The relevance of the problem of the article is connected not only with the interest of modern literary studies in its historical-literary, socio-literary, imagological aspects. It is also actualized by the global “friend-or-foe” conflict that has escalated in the 21st century. Of particular interest in this regard is the Siberian socio-cultural space, which has been formed and continues to be formed as a transboundary area as a result of constant migrations and interactions of different cultures, and Siberian literature, which reflects this complex reality in texts of different genres, types, and genera, and simultaneously forming it. A special place in the verbal culture of the region belongs to spiritual literature, initially the most important factor in the formation of the cultural landscape of Siberia, which authoritative philological works prove. However, the consideration of the heritage of the Siberian Orthodox clergy, taking into account the reflection in it of the transboundary nature of the cultural landscape of Siberia and its influence on the formation of the latter, has never become an object of scientific consideration. Defining Siberian spiritual literature as the object of research, the author means works in line with the Christian worldview created by the Siberian Orthodox clergy: representatives of the Russian Orthodox Church, most often transferred to Siberia from the central regions of Russia, as well as Orthodox missionaries traveling to Siberia and living there with the aim of spreading Christianity. The corpus of Siberian spiritual literature of the second half of the 19th century, which certainly expands our ideas about the composition and boundaries of Siberian literature of the pre-revolutionary period, reflects the construction of the Siberian socio-cultural space in a very peculiar way - within the framework of imaginary and social geography. In these texts, Siberia appears as a space personally perceived by the author, as a landscape generated by the perception of the text, and as an institutionally structured space in which literature is considered as one of the interacting socio-cultural fields, and therefore as an instrument for the formation of the cultural landscape of the territory (including its literary process), regional identity, and as an organizer of social interactions. According to the results of the analysis, the author argues that the presented model of reflection of the cultural landscape of Siberia in the spiritual Siberian literature allows expanding the concept “transboundary area”. The concept helps describe the most important characteristics of the landscape - multilayeredness and discreteness, as well as options for interactions within it, which are the most important factor in building this landscape, achieving its stability, preserving identity in conditions of constant transformations. It is also important to emphasize the material on which the proposed model was built - spiritual Siberian l
{"title":"The Cultural Landscape of Siberia in the Spiritual Literature of the Second Half of the 19th Century: Imaginary and Social Geography","authors":"I. A. Ayzikova","doi":"10.17223/23062061/27/6","DOIUrl":"https://doi.org/10.17223/23062061/27/6","url":null,"abstract":"The relevance of the problem of the article is connected not only with the interest of modern literary studies in its historical-literary, socio-literary, imagological aspects. It is also actualized by the global “friend-or-foe” conflict that has escalated in the 21st century. Of particular interest in this regard is the Siberian socio-cultural space, which has been formed and continues to be formed as a transboundary area as a result of constant migrations and interactions of different cultures, and Siberian literature, which reflects this complex reality in texts of different genres, types, and genera, and simultaneously forming it. A special place in the verbal culture of the region belongs to spiritual literature, initially the most important factor in the formation of the cultural landscape of Siberia, which authoritative philological works prove. However, the consideration of the heritage of the Siberian Orthodox clergy, taking into account the reflection in it of the transboundary nature of the cultural landscape of Siberia and its influence on the formation of the latter, has never become an object of scientific consideration. Defining Siberian spiritual literature as the object of research, the author means works in line with the Christian worldview created by the Siberian Orthodox clergy: representatives of the Russian Orthodox Church, most often transferred to Siberia from the central regions of Russia, as well as Orthodox missionaries traveling to Siberia and living there with the aim of spreading Christianity. The corpus of Siberian spiritual literature of the second half of the 19th century, which certainly expands our ideas about the composition and boundaries of Siberian literature of the pre-revolutionary period, reflects the construction of the Siberian socio-cultural space in a very peculiar way - within the framework of imaginary and social geography. In these texts, Siberia appears as a space personally perceived by the author, as a landscape generated by the perception of the text, and as an institutionally structured space in which literature is considered as one of the interacting socio-cultural fields, and therefore as an instrument for the formation of the cultural landscape of the territory (including its literary process), regional identity, and as an organizer of social interactions. According to the results of the analysis, the author argues that the presented model of reflection of the cultural landscape of Siberia in the spiritual Siberian literature allows expanding the concept “transboundary area”. The concept helps describe the most important characteristics of the landscape - multilayeredness and discreteness, as well as options for interactions within it, which are the most important factor in building this landscape, achieving its stability, preserving identity in conditions of constant transformations. It is also important to emphasize the material on which the proposed model was built - spiritual Siberian l","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90722692","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 of the article is to analyze the implementation of the concept “family” in the speech genre of an autobiographical story. The research material is 200 oral autobiographical stories, which were recorded in the villages of Tomsk Oblast during dialectological expeditions from 1946 till 2021. The informants are residents of villages of Tomsk Oblast; they are representatives of different types of speech culture (native speakers of dialect and literary language). All stories are characterized by a relatively stable theme, means of language implementation, and structure, which allows qualifying them as a speech genre whose communicative purpose is to tell about life from the moment of birth to the moment of communication. The novelty of the article is connected with: (1) its appeal to the problem of interaction and mutual influence of the concept and the speech genre in oral everyday discourse, (2) the identification of cognitive features of the concept, (3) the definition of factors of transformation of ideas about the family in ordinary consciousness. The analysis of the concept makes it possible to obtain new data about the speech genre of the autobiographical story and its construction. The speech genre shows the dependence