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Old Believer comics: To the history of the emergence of creolized texts in Siberia 老信徒漫画:西伯利亚出现克里奥尔文字的历史
IF 0.1 Q3 Arts and Humanities Pub Date : 2022-01-01 DOI: 10.17223/23062061/30/4
V. Esipova
The article aims to consider the history of the appearance of the creolized text (CT) on Siberian materials of the late 19th century. A comic book is considered as a special case of such a text. Previously this kind of materials have not been used to study the history of CT. The article lists and briefly characterizes a number of works, mainly by domestic authors, on the problem of CT. It also indicates the presence of studies of certain types of CT, in particular - comics. The source of the study is a manuscript containing “Fasting Words” by Isaac the Syrian. The manuscript is stored in the Research Library of Tomsk State University (B-5548). It was written in 1894-1895 on the territory of Tomsk Province and belonged to one of the local Old Believers. The records on the manuscript - a scriber’s record of the work done and a record of the transfer of the manuscript as a schismatic one to Tomsk Theological Seminary - allow reconstructing its history. The illustrations of the manuscript were examined. Among them, those that can be called comics were identified: they include several plot-related parts and show the development of the story. Two illustrations were found that can be called comics: about silence and about nutrition. Each of the illustrations consists of three parts; to indicate the movement of time, the artist used a different position of the sun over the heads of the characters. Also three illustrations were found that can be called proto-comics. They do not have plot development, but they are a case of CT: there are images with captions that are closely related to the content of the main text. An important feature of the discovered illustrations is literalism in the transfer of the author’s text. A similar technique is used in modern advertising. There are other similar cases described by researchers. For instance, G.V. Markelov describes “frieze” miniatures in one of the manuscripts from the Northern Dvina. These are images glued together from several sheets of paper and containing several sequentially unfolding scenes from the text. The article concludes that the phenomenon of CT, including comics, which currently attracts a lot of attention from researchers, has a very long history, partly already covered in studies. CT can be observed in the Russian provinces at the end of the 19th century. It is characteristic that CT is seen primarily not in official publications, but in works related to reader reception - in handwritten books in particular. Thus, CT in the form of a comics book was known to the Siberian reader and was used to illustrate, in particular, patristic texts. The author declares no conflicts of interests.
本文旨在探讨19世纪末西伯利亚材料上的克里奥尔文本(CT)的出现历史。漫画书被认为是这种文本的一个特例。在此之前,这类材料并没有被用来研究CT的历史。本文列举并简要介绍了一些主要由国内作者撰写的关于CT问题的著作。它也表明某些类型的CT研究的存在,特别是-漫画。这项研究的来源是叙利亚人以撒写的一份包含“禁食的话”的手稿。手稿保存在托木斯克国立大学研究图书馆(B-5548)。它写于1894-1895年,在托木斯克省的领土上,属于当地的一位老信徒。手稿上的记录——抄写员对所做工作的记录,以及作为分裂的手稿转移到托木斯克神学院的记录——允许重建它的历史。手稿上的插图经过了检查。其中,可以被称为漫画的是:它们包括几个与情节相关的部分,并展示了故事的发展。我们发现了两幅可以称为漫画的插图:关于沉默和营养的。每个插图由三个部分组成;为了表示时间的移动,艺术家使用了不同位置的太阳在人物的头上。此外,还发现了三幅可以称为原型漫画的插图。他们没有情节发展,但他们是CT的一个例子:有图像的字幕与主要文本的内容密切相关。所发现的插图的一个重要特征是作者文本的直译主义。在现代广告中也使用了类似的技术。研究人员还描述了其他类似的案例。例如,G.V. Markelov在一份来自北德维纳的手稿中描述了“frieze”微缩模型。这些图像是由几张纸粘合在一起的,其中包含了从文本中依次展开的几个场景。文章的结论是,包括漫画在内的CT现象,目前受到研究者的广泛关注,有着非常悠久的历史,部分已经被研究覆盖。在19世纪末的俄罗斯各省可以观察到CT。CT主要不是在官方出版物中出现,而是在与读者接收有关的作品中出现,尤其是在手写书籍中,这是一个特点。因此,CT以漫画书的形式为西伯利亚读者所知,并被用来说明,特别是教父的文本。作者声明没有利益冲突。
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引用次数: 0
“Rospis’ Kitayskomu gosudarstvu i Lobinskomu...” by the Tomsk Cossack Ivan Petlin: External criticism of the source, linguistic publication “罗斯的Kitayskomu gosudarstvu在Lobinskomu……”托木斯克哥萨克伊凡·佩特林:来源的外部批评,语言出版
IF 0.1 Q3 Arts and Humanities Pub Date : 2022-01-01 DOI: 10.17223/23062061/29/7
O. Kazakevich, G. Starikova
The article presents the text of the report on the trip to China of a small squad of Russian service people under the command of the Tomsk Cossack Ivan Petlin in 1618-1619. The text is prepared according to the rules of a linguistic publication. Written in the genre of rospis’ (list, inventory), this document became the first reliable evidence of a Russian visit to China and enriched world science with its geographical and ethno-cultural data. The research part of the publication contains the external criticism of the source, including the definition of authorship, time and place of origin of the source, the conditions for its formation and the genre features of the presented Rospis’. According to the established tradition, a complex of paleographic data of the text was considered within the framework of external criticism of Petlin’s report; this relates to its linguistic informativeness: the type of writing, spelling features and the presence of edits in the text, the readability of the text, as well as the characteristics of the graphics of the records created by two people. The text of the present Rospis’ is completed in cursive writing, typical for the beginning of the 17th century, with an even direction of the lines that contain traces of gridding, which gives the writing a certain accuracy. Repeated introductions (a ot - whom?/what? -ekhati/idti - how long?) and parallelism in the construction of sentences are noted on some sheets, which characterises business letters of this era. The analysis revealed new information that supplements the linguistic richness of the previous editions of this report by historians and made it possible to clarify some lexemes (so vstuku, Yunokach’), a number of morphological forms (yadra) reflecting the construction of nominal and pronominal paradigms at that time (vo khramu, vsyakimi obrazy, za plechmi); numerals which in this publication are represented in numbers (vosm’, po pyatidesyat) proved to be particularly informative. When reproducing the text, the rules of a linguistic publication were taken into account, involving the separation of words, the introduction of capital letters for proper names, marking the end of the line and sheet. Marginal graphemes are in italics, titles are omitted, and abbreviations are not opened due to their traditional character for medieval writing (tsr’, gdrstvo). Lost letters at the end of a line or omitted at the end of a word before a similar grapheme at the beginning of the next one are restored in square brackets, reading options are offered in parentheses. The only punctuation marks given are dots next to letter-numbers indicated in the record (da v to zh ozero .D reki / vpali), the selection of paragraphs corresponds to spaces at the end of lines. The text is reproduced letter for letter, reflecting the functional duplication of different graphic characters where possible. The authors declare no conflicts of interests.
