The article examines modern publishing standards in force on the territory of the Russian Federation, provides the list of the most important GOST standards for employees of the publishing sector, names the causes of non-compliance by Russian publishers with the standards in the preparation of book products, and shows ways to resolve the current situation. The conditions for the putting of GOST standards into effect, the complexity of their application, and the contradictions between them are analyzed. The article raises the problem of searching for updated GOST standards and/or those put into effect instead of outdated ones, and the question about the recommendatory nature of the standards, which allows unscrupulous publishers to violate GOST standards with impunit. The authors believe that, in order to speak about the high culture of editions and publications in Russia, it is necessary to regard the SIBID standards as mandatory requirements. On the basis of the undertaken analysis of the practice of applying the standards in the Russian book publishing, the expediency of applying the existing standards, adapting them to the modern publishing environment, etc., options for interaction between GOST developers and practical publishers, ways to consolidate the professional publishing community on the basis of the RBC platform in order to discuss topical issues of book publishing, testing new and updated GOST standards, refining of the existing standards by practical publishers are proposed. The authors of the article believe that the possibility of such a dialogue will improve the situation with Russian book publishing and will quickly remove contradictions in the GOSTs because only the compliance with publishing standards will allow publishers to maintain a high publication culture and book quality, and therefore will contribute to the creation of the professional image in the publishing industry and the publishing house reputation as a whole. The authors are convinced that it is necessary to have an open access to information about the introduced GOST standards at the stage of their development/implementation/testing, to indicate the developers of the standards, and to give an opportunity of giving a feedback to them (which means the creation of a centralized system of interaction within the professional community (e.g., on the RBC website)); that the changes in the standards should become predictable, expected and systematic, allowing to gradually introduce new standards and promptly make corrections to GOST before it is put into effect. All the theoretical provisions of the article are supported by the real examples from publishing practice. Also, as a part of the undertaken research, a survey was conducted among the students of the Ural Federal University (Yekaterinburg) related by the nature of their future activities to the SIBID standards. The survey has shown that there is currently an urgent need to involve practitioners in the developmen
{"title":"Standards in Russian book publishing: Features of application and implementation","authors":"O. Klimova, I. Plotnikova","doi":"10.17223/23062061/30/9","DOIUrl":"https://doi.org/10.17223/23062061/30/9","url":null,"abstract":"The article examines modern publishing standards in force on the territory of the Russian Federation, provides the list of the most important GOST standards for employees of the publishing sector, names the causes of non-compliance by Russian publishers with the standards in the preparation of book products, and shows ways to resolve the current situation. The conditions for the putting of GOST standards into effect, the complexity of their application, and the contradictions between them are analyzed. The article raises the problem of searching for updated GOST standards and/or those put into effect instead of outdated ones, and the question about the recommendatory nature of the standards, which allows unscrupulous publishers to violate GOST standards with impunit. The authors believe that, in order to speak about the high culture of editions and publications in Russia, it is necessary to regard the SIBID standards as mandatory requirements. On the basis of the undertaken analysis of the practice of applying the standards in the Russian book publishing, the expediency of applying the existing standards, adapting them to the modern publishing environment, etc., options for interaction between GOST developers and practical publishers, ways to consolidate the professional publishing community on the basis of the RBC platform in order to discuss topical issues of book publishing, testing new and updated GOST standards, refining of the existing standards by practical publishers are proposed. The authors of the article believe that the possibility of such a dialogue will improve the situation with Russian book publishing and will quickly remove contradictions in the GOSTs because only the compliance with publishing standards will allow publishers to maintain a high publication culture and book quality, and therefore will contribute to the creation of the professional image in the publishing industry and the publishing house reputation as a whole. The authors are convinced that it is necessary to have an open access to information about the introduced GOST standards at the stage of their development/implementation/testing, to indicate the developers of the standards, and to give an opportunity of giving a feedback to them (which means the creation of a centralized system of interaction within the professional community (e.g., on the RBC website)); that the changes in the standards should become predictable, expected and systematic, allowing to gradually introduce new standards and promptly make corrections to GOST before it is put into effect. All the theoretical provisions of the article are supported by the real examples from publishing practice. Also, as a part of the undertaken research, a survey was conducted among the students of the Ural Federal University (Yekaterinburg) related by the nature of their future activities to the SIBID standards. The survey has shown that there is currently an urgent need to involve practitioners in the developmen","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":"41 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88217513","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}
The article discusses the changes in the educational publications market under the influence of digital transformation. Expansion of the diversity of digital devices, changes in the needs of the target audience, and the development of new educational practices contribute to the emergence and growth of new niches in the global market of educational publications. The study of the market of digital educational products in different countries shows that many factors influence the level of its development. These factors are the government policy, the level of IT technology in the country, and the competitive environment in this niche in the market of a particular country. Moreover, the quality of the competitive environment and the interest of technology companies have a greater impact than the government policy. Two strategies for the production of electronic educational products in the modern world market stand out and are illustrated by examples: publishing isolationism and production tandems with technology companies. A classification of three models of electronic textbooks is proposed based on the analysis of educational publications in the natural sciences representing countries with emerging markets for electronic textbooks: the United States, Russia, and Finland. The first model is the presentation of electronic textbooks in PDF format. Textbooks in this version are the original mockup of a printed textbook. The second model is based on the printed form of the textbook, distributed in EPUB 3 format through the publisher’s own publishing software or affiliate applications. Multimedia and interactive materials in such textbooks are not mandatory, but complementary, and they are included in the textbook via pop-ups. The third model is a publication that was originally created only in electronic format. Often, such textbooks are components of a digital educational environment that provides electronic exchange of tasks, collective performance of laboratory works, interdisciplinary connection of educational material in various disciplines, etc. The study of the most relevant and innovative offers on the market of such countries as the USA, the UK, Spain, Denmark, Russia, and Finland shows four promising areas in the preparation of textbooks in the EdTech field. These are (1) artificial intelligence manuals, (2) tools of virtual, augmented, and mixed reality, (3) computer games with educational potential, and (4) programming platforms. Contribution of the authors: the authors contributed equally to this article. The authors declare no conflicts of interests.