of the features of the content and implementation of the concept “family” on the sphere of functioning. This factor determines the theoretical significance of the results obtained. The analysis of the concept in the speech genre is carried out using the method of modeling and description of the conceptual, figurative, and value layers in the structure of the concept. As a result of contextual analysis, 16 cognitive features were identified; they are represented in the conceptual layer of the concept “family” and actualized in the speech of informants (family size, social status, compliance with moral norms, relations between family members, attitude to work, etc.). The conceptual layer is developed in detail in the oral everyday communication of Siberians. It is represented by a large number of lexical units. The figurative layer of the concept is characterized by single actualizations. At the same time, the variety of their expression is noted: metaphor, metonymy, comparisons are used. The world of the family can form the initial and resulting spheres of metaphorical models. In the initial sphere, the world of plants (roots, mushrooms), products (noodles) is mainly reflected; the semantics of unity and kinship is actualized in the initial sphere. The value layer of the concept “family” is well represented in the oral autobiographical discourse. It indicates that the family occupies one of the main places in the system of life values of peasants. The specifics of structuring this concept in the oral everyday discourse are determined mainly by the attitudes, norms of traditional culture (the family should be large, friendly, hardworking, young members of family honor the older ones, etc.). At the same time, changes in the
{"title":"The Concept “Family” in the Oral Autobiographical Stories of Siberians","authors":"S. V. Voloshina, T. A. Demeshkina, M. A. Tolstova","doi":"10.17223/23062061/27/3","DOIUrl":"https://doi.org/10.17223/23062061/27/3","url":null,"abstract":"The aim of the article is to analyze the implementation of the concept “family” in the speech genre of an autobiographical story. The research material is 200 oral autobiographical stories, which were recorded in the villages of Tomsk Oblast during dialectological expeditions from 1946 till 2021. The informants are residents of villages of Tomsk Oblast; they are representatives of different types of speech culture (native speakers of dialect and literary language). All stories are characterized by a relatively stable theme, means of language implementation, and structure, which allows qualifying them as a speech genre whose communicative purpose is to tell about life from the moment of birth to the moment of communication. The novelty of the article is connected with: (1) its appeal to the problem of interaction and mutual influence of the concept and the speech genre in oral everyday discourse, (2) the identification of cognitive features of the concept, (3) the definition of factors of transformation of ideas about the family in ordinary consciousness. The analysis of the concept makes it possible to obtain new data about the speech genre of the autobiographical story and its construction. The speech genre shows the dependence of the features of the content and implementation of the concept “family” on the sphere of functioning. This factor determines the theoretical significance of the results obtained. The analysis of the concept in the speech genre is carried out using the method of modeling and description of the conceptual, figurative, and value layers in the structure of the concept. As a result of contextual analysis, 16 cognitive features were identified; they are represented in the conceptual layer of the concept “family” and actualized in the speech of informants (family size, social status, compliance with moral norms, relations between family members, attitude to work, etc.). The conceptual layer is developed in detail in the oral everyday communication of Siberians. It is represented by a large number of lexical units. The figurative layer of the concept is characterized by single actualizations. At the same time, the variety of their expression is noted: metaphor, metonymy, comparisons are used. The world of the family can form the initial and resulting spheres of metaphorical models. In the initial sphere, the world of plants (roots, mushrooms), products (noodles) is mainly reflected; the semantics of unity and kinship is actualized in the initial sphere. The value layer of the concept “family” is well represented in the oral autobiographical discourse. It indicates that the family occupies one of the main places in the system of life values of peasants. The specifics of structuring this concept in the oral everyday discourse are determined mainly by the attitudes, norms of traditional culture (the family should be large, friendly, hardworking, young members of family honor the older ones, etc.). At the same time, changes in the ","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82041232","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 modern literary process indicates the presence of a large number of fiction with documentary subcurrent: facts from the author’s biography are a very slight hyperbolization. An example of such work would be the novel What Do You Want? (2013) by a contemporary Russian writer Roman Senchin, which became the subject of consideration in this article. The synthesis of auto-documentary and literary principles in the story organizes self-narration with unsteady boundaries between the real (“factual”) and the fictional (“fictitious”). The specificity of the correlation of the factual and the fictitious is examined in this work using the method of literary criticism and contextual analysis. The immediate aim of the article is to identify the specificity of expressing the implicit method of author subjectivity in non-fiction. In the author’s opinion, the implicit way of expressing the reflective type of author subjectivity fits more harmoniously into the literary fabric of the work, enriching it with subtexts and hidden meanings. In the course of the study it has been determined that although the center of the story revolves around the everyday life of an ordinary Moscow family, Senchin’s work is not a slice-of-life novel, but a political commentary. The theme of What Do You Want?” is sociopolitical, the problematics are sociocultural. The narration of the novel undergoes an intense analyzing and coming to terms with the sociopolitical events that are highlighted in almost all of the scenes. The text implies that the writer comprehends his own political position and interprets its cause-effect relationships. In order to distance himself as much as possible from his own identity, Senchin uses the technique of “externalizing” and “assigns” the role of the narrator to a teenage girl Dasha, the prototype of which he himself cannot be. Dasha, being a narrator-observer, asks questions, including the one from the title, to herself and other characters, including the father “Roman Senchin”. The time frame for the narration is precisely established: 18 December 2011 – 26 February 2012; each part of the text is a certain day, there are six in total. However, it is not clear who marked the specific days – the real author of the story or, as he conceived, the narrator Dasha. The autofiction method of “externalizing” in combination with the factual plot allows considering What Do You Want? as an ego-text, which in its genre form is something between an excerpt from a family chronicle and a diary. Autofiction in the form of an ego-text allows the writer to implicate his reflection, organizing a space for discussion of the unquestioning “Roman Senchin” (his alter ego) and the doubting Dasha within a kind of a “mental diary” – a space of consciousness in which the author-subject and the narrator are united. “Bringing to light” this “mental” diary, the writer redirects it to a wide range of readers and thus shifts the story from the field of “literature without fiction
