectics. The similar embodiment of the theme of loneliness is also the characteristic of Dostoevsky’s works, where a hero, who tries to find himself, should make his existential choice: to accept or not his own loneliness. And his further life depends on this choice: he can go to the way of spiritual rise or to death. The theme of loneliness is closely related to the concept of despair, which was introduced by Kierkegaard, because it is a human desire to be oneself. In the early Dostoevsky’s books (“The Double”, “Poor Folk”) heroes desire to avoid loneliness abandoning their own self, and it leads to tragedy. In later books, loneliness becomes a way to find oneself with different results: it can lead to the collapse of hero’s life (the man from underground, Smerdyakov, Ivan Karamazov) or to spiritual rise (Raskolnikov, the ridiculous man). Prince Myshkin could except his loneliness and save himself, but he makes a choice in favor of passion. Dostoevsky not only describes the emotional state of his lonely heroes, but he analyzes the phenomenon of loneliness the same way as Kierkegaard does it.
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Pub Date : 2023-01-01DOI: 10.21638/spbu20.2023.106
Vladislav A. Ronzhin
This paper concerns the issue of the length of vowel e in the final -eus of the Latin medical terminological adjectives of coccygeus type. These adjectives are not associated with ancient Latin nouns and do not have a digraphic combination in the Greek prototype at the junction of the noun base and the adjective suffix: anconeus, coccygeus, laryngeus, phalangeus, pharyngeus. The lexemes were created by anatomists between the 16th and 18th centuries, mostly by Jean Riolan the Younger, James Douglas, William Cheselden, Christian H. T. Schreger. The spelling of these words with the final -.us in the work by Douglas in 1707 was a failed (and faulty) attempt to unify the spelling of Latin medical adjectives with a final -eus. The next try belonged to Cheselden (1713): he writes these lexemes with the final -eus. The artificial origin, the presence of two variants of the spelling (-.us and -eus) and of an identical in spelling Latin morpheme (-ĕus), and the simplification of spelling of Latin medical terms are the reasons why different variants of the appearance of the Latin adjectives of coccygeus type exist: with finals -aeus, -ēus, -ĕus. At the same time, an original Latinized Greek adjective existed — coccygius (from κοκκύγιος, used by Pausanias). The author suggests changing the nomenclature spelling of the adjectives of coccygeus type, bringing them in line with the historical “living” appearance: anconius, coccygius, laryngius, phalangius, and pharyngius. Until this change is carried out, it is recommended to consider ⟨e⟩ in the final -eus as a short vowel stressing the antepenultimate syllable.
本文研究了尾骨型拉丁文医学术语形容词词尾-eus中元音e的长度问题。这些形容词与古拉丁语名词没有关联，在希腊语原型中，在名词词根和形容词后缀的连接处也没有两字形组合:anconeus, coccygeus，喉，phalangeus, pharyngeus。lexemes是由16至18世纪的解剖学家创造的，主要是由Jean Riolan The Younger, James Douglas, William Cheselden, Christian H. T. Schreger创造的。这些单词的拼写以最后的-结尾。道格拉斯(Douglas)在1707年的著作《us》(us)中，试图将拉丁医学形容词的拼写与最后的-eus统一起来，但失败了(而且是错误的)。下一个尝试属于切塞尔登(1713年):他写这些词汇时用的是最后的-eus。人工起源，存在两种变体的拼写(-)。us和-eus)和拉丁语素拼写相同(-ĕus)，以及拉丁医学术语拼写的简化是尾骨型拉丁形容词出现不同变体的原因:韵母-aeus， -ēus， -ĕus。与此同时，还出现了一个拉丁化的希腊形容词——coccygius(源自κοκκ ς，由Pausanias使用)。作者建议改变尾骨类形容词的命名拼写，使它们符合历史上“活的”外观:anconius, coccygius，喉，phalangius和咽。在此更改之前，建议将⟨e⟩在最后的-eus中视为重读倒数第一个音节的短元音。
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Pub Date : 2023-01-01DOI: 10.21638/spbu20.2023.102
R.S. Soloviev