{"title":"The world market of digital educational editions: Development prospects","authors":"V. Bal, Polina B. Skidan","doi":"10.17223/23062061/28/9","DOIUrl":"https://doi.org/10.17223/23062061/28/9","url":null,"abstract":"The article discusses the changes in the educational publications market under the influence of digital transformation. Expansion of the diversity of digital devices, changes in the needs of the target audience, and the development of new educational practices contribute to the emergence and growth of new niches in the global market of educational publications. The study of the market of digital educational products in different countries shows that many factors influence the level of its development. These factors are the government policy, the level of IT technology in the country, and the competitive environment in this niche in the market of a particular country. Moreover, the quality of the competitive environment and the interest of technology companies have a greater impact than the government policy. Two strategies for the production of electronic educational products in the modern world market stand out and are illustrated by examples: publishing isolationism and production tandems with technology companies. A classification of three models of electronic textbooks is proposed based on the analysis of educational publications in the natural sciences representing countries with emerging markets for electronic textbooks: the United States, Russia, and Finland. The first model is the presentation of electronic textbooks in PDF format. Textbooks in this version are the original mockup of a printed textbook. The second model is based on the printed form of the textbook, distributed in EPUB 3 format through the publisher’s own publishing software or affiliate applications. Multimedia and interactive materials in such textbooks are not mandatory, but complementary, and they are included in the textbook via pop-ups. The third model is a publication that was originally created only in electronic format. Often, such textbooks are components of a digital educational environment that provides electronic exchange of tasks, collective performance of laboratory works, interdisciplinary connection of educational material in various disciplines, etc. The study of the most relevant and innovative offers on the market of such countries as the USA, the UK, Spain, Denmark, Russia, and Finland shows four promising areas in the preparation of textbooks in the EdTech field. These are (1) artificial intelligence manuals, (2) tools of virtual, augmented, and mixed reality, (3) computer games with educational potential, and (4) programming platforms. Contribution of the authors: the authors contributed equally to this article. The authors declare no conflicts of interests.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":"9 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78506814","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}
Maxim Gorky’s unrealized publishing project History of the Village was the last in a series of the writer’s ideas, such as the History of the Civil War, the History of Factories and Plants, the History of Cities, etc. The idea of the History of the Village took shape in February 1935, when work was already underway on other projects. Gorky’s first ideas related in one way or another to the History of the Village appeared in the early 1930s: the history of agriculture, the history of the peasant. In the 1930s, the idea of writing the history of collective farms and state farms by analogy with the History of Factories and Plants came not only to Gorky: such initiatives came from a variety of sources. At the beginning of 1934, the idea of a peasant project was discussed in the Gorky House. During 1934, the Kolkhoznik magazine was created, and the Biblioteka Kolkhoznika (Library of the Collective Farmer) book series was conceived, which later became part of the History of the Village. Gorky’s article “History of the Village”, published in the central newspapers at the end of February 1935, should be considered the beginning of the work on the project. It took a month and a half to develop a detailed project plan and structure, and to select key employees. A special feature of the structure of the History of the Village was the combination of two types of book series: actual historical and literary-artistic. In terms of content, there is a connection between the History of the Village and the projects History of the Civil War, History of Factories and Plants, History of Cities. The editorial board of the History of the Village decided to start working on books on the history of the village Platovskaya (the birthplace of S.M. Budyonny), the village Gulyai-pole (the birthplace of N.I. Makhno), the Bessarabian commune named after G.I. Kotovsky. They also decided to start developing the history of 50 to 60 collective and state farms. However, Gorky was much more interested in the history of settlements and villages. He thought of the History of the Village by analogy with his other project, the History of Cities. The idea to create such a series appeared at the end of 1931. Active work on it began in 1933 in the Academia publishing house, which was headed by L.B. Kamenev. Speaking of the History of Cities, Gorky necessarily includes the peasant theme in the course of his thoughts. Gorky selected the same sources to work on projects. The plan of the History of the Village contained an item “history of the city (for the village)”. Initially, the History of Cities was called the History of Cities as the History of Russian life”. The second part of this title is the semantic core that unites both projects. Gorky understood life broadly - as culture, a complex of everyday life that forms a certain type of a person. We can say that the History of the Village was to continue and supplement the History of Cities project. Moreover, after the murder of S.M. Kirov o