{"title":"Expressive Features of Author Subjectivity in the Literary Ego-Text (Roman Senchin’s What Do You Want?)","authors":"O. Shum","doi":"10.17223/23062061/26/2","DOIUrl":"https://doi.org/10.17223/23062061/26/2","url":null,"abstract":"The modern literary process indicates the presence of a large number of fiction with documentary subcurrent: facts from the author’s biography are a very slight hyperbolization. An example of such work would be the novel What Do You Want? (2013) by a contemporary Russian writer Roman Senchin, which became the subject of consideration in this article. The synthesis of auto-documentary and literary principles in the story organizes self-narration with unsteady boundaries between the real (“factual”) and the fictional (“fictitious”). The specificity of the correlation of the factual and the fictitious is examined in this work using the method of literary criticism and contextual analysis. The immediate aim of the article is to identify the specificity of expressing the implicit method of author subjectivity in non-fiction. In the author’s opinion, the implicit way of expressing the reflective type of author subjectivity fits more harmoniously into the literary fabric of the work, enriching it with subtexts and hidden meanings. In the course of the study it has been determined that although the center of the story revolves around the everyday life of an ordinary Moscow family, Senchin’s work is not a slice-of-life novel, but a political commentary. The theme of What Do You Want?” is sociopolitical, the problematics are sociocultural. The narration of the novel undergoes an intense analyzing and coming to terms with the sociopolitical events that are highlighted in almost all of the scenes. The text implies that the writer comprehends his own political position and interprets its cause-effect relationships. In order to distance himself as much as possible from his own identity, Senchin uses the technique of “externalizing” and “assigns” the role of the narrator to a teenage girl Dasha, the prototype of which he himself cannot be. Dasha, being a narrator-observer, asks questions, including the one from the title, to herself and other characters, including the father “Roman Senchin”. The time frame for the narration is precisely established: 18 December 2011 – 26 February 2012; each part of the text is a certain day, there are six in total. However, it is not clear who marked the specific days – the real author of the story or, as he conceived, the narrator Dasha. The autofiction method of “externalizing” in combination with the factual plot allows considering What Do You Want? as an ego-text, which in its genre form is something between an excerpt from a family chronicle and a diary. Autofiction in the form of an ego-text allows the writer to implicate his reflection, organizing a space for discussion of the unquestioning “Roman Senchin” (his alter ego) and the doubting Dasha within a kind of a “mental diary” – a space of consciousness in which the author-subject and the narrator are united. “Bringing to light” this “mental” diary, the writer redirects it to a wide range of readers and thus shifts the story from the field of “literature without fiction","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81013902","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 object of research in this article is the ex-libris sphere of Ukraine in the period from the beginning of the 1990s to the present day. Ukrainian ex-libris actually began to exist in 1991, when it became possible to speak about the Ukrainian bookplate as a phenomenon of art rather than about it as a segment of Soviet graphic art. It has headily changed its character and started a different transformation since the early 1990s. Over the past 20 to 25 years, the Ukrainian bookplate not only has come out of the shadows, turning into a valuable work of art, but also has received several new roles, inheriting the stages of transformation that took place in other countries. If earlier the book plate mainly served as an identifier of the owner, had mainly an informative function and was hidden from the eyes of the public, now it has become not just a work of graphic art, but an art object that, due to its typological diversity and specific artistic qualities, quickly acquired the status of not only an exhibited work of mini-print, but also a collectible. Ex-libris is more often exhibited, it is collected by artists, graphic artists, bibliophiles, and patrons. It has become a kind of an instrument for intercultural dialogue, promoting international communication. The change in the functional charac-teristics of ex-libris, the expansion of the circle of customers, the rapid growth of inter-est in the bookplate, and the increase in demand for it provoked a change in the status of the bookplate among artists themselves. If earlier the book platewas only one of the pages of the creative biography of a number of artists, now there are many masters who specialize in it, who have turned it into the main object of their professional interest. The commercialization of the phenomenon has developed: EL has become a kind of a pass to the international art space for young artists. The Ukrainian cultural field re-ceived its center of popularization of the bookplate as a self-valuable work of art of small-form graphics in 1993, when the Ukrainian ex-libris club was created in Kyiv. In the winter of 1993/94, the first international exhibition Woman in Ex-Libris” was held in the Ukrainian capital. In 1994, the international ex-libris competition Many Reli-gions – God Is One was organized. Since the beginning of the 1990s, there has been a clear tendency to separate several leading schools. The most original, with characteristic stylistic features, schools of the modern Ukrainian bookplate became Lviv, Odessa, Kyiv, Kharkiv. There are also several hotbeds of ex-libris popularization in Ukraine, with great professionals in the field of mini-print, but they are few to speak about inde-pendent schools: Luhansk, Mukachevo, Severodonetsk, Sumy, Chernihiv, Chernivtsi. In today’s art space of the country, the bookplate owes its survival primarily to collec-tors and patrons, and its main, perhaps, the only, way to preserve it in the art world is to transform it into an instru