This paper offers an analysis of similar and parallel developing projects of creating a true philosophy by the disciples and followers of Origen and Plotinus. Two texts permeated by the eulogy of the scholarch are analysed: Gregory the Wonderworker’s The Address of Thanksgiving to Origen and the Life of Plotinus by Porphyry. Gregory was a student of Origen, while Porphyry attended his school long enough to become familiar with the doctrine, teaching methods and personality of the scholarch. The author establishes the structural, thematic and lexical similarity of both texts. The text by Gregory the Wonderworker, chronologically earlier, was a pushing away point for Porphyry in creating an image of the ideal scholarch in the person of Plotinus. This is confirmed by the structural and lexical contrast in the portrayal of Plotinus in Vita Plotini and Origen in the passage preserved by Proclus (Procl. In Tim. I.63. 29–33). In particular, the negative image of Origen in Vita Plotini 13. 10–17 is echoed by the figure of Thaumasius, dissatisfied with the protracted dispute between Plotinus and Porphyry, which rarely draws the scholars’ attention. Nowhere else mentioned, Thaumasius appears as a marginal figure: either he himself was interested in general statements and wanted to hear Plotinus speaking in the manner of a set treatise (trans. Armstrong), or he wanted Plotinus to “faire une conférence suivie et propre à être écrite” (trans. Bréhier). The author hypothesises that it is not a proper name but a nickname. The author suggests that Thaumasius is not an accidental participant in a specific episode of the Neoplatonists’ school life but the philosophical rival of the Neoplatonists, theologian Origen, ironically presented in an unattractive manner. Thus, the deliberately constructed episode with Plotinus and Thaumasius is a polemical jab at Origen’s followers, who put forward a programme of philosophical renovation alternative to the Platonic, and the very depiction of Plotinus as a ‘divine man’ (θεῖος ἀνήρ) responds to the image of Origen painted by his followers. The supposed allusions in Vita Plotini 13. 5–17 testify to the openness of the Roman Neoplatonic school to the already-formed Christian version of philosophy. For this reason, Porphyry chose to portray a situation in which Plotinus showed attention and patience in interpreting difficult philosophical questions for three days. In contrast, Origen, in a similar situation, showed impatience and irritability.
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Pub Date : 2023-01-01DOI: 10.21638/spbu20.2023.103
E. Ermolaeva
This article offers a transcription and translation, as well as a commentary, on P. Mich. inv. 5594. The papyrus is believed to date from the fourth century A. D. The origin and provenance of it are unknown. The papyrus is damaged in some places, so lacunae in the text or poorly readable places are restored in accordance with the formulas and word usage on the papyri, which is always explained in the commentary. The beginning of the papyrus has been lost but the formulas at the end of it (Ἀσπάσῃ κατ̣’ [ὀνό]ματα… καὶ ἔ̣ρ̣ρωσό μοι) and address on the verso of the papyrus indicate that it is obviously a private letter in which a certain Lucius writes to Plution. The Nomina Sacra (θ(εο)ῦ ἐν κ(υρί)ῳ; κ(ύρι)ος) regularly repeated in this letter suggest that it was written by a Christian to a Christian. The context of the letter and the definitions pertaining to Plutio on the verso (πρεσβύτερος καὶ ὁμολογητής) suggest that the relationship between Lucius and Plutio is that of a dependent and his patron where the Lucius is being supported by a superior in age or status. As is often the case, a scrap of letter details only a moment in someone’s life, leaving us only to speculate on the context and the whole picture.