{"title":"Maxim Gorky’s last publishing project: The History of the Village in the context of the writer’s other projects of the 1930s","authors":"L. V. Sumatokhina","doi":"10.17223/23062061/29/4","DOIUrl":"https://doi.org/10.17223/23062061/29/4","url":null,"abstract":"Maxim Gorky’s unrealized publishing project History of the Village was the last in a series of the writer’s ideas, such as the History of the Civil War, the History of Factories and Plants, the History of Cities, etc. The idea of the History of the Village took shape in February 1935, when work was already underway on other projects. Gorky’s first ideas related in one way or another to the History of the Village appeared in the early 1930s: the history of agriculture, the history of the peasant. In the 1930s, the idea of writing the history of collective farms and state farms by analogy with the History of Factories and Plants came not only to Gorky: such initiatives came from a variety of sources. At the beginning of 1934, the idea of a peasant project was discussed in the Gorky House. During 1934, the Kolkhoznik magazine was created, and the Biblioteka Kolkhoznika (Library of the Collective Farmer) book series was conceived, which later became part of the History of the Village. Gorky’s article “History of the Village”, published in the central newspapers at the end of February 1935, should be considered the beginning of the work on the project. It took a month and a half to develop a detailed project plan and structure, and to select key employees. A special feature of the structure of the History of the Village was the combination of two types of book series: actual historical and literary-artistic. In terms of content, there is a connection between the History of the Village and the projects History of the Civil War, History of Factories and Plants, History of Cities. The editorial board of the History of the Village decided to start working on books on the history of the village Platovskaya (the birthplace of S.M. Budyonny), the village Gulyai-pole (the birthplace of N.I. Makhno), the Bessarabian commune named after G.I. Kotovsky. They also decided to start developing the history of 50 to 60 collective and state farms. However, Gorky was much more interested in the history of settlements and villages. He thought of the History of the Village by analogy with his other project, the History of Cities. The idea to create such a series appeared at the end of 1931. Active work on it began in 1933 in the Academia publishing house, which was headed by L.B. Kamenev. Speaking of the History of Cities, Gorky necessarily includes the peasant theme in the course of his thoughts. Gorky selected the same sources to work on projects. The plan of the History of the Village contained an item “history of the city (for the village)”. Initially, the History of Cities was called the History of Cities as the History of Russian life”. The second part of this title is the semantic core that unites both projects. Gorky understood life broadly - as culture, a complex of everyday life that forms a certain type of a person. We can say that the History of the Village was to continue and supplement the History of Cities project. Moreover, after the murder of S.M. Kirov o","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90072537","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}
In contemporary Russian book culture, a special place belongs to such a phenomenon as the artist’s book. Having a long history of development, at the beginning of the 21st century, it is often correlated with the idea of overcoming the postmodernist mentality. The most characteristic example of this kind is the theoretical and practical study of the artist’s book by Mikhail Pogarsky. In the Phenomenon of Artist's Book (2013, 2014) and the Artist's Book [+] (2015), Pogarsky makes an attempt to fit the artist’s book into the modern cultural paradigm. He thinks of the artist’s book as a manifestation of a new artistic worldview, “artlibria”, which is characterized by a complex multilevel perception and transformation of reality. The artist’s book by Pogarsky corresponds to the idea of “total synthesis”: it integrates the old and the new, the verbal and the visual, the virtual and the real, fulfilling the main goal of the worldview - overcoming chaos and “assembling the world”. By connecting word and image, the artist opens up limitless opportunities for creative self-expression and includes the viewer-reader in the active process of unraveling and creating meanings. The artist’s book is characterized by a change in the status of the text, a rethinking of the correlation between the verbal and the visual. The text becomes a source of creative metamorphosis, predetermines the selection of visual objects. The idea of the artist’s book is embodied by both literary means and signs of culture. Important is its visual solution; spaces selected for the demonstration of such a book can also actualize additional meanings. Pogarsky’s works demonstrate different ways of incorporating text into the artist’s book, allowing us to speak about the principal absence of a correlation, set once and for all, between the verbal and the visual. The book The Element and the Wind (1996) embodies the principle of superposition of meanings, the correlation of different sides of artistic reception, which is characteristic of the artist’s book. In Pogarsky’s practice, the principle of the so-called “moment-form” becomes a notable method of including text in the artist’s book. This principle is realized in the book Labyrinths of Dreams (2000) and is reduced to a refusal of the set sequence of fragments of the text, and for the reader-viewer the sequence will also be casual. This open nature of the artist’s book makes it a way of an autonomous statement, offering a special artistic optics, combining verbal and object-visual planes. The viewer-reader is included not only in the process of unraveling the artist’s book, but also in the wide semantic field of culture. The author declares no conflicts of interests.
在当代俄罗斯图书文化中，艺术家图书这一现象占有特殊的地位。它有着悠久的发展历史，在21世纪初，它往往与克服后现代主义思维的思想联系在一起。最典型的例子是对米哈伊尔·波加尔斯基(Mikhail Pogarsky)的艺术家著作的理论和实践研究。在《艺术家的书的现象》(2013、2014)和《艺术家的书》[+](2015)中，波加斯基尝试将艺术家的书融入现代文化范式。他认为艺术家的书是一种新的艺术世界观“艺术图书馆”的表现，这种世界观的特点是对现实的复杂的多层次感知和转化。艺术家Pogarsky的这本书符合“全面综合”的理念:它整合了旧与新，语言与视觉，虚拟与真实，实现了世界观的主要目标-克服混乱和“组装世界”。通过文字和图像的连接，艺术家为创造性的自我表达开辟了无限的机会，并将观众-读者纳入了解开和创造意义的主动过程中。艺术家的书的特点是文本状态的改变，重新思考语言和视觉之间的关系。文本成为创作变形的源泉，预先决定了视觉对象的选择。艺术家的书的理念既体现在文学手段上，也体现在文化符号上。重要的是其视觉解决方案;为展示这样一本书而选择的空间也可以实现额外的意义。波加斯基的作品展示了将文本融入艺术家作品的不同方式，使我们能够谈论语言和视觉之间的相关性的主要缺失，一劳永逸。《元素与风》(The Element and The Wind, 1996)体现了意义叠加的原则，体现了艺术接受的不同方面的关联，这是艺术家作品的特点。在Pogarsky的实践中，所谓的“瞬间形式”原则成为艺术家在书中包含文本的一种显著方法。这一原则在《梦的迷宫》(labyrinth of Dreams, 2000)一书中得以实现，并被简化为对文本片段的既定顺序的拒绝，对于读者-观众来说，这个顺序也将是随意的。艺术家的书的这种开放性使它成为一种自主陈述的方式，提供了一种特殊的艺术光学，结合了语言和物体视觉的平面。观众-读者不仅被包括在解开艺术家的书的过程中，而且也被包括在广阔的文化语义场域中。作者声明没有利益冲突。
