The problems of perception of various types and formats of texts that have been formed over a long historical period and are rapidly transforming into the digital and the coming post-digital era are in the research focus of a number of humanities disciplines. It is texts and their perception that are today an actual research platform for solving the fundamental scientific problem of modern communication. This article actualizes and problematizes the question of the nature and perception of visual content, which is becoming urgent today, forming the paradigm of the so-called visual research. The stated problem is considered taking into account its interdisciplinarity and the factors that have determined the strengthening of visuality in modern conditions. The article analyzes the discussions that have been going on since the second half of the twentieth century about visuality and visualization, as well as about the peculiarities of the perception of pictorial texts, the specifics of which in a particular era are determined by (1) historically conditioned visual and cultural norms, perceptual models that are formed under the influence of semiosociopsychological factors of modernity, (2) topics, the arsenal of supra-temporal universal constant perception structures formed in the centuries-old practice of human interaction with pictorial sign systems. The authors pay special attention to visual narrative - a generic concept of isocontent. Without claiming to fully characterize it, they highlight, based on existing research, the paradigm of its definitions, the features of its functioning and perception. The emphasis is placed on the uniqueness of visual language and visual thinking, on the internal verbality of the pictorial text, on its semiotic codes and semantic connectives, as well as on the transformations of the language of the visual narrative in the process of its perception. The transformations are reduced to a simultaneous and interrelated process of receiving a polycode text in two languages - verbal and visual - at once. Having analyzed different approaches to the pictorial text and its perception, the authors infer that, with a certain unity of views on the nature of the pictorial text and its reception, there are different opinions on the problem of its “regulation”: from the complete rejection of any interference with the skills and abilities of the “art of seeing” (reading visual text) to the development of specific teaching methods of such art. In conclusion, the article emphasizes that, for all their importance, it is not so much the author’s strategies for creating pictorial texts that are in a strong position, but rather the background knowledge (cultural memory) of recipients, their experience of communication with isocontent (the level of mastery of visual code, reading visual narrative, decoding pictorial texts and their transcoding, for example, in verbal text; finally, interpretation skills acquired in the intermediate proce
{"title":"Perception of pictorial text: Problematization, actualization, new methodological approaches","authors":"Tatiana L. Vorobyeva, I. A. Ayzikova","doi":"10.17223/23062061/30/3","DOIUrl":"https://doi.org/10.17223/23062061/30/3","url":null,"abstract":"The problems of perception of various types and formats of texts that have been formed over a long historical period and are rapidly transforming into the digital and the coming post-digital era are in the research focus of a number of humanities disciplines. It is texts and their perception that are today an actual research platform for solving the fundamental scientific problem of modern communication. This article actualizes and problematizes the question of the nature and perception of visual content, which is becoming urgent today, forming the paradigm of the so-called visual research. The stated problem is considered taking into account its interdisciplinarity and the factors that have determined the strengthening of visuality in modern conditions. The article analyzes the discussions that have been going on since the second half of the twentieth century about visuality and visualization, as well as about the peculiarities of the perception of pictorial texts, the specifics of which in a particular era are determined by (1) historically conditioned visual and cultural norms, perceptual models that are formed under the influence of semiosociopsychological factors of modernity, (2) topics, the arsenal of supra-temporal universal constant perception structures formed in the centuries-old practice of human interaction with pictorial sign systems. The authors pay special attention to visual narrative - a generic concept of isocontent. Without claiming to fully characterize it, they highlight, based on existing research, the paradigm of its definitions, the features of its functioning and perception. The emphasis is placed on the uniqueness of visual language and visual thinking, on the internal verbality of the pictorial text, on its semiotic codes and semantic connectives, as well as on the transformations of the language of the visual narrative in the process of its perception. The transformations are reduced to a simultaneous and interrelated process of receiving a polycode text in two languages - verbal and visual - at once. Having analyzed different approaches to the pictorial text and its perception, the authors infer that, with a certain unity of views on the nature of the pictorial text and its reception, there are different opinions on the problem of its “regulation”: from the complete rejection of any interference with the skills and abilities of the “art of seeing” (reading visual text) to the development of specific teaching methods of such art. In conclusion, the article emphasizes that, for all their importance, it is not so much the author’s strategies for creating pictorial texts that are in a strong position, but rather the background knowledge (cultural memory) of recipients, their experience of communication with isocontent (the level of mastery of visual code, reading visual narrative, decoding pictorial texts and their transcoding, for example, in verbal text; finally, interpretation skills acquired in the intermediate proce","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75857336","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 monograph is dedicated to the broad topic of the development of printing and publishing in Russia in the 18th - early 20th centuries. The study is not generalizing: this task is too complex and multifaceted. The authors touched upon different and at the same time interrelated subjects, some of which were practically not previously investigated. The reviewer notes that the project is based on Japanese historians and literary critics, which once again shows the productive work of Japanese historiography of late imperial Russia. Nine chapters of the monograph are divided into three parts according to the key periods: XVIII-XIX, XIX-XX centuries. and the eve of the 1917 Revolution. At the same time, thematic blocks are visible in each part. The first focuses on the Russian language and literature during the period of their transformation into a part of world culture. Y. Toriyama highlights the activities of the Society Striving for the Translation of Foreign Books created by Catherine II. A.I. Reitblat draws attention to the formation of the very concept of Russian classical literature. H. Kaizawa makes an attempt to rethink the “reactionary” 1880s, noting the importance of this period for the development of Russian literature, recognition of its importance and influence in Russia and around the world. The second part focuses on the development of the press of the peoples of the empire and the role of foreigners. The importance of the latter is noted by Y. Tatsumi, who speaks about several immigrants from Poland and Germany who managed to create large publishing firms in Russia in the second half of the 19th century. T. Inoue analyzes in detail the influence of the Russian press on the national identity and representation of the Kalmyks. D. Ross tells about the development of newspapers and magazines in the Tatar language, and A. Sakurama about the publishing activities of the baptized Tatars. Finally, the third part focuses on the impact of the 1905 Revolution and World War I on print and publishing. M. Stockdale examines in detail the period of 1914-1918, noting the importance of the press in the interest of Russian society in the events on the fronts of the war. T. Tsurumi briefly describes the situation and development of the Zionist press in Siberia and Chinese Harbin on the eve and during the Revolution and the Russian Civil War. On the whole, the monograph leaves the impression of a thorough work, in which important and interesting plots, though often poorly covered in historiography, are raised. Perhaps, there is a lack of a more detailed analysis of the development of the press during the revolutionary period, but this does not reduce the merits of the book, a rare example in modern historiography of late imperial Russia. The author declares no conflicts of interests.