本文介绍了托木斯克哥萨克伊万·佩特林指挥的一支俄军小分队在1618-1619年间的中国之行报告。本文是按照语言学出版物的规则编写的。这份文件以rospis(清单,清单)的风格写成,成为俄罗斯访问中国的第一个可靠证据,并以其地理和民族文化数据丰富了世界科学。该出版物的研究部分包含对来源的外部批评,包括作者身份的定义,来源的时间和地点,其形成的条件和所呈现的罗斯皮斯的体裁特征。根据既定的传统,在佩特林报告的外部批评框架内考虑了文本的复杂的古生物学数据;这与它的语言信息性有关:写作类型、拼写特征和文本中编辑的存在、文本的可读性以及两个人创建的记录的图形特征。现在的Rospis的文本是用草书完成的,这是17世纪初的典型作品,线条的方向均匀,包含网格的痕迹,这使文字具有一定的准确性。反复的介绍(谁?/什么?)-ekhati/idti -多长?)和句子结构中的平行现象在一些表格上被注意到,这是这个时代商业信函的特征。该分析揭示了新的信息,补充了历史学家先前版本的语言丰富性,并使澄清一些词汇(so vstuku, Yunokach '),一些反映当时名义和代词范式结构的形态(yadra) (vo khramu, vsyakimi obrazy, za plechmi)成为可能;在本出版物中以数字表示的数字(vosm ', Po pyatidesyat)被证明是特别有用的。在复制文本时,考虑到语言学出版物的规则,包括分隔单词、使用大写字母表示专有名称、标记行和页的结束。边缘字素是斜体的,标题被省略,缩略语由于中世纪写作的传统字符(tsr ', gdrstvo)而没有打开。在一行末尾丢失的字母或在一个词的末尾被省略的字母在下一个词的开头出现在一个相似的字素之前,将在方括号中恢复,在括号中提供阅读选项。给出的唯一标点符号是记录中指示的字母数字旁边的点(da v至zh 0 . d reki / vpali),段落的选择对应于行末的空格。文本逐字复制,尽可能反映不同图形字符的功能复制。作者声明没有利益冲突。
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引用次数: 0
Non-standard graphic realizations in modern printed texts 现代印刷文本中的非标准图形实现
IF 0.1 Q3 Arts and Humanities Pub Date : 2022-01-01 DOI: 10.17223/23062061/29/9
E. Khakimova
The article deals with violations of the callitypical norms regulating the use of fonts and compositional-spatial signs in a printed text. Norms and deviations of this type are represented in the modern orthology field, despite fundamental technical and technological changes in the media sphere. The theoretical foundations of the work trace their origin to papers on the functional and aesthetic aspect of printed graphics (E. Adamov, V. Toots, E.V. Oleshko, J. Tschichold, R. Bringhurst) and to orthological studies of callitypical norms (J. Vachek, A.A. Reformatsky, B.S. Schwarzkopf). The empirical basis was publications in Argumenty i Fakty and Cosmopolitan Russia for 2019. The author has revealed the following types of nonstandard callitypical realizations using the method of a systemic-functional analysis: total font accentuation (20 units); graphic overprotection (2 units); incorrect use of graphic markers in the main part of the texts (7 units); graphic polysemy and homonymy (72 units); graphic synonymy (51 units); non-normative compositional-spatial variants (5 units). All of them are associated with violations of semiotic symmetry between the signifier and the signified, which is characteristic of rigid systems, including printed language. These non-standard uses differ in terms of motivation, representing creative techniques (total font accentuation, graphic overprotection, ideographic synonymy) or callitypical mistakes (other non-standard variants). Units of the first type, when used appropriately, increase the expressiveness of printed tests; units of the second type complicate the solution of communicative tasks and reduce the level of the speech culture. The author pays attention to the criteria of callitypical normativity and shows that here, as in other orthological areas, the systems principle is in complicated interactions with traditional prescriptions. The study of graphic deviations proves that the callitypical norm creates clear architectonics and provides functional navigation. Therefore, it is advisable to comply with these requirements both in the press and in other types of printing product. The author declares no conflicts of interests.