{"title":"The Christian letter by Lucius (P. Mich. inv. 5594)","authors":"E. Ermolaeva","doi":"10.21638/spbu20.2023.103","DOIUrl":"https://doi.org/10.21638/spbu20.2023.103","url":null,"abstract":"This article offers a transcription and translation, as well as a commentary, on P. Mich. inv. 5594. The papyrus is believed to date from the fourth century A. D. The origin and provenance of it are unknown. The papyrus is damaged in some places, so lacunae in the text or poorly readable places are restored in accordance with the formulas and word usage on the papyri, which is always explained in the commentary. The beginning of the papyrus has been lost but the formulas at the end of it (Ἀσπάσῃ κατ̣’ [ὀνό]ματα… καὶ ἔ̣ρ̣ρωσό μοι) and address on the verso of the papyrus indicate that it is obviously a private letter in which a certain Lucius writes to Plution. The Nomina Sacra (θ(εο)ῦ ἐν κ(υρί)ῳ; κ(ύρι)ος) regularly repeated in this letter suggest that it was written by a Christian to a Christian. The context of the letter and the definitions pertaining to Plutio on the verso (πρεσβύτερος καὶ ὁμολογητής) suggest that the relationship between Lucius and Plutio is that of a dependent and his patron where the Lucius is being supported by a superior in age or status. As is often the case, a scrap of letter details only a moment in someone’s life, leaving us only to speculate on the context and the whole picture.","PeriodicalId":40525,"journal":{"name":"Philologia Classica","volume":"11 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89488592","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: 10.21638/11701/spbu21.2023.108
A. Morozov
The paper deals with the specific plot features of a popular Swedish travelogue My Son on the Galley (1781) in which Jacob Wallenberg describes his journey from Sweden to China in 1769–1771. The object of analysis is the general plot structure in travel novels (using Mikhail Bakhtin’s terminology) and travelogues. As a result, it is proved that My Son on the Galley is a travelogue with a linear, chronological plot structure. It includes not only description of the itself and documentary information (about the geographical and demographic position of the countries visited by the narrator, descriptions of local nature, traditions, etc.), but also there are adventurous episodes (for example, about old maids, frightened by the appearance of the Swedes; about the ship, which the sailors mistook for a pirate one, etc.) in the text. Digressions from the main theme — the journey — are interspersing as colorful illustrations of the thoughts of the narrator, and as natural-geographical, ethnographic, cultural content etc. which are so typical for travelogues, although they do not play significant role in this book. The main object for the narrator is not visit to one country or another, but secondary details of the surrounding reality, as well as author’s thoughts inspired by the journey. There are also chapters that deal with things that are not directly related to the journey (for example, domestic violence and infidelity of wives). The travelogue My Son on the Galley stands at the origins of Swedish sentimentalist prose, which was developed at the end of the 18th century.
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Pub Date : 2023-01-01DOI: 10.21638/spbu20.2023.107
A. Vinogradov
The author discusses the newly found Greek inscriptions from Lasica, from the basilica on Machkhomeri Hill near Khobi dated to the 6th c. CE, with three Greek words and expressions having non-standard meanings. The only possible interpretation of the expression ἔχετε ἐν παραθέκῃ (sic) that comes to mind is “to have or keep as a pledge, to have or keep entrusted” i. e. the martyrs must keep the soul of the founder Gorgonios, which he entrusted to them as a pledge of his own salvation. The standard meanings of the term κατοίκησις as “settling” or “dwelling, abode” do not correspond to the context of the list of the benefactors either as an act or as a locus, as well as the early Byzantine meaning “government, administration”. It should mean here a burial, which could be understood as a new dwelling of the body or even a shrine for the relics (probably one of the Forty Martyrs), which appeared in Machkhomeri in connection with the rebuilding of the basilica and which was placed in the martyrium in the eastern end of the southern aisle. Finally, the term συνοδία by its origin meant a “companionship on a journey”, and later became a terminus technicus for caravan; new, Byzantine meanings of this word are “Christian fellowship company of the faithful, local congregation”, “gathering, assembly for worship”, “community of religious”. But here it is an “association of lay people around an institution or an influential person, probably functioning as a group of pilgrims”.
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