{"title":"Book review: Tatsumi, Y. & Tsurumi, T. (eds) (2020) Publishing in Tsarist Russia: A history of print media from Enlightenment to Revolution. London: Bloomsbury Academic. 280 р.","authors":"I. Bogomolov","doi":"10.17223/23062061/29/10","DOIUrl":"https://doi.org/10.17223/23062061/29/10","url":null,"abstract":"The monograph is dedicated to the broad topic of the development of printing and publishing in Russia in the 18th - early 20th centuries. The study is not generalizing: this task is too complex and multifaceted. The authors touched upon different and at the same time interrelated subjects, some of which were practically not previously investigated. The reviewer notes that the project is based on Japanese historians and literary critics, which once again shows the productive work of Japanese historiography of late imperial Russia. Nine chapters of the monograph are divided into three parts according to the key periods: XVIII-XIX, XIX-XX centuries. and the eve of the 1917 Revolution. At the same time, thematic blocks are visible in each part. The first focuses on the Russian language and literature during the period of their transformation into a part of world culture. Y. Toriyama highlights the activities of the Society Striving for the Translation of Foreign Books created by Catherine II. A.I. Reitblat draws attention to the formation of the very concept of Russian classical literature. H. Kaizawa makes an attempt to rethink the “reactionary” 1880s, noting the importance of this period for the development of Russian literature, recognition of its importance and influence in Russia and around the world. The second part focuses on the development of the press of the peoples of the empire and the role of foreigners. The importance of the latter is noted by Y. Tatsumi, who speaks about several immigrants from Poland and Germany who managed to create large publishing firms in Russia in the second half of the 19th century. T. Inoue analyzes in detail the influence of the Russian press on the national identity and representation of the Kalmyks. D. Ross tells about the development of newspapers and magazines in the Tatar language, and A. Sakurama about the publishing activities of the baptized Tatars. Finally, the third part focuses on the impact of the 1905 Revolution and World War I on print and publishing. M. Stockdale examines in detail the period of 1914-1918, noting the importance of the press in the interest of Russian society in the events on the fronts of the war. T. Tsurumi briefly describes the situation and development of the Zionist press in Siberia and Chinese Harbin on the eve and during the Revolution and the Russian Civil War. On the whole, the monograph leaves the impression of a thorough work, in which important and interesting plots, though often poorly covered in historiography, are raised. Perhaps, there is a lack of a more detailed analysis of the development of the press during the revolutionary period, but this does not reduce the merits of the book, a rare example in modern historiography of late imperial Russia. The author declares no conflicts of interests.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74992928","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 highlights the peculiarities of understanding the categories “literary concept” and “literary text” at the modern stage of language science development. The authors clarify the choice of the approach towards the analysis of literary concepts - from the perspective of cognitive linguistics, present a brief description of factors that influence the inner world of characters of Dickens’s books -the reflection of the social policy of England of that time. Employing a “semantico-cognitive” approach towards language analysis, the authors explain the main characteristics of the approach, define “cognitive interpretation” as a unique component of the “semantico-cognitive” method, which makes the analysis different from other approaches towards language study and gives an opportunity to achieve the most reliable results. The authors also describe peculiarities of implementing the “semantico-cognitive” approach, list additional methods used for working with the literary concept, mainly corpus linguistics methods: compiling of the corpus of texts, contextual analysis, compiling of concordance, qualitative analysis, descriptive method. The practical part begins with the description of results received via the semantic analysis of the subconcept “childhood”. During the analysis, a variety of semes has been identified; their hierarchy and percentage ratio are described. Further, the variety of semes is compressed into several cognitive characterisics by means of cognitive interpretation. The cognitive characteristics are the following: kindness, happiness, basis for life, blemish, unhappiness, game and study. The cognitive characteristics are organized in the form of fields of the subconcet “childhood”, where the most frequently verbalized, or pre-nuclear, one is “kindness”, and it is, presumably, the most important one for the author. All other characteristics are described in descending order, where “game and study” is the least frequently verbalized characteristic, it is of a backgound nature and is used for describing children’s routine. The graphic model describing the results of the research and its decoding are presented. The conceptual analysis is followed by examples from Charles Dickens’s books. The examples describe the cases of verbalization of different cognitive characteristics of the subconcept “childhood” that are parts of the context of the books Oliver Twist, Hard Times, A Christmas Carol, A Walk in a Workhouse. Contribution of the authors: the authors contributed equally to this article.