本文讨论了在印刷文本中违反规范字体和构成空间符号使用的书体规范的情况。尽管媒体领域发生了根本性的技术和技术变化,但这种类型的规范和偏差在现代正形学领域仍有体现。这项工作的理论基础可以追溯到印刷图形的功能和美学方面的论文(E. Adamov, V. Toots, E.V. Oleshko, J. Tschichold, R. Bringhurst)和书法典型规范的矫形学研究(J. Vachek, A.A. Reformatsky, B.S. Schwarzkopf)。实证依据是2019年在Argumenty i Fakty和Cosmopolitan Russia上发表的文章。作者运用系统功能分析的方法揭示了以下几种非标准书体实现类型:总字体加重(20个单位);图形过度保护(2个);在正文部分不正确地使用图形标记(7单元);图文多义谐音(72个单位);图形同义词(51个单位);非规范的组成-空间变体(5个单位)。所有这些都与能指和所指之间的符号对称的违反有关,这是刚性系统的特征,包括印刷语言。这些非标准用法在动机方面有所不同,代表了创造性的技术(总字体强调、图形过度保护、表意同义词)或书法性错误(其他非标准变体)。如果使用得当,第一种类型的单位可以增加打印测试的表现力;第二类单位使交际任务的解决复杂化,降低了言语文化的水平。作者注意到书体规范的标准,并表明,在这里,如在其他正交学领域,系统原则是在复杂的相互作用与传统的处方。对图形偏差的研究证明,书体规范创造了清晰的建筑结构,提供了功能导航。因此,在印刷机和其他类型的印刷产品中都应遵守这些要求。作者声明没有利益冲突。
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引用次数: 0
Soviet editing in the 1970s (On the example of Uladzimer Karatkievich’s Christ Landed in Grodno: The Gospel of Judas) 20世纪70年代的苏联编辑(以乌拉齐默·卡拉特基维奇的《基督登陆格罗德诺:犹大的福音》为例)
IF 0.1 Q3 Arts and Humanities Pub Date : 2022-01-01 DOI: 10.17223/23062061/28/7
Piotr P. Zhauniarovich
Branches of editing (field of scientific knowledge and a sphere of practical activity) in the 1970s were often in the state of contradiction. On the one hand, freedom of the author’s expression and the editors’ careful attitude to authors’ manuscripts were claimed; on the other hand, publishing saw numerous facts of intervention of ideological party bodies and censorship: without their approval no book could be published. To reveal the degree of intervention into a literary text, the author compares two (1972 and 1980) editions, with preserved typewriting, of the novel Christ Landed in Grodno: The Gospel of Judas by the Belarusian writer Uladzimer Karatkievich. He analyzes the reasons for deleting separate fragments, erasing and replacing words and parts of sentences, and suggests the possible motivation for the editors’ activities. The author pays attention to the novel’s complexity for editorial analysis, to the necessity of reference to the texts of the Holy Bible and different reference materials on religious history when editing. The research revealed numerous corrections. The main reason for deleting separate fragments was the revealing of the author’s position, which was extrapolated on the Soviet society and did not correspond to the formation of Marxist-Leninist ideology with its expressive atheistic orientation. Editors often showed arbitrariness and leveled the author’s style, destroyed the author’s intention, and groundlessly replaced words and expressions uncomfortable for them. The author found differences in the editions of 1972 and 1980. They testify to the lack of the editors’ professionalism. The author mentions the fact that Karatkievich’s novel became a phenomenon in the Belarusian literature of the second half of the 20th century, and it was only in 2015 that the original text of the novel was published in the Republic of Belarus. The research proves that all the writer’s heritage published in Soviet times needs a rigorous study, including comparison of manuscripts and typescripts (if available), and the publishing of the heritage in the author’s edition. This will entail the need for new translations which will acquaint foreign readers with Karatkievich’s original texts.