{"title":"“The poet’s inimitable breath”: The word in the practice of creating an artist’s book by Mikhail Pogarsky","authors":"Anna V. Frolova","doi":"10.17223/23062061/29/8","DOIUrl":"https://doi.org/10.17223/23062061/29/8","url":null,"abstract":"In contemporary Russian book culture, a special place belongs to such a phenomenon as the artist’s book. Having a long history of development, at the beginning of the 21st century, it is often correlated with the idea of overcoming the postmodernist mentality. The most characteristic example of this kind is the theoretical and practical study of the artist’s book by Mikhail Pogarsky. In the Phenomenon of Artist's Book (2013, 2014) and the Artist's Book [+] (2015), Pogarsky makes an attempt to fit the artist’s book into the modern cultural paradigm. He thinks of the artist’s book as a manifestation of a new artistic worldview, “artlibria”, which is characterized by a complex multilevel perception and transformation of reality. The artist’s book by Pogarsky corresponds to the idea of “total synthesis”: it integrates the old and the new, the verbal and the visual, the virtual and the real, fulfilling the main goal of the worldview - overcoming chaos and “assembling the world”. By connecting word and image, the artist opens up limitless opportunities for creative self-expression and includes the viewer-reader in the active process of unraveling and creating meanings. The artist’s book is characterized by a change in the status of the text, a rethinking of the correlation between the verbal and the visual. The text becomes a source of creative metamorphosis, predetermines the selection of visual objects. The idea of the artist’s book is embodied by both literary means and signs of culture. Important is its visual solution; spaces selected for the demonstration of such a book can also actualize additional meanings. Pogarsky’s works demonstrate different ways of incorporating text into the artist’s book, allowing us to speak about the principal absence of a correlation, set once and for all, between the verbal and the visual. The book The Element and the Wind (1996) embodies the principle of superposition of meanings, the correlation of different sides of artistic reception, which is characteristic of the artist’s book. In Pogarsky’s practice, the principle of the so-called “moment-form” becomes a notable method of including text in the artist’s book. This principle is realized in the book Labyrinths of Dreams (2000) and is reduced to a refusal of the set sequence of fragments of the text, and for the reader-viewer the sequence will also be casual. This open nature of the artist’s book makes it a way of an autonomous statement, offering a special artistic optics, combining verbal and object-visual planes. The viewer-reader is included not only in the process of unraveling the artist’s book, but also in the wide semantic field of culture. The author declares no conflicts of interests.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":"83 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77131989","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}
The last lifetime poetry collection of Vladimir Narbut was published in 1922. Started by the poet in the 1930s, work on the preparation of the book of selected poems Spiral was interrupted by his arrest and, subsequently, tragic death in Kolyma in 1938. Since then, separate editions of Narbut’s works have been published three times: in 1983 the poet Leonid Chertkov compiled a collection Vladimir Narbut. Selected Poems in France; in 1990 N. Panchenko and N. Byalosinskaya published the book Vladimir Narbut. Poems in the USSR; in 2018 the OGI publishing house published the book Vladimir Narbut. Collected Works. Poems, Translations, Prose. The third, latest in nearly a hundred years, reference to the works of one of the most distinctive poets of the era in the context of preparing a separate collection of his oeuvre actualized the issue of developing approaches to be guided by when compiling the forthcoming collection. The key element here seemed to be the comprehension of the experience of preparing the previous separate editions of 1983 and 1990, as well as the scientifically commented publications of Narbut’s works made by researchers in the literary periodicals of the late 20th - early 21st centuries. The closest correlation of the tragic ups and downs of Narbut’s life with the “geological upheaval” of the 1917 Revolution and the Civil War led to the ambiguous dependence of the posthumous fate of the poet’s creative heritage on the context of the era, diametrically opposed and mutually exclusive attitudes in the perception of key events in Russian and world history of the 20th century. The preparation of Narbut’s collected works was planned in the interconnection of two directions: (1) the continuation of work to eliminate the “blank spots” in the poet’s biography, and (2) the formation of the most complete collection of Narbut’s fiction for the first time supplemented, in addition to poetic texts, with prose and translations. In preparation for the publication of Narbut’s literary texts included in the collected works, the issue of using a real commentary as the main approach in preparing notes was updated, taking into account the biographical, historical, literary, folklore, mythological, and linguistic aspects. Directions were set by the thorough work that began in the 1983 edition, and especially in the 1990 edition. The bulk of research on Narbutov’s texts and biographical facts was carried out in the funds of the Odessa Literary Museum and the Odessa National Library named after A.M. Gorky (Odessa periodicals of the 1920s), in state and private archives and funds of Moscow, including the Manuscript Department, the main and newspaper funds of the Russian State Library, in the department of manuscripts of the Russian State Archive of Literature and Arts, in the archives of the Federal Security Service, the Russian State Archive of Socio-Political History, the State Archive of the Russian Federation.