{"title":"Language representation of the literary subconcept “childhood” in Charles Dickens’s books","authors":"V. Katermina, Y. Ivanova","doi":"10.17223/23062061/28/3","DOIUrl":"https://doi.org/10.17223/23062061/28/3","url":null,"abstract":"The article highlights the peculiarities of understanding the categories “literary concept” and “literary text” at the modern stage of language science development. The authors clarify the choice of the approach towards the analysis of literary concepts - from the perspective of cognitive linguistics, present a brief description of factors that influence the inner world of characters of Dickens’s books -the reflection of the social policy of England of that time. Employing a “semantico-cognitive” approach towards language analysis, the authors explain the main characteristics of the approach, define “cognitive interpretation” as a unique component of the “semantico-cognitive” method, which makes the analysis different from other approaches towards language study and gives an opportunity to achieve the most reliable results. The authors also describe peculiarities of implementing the “semantico-cognitive” approach, list additional methods used for working with the literary concept, mainly corpus linguistics methods: compiling of the corpus of texts, contextual analysis, compiling of concordance, qualitative analysis, descriptive method. The practical part begins with the description of results received via the semantic analysis of the subconcept “childhood”. During the analysis, a variety of semes has been identified; their hierarchy and percentage ratio are described. Further, the variety of semes is compressed into several cognitive characterisics by means of cognitive interpretation. The cognitive characteristics are the following: kindness, happiness, basis for life, blemish, unhappiness, game and study. The cognitive characteristics are organized in the form of fields of the subconcet “childhood”, where the most frequently verbalized, or pre-nuclear, one is “kindness”, and it is, presumably, the most important one for the author. All other characteristics are described in descending order, where “game and study” is the least frequently verbalized characteristic, it is of a backgound nature and is used for describing children’s routine. The graphic model describing the results of the research and its decoding are presented. The conceptual analysis is followed by examples from Charles Dickens’s books. The examples describe the cases of verbalization of different cognitive characteristics of the subconcept “childhood” that are parts of the context of the books Oliver Twist, Hard Times, A Christmas Carol, A Walk in a Workhouse. Contribution of the authors: the authors contributed equally to this article.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77902407","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 aim and objectives of the study are determined by the need to reconstruct an authentic text, whose reception allows clarifying the specifics of Lermontov’s ethnographism and psychologism when creating an artistic image in the “Oriental” sketches “Correcting with a Lily Hand ...” and “On a Cloak Under the Shade of a Plane Tree ...”. The specific toolkit for analysis is the use of the primary source: its description and the compilation of a diplomatic transcription. The theoretical and methodological basis is textual, structural-semantic and cultural-historical approaches to the study of a literary text. All publications of texts are sequentially considered: from the first edition by A.A. Kraevsky in Otechestvennye zapista to the academic edition of 2014. As a result of the study, the authors have found that in all editions of the sketches there are discrepancies with autographs. In a number of cases, editorial corrections were justified, since they were associated with bringing the text to the linguistic standard, deviations from which Lermontov allowed due to the draft nature of the texts. The authors explain the swap of verses, the reasons for correcting proper names in Lermontov’s autographs; reveal incorrect publishing corrections that weaken the artistic impact of the text and belittle the skill of Lermontov as a psychologist and his ethnographic awareness; outline the role of exotic Oriental vocabulary and its changes: to recreate the Oriental color as conditioned by socio-cultural and psychological aspects. The authors propose a reasoned reconstruction of the authentic text of the sketches, which are presented as a single concept. The authors prove that the sketches are characterized by stylistic unity and are in line with Lermontov’s “Oriental” text as a whole. Their structural and conceptual study confirms that Lermontov’s works of 1841 are characterized by a synthesis of romantic and realistic principles of depiction with the priority of the realistic method. The authors draw conclusions about the aesthetic principles of Lermontov’s depiction of an “Oriental” person - about the peculiarities of characters’ individualization and typology, and determine ways of explicating the Oriental flavor. The authors show that Lermontov’s ethnographic observations concentrate on the “Oriental” topos and are characterized by accuracy, deep immersion in Caucasian ethnopsychology. The systematic analysis and the results of the reconstruction of the sketches “Correcting with a Lily Hand ...” and “On a Cloak Under the Shade of a Plane Tree ...” give grounds to speak about their importance for drawing up an integral idea of Lermontov’s creative process, including due to the small number of his draft autographs. The authors declare no conflicts of interests.
{"title":"Oriental sketches by Mikhail Lermontov from the Notebook Presented by Vladimir Odoyevsky: The history of the text and semantic architectonics","authors":"I. Kiseleva, K. Potashova","doi":"10.17223/23062061/29/1","DOIUrl":"https://doi.org/10.17223/23062061/29/1","url":null,"abstract":"The aim and objectives of the study are determined by the need to reconstruct an authentic text, whose reception allows clarifying the specifics of Lermontov’s ethnographism and psychologism when creating an artistic image in the “Oriental” sketches “Correcting with a Lily Hand ...” and “On a Cloak Under the Shade of a Plane Tree ...”. The specific toolkit for analysis is the use of the primary source: its description and the compilation of a diplomatic transcription. The theoretical and methodological basis is textual, structural-semantic and cultural-historical approaches to the study of a literary text. All publications of texts are sequentially considered: from the first edition by A.A. Kraevsky in Otechestvennye zapista to the academic edition of 2014. As a result of the study, the authors have found that in all editions of the sketches there are discrepancies with autographs. In a number of cases, editorial corrections were justified, since they were associated with bringing the text to the linguistic standard, deviations from which Lermontov allowed due to the draft nature of the texts. The authors explain the swap of verses, the reasons for correcting proper names in Lermontov’s autographs; reveal incorrect publishing corrections that weaken the artistic impact of the text and belittle the skill of Lermontov as a psychologist and his ethnographic awareness; outline the role of exotic Oriental vocabulary and its changes: to recreate the Oriental color as conditioned by socio-cultural and psychological aspects. The authors propose a reasoned reconstruction of the authentic text of the sketches, which are presented as a single concept. The authors prove that the sketches are characterized by stylistic unity and are in line with Lermontov’s “Oriental” text as a whole. Their structural and conceptual study confirms that Lermontov’s works of 1841 are characterized by a synthesis of romantic and realistic principles of depiction with the priority of the realistic method. The authors draw conclusions about the aesthetic principles of Lermontov’s depiction of an “Oriental” person - about the peculiarities of characters’ individualization and typology, and determine ways of explicating the Oriental flavor. The authors show that Lermontov’s ethnographic observations concentrate on the “Oriental” topos and are characterized by accuracy, deep immersion in Caucasian ethnopsychology. The systematic analysis and the results of the reconstruction of the sketches “Correcting with a Lily Hand ...” and “On a Cloak Under the Shade of a Plane Tree ...” give grounds to speak about their importance for drawing up an integral idea of Lermontov’s creative process, including due to the small number of his draft autographs. The authors declare no conflicts of interests.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90108333","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}
Genesis and evolution of Alexei Kruchenykh’s poem “Dyr bul shchyl” (1912/1913) and the logic of evolution of the later author’s lifetime variations, as well as its perceptions and transformations in Russian culture, are analyzed by methods of genetic criticism. The article emphasizes that it is necessary to take into account the specifics of the lithographic method of printing in the first edition of Kruchenykh’s abstruse verses for the reconstruction and interpretation of the creative impulses at the time of ecstatic impromptu. The article, using methods of textual and genetic criticism, states a significant textual variability of Kruchenykh’s notorious poem “Dyr bul shchyl” (1913) and points out the remaining challenge of the uninfluenced final authorial intention. The hidden logic of the poem’s textual transformations was revealed by the analysis of a compiled chronological table of version changes (1913-1927/28). The article describes, how in order to get the effect of phonetic poetry (“universal language” and “language of the Universe”) Kruchenykh attempted from older versions to newer versions, step by step to destroy / overmusicalize and “disword” words / blur the spontaneous “echo” of morphological, semantic, sound-symbolic and topic-comment (theme-rheme) structures. The article offers arguments in favor of the hypothesis that at a moment of ecstatic impromptu the phrase Dyr bul arose in the futurist’s emotion-related mind as unconscious allusions to the fate of Prince Dir / voivode Dyr / Dyri (f882), “oskyldr Dyri” (?). Dyr Prince of Kiev was probably one of the first Slavic rulers converted to Christianity under the name of Il’ya (Elias; the first Christianization of Rus’ by Patriarch Photius, datable to early 867). Nestor the Chronicler made a scant mention of him in The Tale of Bygone Years (Russian Primary Chronicle). The analysis of handwriting features of Kruchenykh’s lithographic work, as well as scanning of urban legends and media sensational report on archaeological discoveries and excavation of trace of early Christians who lived in Kiev before the arrival of Prince Rurik of Novgorod (882), argues in favor of this hypothesis. An explanation why this poetic miniature, the “Black square of Russian poetry,” became one of most notorious examples of transrational poetry (zaum), despite the existence of similar texts in Russian literary tradition prior to futurism (ritual gibberish, a song from Old Russian poems collected by Kirsha Danilov, as well as poetry of Andrei Bely and Velemir Khlebnikov) is offered. The author declares no conflicts of interests.