编辑的分支(科学知识领域和实践活动领域)在20世纪70年代经常处于矛盾状态。一方面,主张作者的言论自由和编辑对作者稿件的认真态度;另一方面,出版也有很多意识形态党组织和审查机构干预的事实:没有他们的批准,任何一本书都不能出版。为了揭示对文学文本的干预程度,作者比较了白俄罗斯作家乌拉齐默·卡拉特基维奇(Uladzimer Karatkievich)的小说《基督在格罗德诺登陆:犹大的福音》(Christ landing in Grodno: the Gospel of Judas)的两个保留打字的版本(1972年和1980年)。他分析了删除单独片段、删除和替换单词和句子部分的原因,并提出了编辑活动的可能动机。作者在编辑分析时注意小说的复杂性,在编辑时注意参考圣经文本和各种宗教历史参考资料的必要性。研究发现了许多更正。删除单独片段的主要原因是为了揭示作者的立场,这是根据苏联社会推断出来的,不符合马克思列宁主义意识形态的形成,其表现的无神论取向。编辑往往一意孤行,诋毁作者的风格,破坏作者的本意,毫无根据地替换自己不舒服的词语。作者在1972年和1980年的版本中发现了差异。它们证明了编辑缺乏专业精神。作者提到卡拉特基耶维奇的小说成为20世纪下半叶白俄罗斯文学中的一种现象,直到2015年,小说的原著才在白俄罗斯共和国出版。研究证明,在苏联时期出版的所有作家的遗产都需要进行严格的研究,包括手稿和打字稿的比较(如果有的话),以及在作者的版本中出版遗产。这就需要有新的译本,让外国读者熟悉卡拉特基耶维奇的原著。
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引用次数: 0
The reading Tomsk. Textbook review: The reader problem in Tomsk and Tomsk Province in the late 19th - early 20th centuries (Vorobyeva, T.L. (ed.) (2020). Tomsk: Tomsk State University) 阅读托木斯克。教科书评论:19世纪末至20世纪初托木斯克和托木斯克省的读者问题(Vorobyeva, T.L.(主编)(2020)。托木斯克:托木斯克国立大学)
IF 0.1 Q3 Arts and Humanities Pub Date : 2022-01-01 DOI: 10.17223/23062061/28/10
Natalya V. Oturgasheva
Preparation of a training manual “A reader’s problem in Tomsk and Tomsk province at the end of XIX - beginning of XX century” by a group of Tomsk researchers is seen as not only relevant and natural but also as a long-awaited phenomenon in the sphere of modern liberal education. Book culture and reading practices in the context of a certain epoch represent interest to specialists not only from theoretical but also from practical and metodological point of view. The purpose of the manual stated by the authors is to “identify the main trends regarding building reading practices at the end of XIX - beginning of XX centuries and determine their value in book culture at the turn of the century” is being implemened based on the unique archival materials from the collections of the Tomsk State University Scientific Library, the Tomsk Local Lore Museum, the Tomsk Regional Archive. Diversity, richness and originality of the factual material coupled with research sensivity and thoroughness make it possible to trace the dynamics of reading practices becoming and developing in Tomsk and Tomsk province and to evaluate their impact on both regional literary process and social and spiritual changes taking place in society as a whole. Study of a reader in the context of the famous N. A. Rubakin’ triad “society - author -work” enables to understand the complex interaction mechanism of literary process, publishing strategies and reading practices existing in inextricable link and in many aspects defining the life of society in its spiritual dimension. The training manual aimed at youth audiences is written in clear language, filled with vivid images of people - readers and book lovers as well as with archaeographic factors introduced by the authors in scientific circulation. Publication has a clear-cut structure set by the logic of promoting a book - from the centre of a province to a rural reader, from the state publishing policy to the forms of readers’ amateur activities. For the convenience of readers, sections are prefaced with annotation, include questions and tasks for self-study as well as the list of additional literature on the topic of study. Such an approach updates research issues, introduces them in the context of vital pedagogical objectives and designates prospects of developing a conscious and qualified reader. And this is the central task, which - in our opinion - the authors of the training manual are well aware of. We believe that this noble task has been perfectly implemented in the book: uniqueness and diversity of the material, depth of its comprehenson, methodical thoroughness make the presented work a modern and timely educational publication and reveal rich traditions in preservation and continuation of high literary culture. That is precisely why the training manual is useful not only for publishers and philologists but also for future specialists with the broad range of expertise who together with professional knowledge in the high scho
一组托木斯克研究人员编写的培训手册“19世纪末至20世纪初托木斯克和托木斯克省的读者问题”不仅被视为相关和自然的,而且被视为现代自由教育领域期待已久的现象。特定时代背景下的图书文化和阅读实践不仅从理论角度,而且从实践和方法论角度都引起了专家们的兴趣。作者表示,该手册的目的是“确定19世纪末至20世纪初建筑阅读实践的主要趋势,并确定它们在世纪之交的图书文化价值”,该手册是基于托木斯克国立大学科学图书馆、托木斯克地方文化博物馆、托木斯克地区档案馆的独特档案材料而实施的。事实材料的多样性、丰富性和原创性,再加上研究的敏感性和彻彻性,使得追踪托木斯克和托木斯克省阅读实践的形成和发展的动态成为可能,并评估它们对区域文学进程和整个社会发生的社会和精神变化的影响。在著名的N. a .鲁巴金“社会-作者-作品”三元关系的背景下研究读者,可以理解文学过程、出版策略和阅读实践之间存在着千丝万缕的联系,并在许多方面界定了社会生活的精神维度。这本以青少年读者为对象的培训手册语言清晰,充满了读者和图书爱好者的生动形象,以及作者在科学流通中介绍的考古因素。从省份中心到农村读者,从国家出版政策到读者业余活动形式,出版有一个清晰的结构,这是由推广图书的逻辑所决定的。为了方便读者,各部分的序言都附有注释,包括自学的问题和任务,以及关于学习主题的额外文献列表。这种方法更新了研究问题,在重要教学目标的背景下介绍它们,并指明了培养有意识和合格读者的前景。这是中心任务,我们认为,培训手册的作者很清楚这一点。我们相信,这一崇高的任务在这本书中得到了完美的实现:材料的独特性和多样性,理解的深度,系统的彻彻性使所呈现的作品成为现代和及时的教育出版物,并揭示了保存和延续高级文学文化的丰富传统。这正是为什么培训手册不仅对出版商和语言学家有用,而且对具有广泛专业知识的未来专家也很有用,这些专家在高中学习了专业知识,掌握了用一本书进行有意义和富有成效工作的技能。