{"title":"The Collected Works of Vladimir Narbut: Archives, texts, and approaches","authors":"Roman R. Kozhukharov","doi":"10.17223/23062061/28/8","DOIUrl":"https://doi.org/10.17223/23062061/28/8","url":null,"abstract":"The last lifetime poetry collection of Vladimir Narbut was published in 1922. Started by the poet in the 1930s, work on the preparation of the book of selected poems Spiral was interrupted by his arrest and, subsequently, tragic death in Kolyma in 1938. Since then, separate editions of Narbut’s works have been published three times: in 1983 the poet Leonid Chertkov compiled a collection Vladimir Narbut. Selected Poems in France; in 1990 N. Panchenko and N. Byalosinskaya published the book Vladimir Narbut. Poems in the USSR; in 2018 the OGI publishing house published the book Vladimir Narbut. Collected Works. Poems, Translations, Prose. The third, latest in nearly a hundred years, reference to the works of one of the most distinctive poets of the era in the context of preparing a separate collection of his oeuvre actualized the issue of developing approaches to be guided by when compiling the forthcoming collection. The key element here seemed to be the comprehension of the experience of preparing the previous separate editions of 1983 and 1990, as well as the scientifically commented publications of Narbut’s works made by researchers in the literary periodicals of the late 20th - early 21st centuries. The closest correlation of the tragic ups and downs of Narbut’s life with the “geological upheaval” of the 1917 Revolution and the Civil War led to the ambiguous dependence of the posthumous fate of the poet’s creative heritage on the context of the era, diametrically opposed and mutually exclusive attitudes in the perception of key events in Russian and world history of the 20th century. The preparation of Narbut’s collected works was planned in the interconnection of two directions: (1) the continuation of work to eliminate the “blank spots” in the poet’s biography, and (2) the formation of the most complete collection of Narbut’s fiction for the first time supplemented, in addition to poetic texts, with prose and translations. In preparation for the publication of Narbut’s literary texts included in the collected works, the issue of using a real commentary as the main approach in preparing notes was updated, taking into account the biographical, historical, literary, folklore, mythological, and linguistic aspects. Directions were set by the thorough work that began in the 1983 edition, and especially in the 1990 edition. The bulk of research on Narbutov’s texts and biographical facts was carried out in the funds of the Odessa Literary Museum and the Odessa National Library named after A.M. Gorky (Odessa periodicals of the 1920s), in state and private archives and funds of Moscow, including the Manuscript Department, the main and newspaper funds of the Russian State Library, in the department of manuscripts of the Russian State Archive of Literature and Arts, in the archives of the Federal Security Service, the Russian State Archive of Socio-Political History, the State Archive of the Russian Federation.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":"26 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80346719","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}
The factors that influenced the development of Armenian advertising of books are examined in the article. Using the comparative historical and grouping methods, the author shows that the formation of Armenian book advertising in Tiflis was mainly similar to the development of book advertising in other provinces of the Russian Empire, but it had some peculiarities that were primarily due to the absence of Armenian statehood for many centuries. The decentralized Armenian publishing and bookselling structures were scattered, but their various components were integrated in the same system and influenced the formation of advertising communication, which made Armenian book advertising in Tiflis acquired more social in essence. The advertising was aimed at a purely ethnic cultural space, which was also influenced by the multicultural environment of Tiflis and the policy of the supreme power of the Russian Empire and its representation in the Caucasus in relation to the peoples of the region. The main emphasis of Armenian book advertising was placed on the educational and enlightenment functions of the book with the aim of integrating the divided people into one cultural communication space. Thus, advertising materialized and established the spiritual needs of the people. The Armenian book market formed very slowly, which was due to the illiteracy of the population’s majority, the difficulty of Old Armenian in which most of the books were published, the slow formation of Eastern Armenian literary language from various dialects, the fiction’s slow pace of development, the lack of good-quality translations of European literature, and the high cost of books. In the first half of the 19th century, the system of book advertising in Tiflis was institutionalised, which was due to the formation of publishing and bookselling markets as well as the types and ways of communication. The publishing sponsorship and the buying of books became a type of book advertising, and book advertising itself became a means of personal advertisement that aimed to popularize the personality and social status of the patron. The tradition of patronage contributed to sales of books because charitable investments were compensated with awards or by raising the social status of sponsors: the book was not only an item for advertising but also a means to advertise various individuals. If, until the 19th century, the patronage of the publication and distribution of Armenian manuscripts or books was based on a personal motive, and patriotism was expressed in the monumental preservation of the name of the book sponsor or orderer in the historical memory of the people, in the 19th century, under the tsarist regime, sponsorship had more pragmatic goals.
{"title":"Armenian book advertising: Peculiarities of development in Tiflis (1801-1865)","authors":"Taron Danielyan","doi":"10.17223/23062061/28/6","DOIUrl":"https://doi.org/10.17223/23062061/28/6","url":null,"abstract":"The factors that influenced the development of Armenian advertising of books are examined in the article. Using the comparative historical and grouping methods, the author shows that the formation of Armenian book advertising in Tiflis was mainly similar to the development of book advertising in other provinces of the Russian Empire, but it had some peculiarities that were primarily due to the absence of Armenian statehood for many centuries. The decentralized Armenian publishing and bookselling structures were scattered, but their various components were integrated in the same system and influenced the formation of advertising communication, which made Armenian book advertising in Tiflis acquired more social in essence. The advertising was aimed at a purely ethnic cultural space, which was also influenced by the multicultural environment of Tiflis and the policy of the supreme power of the Russian Empire and its representation in the Caucasus in relation to the peoples of the region. The main emphasis of Armenian book advertising was placed on the educational and enlightenment functions of the book with the aim of integrating the divided people into one cultural communication space. Thus, advertising materialized and established the spiritual needs of the people. The Armenian book market formed very slowly, which was due to the illiteracy of the population’s majority, the difficulty of Old Armenian in which most of the books were published, the slow formation of Eastern Armenian literary language from various dialects, the fiction’s slow pace of development, the lack of good-quality translations of European literature, and the high cost of books. In the first half of the 19th century, the system of book advertising in Tiflis was institutionalised, which was due to the formation of publishing and bookselling markets as well as the types and ways of communication. The publishing sponsorship and the buying of books became a type of book advertising, and book advertising itself became a means of personal advertisement that aimed to popularize the personality and social status of the patron. The tradition of patronage contributed to sales of books because charitable investments were compensated with awards or by raising the social status of sponsors: the book was not only an item for advertising but also a means to advertise various individuals. If, until the 19th century, the patronage of the publication and distribution of Armenian manuscripts or books was based on a personal motive, and patriotism was expressed in the monumental preservation of the name of the book sponsor or orderer in the historical memory of the people, in the 19th century, under the tsarist regime, sponsorship had more pragmatic goals.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":"281 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76804767","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}