{"title":"“Dyr bul shchyl / ube sh shchur” by Alexei Kruchenykh: The logic of variations","authors":"T. Koreñkova","doi":"10.17223/23062061/30/5","DOIUrl":"https://doi.org/10.17223/23062061/30/5","url":null,"abstract":"Genesis and evolution of Alexei Kruchenykh’s poem “Dyr bul shchyl” (1912/1913) and the logic of evolution of the later author’s lifetime variations, as well as its perceptions and transformations in Russian culture, are analyzed by methods of genetic criticism. The article emphasizes that it is necessary to take into account the specifics of the lithographic method of printing in the first edition of Kruchenykh’s abstruse verses for the reconstruction and interpretation of the creative impulses at the time of ecstatic impromptu. The article, using methods of textual and genetic criticism, states a significant textual variability of Kruchenykh’s notorious poem “Dyr bul shchyl” (1913) and points out the remaining challenge of the uninfluenced final authorial intention. The hidden logic of the poem’s textual transformations was revealed by the analysis of a compiled chronological table of version changes (1913-1927/28). The article describes, how in order to get the effect of phonetic poetry (“universal language” and “language of the Universe”) Kruchenykh attempted from older versions to newer versions, step by step to destroy / overmusicalize and “disword” words / blur the spontaneous “echo” of morphological, semantic, sound-symbolic and topic-comment (theme-rheme) structures. The article offers arguments in favor of the hypothesis that at a moment of ecstatic impromptu the phrase Dyr bul arose in the futurist’s emotion-related mind as unconscious allusions to the fate of Prince Dir / voivode Dyr / Dyri (f882), “oskyldr Dyri” (?). Dyr Prince of Kiev was probably one of the first Slavic rulers converted to Christianity under the name of Il’ya (Elias; the first Christianization of Rus’ by Patriarch Photius, datable to early 867). Nestor the Chronicler made a scant mention of him in The Tale of Bygone Years (Russian Primary Chronicle). The analysis of handwriting features of Kruchenykh’s lithographic work, as well as scanning of urban legends and media sensational report on archaeological discoveries and excavation of trace of early Christians who lived in Kiev before the arrival of Prince Rurik of Novgorod (882), argues in favor of this hypothesis. An explanation why this poetic miniature, the “Black square of Russian poetry,” became one of most notorious examples of transrational poetry (zaum), despite the existence of similar texts in Russian literary tradition prior to futurism (ritual gibberish, a song from Old Russian poems collected by Kirsha Danilov, as well as poetry of Andrei Bely and Velemir Khlebnikov) is offered. The author declares no conflicts of interests.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82269946","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 analyzes Russian-language periodicals for children and youth, published in Latvia in the 1920s-1930s. The study is based on the material of a wide range of archival sources, many of which are first introduced into scholarly discourse. After the October Revolution of 1917, the Russian diaspora of Latvia, which consisted of the indigenous local population, was replenished with refugees from the Russian Empire. A significant part of the emigrant flow were children. In order to prevent the loss of national and cultural identity, of historical memory, and of their native language, Russian emigrants turned to the publication of newspapers and magazines for the younger generation. Children’s periodicals of Russian emigrants were based on the professional principles of classical children’s journalism, typological and formal and semantic features of prerevolutionary publications. Russian-language children and youth periodicals in Latvia in the 1920s-1930s are marked by the diversity of types of publications: handwritten and typewritten editions of educational institutions; professional press published by the Salamandra publishing house; periodicals of public and youth associations, religious organizations. The foundation of the value system transmitted to the younger generation was the focus on preserving the Russian language, the cultural heritage of pre-revolutionary Russia; general socialization; education, developing creative abilities; assistance in solving acute social problems, etc. Russian-language newspapers and magazines for children and youth of the Republic of Latvia were created by teachers, professional publishers, editors and journalists, as well as by non-professionals - religious, public and political figures who were not indifferent to the problems of childhood. The creators’ activities contributed to the fact that the majority of Russian emigrant children not only retained the awareness of their belonging to Russia, the Russian language, traditions, cultural values, but also successfully integrated into the Latvian society, became full citizens of the country of residence. The study of the Russian-language children and youth periodicals of Latvia made it possible to conclude that the most favorable conditions for the publishing activity of Russian emigrants in Latvia were created before 1934, during the existence of a parliamentary republic. The policy of forcible assimilation of “non-Latvians” proclaimed in 1934 significantly limited the autonomy of the national minorities in Latvia. Against the background of the reduction in Russian-language periodicals, the reading circle of young people was forced to expand due to publications that were not aimed at children. The accession of Latvia to the USSR in August 1940 completed the stage of the existence of the emigre press and marked a new period in the functioning of the Russian-language press of the Latvian Soviet Socialist Republic. The authors declare no conflicts of interes