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引用次数: 0
Western European editions in the manor library of the 18th-century Ural industrialist Alexei Turchaninov 18世纪乌拉尔实业家阿列克谢·图尔恰尼诺夫庄园图书馆的西欧版本
IF 0.1 Q3 Arts and Humanities Pub Date : 2022-01-01 DOI: 10.17223/23062061/28/4
E. P. Pirogova
Personal libraries occupy a special place in the structure of the cultural heritage of the past. The study of one of them - currently the largest noble library of the Urals of the 18th century - should be recognized as a serious research objective. The study became possible thanks to the discovery of a rare source - the Property Inventory, compiled in 1789 after the death of the Ural industrialist Alexei Turchaninov. A huge section of the Inventory is reserved for the library, almost a quarter of which (about a thousand volumes) is occupied by Western European publications, and the article aims to analyze the latter. The difficulty, and often impossibility, of identifying foreign books according to the Inventory is due to the fact that they are described not in the original language, but in Russian, with no imprint, briefly, with inaccurate reproduction of authors’ names and surnames. Therefore, it was possible to more or less reliably identify only a part of the books, while all of them were distributed according to linguistic characteristics and branches of knowledge. In total, 16 thematic sections are specified, each presented separately and in a summarizing table. The European publications on astronomy, physics and mechanics, mathematics, chemistry and mineralogy, natural science and medicine, which are not so typical for the noble library, are consistently considered, especially since among the books on this topic there was a lot of scientific and special literature. The maximum number of titles among foreign books was made up of books on chemistry and mineralogy, which speaks of the industrial interests of the library owner and his priorities in choosing foreign publications. The variety of literature on metallurgy, construction, mining, and industrial architecture is quite expected as part of the book collection of the Ural manufacturer. The humanitarian part of the library is rich in books on philosophy, politics and law; a historical section stands out: it ranks third in the number of titles and volumes. Modest in comparison with others, the section of literature of religious content still testifies to Turchaninov’s spiritual quest, his interest in the origin of Christianity and the history of religion. In general, the analysis of foreign books by the degree of reflection of their titles and by the number of volumes in thematic sections showed that books of two sections - on art and pedagogy - dominate in the library, which indicates a serious influence of the family and the owner’s enthusiasm for collecting (paintings, etc.) on completing his book collection. A general conclusion is made that, in terms of the composition of its foreign part, Turchaninov’s library is completely universal, that is, characteristic of the era, but at the same time not typical of the noble book collections of that time; it shows a noticeable trend towards natural science and industrial literature. During the period defined by the term “Gallomania” and the pr
个人图书馆在过去的文化遗产结构中占有特殊的地位。对其中之一的研究——目前是18世纪乌拉尔最大的贵族图书馆——应该被视为一个严肃的研究目标。这项研究之所以成为可能,是因为发现了一份罕见的资料——1789年乌拉尔实业家阿列克谢·图尔恰尼诺夫去世后编纂的《财产清单》。《目录》的很大一部分是为图书馆保留的,其中近四分之一(约一千册)被西欧出版物占据,本文旨在分析后者。根据目录识别外国书籍的困难,往往是不可能的,是因为它们不是用原始语言描述的,而是用俄语描述的,没有印记,简单地说,作者的名字和姓氏的复制不准确。因此,可以或多或少可靠地识别只有一部分的书,而所有的书都是根据语言特征和知识分支分布的。总共规定了16个专题节,每一节分别列在一个摘要表中。欧洲的天文学、物理学和力学、数学、化学和矿物学、自然科学和医学等方面的出版物在贵族图书馆中并不那么典型,特别是在这方面的书籍中有许多科学和专门的文献。外文图书中最多的是化学和矿物学方面的书籍,这说明了图书馆老板的工业利益和他在选择外国出版物时的优先事项。关于冶金、建筑、采矿和工业建筑的各种文献是乌拉尔制造商藏书的一部分。图书馆的人文部分有丰富的哲学、政治和法律方面的书籍;历史部分尤为突出:它在标题和卷数上排名第三。与其他作品相比,这部分宗教内容的文学作品相对温和,但仍然证明了图尔查尼诺夫的精神追求,以及他对基督教起源和宗教史的兴趣。总的来说,通过题目的反映程度和专题部分的卷数对外文图书的分析表明,艺术和教育学两个部分的书籍在图书馆中占主导地位,这表明家庭和主人的收藏热情(绘画等)对完成他的藏书有严重的影响。从图尔恰尼诺夫图书馆外文部分的构成来看,图尔恰尼诺夫图书馆是完全具有普遍性的,即具有时代特征,但同时又不具有当时贵族藏书的典型;它表现出明显的自然科学和工业文学倾向。在被称为“Gallomania”和法国文学在贵族图书馆占主导地位的时期,图尔恰尼诺夫图书馆中85.7%的外国书籍是德语,这是当时科学和科学知识的语言。
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引用次数: 0
A geopolitical map of Fyodor Dostoevsky’s world: A systematic description 陀思妥耶夫斯基世界的地缘政治地图:系统描述
IF 0.1 Q3 Arts and Humanities Pub Date : 2022-01-01 DOI: 10.17223/23062061/28/1
Elena G. Novikova, Ekaterina M. Ponkratova, Anna G. Kozhevnikova