Mstislav Dobuzhinsky (1875-1957) was one of the members of the artistic movement Mir Iskusstva, a cityscape painter, book illustrator, scene designer, and also wrote memoirs. He had been writing his Vospominaniya [Recollections] for over 30 years, from the mid-1920s to his death in 1957. Emigration, home-sickness, author’s intention to relive the foretime stipulate the specificity of the text’s chronotope, which is mainly related to Petersburg. Dobuzhinsky idealized the image of Petersburg in Vospominaniya. I determine the specificity of Petersburg’s chronotope and describe the interconnections between the delineation of Petersburg and its verbal image in the text. The theme of depicting Petersburg highlights Dobuzhinsky’s artworks. Dobuzhinsky perceived Petersburg as a piece of art and focused on his own visual interpretation of the city. His attitude to Petersburg metamorphosed with the autobiographic main character’s acquisition of new art techniques and artistic devices from works of Alexandre Benois and E. T. A. Hoffmann. Petersburg’s chronotope is multifaceted in the text: it is a real historical cityscape, a happy childhood time, an object of visual art of the autobiographic main character, and also a space of author mystification. The main character perceives Petersburg and the Petersburg text through the prism of works of Alexander Pushkin and Fyodor Dostoevsky. The city becomes the author’s ideal. It is the space that combines the features of the beautiful and the ugly, which determined the antinomy of the Petersburg text. Petersburg is fantastic, it has an infernal theme, an evil principle inherent in the city: in inclement weather, the main character had nightmares in the streets and petty demons coming out of the cracks. The narrator recognizes the city as an inspired creature hostile to man, the main character himself is confronted with a peculiar manifestation of Petersburg’s metaphysical fear. In the narration, Petersburg reflected the various features inherent in the image of the city in Dobuzhinsky’s artworks with their aestheticism, tragedy, lyricism, irony, philosophy, and sentimentality. Petersburg in Vospominaniya concentrates different real and unreal meanings. The autobiographic main character teeters on the brink of his historical real-life time and space and unreal time and space created by literature texts and pieces of visual art that compensate the need for comprehending the city’s soul. Petersburg in the text is a complex ambivalent space, saturated with cultural codes, reflected by the cognizing consciousness that acts systematically and transforms the main character’s inner world. The theme of depicting Petersburg allows the author-narrator to reveal the general approach to his pictorial art, rethink some aspects of artistic activity, and verbalize the visual representation of the city. The author declares no conflicts of interests.
{"title":"The Petersburg text in Vospominaniya by Mstislav Dobuzhinsky","authors":"Alyona V. Galkova","doi":"10.17223/23062061/29/3","DOIUrl":"https://doi.org/10.17223/23062061/29/3","url":null,"abstract":"Mstislav Dobuzhinsky (1875-1957) was one of the members of the artistic movement Mir Iskusstva, a cityscape painter, book illustrator, scene designer, and also wrote memoirs. He had been writing his Vospominaniya [Recollections] for over 30 years, from the mid-1920s to his death in 1957. Emigration, home-sickness, author’s intention to relive the foretime stipulate the specificity of the text’s chronotope, which is mainly related to Petersburg. Dobuzhinsky idealized the image of Petersburg in Vospominaniya. I determine the specificity of Petersburg’s chronotope and describe the interconnections between the delineation of Petersburg and its verbal image in the text. The theme of depicting Petersburg highlights Dobuzhinsky’s artworks. Dobuzhinsky perceived Petersburg as a piece of art and focused on his own visual interpretation of the city. His attitude to Petersburg metamorphosed with the autobiographic main character’s acquisition of new art techniques and artistic devices from works of Alexandre Benois and E. T. A. Hoffmann. Petersburg’s chronotope is multifaceted in the text: it is a real historical cityscape, a happy childhood time, an object of visual art of the autobiographic main character, and also a space of author mystification. The main character perceives Petersburg and the Petersburg text through the prism of works of Alexander Pushkin and Fyodor Dostoevsky. The city becomes the author’s ideal. It is the space that combines the features of the beautiful and the ugly, which determined the antinomy of the Petersburg text. Petersburg is fantastic, it has an infernal theme, an evil principle inherent in the city: in inclement weather, the main character had nightmares in the streets and petty demons coming out of the cracks. The narrator recognizes the city as an inspired creature hostile to man, the main character himself is confronted with a peculiar manifestation of Petersburg’s metaphysical fear. In the narration, Petersburg reflected the various features inherent in the image of the city in Dobuzhinsky’s artworks with their aestheticism, tragedy, lyricism, irony, philosophy, and sentimentality. Petersburg in Vospominaniya concentrates different real and unreal meanings. The autobiographic main character teeters on the brink of his historical real-life time and space and unreal time and space created by literature texts and pieces of visual art that compensate the need for comprehending the city’s soul. Petersburg in the text is a complex ambivalent space, saturated with cultural codes, reflected by the cognizing consciousness that acts systematically and transforms the main character’s inner world. The theme of depicting Petersburg allows the author-narrator to reveal the general approach to his pictorial art, rethink some aspects of artistic activity, and verbalize the visual representation of the city. The author declares no conflicts of interests.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79073857","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}
Modern literary criticism offers the reader a whole sphere of Shakespearean studies based on the ideas of historical poetics. In accordance with the latter, we understand the images and problems of dramas, comedies and tragedies of the great English playwright in the key of romantic, symbolist, psychoanalytic, and other interpretations. Emma Smith offers a relevant reading of Shakespeare’s texts, based on theatrical productions and film adaptations of his works in the 20th and 21st centuries. The actualization of the Shakespearean heritage is being implemented in modern theater and cinema as an attempt to bring the complex and diverse content of the writer’s tragedies and comedies closer to mass culture. As a result, there appears the effect of inversion, of a break-off with the deep philosophical problems of the Shakespeare theater. The chapters of the book somehow address the problem of interpretation -contemporary with Shakespeare and with our time. The author’s arsenal includes psychology and psychoanalysis, cultural and sociological approaches, which are combined with the actual philological analysis of plays. However, the book discusses the evolution of themes and genres the least. The works chosen for the analysis are well known to readers and experts. The book includes 20 chapters, each dedicated to one play. We stress that, in the educational process, this structure is very convenient because it draws one’s attention to the work as much as possible and allows determining one’s own perception, consent or disagreement with the author of the book. This feature has been tested in practical work with students in classes on Shakespeare’s works. We analyze all the interpretations of Shakespeare’s tragedies and comedies, both modern and historical, given in Smith’s book. The author of the book is interested, first of all, in topical approaches to understanding the plays of the English playwright, this is dictated by the very aim of the study - to interest the reader and show Shakespeare as our contemporary. The author of the book speaks a modern language with her reader, relying on the experience of attracting both wide readers and experts to reading Shakespeare’s works. Contribution of the authors: the authors contributed equally to this article. The authors declare no conflicts of interests.