{"title":"Russian-language children and youth periodicals of Latvia in the 1920s-1930s","authors":"E. S. Babkina, Olga V. Proskurova-Timofejeva","doi":"10.17223/23062061/29/5","DOIUrl":"https://doi.org/10.17223/23062061/29/5","url":null,"abstract":"The article analyzes Russian-language periodicals for children and youth, published in Latvia in the 1920s-1930s. The study is based on the material of a wide range of archival sources, many of which are first introduced into scholarly discourse. After the October Revolution of 1917, the Russian diaspora of Latvia, which consisted of the indigenous local population, was replenished with refugees from the Russian Empire. A significant part of the emigrant flow were children. In order to prevent the loss of national and cultural identity, of historical memory, and of their native language, Russian emigrants turned to the publication of newspapers and magazines for the younger generation. Children’s periodicals of Russian emigrants were based on the professional principles of classical children’s journalism, typological and formal and semantic features of prerevolutionary publications. Russian-language children and youth periodicals in Latvia in the 1920s-1930s are marked by the diversity of types of publications: handwritten and typewritten editions of educational institutions; professional press published by the Salamandra publishing house; periodicals of public and youth associations, religious organizations. The foundation of the value system transmitted to the younger generation was the focus on preserving the Russian language, the cultural heritage of pre-revolutionary Russia; general socialization; education, developing creative abilities; assistance in solving acute social problems, etc. Russian-language newspapers and magazines for children and youth of the Republic of Latvia were created by teachers, professional publishers, editors and journalists, as well as by non-professionals - religious, public and political figures who were not indifferent to the problems of childhood. The creators’ activities contributed to the fact that the majority of Russian emigrant children not only retained the awareness of their belonging to Russia, the Russian language, traditions, cultural values, but also successfully integrated into the Latvian society, became full citizens of the country of residence. The study of the Russian-language children and youth periodicals of Latvia made it possible to conclude that the most favorable conditions for the publishing activity of Russian emigrants in Latvia were created before 1934, during the existence of a parliamentary republic. The policy of forcible assimilation of “non-Latvians” proclaimed in 1934 significantly limited the autonomy of the national minorities in Latvia. Against the background of the reduction in Russian-language periodicals, the reading circle of young people was forced to expand due to publications that were not aimed at children. The accession of Latvia to the USSR in August 1940 completed the stage of the existence of the emigre press and marked a new period in the functioning of the Russian-language press of the Latvian Soviet Socialist Republic. The authors declare no conflicts of interes","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91001293","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 the 21st century, scholars are exploring book illustration not so much as one of the important components of a book, but as the basis of a book. In the newest culture, an attitude has been formed towards non-verbal signs of the text as the main, primary language addressed to the reader. The individuality of the artist is manifested in the fact that the same story, illustrated by different people, can become for the reader a new version of a single literary invariant. At the same time, a deep reception of an illustration requires visual literacy from the reader. The task is to overcome too simple, literal reading of the picture and isolate adequate meanings from the whole wealth of general cultural and personal experience, confirmed by the system of visual images. Many artists illustrated the fairy tale “The Snow Queen” by Hans Christian Andersen. An illustrator from St. Petersburg, Anton Lomaev (Loreta Publishing House, 2021), offered a modernized version of the fairy tale plot in illustration. The methods of visual semiotics help to interpret the signs and images of the creolized text of this book. Lomaev concretizes the conditional chronotope of Andersen’s fairy tale and transfers the plot to Europe of the 20th century. The main color in the book is blue. This color has complex semantics. On the one hand, in the fairy tale about the Snow Queen, it is the color of the Queen herself: snow, cold, ice fragments, lifelessness. Therefore, the influence of blue increases in those parts of the book where the mortal plot is more pronounced: the world of the evil troll (the beginning of the first chapter) and the world of the Snow Queen are made in blue tones. In general, the colors are in cold blue tones if the world is hostile and alien to the characters, and in warm restrained sepia tones if the space of home is depicted. On the other hand, in the world of the Snow Queen, cold is not only a physical phenomenon, but also a world of abstract rationality. The main conflict of the tale of Andersen, a deeply religious author, is the conflict between the spirit and the mind. Lomaev gives this conflict an additional perspective. The artist actualizes the change of thinking in the 20th century, from the patriarchal, organically combining spiritual and intellectual values, to the time of practical rationality, devoid of a spiritual beginning. Lomaev’s illustrations include many items of transport and military symbols (the figure of a soldier, a military uniform, cannons, a drum, aircraft, anti-tank hedgehogs, a military cruiser). Transport and signs of war are the leitmotifs that organize the illustrative series of the book, making the fairy tale plot more documentary, realistic, and tense. Thanks to the symbolic row, the artist clearly associates the Snow Queen’s palace with fascism. The illustrator’s intention is to point out that no social power is eternal. The artist makes the conflict of the fairy tale more universal, opposing the coldness of impersona