The relevance of the study lies in the facts that it explores the issues related to the global significance of Dostoevsky’s literary heritage and interdisciplinary approaches to analyzing Russian literature. The significance of the study is stipulated by the current state of scientific knowledge concerning a particular role of literary works in describing and interpreting global political and state processes. The aim of the study is to reconstruct and map Dostoevsky’s geopolitical worldview based on the analysis of his literary and journalistic works. To consider the writer’s works from the standpoint of his involvement into the political issues is the first attempt within Dostoevsky studies. The analysis of Dostoevsky’s literary heritage from a geopolitical perspective was carried out on the basis of Statisticheskiy slovar’ yazyka Dostoevskogo [Statistical Dictionary of Dostoevsky’s Language]. However, since this book does not contain draft notes and earlier versions, preliminary drafts and notebook materials, these texts were intentionally explored. This is the first literary study of its kind which is based on a variety of modern statistical methods. This fact makes it possible to state that the obtained results present new knowledge about Dostoevsky and are of undisputed novelty. The study is focused on big geopolitical subjects, i.e. countries, transnational and national unions, prominent regions; therefore, the present article is only the first stage of the study. In accordance with the conducted analysis and calculations, the following frequency of geopolitical subjects’ mentions is proposed: Russia (4420); France (848); Germany (735); Britain (397); Turkey (304); Siberia (223); Italy (173); Switzerland (172); Poland (145); Austria (141); America (119); Bulgaria (83); Serbia (83); China (49); Spain (40); Montenegro (38); Caucasus (38); Crimea (30); Egypt (26); Greece (23); Hungary (19); Balkans (18); Central Asia (18); Holland (15); Syria (14); Herzegovina (13); Novorossiya (10); Sweden (7); Japan (6); Altai (5); Arabia, Africa, Bosnia, Dagestan, India, Lithuania, Mexico, Sicily, Finland (each 4); Belgium, Iceland, Malta, Peru, Sandwich Islands (each 3); Brazil, Brittany, Denmark, Israel, Moldova, Romania, Sakhalin (each 2); and Galicia (1). The frequency of geopolitical subjects’ mentions by years is as follows: 1877 (2100), 1876 (1516), 1860 (567), 1880 (502), 1872 (388), 1873 (381), 1868 (366), 1862 (328), 1866 (265), 1875 (264), 1869 (170), 1863 (155), 1881 (135), 1867 (128), 1878 (122), 1864 (120), 1859 (102), 1874 (100), 1870 (96), 1856 (75), 1861 (61), 1871 (54), 1865 (52), 1846 (43), 1847 (41), 1849 (38), 1858 (25), 1854 (21), 1848 (15), 1857 (12), 1845 (5), 1843-1844 (3), 1838-1839 (2), 1879 (1); geopolitical subjects were not mentioned in 1841, 1842, 1850, 1851, 1852, 1853, and 1855. he authors express their deep gratitude to M.V. Podrezov for his assistance in preparing this article. Contribution of the authors: the authors cont
这项研究的相关性在于,它探讨了陀思妥耶夫斯基文学遗产的全球意义以及分析俄罗斯文学的跨学科方法。这项研究的意义是由科学知识的现状所规定的,这一现状涉及文学作品在描述和解释全球政治和国家进程中的特定作用。本研究旨在通过对陀思妥耶夫斯基文学和新闻作品的分析,重构陀思妥耶夫斯基的地缘政治世界观。在陀思妥耶夫斯基研究中,第一次尝试从陀思妥耶夫斯基卷入政治问题的角度来考察陀思妥耶夫斯基的作品。从地缘政治的角度分析陀思妥耶夫斯基的文学遗产,是在statisticcheskiy slovar的《陀思妥耶夫斯基语言统计词典》的基础上进行的。然而,由于这本书不包含草稿笔记和早期版本,初稿和笔记本材料,这些文本是有意探索。这是第一个基于各种现代统计方法的文学研究。这一事实使我们有可能说,所获得的结果提供了关于陀思妥耶夫斯基的新知识,并且具有无可争议的新颖性。研究的重点是地缘政治大课题,即国家、跨国和民族联盟、突出地区;因此,本文只是研究的第一阶段。根据所进行的分析和计算,建议地缘政治主题的提及频率如下:俄罗斯(4420);法国(848);德国(735);英国(397);土耳其(304);西伯利亚(223);意大利(173);瑞士(172);波兰(145);奥地利(141);美国(119);保加利亚(83);塞尔维亚(83);中国(49);西班牙(40);黑山共和国(38);高加索(38);克里米亚(30);埃及(26);希腊(23);匈牙利(19);巴尔干半岛(18);中亚(18);荷兰(15);叙利亚(14);黑塞哥维那(13);Novorossiya (10);瑞典(7);日本(6);阿尔泰(5);阿拉伯、非洲、波斯尼亚、达吉斯坦、印度、立陶宛、墨西哥、西西里岛、芬兰(各4个);比利时、冰岛、马耳他、秘鲁、桑威奇群岛(各3个);巴西、布列塔尼、丹麦、以色列、摩尔多瓦、罗马尼亚、库页岛(各2个);和加利西亚(1)。地缘政治的频率受试者所提到如下:1877年(2100),1876(1516),1860(567),1880(502),1872(388),1873(381),1868(366),1862(328),1866(265),1875(264),1869(170),1863(155),1881(135),1867(128),1878(122),1864(120),1859(102),1874(100),1870(96),1856(75),1861(61),1871年(54),1865 (52),1846 (43),1847 (41),1849 (38),1858 (25),1854 (21)1848 (15),1857 (12),1845 (5),1843 - 1844 (3),1838 - 1839 (2),1879 (1);在1841年、1842年、1850年、1851年、1852年、1853年和1855年没有提到地缘政治科目。作者对M.V. Podrezov在撰写本文时提供的帮助深表感谢。作者的贡献:作者对本文的贡献是平等的。作者声明没有利益冲突。
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引用次数: 0
Genre and Stylistic Features of the Modern Audiobook 现代有声书的体裁与文体特征
IF 0.1 Q3 Arts and Humanities Pub Date : 2021-01-01 DOI: 10.17223/23062061/25/9
V. Bal, Elizaveta E. Gutkevich