{"title":"Book review: Smith, E. (2020) This Is Shakespeare. The most erotic comedy, the most dramatic tragedy, men burned by shame, cardboard villains, feminists, show business stars and more (Translated from English by M.G. Sukhotina. Moscow: Mann, Ivanov and Ferber)","authors":"N. Erofeeva, E. V. Kirichuk","doi":"10.17223/23062061/28/11","DOIUrl":"https://doi.org/10.17223/23062061/28/11","url":null,"abstract":"Modern literary criticism offers the reader a whole sphere of Shakespearean studies based on the ideas of historical poetics. In accordance with the latter, we understand the images and problems of dramas, comedies and tragedies of the great English playwright in the key of romantic, symbolist, psychoanalytic, and other interpretations. Emma Smith offers a relevant reading of Shakespeare’s texts, based on theatrical productions and film adaptations of his works in the 20th and 21st centuries. The actualization of the Shakespearean heritage is being implemented in modern theater and cinema as an attempt to bring the complex and diverse content of the writer’s tragedies and comedies closer to mass culture. As a result, there appears the effect of inversion, of a break-off with the deep philosophical problems of the Shakespeare theater. The chapters of the book somehow address the problem of interpretation -contemporary with Shakespeare and with our time. The author’s arsenal includes psychology and psychoanalysis, cultural and sociological approaches, which are combined with the actual philological analysis of plays. However, the book discusses the evolution of themes and genres the least. The works chosen for the analysis are well known to readers and experts. The book includes 20 chapters, each dedicated to one play. We stress that, in the educational process, this structure is very convenient because it draws one’s attention to the work as much as possible and allows determining one’s own perception, consent or disagreement with the author of the book. This feature has been tested in practical work with students in classes on Shakespeare’s works. We analyze all the interpretations of Shakespeare’s tragedies and comedies, both modern and historical, given in Smith’s book. The author of the book is interested, first of all, in topical approaches to understanding the plays of the English playwright, this is dictated by the very aim of the study - to interest the reader and show Shakespeare as our contemporary. The author of the book speaks a modern language with her reader, relying on the experience of attracting both wide readers and experts to reading Shakespeare’s works. Contribution of the authors: the authors contributed equally to this article. The authors declare no conflicts of interests.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":"39 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90401042","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}
The search for spiritual guidelines that can unite Russian society at the current stage of its development requires multifaceted research aimed at solving the problem of preserving traditional moral values in a global world. This actualizes the study of the national cultural code as the basis of the value orientations of the individual, the system of meanings common to the whole nation. The issue of the national cultural code is currently being actively studied and included in the interdisciplinary scientific field. The most promising direction can be considered the identification of aspects of the national cultural code that determine the moral and behavioral type of a modern Russian. The key to solving this issue is the definition of approaches to the choice of empirical material, as well as the choice of methods for its processing, systematization and generalization. The article contains the results of the study, the purpose of which was the theoretical and empirical substantiation of: (a) the possibility of using readers’ comments on works of literature as a source for studying the national cultural code; (b) the choice of digital humanities methods as the basis for processing the corpus of experimental material. The research problems were solved on the basis of a theoretical analysis of studies on the relationship between the national language system and the unique cultural code of the individual; a study of a significant body of empirical material (7 000 texts of comments); and based on their realities of the modern communication space, which is characterized by globalization and the use of Internet technologies. As a result, it has been found that textual comments on works of literature posted by users in the network space are representative, since they indicate the reflex or conscious need of the individual to determine their national identity, to express their attitude to national values. The analysis of the empirical material has shown that the study of the national cultural code in the modern scientific space must be carried out using the methods of digital humanities, which allow processing an arbitrarily large corpus of elements, highlighting key nouns that are necessary to characterize certain aspects of the cultural code, evaluate them, and also template phrases that lead to the loss of meanings, but at the same time showing the level of understanding and translation of the cultural code by an individual. The theoretical analysis has shown that the preservation and change of the semantics of the elements of the cultural code occurs in accordance with evolutionary principles, the principles of dialectics: values that allow a nation to maintain its identity under certain conditions remain unchanged, and elements introduced as a result of intercultural communications may be subject to correction in order to preserve the adaptive capabilities of culture and national identity. The authors declare no conflicts of interests.