{"title":"“The Snow Queen” with illustrations by Anton Lomaev: The possibilities of a creolized text","authors":"Anastasiia N. Gubaidullina","doi":"10.17223/23062061/30/7","DOIUrl":"https://doi.org/10.17223/23062061/30/7","url":null,"abstract":"In the 21st century, scholars are exploring book illustration not so much as one of the important components of a book, but as the basis of a book. In the newest culture, an attitude has been formed towards non-verbal signs of the text as the main, primary language addressed to the reader. The individuality of the artist is manifested in the fact that the same story, illustrated by different people, can become for the reader a new version of a single literary invariant. At the same time, a deep reception of an illustration requires visual literacy from the reader. The task is to overcome too simple, literal reading of the picture and isolate adequate meanings from the whole wealth of general cultural and personal experience, confirmed by the system of visual images. Many artists illustrated the fairy tale “The Snow Queen” by Hans Christian Andersen. An illustrator from St. Petersburg, Anton Lomaev (Loreta Publishing House, 2021), offered a modernized version of the fairy tale plot in illustration. The methods of visual semiotics help to interpret the signs and images of the creolized text of this book. Lomaev concretizes the conditional chronotope of Andersen’s fairy tale and transfers the plot to Europe of the 20th century. The main color in the book is blue. This color has complex semantics. On the one hand, in the fairy tale about the Snow Queen, it is the color of the Queen herself: snow, cold, ice fragments, lifelessness. Therefore, the influence of blue increases in those parts of the book where the mortal plot is more pronounced: the world of the evil troll (the beginning of the first chapter) and the world of the Snow Queen are made in blue tones. In general, the colors are in cold blue tones if the world is hostile and alien to the characters, and in warm restrained sepia tones if the space of home is depicted. On the other hand, in the world of the Snow Queen, cold is not only a physical phenomenon, but also a world of abstract rationality. The main conflict of the tale of Andersen, a deeply religious author, is the conflict between the spirit and the mind. Lomaev gives this conflict an additional perspective. The artist actualizes the change of thinking in the 20th century, from the patriarchal, organically combining spiritual and intellectual values, to the time of practical rationality, devoid of a spiritual beginning. Lomaev’s illustrations include many items of transport and military symbols (the figure of a soldier, a military uniform, cannons, a drum, aircraft, anti-tank hedgehogs, a military cruiser). Transport and signs of war are the leitmotifs that organize the illustrative series of the book, making the fairy tale plot more documentary, realistic, and tense. Thanks to the symbolic row, the artist clearly associates the Snow Queen’s palace with fascism. The illustrator’s intention is to point out that no social power is eternal. The artist makes the conflict of the fairy tale more universal, opposing the coldness of impersona","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90362201","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 title, as one of the most important elements of any publication, has a dual nature. The aim of the article is to evaluate the correlation of advertising and pragmatic functions in the titles of modern mass literature publications. The study was conducted on the basis of an experiment. Thirty-four titles of fiction publications were the material for it; these are books by the Eksmo Publishing House, published in the first half of February 2022. Respondents were asked to choose no more than five titles of books that they would like to read. After that, they had to briefly describe what they thought each selected book was about. Eighty-five people took part in the survey. Successful book titles (chosen by more than 10% of respondents) and unsuccessful ones (chosen by fewer than 5% of respondents) were taken for further research. All of them were divided into three groups - depending on how accurately the respondents were able to determine the subject, genre or content of the book. The study confirmed the hypothesis that the title of the book should clearly indicate to the potential reader what kind of work awaits them. In some cases, lexical “marking” of a genre orientation is enough for this. According to these signs, the titles Soul Catchers (“souls”: fantasy, mysticism), Looking at the Sea (“sea”: romance), People Are Stronger Than Walls (heroic pathos of comparison) and even Show of Family Secrets (“secrets”: detective, thriller) were correctly interpreted. On the contrary, the title Thrice Risen was associated with mysticism, philosophy, although the genre of the work turned out to be different. The pragmatic component can also be provided by a capacious reflection of the subject matter of the work. On this basis, the problems of books with the titles When Mom is You (“Mom”: the theme of motherhood and relationships with children) and partly Chronicles of the Asylum (“Asylum”: the theme of borderline states of the psyche) were correctly “read”. But the title A Career Requires Sacrifice can be considered unfortunate, since it evoked clear (but false) associations: the difficulty of balancing a career and personal or family life. The book title can also be associated with the text by its style. Thus, the title Looking at the Sea seemed “soft” and “lyrical” to the respondents, which corresponds to the idea of a sentimental novel. In the course of the experiment, the most serious errors of publishers when approving the title were also revealed. One of them is the choice of a title similar to another well-known one (The Mentalist, The Ice Heart). Another common problem is the ambiguity of the title when it includes completely unknown words (The Pursuit of the Pankera) or using complex metaphors (Windows in the Clouds, Rapid Jelly). It is proved that a successful title should be informative and should clearly indicate the genre, thematic focus, problems and style of the work. It also should not contain excessive pathos, should not be stereotyped
标题作为出版物最重要的组成部分之一，具有双重性。本文旨在探讨现代大众文学出版物标题中广告与语用功能的关系。这项研究是在实验的基础上进行的。34种小说出版物是它的素材;这些书是由Eksmo出版社出版的，于2022年2月上半月出版。受访者被要求选择不超过五本他们想读的书。在那之后，他们必须简要地描述他们所选择的每本书的内容。85人参与了这项调查。成功的书名(超过10%的受访者选择)和不成功的书名(少于5%的受访者选择)被进一步研究。根据受访者对书的主题、体裁和内容的判断准确度，他们被分为三组。这项研究证实了一个假设，即书名应该清楚地向潜在读者表明，他们将会看到什么样的作品。在某些情况下，针对类型的词汇“标记”就足够了。根据这些迹象，《灵魂捕手》(“灵魂”:幻想、神秘主义)、《望海》(“海”:浪漫)、《人比墙强》(对比的英雄悲怆)，甚至《家庭秘密秀》(“秘密”:侦探、惊悚)的标题都得到了正确的解读。相反，《三次复活》的名字与神秘主义、哲学联系在一起，虽然作品的类型有所不同。语用成分也可以通过对作品主题的广泛反映来提供。在此基础上，《当妈妈是你》(“妈妈”:母性和与孩子的关系的主题)和部分《疯人院编年史》(“疯人院”:精神边缘状态的主题)等书的问题得到了正确的“解读”。但《事业需要牺牲》这个标题可能被认为是不幸的，因为它唤起了明确(但错误)的联想:平衡事业与个人或家庭生活的困难。书名也可以通过其风格与文本联系起来。因此，在被调查者看来，《望海》的标题是“柔软的”和“抒情的”，这与感伤小说的理念相对应。在实验过程中，还揭示了出版商在批准书名时最严重的错误。其中之一就是选择了与另一部著名电影(《超感者》、《冰心》)相似的片名。另一个常见的问题是标题的模糊性，当它包含完全未知的单词(《the Pursuit of the Pankera》)或使用复杂的隐喻(《Windows in the Clouds》、《Rapid Jelly》)时。事实证明，一个成功的标题应该是信息性的，应该清楚地表明作品的类型，主题焦点，问题和风格。它也不应该包含过多的悲情，不应该模式化，应该足够原创。作者声明没有利益冲突。