Modern technological conditions make it possible to create, quickly replicate and use audio books conveniently. Audio books are one of the fastest growing segments of the global publishing market. Informative issues of creating audio books, not technological ones, are in the research focus of the article. The content of an audiobook is a voiced text that refers to the “auditory literature”. Assessments of the quality of the auditory literature are polar. On the one hand, it is considered secondary to the original literary text; on the other hand, it is a self-contained artistic phenomenon with its own aesthetic nature. In this article, an audiobook is considered precisely in the aspect of its artistic value, which is highlighted when speaking about the genre nature of the voiced text. The genre features of the voiced text in this study are identified taking into account the communicative features of its formal-stylistic features. The communicative nature of the audiobook genre is associated with two types of reading, which reflect the opposite positions of the two participants in communication. On the one hand, this is an expres-sive reading aloud, which can also be defined as staged reading. Genetically, this type of reading is associated with public performances of artists and initially assumed live reading. Further, this type of reading is transformed into the genre of radio plays, called “theater at the microphone”. In modern communicative practices of creating and repli-cating audio content, including one related to the actor’s readings of works of art, there is no binding to time and place. On the other hand, this is auditory reading, a modifica-tion of which is audio reading in modern technological conditions. If auditory reading is the first reading practice of a child mastering books from the voice of a parent, then audio reading is the choice of an adult who can read. The acoustic representation of a literary work is associated not only with the performance of elementary technical characteristics of sound, but also with the introduction of a certain aesthetic value into it. The creative translation of a literary text from verbal to acoustic should preserve its value in the aesthetic plane, without reducing it to a purely pragmatic one. Actualization of the aesthetic value of an audiobook outside of its paper format is associated with the principles of its directing and editorial preparation – the principles associated with the implementation of the stylistic characteristics of the genre form of an audiobook. Translation of a verbal literary text into an audio one is carried out as a result of comparing reading a book to dramatic action. In this case, the forming element of the genre becomes the sounding text itself. In the case of audio books, the reader’s voice as a performer’s instru-ment and the musical noise accompaniment of the text read is a style-forming genre element. The article traces the publishing strategies for the embodime
现代技术条件使有声图书的创作、快速复制和方便使用成为可能。有声书是全球出版市场中增长最快的部分之一。本文的研究重点是有声书的信息问题,而不是技术问题。有声书的内容是一种有声文本,指的是“听觉文学”。对听觉文献质量的评价是两极的。一方面,它被认为是次于原始文学文本的;另一方面,它又是一种自成一体的艺术现象,具有自身的审美本质。在本文中,有声读物正是从其艺术价值的角度来考虑的,这一点在有声文本的体裁性质中尤为突出。本文结合交际特征和形式文体特征,确定了浊音语篇的体裁特征。有声读物类型的交际性质与两种阅读类型有关,这两种阅读类型反映了两种交流参与者的相反立场。一方面,这是一种表达性朗读,也可以定义为阶段式朗读。从基因上讲,这种类型的阅读与艺术家的公共表演有关,最初被认为是现场阅读。此外,这种类型的阅读被转化为广播剧的类型,被称为“麦克风前的戏剧”。在创造和复制音频内容的现代交际实践中,包括与演员对艺术作品的阅读有关的音频内容,没有时间和地点的约束。另一方面,这是听觉阅读,在现代技术条件下,听觉阅读是听觉阅读的一种修改。如果说听觉阅读是孩子从父母的声音中掌握书籍的第一种阅读练习,那么音频阅读则是会阅读的成年人的选择。文学作品的声学表现不仅与声音的基本技术特征的表现有关,而且与一定的审美价值的引入有关。文学文本从言语到听觉的创造性翻译应保持其在美学层面的价值,而不应将其降低到纯粹的语用层面。有声书在纸质形式之外的美学价值的实现与其指导和编辑准备的原则有关,这些原则与有声书体裁形式的风格特征的实现有关。将口头文学文本翻译成音频文本是将阅读一本书与戏剧动作进行比较的结果。在这种情况下,体裁的形成元素变成了发音文本本身。在有声书中,读者的声音作为表演者的工具,伴随着文本的音乐噪音是一种形成风格的类型元素。本文探讨了在现代有声文化实践背景下,有声书体裁形式文体特征体现的出版策略。
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引用次数: 0
Book Review: Sharafadina, K.I. (2018) Selam, otkroysya! Floropoetika v Obraznom Yazyke Russkoy i Zarubezhnoy Literatury [Selam, Open Up! Floropoetics in the Figurative Language of Russian and Foreign Literature]. St. Petersburg: NestorIstoriya
IF 0.1 Q3 Arts and Humanities Pub Date : 2021-01-01 DOI: 10.17223/23062061/26/12
N. Tsvetova
The reviewer draws attention to the author’s integrative interdisciplinary methodology. First of all, it is the interdisciplinarity of the research algorithm, which allowed the well-known scholar to conceptualize and present the textual embodiment of the correlation of the “text of life” by the “text of culture” in a new way. This approach allows the author to comprehend the “polygenism” of floristic components of a literary plot. The reviewer considers the creation of the concept of an original and, in many respects, innovative research practice – floropoetology – to be the main achievement of the author, a literary critic with significant research experience. The author proposes refined translations and subscripts of French and English texts, archival materials, which adds to the value of the work. The book is intended for a wide range of readers.