{"title":"The text of readers’ comments on works of literature as a source of studying the national cultural code","authors":"E. Diner, Yulia V. Buldakova","doi":"10.17223/23062061/30/6","DOIUrl":"https://doi.org/10.17223/23062061/30/6","url":null,"abstract":"The search for spiritual guidelines that can unite Russian society at the current stage of its development requires multifaceted research aimed at solving the problem of preserving traditional moral values in a global world. This actualizes the study of the national cultural code as the basis of the value orientations of the individual, the system of meanings common to the whole nation. The issue of the national cultural code is currently being actively studied and included in the interdisciplinary scientific field. The most promising direction can be considered the identification of aspects of the national cultural code that determine the moral and behavioral type of a modern Russian. The key to solving this issue is the definition of approaches to the choice of empirical material, as well as the choice of methods for its processing, systematization and generalization. The article contains the results of the study, the purpose of which was the theoretical and empirical substantiation of: (a) the possibility of using readers’ comments on works of literature as a source for studying the national cultural code; (b) the choice of digital humanities methods as the basis for processing the corpus of experimental material. The research problems were solved on the basis of a theoretical analysis of studies on the relationship between the national language system and the unique cultural code of the individual; a study of a significant body of empirical material (7 000 texts of comments); and based on their realities of the modern communication space, which is characterized by globalization and the use of Internet technologies. As a result, it has been found that textual comments on works of literature posted by users in the network space are representative, since they indicate the reflex or conscious need of the individual to determine their national identity, to express their attitude to national values. The analysis of the empirical material has shown that the study of the national cultural code in the modern scientific space must be carried out using the methods of digital humanities, which allow processing an arbitrarily large corpus of elements, highlighting key nouns that are necessary to characterize certain aspects of the cultural code, evaluate them, and also template phrases that lead to the loss of meanings, but at the same time showing the level of understanding and translation of the cultural code by an individual. The theoretical analysis has shown that the preservation and change of the semantics of the elements of the cultural code occurs in accordance with evolutionary principles, the principles of dialectics: values that allow a nation to maintain its identity under certain conditions remain unchanged, and elements introduced as a result of intercultural communications may be subject to correction in order to preserve the adaptive capabilities of culture and national identity. The authors declare no conflicts of interests.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":"51 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82293632","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}
Narrative analysis of literary works enables to interpret present-day narrative texts in all their multi-level depth making use of the tools accumulated in science -especially if those texts concern current and topical political events, which are usually spoken about in the language of media discourse. Change in the state (inner and outer) and presence of a narrator having his/her personal viewpoint and, consequently, the specific language of his/her message are signs of a narrative structure. The subject for consideration in this article based on Zakhkhok by Vladimir Medvedev and To Live On by Narine Abgaryan is key levels of the narrative text organization needed for such analysis. The texts chosen for the research are similar in subject matter (military conflicts in the post-Soviet space caused by the collapse of the USSR) and in the author’s strategy - to include characters’ personal destinies into the social history of the country and further to try and conceive them as part of the cultural code of the nation. The peculiarity of the author’s view is the awareness of war not as a completed event but as a still lasting state, which permeates, deforms and destroys people’s destinies as well as destinies of whole nations. In Medvedev’s novel those are mainly voices of young men, immediate participants of the turbulence, that are heard; in Abgaryan’s book those are voices of Armenian women, mothers, wives, and widows. Medvedev’s style is tougher and more dynamic, collision unfolding before our eyes. In Abgaryan’s story the plot is not that important: all key events were in the past, and characters are just recalling them. The code of the narrative discourse specified by the narrator’s type determines the stylistics of the text, the nature of action, the interpretation of events: they rapidly change one another by means of the efforts of the narrators who were placed in the centre of military and domestic conflicts in Medvedev’s novel. Abgaryan’s characters are slow and quiet, their long and difficult life gives them hard-won wisdom to accept reality as it is in its bitter completeness. Personal dramas of the characters are involved in the overall tragedy of the whole nation which goes beyond a specific era; this enables the author to reveal the ethno-cultural determinants of the narrative identity. Common grief can be overcome by means of love, work, patience and the cultural capital which manifests itself in people’s mentality and way of life and makes it possible for them to survive and gain a new cultural identity. Collective tragedy (social history), which opens to a reader through the characters’ destinies (personal narrative), becomes part of epic history (meta-narrative). This author’s strategy gives the stories told a timeless scale and ontological depth. The author declares no conflicts of interests.
{"title":"Post-Soviet history in the “mirror” of literature: Experience in narrative analysis","authors":"Natalya V. Oturgasheva","doi":"10.17223/23062061/30/2","DOIUrl":"https://doi.org/10.17223/23062061/30/2","url":null,"abstract":"Narrative analysis of literary works enables to interpret present-day narrative texts in all their multi-level depth making use of the tools accumulated in science -especially if those texts concern current and topical political events, which are usually spoken about in the language of media discourse. Change in the state (inner and outer) and presence of a narrator having his/her personal viewpoint and, consequently, the specific language of his/her message are signs of a narrative structure. The subject for consideration in this article based on Zakhkhok by Vladimir Medvedev and To Live On by Narine Abgaryan is key levels of the narrative text organization needed for such analysis. The texts chosen for the research are similar in subject matter (military conflicts in the post-Soviet space caused by the collapse of the USSR) and in the author’s strategy - to include characters’ personal destinies into the social history of the country and further to try and conceive them as part of the cultural code of the nation. The peculiarity of the author’s view is the awareness of war not as a completed event but as a still lasting state, which permeates, deforms and destroys people’s destinies as well as destinies of whole nations. In Medvedev’s novel those are mainly voices of young men, immediate participants of the turbulence, that are heard; in Abgaryan’s book those are voices of Armenian women, mothers, wives, and widows. Medvedev’s style is tougher and more dynamic, collision unfolding before our eyes. In Abgaryan’s story the plot is not that important: all key events were in the past, and characters are just recalling them. The code of the narrative discourse specified by the narrator’s type determines the stylistics of the text, the nature of action, the interpretation of events: they rapidly change one another by means of the efforts of the narrators who were placed in the centre of military and domestic conflicts in Medvedev’s novel. Abgaryan’s characters are slow and quiet, their long and difficult life gives them hard-won wisdom to accept reality as it is in its bitter completeness. Personal dramas of the characters are involved in the overall tragedy of the whole nation which goes beyond a specific era; this enables the author to reveal the ethno-cultural determinants of the narrative identity. Common grief can be overcome by means of love, work, patience and the cultural capital which manifests itself in people’s mentality and way of life and makes it possible for them to survive and gain a new cultural identity. Collective tragedy (social history), which opens to a reader through the characters’ destinies (personal narrative), becomes part of epic history (meta-narrative). This author’s strategy gives the stories told a timeless scale and ontological depth. The author declares no conflicts of interests.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":"28 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86770210","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：