{"title":"The Bookplate in the Artistic Culture of Ukraine at the Turn of the 21st Century","authors":"J. Romanenkova, Variety Arts","doi":"10.17223/23062061/25/7","DOIUrl":"https://doi.org/10.17223/23062061/25/7","url":null,"abstract":"The object of research in this article is the ex-libris sphere of Ukraine in the period from the beginning of the 1990s to the present day. Ukrainian ex-libris actually began to exist in 1991, when it became possible to speak about the Ukrainian bookplate as a phenomenon of art rather than about it as a segment of Soviet graphic art. It has headily changed its character and started a different transformation since the early 1990s. Over the past 20 to 25 years, the Ukrainian bookplate not only has come out of the shadows, turning into a valuable work of art, but also has received several new roles, inheriting the stages of transformation that took place in other countries. If earlier the book plate mainly served as an identifier of the owner, had mainly an informative function and was hidden from the eyes of the public, now it has become not just a work of graphic art, but an art object that, due to its typological diversity and specific artistic qualities, quickly acquired the status of not only an exhibited work of mini-print, but also a collectible. Ex-libris is more often exhibited, it is collected by artists, graphic artists, bibliophiles, and patrons. It has become a kind of an instrument for intercultural dialogue, promoting international communication. The change in the functional charac-teristics of ex-libris, the expansion of the circle of customers, the rapid growth of inter-est in the bookplate, and the increase in demand for it provoked a change in the status of the bookplate among artists themselves. If earlier the book platewas only one of the pages of the creative biography of a number of artists, now there are many masters who specialize in it, who have turned it into the main object of their professional interest. The commercialization of the phenomenon has developed: EL has become a kind of a pass to the international art space for young artists. The Ukrainian cultural field re-ceived its center of popularization of the bookplate as a self-valuable work of art of small-form graphics in 1993, when the Ukrainian ex-libris club was created in Kyiv. In the winter of 1993/94, the first international exhibition Woman in Ex-Libris” was held in the Ukrainian capital. In 1994, the international ex-libris competition Many Reli-gions – God Is One was organized. Since the beginning of the 1990s, there has been a clear tendency to separate several leading schools. The most original, with characteristic stylistic features, schools of the modern Ukrainian bookplate became Lviv, Odessa, Kyiv, Kharkiv. There are also several hotbeds of ex-libris popularization in Ukraine, with great professionals in the field of mini-print, but they are few to speak about inde-pendent schools: Luhansk, Mukachevo, Severodonetsk, Sumy, Chernihiv, Chernivtsi. In today’s art space of the country, the bookplate owes its survival primarily to collec-tors and patrons, and its main, perhaps, the only, way to preserve it in the art world is to transform it into an instru","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79822604","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 deals with issues related to project activities in the framework of training students for a bachelor’s degree in publishing and journalism at Moscow Polytechnic University. The emphasis is placed on the concept of implementing project activities in the educational process in the context of the implementation of the Federal State Educational Standard and on the consideration of various practices and approaches to the implementation of this concept. The introduction of innovative methods in higher education and practice-oriented approaches in training related to professional fields have been developed in the training of students for a bachelor’s degree in publishing. The complexity of production processes and the formation of a complex of creative, organizational, legal, technological, and communication components directly affect the nature of the activity and form requirements for the competencies of a modern specialist in the media industry. This leads to a revision of approaches and the introduction of new teaching methods. At the forefront is the formation of resource links with professional industries and the implementation of the idea of training specialists who can quickly adapt to changing economic conditions and solve production problems. The project method is an important tool for the professional motivation of students for it allows them to participate in the development and creation of a project, to see the final product that has been accepted into production, has passed full publishing preparation, and has been materialized. The method of integrating projects into the educational process allows structuring and organizing students’ independent work and experimental research. Within the framework of the practice-oriented approach to teaching at Moscow Polytechnic University, various subjects of both the educational and professional environment are involved in the organization of projects so that students form the scientific and practical competencies of a BA in publishing. An innovative approach to teaching students majoring in publishing and journalism is present in various areas of training and in various formats. Moscow Polytechnic University implements diverse practices involving the use of innovative methods for solving professional problems. Among them are the use of interactive forms of conducting classes, participation in project activities, development of bachelor’s thesis topics based on the development of publication projects, participation in practice-oriented events related to publishing. The bachelor’s curriculum includes disciplines related to the modeling of publications, the formation of projects of publications and publishing houses. The bachelor’s thesis is made on the basis of a project of a publication or a publishing house; it involves research in the field of publishing management, organization of the editorial and publishing process in a publishing house, development of a marketing plan for a modern pu
{"title":"Formation of Publishing Projects as a Practice-Oriented Approach to Training Students for a Bachelor’s Degree in Publishing","authors":"N. Goltsova, Snezhana A. Safronova","doi":"10.17223/23062061/27/9","DOIUrl":"https://doi.org/10.17223/23062061/27/9","url":null,"abstract":"The article deals with issues related to project activities in the framework of training students for a bachelor’s degree in publishing and journalism at Moscow Polytechnic University. The emphasis is placed on the concept of implementing project activities in the educational process in the context of the implementation of the Federal State Educational Standard and on the consideration of various practices and approaches to the implementation of this concept. The introduction of innovative methods in higher education and practice-oriented approaches in training related to professional fields have been developed in the training of students for a bachelor’s degree in publishing. The complexity of production processes and the formation of a complex of creative, organizational, legal, technological, and communication components directly affect the nature of the activity and form requirements for the competencies of a modern specialist in the media industry. This leads to a revision of approaches and the introduction of new teaching methods. At the forefront is the formation of resource links with professional industries and the implementation of the idea of training specialists who can quickly adapt to changing economic conditions and solve production problems. The project method is an important tool for the professional motivation of students for it allows them to participate in the development and creation of a project, to see the final product that has been accepted into production, has passed full publishing preparation, and has been materialized. The method of integrating projects into the educational process allows structuring and organizing students’ independent work and experimental research. Within the framework of the practice-oriented approach to teaching at Moscow Polytechnic