审稿人提请注意作者的综合跨学科方法论。首先是研究算法的跨学科性,让知名学者以一种全新的方式概念化并呈现“生命文本”与“文化文本”的关联的文本体现。这种方法使作者能够理解文学情节中植物区系成分的“多源性”。审稿人认为,作为一位具有丰富研究经验的文学评论家,作者的主要成就是创造了一种原创的、在许多方面具有创新性的研究实践——植物词源学。作者对法文和英文文本、档案资料提出了精细化的翻译和批注,增加了作品的价值。这本书是为广大读者设计的。
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引用次数: 1
Yevgeny Zamyatin’s “Hypertext” About the Female Warrior. Article I 叶夫根尼·扎米亚京关于女战士的“超文本”。篇文章中,我
IF 0.1 Q3 Arts and Humanities Pub Date : 2021-01-01 DOI: 10.17223/23062061/27/2
V. Zuseva-Ozkan
This article deals with Yevgeny Zamyatin’s “hypertext” about the female warrior, i.e. with the totality of her manifestations in the works of the writer and the semantic continuum that they form. This type of character is defined as a heroine with outstanding physical abilities (such as strength, horse-riding and shooting skills, etc. - and also great beauty), a strong, proud personality, persistence, ability to fight back, determination to gain the upper hand, to win at all costs - especially in the game of power and armed conflict with the male character that is in love with the heroine and/or is loved by her. The author identifies Zamyatin’s works in which the woman warrior appears, analyzes the plot functions and the characteristic motif complex associated with this image. The author demonstrates that the female warrior represents a very frequent type of heroine in Zamyatin’s works: the image appears at the beginning of his career as a writer, in the short story “Kryazhi” (1915), and accompanies him until the end, manifesting itself in the screenplays written in the 1930s. The author reveals that a specific variant of the plot featuring the female warrior is implemented in Zamyatin’s works: the heroine is shown as equal in strength with the male character, and the test of power happens, in particular in the form of a literal duel. Whatever its outcome is and whoever wins, the storyline usually finishes with the death of one or both characters - either during the combat or as its remote consequence. While the type of the plot is usually the same, the female character itself shows a wide variety: there are Valkyrie-like heroines (Ildegonda in the play Atilla), polenitsas from Russian bylina songs (such as Nastasya Mikulishna in the screenplay “Dobrynya” or Marya in “Kryazhi”), Mongolian women warriors (Borte, Ulek), and even contemporary heroines of this type (Zinaida in the screenplay “The God of Dance”). Usually such characters are attributed in Zamyatin to the legendary epic past or rooted in “folk archaics”; they belong to the rural world, to the Russian village. The constant topoi and the evolution of the female warrior in Zamyatin’s artistic works are revealed; in particular, such motifs as love-hate, test of strength (in the form of a duel or a competition), mutual intendedness of two “strong ones” and their tragic non-encounter are considered. The author notes that the supervalue of the female warriors in Zamyatin’s works is love, while for some other writers of the Silver Age, for instance, for Marina Tsvetaeva or Lyubov Stolitsa, such values were female agency, independence, control over one’s life, freedom, or even spiritual salvation. The play Atilla and its heroine Ildegonda are analyzed in this article in particular detail; the sources of this image are revealed.
本文探讨了叶夫根尼·扎米亚京关于女战士的“超文本”,即她在作家作品中的整体表现及其所形成的语义连续体。这种类型的角色被定义为具有出色的身体能力(如力量,骑马和射击技能等-而且非常漂亮),坚强,骄傲的个性,坚持不懈,反击能力,决心占据上风,不惜一切代价赢得胜利-特别是在权力游戏和与女主角相爱或被她所爱的男性角色的武装冲突中。作者对扎米亚京作品中出现的女战士形象进行了识别,分析了与这一形象相关的情节功能和特有的母象情结。作者证明,女战士是扎米亚金作品中非常常见的女主角类型:这一形象出现在他作为作家生涯的开始,在短篇小说“Kryazhi”(1915)中,并伴随他直到最后,在20世纪30年代写的剧本中表现出来。作者揭示了扎米亚京的作品中对女战士情节的一种特殊的变体:女主与男性角色在力量上是平等的,权力的考验发生了,特别是以一场字面上的决斗的形式。无论结局是什么,谁赢了,故事情节通常以一个或两个角色的死亡结束——要么是在战斗中,要么是在遥远的后果中。虽然情节的类型通常是相同的,但女性角色本身表现出广泛的多样性:有女武神式的女主角(戏剧《阿提拉》中的Ildegonda),俄罗斯bylina歌曲中的polenitsas(如剧本《Dobrynya》中的Nastasya Mikulishna或《Kryazhi》中的maria),蒙古女战士(Borte, Ulek),甚至是这种类型的当代女主角(剧本《舞蹈之神》中的Zinaida)。在《扎米亚京》中,这些人物通常被归因于过去的传奇史诗或根植于“民间古文”;他们属于农村世界,属于俄罗斯的村庄。揭示了扎米亚京艺术作品中女性战士的不断变化和演变;特别是,这样的主题,爱恨情仇,实力的考验(以决斗或竞争的形式),两个“强者”的相互意图和他们的悲剧性相遇被考虑在内。作者指出,扎米亚金作品中女性战士的超价值是爱,而对于白银时代的其他一些作家来说,例如玛丽娜·茨维塔耶娃或柳博夫·斯托利察,这种价值是女性的代理、独立、对自己生命的控制、自由,甚至是精神上的救赎。本文对话剧《阿提拉》及其女主角伊尔德冈达进行了详细的分析;这张图片的来源被揭示。
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