{"title":"Titles of editions: Between advertising and pragmatics","authors":"Irina F. Gnyusova","doi":"10.17223/23062061/30/8","DOIUrl":"https://doi.org/10.17223/23062061/30/8","url":null,"abstract":"The title, as one of the most important elements of any publication, has a dual nature. The aim of the article is to evaluate the correlation of advertising and pragmatic functions in the titles of modern mass literature publications. The study was conducted on the basis of an experiment. Thirty-four titles of fiction publications were the material for it; these are books by the Eksmo Publishing House, published in the first half of February 2022. Respondents were asked to choose no more than five titles of books that they would like to read. After that, they had to briefly describe what they thought each selected book was about. Eighty-five people took part in the survey. Successful book titles (chosen by more than 10% of respondents) and unsuccessful ones (chosen by fewer than 5% of respondents) were taken for further research. All of them were divided into three groups - depending on how accurately the respondents were able to determine the subject, genre or content of the book. The study confirmed the hypothesis that the title of the book should clearly indicate to the potential reader what kind of work awaits them. In some cases, lexical “marking” of a genre orientation is enough for this. According to these signs, the titles Soul Catchers (“souls”: fantasy, mysticism), Looking at the Sea (“sea”: romance), People Are Stronger Than Walls (heroic pathos of comparison) and even Show of Family Secrets (“secrets”: detective, thriller) were correctly interpreted. On the contrary, the title Thrice Risen was associated with mysticism, philosophy, although the genre of the work turned out to be different. The pragmatic component can also be provided by a capacious reflection of the subject matter of the work. On this basis, the problems of books with the titles When Mom is You (“Mom”: the theme of motherhood and relationships with children) and partly Chronicles of the Asylum (“Asylum”: the theme of borderline states of the psyche) were correctly “read”. But the title A Career Requires Sacrifice can be considered unfortunate, since it evoked clear (but false) associations: the difficulty of balancing a career and personal or family life. The book title can also be associated with the text by its style. Thus, the title Looking at the Sea seemed “soft” and “lyrical” to the respondents, which corresponds to the idea of a sentimental novel. In the course of the experiment, the most serious errors of publishers when approving the title were also revealed. One of them is the choice of a title similar to another well-known one (The Mentalist, The Ice Heart). Another common problem is the ambiguity of the title when it includes completely unknown words (The Pursuit of the Pankera) or using complex metaphors (Windows in the Clouds, Rapid Jelly). It is proved that a successful title should be informative and should clearly indicate the genre, thematic focus, problems and style of the work. It also should not contain excessive pathos, should not be stereotyped ","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72427230","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}
For the first time, the article examines the chapter “On Church Singing” from Paternal Testaments, the collection of Fedoseevtsy Old Believers, which was compiled in their ideological center, Moscow Preobrazhenskoe Cemetery, to approve the rules that determined the life of Fedoseevtsy communities in the 19th century. As for church singing, the choir of the Moscow Fedoseevtsy Preobrazhenskaya community was considered exemplary among the Bespopovtsy [Priestless Old Believers] at the beginning of the 19th century. The chapter “On Church Singing” was included in the collection as a result of the appeal of regional communities to Moscow mentors for clarifications regarding liturgical practice, which makes it possible to find out what issues in this area disturbed the Old Believers. The essay was included in the final version of Paternal Testaments as one of the additional 15 chapters selected for inclusion in the book between 1805 and 1809. The chapter’s author is unknown, as well as the exact date of its creation: its writing can be confidently attributed to the second half of the 18th century. In the collection, “On Church Singing” follows at number 49 and is divided into 15 articles. Justifying the canonicity (or non-canonicity) of a particular tradition, about which, apparently, the question was asked, the author of the essay refers to a decent list of sources (ancient, Old Believer and New Believer) quoting some of them. This article examines all of these references. According to the text of the document, the teachers of the Preobrazhenskaya community approved the Old Znamenny Chant, including Stolpovoy, Demestvenny and Three Line chants, as canonical. As it appears, the Three Line singing appeared in this list only as a quote from the Stepennaya Kniga [Book of Generations], it was hardly practiced in reality. Such a widespread kind of hook singing as the Putevoy chant is not mentioned in the essay. This is possibly due to the fact that it did not raise questions, in contrast to, as it appears, the less common Demestvenny chant, to which the author of the chapter “On Church Singing” pays special attention. The texts of the chants were admitted strictly in the razdelnorechnaya edition (half of the chapter is dedicated to this question since there are a number of polemical writings and resolutions of Old Believer councils about it). As it appears, regional communities were troubled by some Greek elements in liturgical chant. The author of the chapter proves the canonicity of these elements’ use - anenaiki (special additional syllables), prayers in Greek and Svyatogorski (Athos) edition of the Theotokos hymn “It is Truly Meet”. This is the range of questions that the regional communities addressed to the Preobrazhenskoye Cemetery, and what was enshrined as a canon.