University, various subjects of both the educational and professional environment are involved in the organization of projects so that students form the scientific and practical competencies of a BA in publishing. An innovative approach to teaching students majoring in publishing and journalism is present in various areas of training and in various formats. Moscow Polytechnic University implements diverse practices involving the use of innovative methods for solving professional problems. Among them are the use of interactive forms of conducting classes, participation in project activities, development of bachelor’s thesis topics based on the development of publication projects, participation in practice-oriented events related to publishing. The bachelor’s curriculum includes disciplines related to the modeling of publications, the formation of projects of publications and publishing houses. The bachelor’s thesis is made on the basis of a project of a publication or a publishing house; it involves research in the field of publishing management, organization of the editorial and publishing process in a publishing house, development of a marketing plan for a modern pu","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78654217","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 describes the activities of Konstantin Vysotsky (1836-1886), who was first to open a photographic studio (1866), a lithographic studio (1867), a printing house (1869), and a newspaper (1879) in Tyumen. The first consideration of Vysotsky in the context of the history of the media and their transformations/revolutions contributes to the novelty of the research. It allows for a description of his experience of media transformations in a Siberian regional town of the second half of the 19th century in a systematic way, as opposed to the local and fragmentary descriptions which existed in science until now. The research methodology is integrative in nature: the study of book printing as a cultural practice in connection with economic, social and cultural transformations within the boundaries of cultural history (F. Barbier) is combined with contextual and intertextual approaches, bibliological and structural-typological analysis. The research material contains Vysotsky’s book, photographic, lithographic, and newspaper heritage stored in the Russian National Library, Tobolsk Historical and Architectural Museum-Reserve, I.Ya. Slovtsov Museum Complex (Tyumen), and the Digital Collection of the University of Tyumen entitled K.N. Vysotsky and the Media Culture of Tyumen. Vysotsky is presented both as an object and a subject of the economic, technological, social, and cultural transformations of the city. He was actively and creatively changing it. Based on the analysis of Vysotsky’s journalistic and publishing activities, his role in the history of the Tyumen shipping company and railway is revealed. The connection between Vysotsky and the landscape transformations of the city is shown. The idea that Vysotsky’s figure can be interpreted in the context of the phenomenon of new people in Russia in the 1860s-1870s is introduced. It is shown that the Tyumen generation of new people (N.M. Chukmaldin, K.N. Vysotsky, I. A. Kalganov, etc.) with their daily practices (reading, self-education, movement towards “light and will”, a new order in servant-master relations) was being formed largely under the influence of Nikolay Chernyshevsky’s novel What Is to Be Done? Tales of New People (1863), Nikolai Yadrintsev’s ideas of Siberian renovation, Ivan Turgenev’s interpretation of the image of Don Quixote (Hamlet and Don Quixote, 1860). Intertextual connections of the system of motifs revealing the image of new people in Nikolai Chukmaldin’s memoirs Notes on My Life (1902) and Chernyshevsky’s novel are presented. It is established that the first book published by Vysotsky, Charter of the Estate Manager Club in Tyumen, actually became a message about a new life of the city which Vysotsky and Chukmaldin addressed to the people of Tyumen. Another finding is the logic of Vysotsky’s professional development from photography to book printing. The author discusses the structure of the Vysotsky printing house repertoire dominated by documentary and non-fiction genres
{"title":"Konstantin Vysotsky and the Media Revolution in a Siberian Regional Town of the Second Half of the 19th Century","authors":"N. P. Dvortsova","doi":"10.17223/23062061/27/5","DOIUrl":"https://doi.org/10.17223/23062061/27/5","url":null,"abstract":"The article describes the activities of Konstantin Vysotsky (1836-1886), who was first to open a photographic studio (1866), a lithographic studio (1867), a printing house (1869), and a newspaper (1879) in Tyumen. The first consideration of Vysotsky in the context of the history of the media and their transformations/revolutions contributes to the novelty of the research. It allows for a description of his experience of media transformations in a Siberian regional town of the second half of the 19th century in a systematic way, as opposed to the local and fragmentary descriptions which existed in science until now. The research methodology is integrative in nature: the study of book printing as a cultural practice in connection with economic, social and cultural transformations within the boundaries of cultural history (F. Barbier) is combined with contextual and intertextual approaches, bibliological and structural-typological analysis. The research material contains Vysotsky’s book, photographic, lithographic, and newspaper heritage stored in the Russian National Library, Tobolsk Historical and Architectural Museum-Reserve, I.Ya. Slovtsov Museum Complex (Tyumen), and the Digital Collection of the University of Tyumen entitled K.N. Vysotsky and the Media Culture of Tyumen. Vysotsky is presented both as an object and a subject of the economic, technological, social, and cultural transformations of the city. He was actively and creatively changing it. Based on the analysis of Vysotsky’s journalistic and publishing activities, his role in the history of the Tyumen shipping company and railway is revealed. The connection between Vysotsky and the landscape transformations of the city is shown. The idea that Vysotsky’s figure can be interpreted in the context of the phenomenon of new people in Russia in the 1860s-1870s is introduced. It is shown that the Tyumen generation of new people (N.M. Chukmaldin, K.N. Vysotsky, I. A. Kalganov, etc.) with their daily practices (reading, self-education, movement towards “light and will”, a new order in servant-master relations) was being formed largely under the influence of Nikolay Chernyshevsky’s novel What Is to Be Done? Tales of New People (1863), Nikolai Yadrintsev’s ideas of Siberian renovation, Ivan Turgenev’s interpretation of the image of Don Quixote (Hamlet and Don Quixote, 1860). Intertextual connections of the system of motifs revealing the image of new people in Nikolai Chukmaldin’s memoirs Notes on My Life (1902) and Chernyshevsky’s novel are presented. It is established that the first book published by Vysotsky, Charter of the Estate Manager Club in Tyumen, actually became a message about a new life of the city which Vysotsky and Chukmaldin addressed to the people of Tyumen. Another finding is the logic of Vysotsky’s professional development from photography to book printing. The author discusses the structure of the Vysotsky printing house repertoire dominated by documentary and non-fiction genres","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78950821","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}
Samizdat materials are a huge collection of documents of different genres that can be viewed in the context of the dissident phenomenon in the USSR. Only the latest decade saw the intensive growth of scientific interest to this phenomenon, and, therefore, these historical records require further interpretation and analysis; the latter became the main purposes of the monograph reviewed. The study combines both theoretical and historical aspects of studying Soviet samizdat. The term “samizdat” is understood in its wider sense, not only as fiction prohibited for publication, but also as a product of social, political, journalistic, human rights and other activities. At the same time, emphasis is placed on historical sources that allow documenting the human rights process. Samizdat is considered in three aspects: as a phenomenon of the 20th century supplementing official culture; as a kind of self-organization, self-reflection of society, a sign of intellectual reaction and an information channel; and as a historical source that makes it possible to study Soviet society and its reaction to state policy. This enables the author to present a representative and fairly complete picture of Russian samizdat. The notion “samizdat” is thoroughly analyzed, as well as the problem of the scientific classification of samizdat documents. The new classification system is demanded to be more detailed, presenting a complex structure, which takes into account various types and content of these historical sources. Working out a well-developed classification should ensure the use of available sources and their information potential. The book describes the sources of some varieties of samizdat documents: open letters, appeals and statements of protest, court proceedings, collections of documents. In a separate chapter, self-published magazines are analyzed as one of the most convincing manifestations of the various opposition movements organizational design. Particular attention is paid to the bulletin A Chronicle of Current Events, which has played an important role in reporting on human rights violations, disseminating the ideas of human rights defenders and maintaining links between human rights groups and organizations as a consolidating information center. The first issue of the Chronicle of 1968 is presented in the book as a holistic text, from the list of headings to the definition of the semantic strategy of the periodical, its tactics of layout and design, which allows us to correlate it with the legendary Herzen’s Kolokol [Bell] both in design and in its impact on public consciousness. The bulletin structure and its main sections were formed from the first issues: “Courts”, “Arrests”, “Extra-Judicial Prosecutions”, “Searches and Interrogations”, “In Prisons and Camps”, “In Psychiatric Hospitals”, “Persecution of Believers”, “Right to Leave”, “Jewish Movement”, “Through the Pages of the Soviet press”, “In Exile”, “Official Documents”, “Samizdat News”, etc. The
地下资料是一个巨大的不同类型的文件集合，可以在苏联持不同政见者现象的背景下查看。直到最近十年，科学界才对这一现象产生了浓厚的兴趣，因此，这些历史记录需要进一步的解释和分析;后者成为本专著综述的主要目的。该研究结合了苏联地下出版物研究的理论和历史两个方面。“地下刊物”一词应从更广泛的意义上理解，不仅指禁止出版的小说，而且指社会、政治、新闻、人权和其他活动的产物。与此同时，重点放在可以记录人权进程的历史资料上。从三个方面来考虑:作为20世纪官方文化的补充现象;作为社会的一种自组织、自我反省、智力反应的标志和信息渠道;作为一个历史资料，它使研究苏联社会及其对国家政策的反应成为可能。这使作者能够提供一个具有代表性和相当完整的俄罗斯地下刊物的情况。深入分析了“地下出版物”的概念，以及地下出版物文献的科学分类问题。新的分类系统需要更加详细，呈现一个复杂的结构，它考虑到这些历史来源的各种类型和内容。制定完善的分类应确保利用现有来源及其信息潜力。这本书描述了一些地下文件的来源:公开信，上诉和抗议声明，法庭诉讼，文件收集。在另一章中，自行出版的杂志被分析为各种反对运动组织设计的最令人信服的表现之一。特别注意《时事纪事》公报，该公报在报道侵犯人权事件、传播人权维护者的思想以及作为一个综合信息中心保持人权团体和组织之间的联系方面发挥了重要作用。1968年编年史的第一期在书中作为一个整体文本呈现，从标题列表到期刊语义策略的定义，其布局和设计策略，这使我们能够将其与传说中的Herzen的Kolokol [Bell]在设计和对公众意识的影响方面联系起来。公报的结构和主要部分是由第一期组成的:“法院”、“逮捕”、“法外起诉”、“搜查和审讯”、“在监狱和集中营”、“在精神病院”、“对信徒的迫害”、“离开的权利”、“犹太运动”、“通过苏联报刊的页面”、“流亡”、“官方文件”、“地下新闻”等。对其他许多地下刊物(Politicheskiy Dnevnik[政治日记]、Obshchestvennye Problemy[社会问题]、Veche、Vestnik Spaseniya[救世先驱]、Iskhod[出埃及记]、Vestnik Iskhoda[出埃及记先驱]、Belaya Kniga Iskhoda[出埃及记白皮书]等)的分析，包括“第二文化”杂志(37、Chasy[时钟]、Obvodnoy Kanal[旁路频道]、Metrodor、Summa [Sum]、Nadezhda[希望]等)，允许作者记录Igor Shafarevich的著名陈述，即我国有各种各样的独立思想，统一的原则是缺乏自由的感觉。作者通过研究地下出版物作者和开发者的传记，关注旨在分析社会和政治进程的历史话语，以及文本的历史。传记通常以页面脚注的形式给出，但它们的存在为历史和文献研究增添了“人性”(例如，V. Krasin, V. Chelidze, Yu的传记)。谢哈诺维奇，V. Rutminsky, Gr. Fedoseev等)。这本书讨论了主要品种的社会和政治地下刊物-“经典”和很少研究地下刊物文本。斯维尔德洛夫斯克的“省级”学生文学和新闻业余期刊得到了相当大的关注。年鉴《我们的创造力》(乌拉尔国立大学，1946-1949年)、《摄影》、《寻找》(乌拉尔国立大学，1956年)、《乌拉尔教育学院墙报》(《共青团的讽刺战斗机关》，1943-1960年)第一次在全联盟的背景下进行了分析。学生手稿和打字杂志是当时苏联大学的典型现象，一方面成为政治地下刊物的先兆，另一方面是创造热潮和精神热潮的结果，导致个人崇拜的暴露。 地下资料是一个巨大的不同类型的文件集合，可以在苏联持不同政见者现象的背景下查看。直到最近十年，科学界才对这一现象产生了浓厚的兴趣，因此，这些历史记录需要进一步的解释和分析;后者成为本专著综述的主要目的。该研究结合了苏联地下出版物研究的理论和历史两个方面。“地下刊物”一词应从更广泛的意义上理解，不仅指禁止出版的小说，而且指社会、政治、新闻、人权和其他活动的产物。与此同时，重点放在可以记录人权进程的历史资料上。从三个方面来考虑:作为20世纪官方文化的补充现象;作为社会的一种自组织、自我反省、智力反应的标志和信息渠道;作为一个历史资料，它使研究苏联社会及其对国家政策的反应成为可能。这使作者能够提供一个具有代表性和相当完整的俄罗斯地下刊物的情况。深入分析了“地下出版物”的概念，以及地下出版物文献的科学分类问题。新的分类系统需要更加详细，呈现一个复杂的结构，它考虑到这些历史来源的各种类型和内容。制定完善的分类应确保利用现有来源及其信息潜力。这本书描述了一些地下文件的来源:公开信，上诉和抗议声明，法庭诉讼，文件收集。在另一章中，自行出版的杂志被分析为各种反对运动组织设计的最令人信服的表现之一。特别注意《时事纪事》公报，该公报在报道侵犯人权事件、传播人权维护者的思想以及作为一个综合信息中心保持人权团体和组织之间的联系方面发挥了重要作用。1968年编年史的第一期在书中作为一个整体文本呈现，从标题列表到期刊语义策略的定义，其布局和设计策略，这使我们能够将其与传说中的Herzen的Kolokol [Bell]在设计和对公众意识的影响方面联系起来。公报的结构和主要部分是由第一期组成的:“法院”、“逮捕”、“法外起诉”、“搜查和审讯”、“在监狱和集中营”、“在精神病院”、“对信徒的迫害”、“离开的权利”、“犹太运动”、“通过苏联报刊的页面”、“流亡”、“官方文件”、“地下新闻”等。对其他许多地下刊物(Politicheskiy Dnevnik[政治日记]、Obshchestvennye Problemy[社会问题]、Veche、Vestnik Spaseniya[救世先驱]、Iskhod[出埃及记]、Vestnik Iskhoda[出埃及记先驱]、Belaya Kniga Iskhoda[出埃及记白皮书]等)的分析，包括“第二文化”杂志(37、Chasy[时钟]、Obvodnoy Kanal[旁路频道]、Metrodor、Summa [Sum]、Nadezhda[希望]等)，允许作者记录Igor Shafarevich的著名陈述，即我国有各种各样的独立思想，统一的原则是缺乏自由的感觉。作者通过研究地下出版物作者和开发者的传记，关注旨在分析社会和政治进程的历史话语，以及文本的历史。传记通常以页面脚注的形式给出，但它们的存在为历史和文献研究增添了“人性”(例如，V. Krasin, V. Chelidze, Yu的传记)。谢哈诺维奇，V. Rutminsky, Gr. Fedoseev等)。这本书讨论了主要品种的社会和政治地下刊物-“经典”和很少研究地下刊物文本。斯维尔德洛夫斯克的“省级”学生文学和新闻业余期刊得到了相当大的关注。年鉴《我们的创造力》(乌拉尔国立大学，1946-1949年)、《摄影》、《寻找》(乌拉尔国立大学，1956年)、《乌拉尔教育学院墙报》(《共青团的讽刺战斗机关》，1943-1960年)第一次在全联盟的背景下进行了分析。学生手稿和打字杂志是当时苏联大学的典型现象，一方面成为政治地下刊物的先兆，另一方面是创造热潮和精神热潮的结果，导致个人崇拜的暴露。
{"title":"The Samizdat Generation. Book Review: Rusina, Yu.A. (2019) Samizdat v SSSR: Teksty i Sud’by [Samizdat in the USSR: Texts and Destinies]. St. Petersburg: Aleteyya; Yekaterinburg: Ural Federal University","authors":"T. Snigireva, A. V. Podchinenov","doi":"10.17223/23062061/26/11","DOIUrl":"https://doi.org/10.17223/23062061/26/11","url":null,"abstract":"Samizdat materials are a huge collection of documents of different genres that can be viewed in the context of the dissident phenomenon in the USSR. Only the latest decade saw the intensive growth of scientific interest to this phenomenon, and, therefore, these historical records require further interpretation and analysis; the latter became the main purposes of the monograph reviewed. The study combines both theoretical and historical aspects of studying Soviet samizdat. The term “samizdat” is understood in its wider sense, not only as fiction prohibited for publication, but also as a product of social, political, journalistic, human rights and other activities. At the same time, emphasis is placed on historical sources that allow documenting the human rights process. Samizdat is considered in three aspects: as a phenomenon of the 20th century supplementing official culture; as a kind of self-organization, self-reflection of society, a sign of intellectual reaction and an information channel; and as a historical source that makes it possible to study Soviet society and its reaction to state policy. This enables the author to present a representative and fairly complete picture of Russian samizdat. The notion “samizdat” is