{"title":"On church singing in the Fedoseevtsy collection Paternal Testaments. Article I","authors":"A. A. Mikheeva","doi":"10.17223/23062061/28/5","DOIUrl":"https://doi.org/10.17223/23062061/28/5","url":null,"abstract":"For the first time, the article examines the chapter “On Church Singing” from Paternal Testaments, the collection of Fedoseevtsy Old Believers, which was compiled in their ideological center, Moscow Preobrazhenskoe Cemetery, to approve the rules that determined the life of Fedoseevtsy communities in the 19th century. As for church singing, the choir of the Moscow Fedoseevtsy Preobrazhenskaya community was considered exemplary among the Bespopovtsy [Priestless Old Believers] at the beginning of the 19th century. The chapter “On Church Singing” was included in the collection as a result of the appeal of regional communities to Moscow mentors for clarifications regarding liturgical practice, which makes it possible to find out what issues in this area disturbed the Old Believers. The essay was included in the final version of Paternal Testaments as one of the additional 15 chapters selected for inclusion in the book between 1805 and 1809. The chapter’s author is unknown, as well as the exact date of its creation: its writing can be confidently attributed to the second half of the 18th century. In the collection, “On Church Singing” follows at number 49 and is divided into 15 articles. Justifying the canonicity (or non-canonicity) of a particular tradition, about which, apparently, the question was asked, the author of the essay refers to a decent list of sources (ancient, Old Believer and New Believer) quoting some of them. This article examines all of these references. According to the text of the document, the teachers of the Preobrazhenskaya community approved the Old Znamenny Chant, including Stolpovoy, Demestvenny and Three Line chants, as canonical. As it appears, the Three Line singing appeared in this list only as a quote from the Stepennaya Kniga [Book of Generations], it was hardly practiced in reality. Such a widespread kind of hook singing as the Putevoy chant is not mentioned in the essay. This is possibly due to the fact that it did not raise questions, in contrast to, as it appears, the less common Demestvenny chant, to which the author of the chapter “On Church Singing” pays special attention. The texts of the chants were admitted strictly in the razdelnorechnaya edition (half of the chapter is dedicated to this question since there are a number of polemical writings and resolutions of Old Believer councils about it). As it appears, regional communities were troubled by some Greek elements in liturgical chant. The author of the chapter proves the canonicity of these elements’ use - anenaiki (special additional syllables), prayers in Greek and Svyatogorski (Athos) edition of the Theotokos hymn “It is Truly Meet”. This is the range of questions that the regional communities addressed to the Preobrazhenskoye Cemetery, and what was enshrined as a canon.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73931724","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 examines the plot of reading and interpreting Mikhail Lermontov’s works by the reader-character of the novel Letters about Lermontov (1935) by Yuri Felzen, a writer of the younger generation of Russian emigration. The love conflict of the central character (he is the narrator, the author of letters to his beloved who left him) is overcome by the act of writing and the departure into the world of culture, the value center of which for him is Lermontov. Strategies for reading Lermontov by a writing character are close to the biographical method - no separation of the writer’s life and work, identification of the author with his hero (Pechorin, Demon, poetic lyrical hero). The purpose of learning Lermontov’s personality through his works (diaries, poetry, poems, the novel Hero of Our Time, etc.) is to find an existential landmark (perseverance and courage before the blows of fate) and an aesthetic principle (patience and sincerity in creative work). In self-identification with Lermontov-Pechorin, an act of self-knowledge, recognition of inconsistency with the ideal, and behavioral self-correction take place. The second line of letters about Lermontov is the formulation of the essence of literary creativity, the author’s version of the history of Russian literature and its fate in the modern world. According to the character of the novel, classical literature in the twentieth century becomes incomprehensible and unable to agitate, but, dying, it conveys its artistic discoveries to modern literature, which means that art continues to develop. Lermontov is the connecting link: he is a writer of the 19th century, but his works remain modern, because they were ahead of their time. Lermontov, according to the narrator-character, stands above Pushkin, he is the forerunner of Tolstoy and Proust, i.e., the literature of modernism that is capable of showing an incomplete world and a contradictory person, to which the central character of the novel aspires. Art in the author’s concept, as exemplified by Lermontov, is an act of self-knowledge necessary for the artist himself, but allowing one to go from observing about oneself to generalizing about human nature. Reading is the cognition of the Other and their way of being, it is approaching to the understanding of reality; reading is also the threshold for creating a text, one’s own way of being, built in dialogue with world literature. Felzen’s article “Lermontov in Russian Literature” (1938) is not development, but a concentrate of novel ideas. In critical discourse, Felzen evaluates Lermontov less categorically: he is equal to Pushkin in the sense of proportion, freedom from politics and religion. Felzen concludes: after the death of Lermontov, Russian literature was not free from the power of political and religious ideas (Gogol, Tyutchev, Tolstoy, Dostoevsky). The author declares no conflicts of interests.
{"title":"The reader-character in Yuri Felzen’s novel Letters about Lermontov","authors":"I. I. Nazarenko","doi":"10.17223/23062061/29/2","DOIUrl":"https://doi.org/10.17223/23062061/29/2","url":null,"abstract":"The article examines the plot of reading and interpreting Mikhail Lermontov’s works by the reader-character of the novel Letters about Lermontov (1935) by Yuri Felzen, a writer of the younger generation of Russian emigration. The love conflict of the central character (he is the narrator, the author of letters to his beloved who left him) is overcome by the act of writing and the departure into the world of culture, the value center of which for him is Lermontov. Strategies for reading Lermontov by a writing character are close to the biographical method - no separation of the writer’s life and work, identification of the author with his hero (Pechorin, Demon, poetic lyrical hero). The purpose of learning Lermontov’s personality through his works (diaries, poetry, poems, the novel Hero of Our Time, etc.) is to find an existential landmark (perseverance and courage before the blows of fate) and an aesthetic principle (patience and sincerity in creative work). In self-identification with Lermontov-Pechorin, an act of self-knowledge, recognition of inconsistency with the ideal, and behavioral self-correction take place. The second line of letters about Lermontov is the formulation of the essence of literary creativity, the author’s version of the history of Russian literature and its fate in the modern world. According to the character of the novel, classical literature in the twentieth century becomes incomprehensible and unable to agitate, but, dying, it conveys its artistic discoveries to modern literature, which means that art continues to develop. Lermontov is the connecting link: he is a writer of the 19th century, but his works remain modern, because they were ahead of their time. Lermontov, according to the narrator-character, stands above Pushkin, he is the forerunner of Tolstoy and Proust, i.e., the literature of modernism that is capable of showing an incomplete world and a contradictory person, to which the central character of the novel aspires. Art in the author’s concept, as exemplified by Lermontov, is an act of self-knowledge necessary for the artist himself, but allowing one to go from observing about oneself to generalizing about human nature. Reading is the cognition of the Other and their way of being, it is approaching to the understanding of reality; reading is also the threshold for creating a text, one’s own way of being, built in dialogue with world literature. Felzen’s article “Lermontov in Russian Literature” (1938) is not development, but a concentrate of novel ideas. In critical discourse, Felzen evaluates Lermontov less categorically: he is equal to Pushkin in the sense of proportion, freedom from politics and religion. Felzen concludes: after the death of Lermontov, Russian literature was not free from the power of political and religious ideas (Gogol, Tyutchev, Tolstoy, Dostoevsky). The author declares no conflicts of interests.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74512140","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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