thoroughly analyzed, as well as the problem of the scientific classification of samizdat documents. The new classification system is demanded to be more detailed, presenting a complex structure, which takes into account various types and content of these historical sources. Working out a well-developed classification should ensure the use of available sources and their information potential. The book describes the sources of some varieties of samizdat documents: open letters, appeals and statements of protest, court proceedings, collections of documents. In a separate chapter, self-published magazines are analyzed as one of the most convincing manifestations of the various opposition movements organizational design. Particular attention is paid to the bulletin A Chronicle of Current Events, which has played an important role in reporting on human rights violations, disseminating the ideas of human rights defenders and maintaining links between human rights groups and organizations as a consolidating information center. The first issue of the Chronicle of 1968 is presented in the book as a holistic text, from the list of headings to the definition of the semantic strategy of the periodical, its tactics of layout and design, which allows us to correlate it with the legendary Herzen’s Kolokol [Bell] both in design and in its impact on public consciousness. The bulletin structure and its main sections were formed from the first issues: “Courts”, “Arrests”, “Extra-Judicial Prosecutions”, “Searches and Interrogations”, “In Prisons and Camps”, “In Psychiatric Hospitals”, “Persecution of Believers”, “Right to Leave”, “Jewish Movement”, “Through the Pages of the Soviet press”, “In Exile”, “Official Documents”, “Samizdat News”, etc. The ","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80304025","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 of the article is to demonstrate the connection between literary and editorial studies and their mutual dependence in the process of analysing and interpreting texts of literature on the basis of a passage from Joseph Conrad’s Lord Jim. In this essay, significant outcomes will be reported to, later, show the specific analysis of the literary passage in the process of answering questions from textual through contextual considerations.
{"title":"LITERARY AND EDITING STUDIES IN THE CLASSROOM: EXPERIMENTAL TEXTUAL AND CONTEXTUAL ANALYSIS","authors":"G. Koneczniak","doi":"10.17223/23062061/25/8","DOIUrl":"https://doi.org/10.17223/23062061/25/8","url":null,"abstract":"The aim of the article is to demonstrate the connection between literary and editorial studies and their mutual dependence in the process of analysing and interpreting texts of literature on the basis of a passage from Joseph Conrad’s Lord Jim. In this essay, significant outcomes will be reported to, later, show the specific analysis of the literary passage in the process of answering questions from textual through contextual considerations.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78112557","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 early 1850s, Vasily Zhukovsky develops tables with drawings of objects and phenomena and their coded names in four languages. The consistent use of visual didactics in them looks quite innovative against the background of textbooks of the time. The tables are part of the Initial Course of Study, which Zhukovsky was developing in the last years of his life. By that time he had already accumulated considerable experience in teaching Russian as a foreign language on the basis of his own handmade visual aids. Most of the tables are filled with plotlike images, but some also contain symbols, diagrams and maps. The variety of plot and composition solutions in the drawings deserves special attention. This specifically concerns plots, which are independent and developed. The drawings contain details which considerably supplement the basic meaning of the word, they are obviously designed for close examination, comparison and interpretation. The visual emphasis on letters and pictures seems to qualify the manual developed by Zhukovsky as a polylingual picture book, but the usual aims and objectives of an ABC book are here considerably more complicated. The textbook has many more parallels with the board games of that time. It can be seen as an organic continuation of the tradition of “useful” family board games as it displays affinity with them not only at the level of visual and spatial solution, visual and tactile form, but also at the level of mechanisms of interaction of a child with the handbook. It is in the sphere of board games that Zhukovsky finds means to solve the tasks of visual learning set by leading European teachers; such learning would lead a child from sensually perceived concreteness to the formation of concepts. The greatest parallels with Zhukovsky’s tables are found, firstly, in games with ruled cardboard fields. Secondly, word games (charades, rebuses, riddles) clearly influenced the development of the tables. The tables use all the principal advantages of board games in terms of visual learning: bright visual, tactile and spatial landmarks, compact information transfer in the form of diagrams and symbols, informative richness of all game elements, a variety of visual elements. Games on a ruled cardboard field also have plots, though manipulation with the field and chips, acquaintance with drawings and texts in squares on the field in such games always realize a very simple plot. Since for Zhukovsky the main plot a child should be introduced to in the learning process was the universal connection of concepts, the fields of tables, drawings and names extracted by decoding should lead a pupil towards an understanding of the relationship between objects and phenomena of this world. Within the framework of the emblematic tradition, which was still alive in Russian culture in the first half of the 19th century and which Zhukovsky never set out to destroy or overcome, interpretations of combinations of concepts and images presented
{"title":"The Polylingual Tables of Vasily Zhukovsky’s Initial Course of Study in the Context of Children’s Board Games of the F irst Half of the 19th Century","authors":"N. Panina","doi":"10.17223/23062061/27/4","DOIUrl":"https://doi.org/10.17223/23062061/27/4","url":null,"abstract":"In the early 1850s, Vasily Zhukovsky develops tables with drawings of objects and phenomena and their coded names in four languages. The consistent use of visual didactics in them looks quite innovative against the background of textbooks of the time. The tables are part of the Initial Course of Study, which Zhukovsky was developing in the last years of his life. By that time he had already accumulated considerable experience in teaching Russian as a foreign language on the basis of his own handmade visual aids. Most of the tables are filled with plotlike images, but some also contain symbols, diagrams and maps. The variety of plot and composition solutions in the drawings deserves special attention. This specifically concerns plots, which are independent and developed. The drawings contain details which considerably supplement the basic meaning of the word, they are obviously designed for close examination, comparison and interpretation. The visual emphasis on letters and pictures seems to qualify the manual developed by Zhukovsky as a polylingual picture book, but the usual aims and objectives of an ABC book are here considerably more complicated. The textbook has many more parallels with the board games of that time. It can be seen as an organic continuation of the tradition of “useful” family board games as it displays affinity with them not only at the level of visual and spatial solution, visual and tactile form, but also at the level of mechanisms of interaction of a child with the handbook. It is in the sphere of board games that Zhukovsky finds means to solve the tasks of visual learning set by leading European teachers; such learning would lead a child from sensually perceived concreteness to the formation of concepts. The greatest parallels with Zhukovsky’s tables are found, firstly, in games with ruled cardboard fields. Secondly, word games (charades, rebuses, riddles) clearly influenced the development of the tables. The tables use all the principal advantages of board games in terms of visual learning: bright visual, tactile and spatial landmarks, compact information transfer in the form of diagrams and symbols, informative richness of all game elements, a variety of visual elements. Games on a ruled cardboard field also have plots, though manipulation with the field and chips, acquaintance with drawings and texts in squares on the field in such games always realize a very simple plot. Since for Zhukovsky the main plot a child should be introduced to in the learning process was the universal connection of concepts, the fields of tables, drawings and names extracted by decoding should lead a pupil towards an understanding of the relationship between objects and phenomena of this world. Within the framework of the emblematic tradition, which was still alive in Russian culture in the first half of the 19th century and which Zhukovsky never set out to destroy or overcome, interpretations of combinations of concepts and images presented ","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86384690","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 interest that modern human science shows in the Enlightenment as time still continues and has become one of the reasons to examine the periodicals of the 1760s and 1770s as part of its complex social and cultural process. Separating a specific cul-tural practice for analysis allowed concentrating on identifying some anthropological senses in cultural changes and some ways of coping with current conflicts. The author of the article observes how the magazines that are identified as satirical (Truten’, Zhivopisets, Vsyakaya Vsyachina, Adskaya Pochta, Smes’, and others) make a dialogue between the book and reading. The significance of this topic is the early discussion on the problem of educating the nobility that was held in the society. In the 1760s and 1770s, the topic became popular in a new way because of the ideas of Catherine the Great to educate people “of a new brand”. To solve the problem, the government started to reor-ganize educational institutions whose programs began to include secular science, books and art. However, home schooling remained closed for changes. There, medieval spiritual books still dominated because “aunties”-tutors (so-called “starushki”) were afraid of any cultural innovations. The well-known thesis that, in the second part of the century, the authority of medieval texts became weaker is proved by different magazine articles that were based on the daily experience and examinations of contemporaries who were the witnesses of the cultural changes and who had to choose what to read, where and how to teach their children. In publications of different genres, we can notice that the press con-tinued to value the book and reading as a good way to learn and educate. Besides, medie-val texts appeared to be something that favored superstitious views on the Universe. In the then contemporary satirical ideas, medieval books marked the changing generation of readers. Some examples of parents’ sanctimonious views on religious beliefs, disrespect towards governmental rules, cruel treatment of serfs degraded the value of reading medie-val books. On the contrary, positive heroes showed interest in the new secular knowledge and books, tried to become well-read and study foreign languages, to be capable of making a free choice. To bring up such a noble person was only possible if their parents were thoughtful to their children’s natural proclivity and to the choice of their tutors, and were sensitive to governmental changes. Generations that could stop reading Old Russian books were changing their reading habits. They became free in choosing books and in reading them critically. The trend to be well-read made reading more dynamic.
{"title":"The Plot About the Book and Reading in Satirical Magazines of 1769–1774","authors":"T. Rozhkova","doi":"10.17223/23062061/25/6","DOIUrl":"https://doi.org/10.17223/23062061/25/6","url":null,"abstract":"The interest that modern human science shows in the Enlightenment as time still continues and has become one of the reasons to examine the periodicals of the 1760s and 1770s as part of its complex social and cultural process. Separating a specific cul-tural practice for analysis allowed concentrating on identifying some anthropological senses in cultural changes and some ways of coping with current conflicts. The author of the article observes how the magazines that are identified as satirical (Truten’, Zhivopisets, Vsyakaya Vsyachina, Adskaya Pochta, Smes’, and others) make a dialogue between the book and reading. The significance of this topic is the early discussion on the problem of educating the nobility that was held in the society. In the 1760s and 1770s, the topic became popular in a new way because of the ideas of Catherine the Great to educate people “of a new brand”. To solve the problem, the government started to reor-ganize educational institutions whose programs began to include secular science, books and art. However, home schooling remained closed for changes. There, medieval spiritual books still dominated because “aunties”-tutors (so-called “starushki”) were afraid of any cultural innovations. The well-known thesis that, in the second part of the century, the authority of medieval texts became weaker is proved by different magazine articles that were based on the daily experience and examinations of contemporaries who were the witnesses of the cultural changes and who had to choose what to read, where and how to teach their children. In publications of different genres, we can notice that the press con-tinued to value the book and reading as a good way to learn and educate. Besides, medie-val texts appeared to be something that favored superstitious views on the Universe. In the then contemporary satirical ideas, medieval books marked the changing generation of readers. Some examples of parents’ sanctimonious views on religious beliefs, disrespect towards governmental rules, cruel treatment of serfs degraded the value of reading medie-val books. On the contrary, positive heroes showed interest in the new secular knowledge and books, tried to become well-read and study foreign languages, to be capable of making a free choice. To bring up such a noble person was only possible if their parents were thoughtful to their children’s natural proclivity and to the choice of their tutors, and were sensitive to governmental changes. Generations that could stop reading Old Russian books were changing their reading habits. They became free in choosing books and in reading them critically. The trend to be well-read made reading more dynamic.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88647050","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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