The article aims to review the experience of creating and launching the ProSiberia platform, and to discuss the prospects for its further development. Based on the aggregation of digital sources of Siberian origin, the ProSiberia project aims to create a research platform that will bring together scholars, content curators (libraries, museums, archives) and society in order to study Siberia and position the region in the global information space. Work on the platform began in 2020 within the framework of the Program for Increasing the Competitiveness of National Research Tomsk State Unversity by the staff of the Tomsk State University Research Library. Now the platform has implemented opportunities both for humanitarian researchers and for civic science representatives (volunteers). For researchers, access to digital copies of texts about Siberia with detailed description and full-text search is organized; it is possible to create one’s own collections of texts; there are some text collaboration tools. It is also possible to find researchers with similar interests and exchange views. A volunteer can edit texts, operate a blog, participate in challenges. The platform is also being filled with new texts. Prospects for the development of the project are considered; they were formulated based on the results of surveys and focus groups. The main directions of development include: work on improving the quality of texts (attracting volunteers for their correct recognition); aggregation of digital tools for the humanities in one place for effective work with texts; attraction of partners; integration into the educational process. The most difficult issue is the aggregation of digital tools. The article lists their most interesting groups: tools for creating and working with digital facsimiles, textometric tools, and a number of tools for working with digitized manuscripts. Thus, at the moment, the initial version of the ProSiberia platform has been created. It allows implementing remotely the basic functions characteristic for any research in the field of humanities. However, most probably, the most important and difficult will be the next stage of the work, which includes, among other things, the aggregation of digital tools for working with the text of interest for the researcher. Therefore, it is extremely important to have a broad discussion in the professional community of both the work already done within the ProSiberia project and the further prospects for its development.
{"title":"The ProSiberia Platform: The First Year of Operation and Development Prospects","authors":"V. Esipova","doi":"10.17223/23062061/27/8","DOIUrl":"https://doi.org/10.17223/23062061/27/8","url":null,"abstract":"The article aims to review the experience of creating and launching the ProSiberia platform, and to discuss the prospects for its further development. Based on the aggregation of digital sources of Siberian origin, the ProSiberia project aims to create a research platform that will bring together scholars, content curators (libraries, museums, archives) and society in order to study Siberia and position the region in the global information space. Work on the platform began in 2020 within the framework of the Program for Increasing the Competitiveness of National Research Tomsk State Unversity by the staff of the Tomsk State University Research Library. Now the platform has implemented opportunities both for humanitarian researchers and for civic science representatives (volunteers). For researchers, access to digital copies of texts about Siberia with detailed description and full-text search is organized; it is possible to create one’s own collections of texts; there are some text collaboration tools. It is also possible to find researchers with similar interests and exchange views. A volunteer can edit texts, operate a blog, participate in challenges. The platform is also being filled with new texts. Prospects for the development of the project are considered; they were formulated based on the results of surveys and focus groups. The main directions of development include: work on improving the quality of texts (attracting volunteers for their correct recognition); aggregation of digital tools for the humanities in one place for effective work with texts; attraction of partners; integration into the educational process. The most difficult issue is the aggregation of digital tools. The article lists their most interesting groups: tools for creating and working with digital facsimiles, textometric tools, and a number of tools for working with digitized manuscripts. Thus, at the moment, the initial version of the ProSiberia platform has been created. It allows implementing remotely the basic functions characteristic for any research in the field of humanities. However, most probably, the most important and difficult will be the next stage of the work, which includes, among other things, the aggregation of digital tools for working with the text of interest for the researcher. Therefore, it is extremely important to have a broad discussion in the professional community of both the work already done within the ProSiberia project and the further prospects for its development.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":"62 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90819716","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 Belarusian author’s book still rarely attracts researchers’ attention. At the same time, the 21st century, with its attention to the form of any work, brought both “writing artists” and “drawing authors” into literature. The article aims to review author’s books presented in the repertoire of modern Belarusian publishing houses in 2014–2019. The author’s book is usually understood as an edition in which the text and design are created by one person. From the point of view of the interaction of text and illustrations, the article analyzes 20 modern author’s books issued by Belarusian authors: S. Stelmashonk, E. Popova, L. Speranskaya, V. Starikov, S. Volkov, Babushka Ira (Irina Chursina-Bednarska), V. Tkach, K. Pashkevich, A. Balzhak, K. Shtalenkova, G. Labodenko, V. Komarov, K. Mizin, T. Lisitskaya, L. Miklashevich, and others. Author’s books are included in the repertoire of the publishing houses Registr, Medyyal, Kolorgrad, Zvyazda, Entsyklapedyya imya P. Broyki, Zmitser Kolas, and Altiora – Zhivye kraski. Most of the author’s books are addressed to children of preschool and primary school age; Babushka Ira wrote her story “Virtual Brain Eater” for readers of secondary school age; K. Shtalenkova’s fantasy novel The Other Side of the Mirror is for high school students; G. Labodenko and S. Stelmashonok offer their collections to children and adults; V. Komarov, K. Mizin, L. Miklashevich, T. Lisitskaya count on an adult reader. Separately, the author discusses the book of the repressed Belarusian poet Larysa Hienijuš … To Grandchildren. Poems and Letters. Uncensored, which is decorated with illustrations by the author and released 35 years after her death. The book has an original conception, a rich reference apparatus and a highquality printing performance. The author notes that some of the modern Belarusian author’s books represent a creative experiment; however, in most publications, the text dominates the illustration both in terms of space and semantic load. The analysis of the repertoire of publications shows that the most interesting author’s books belong to the pen of those people who have an art education degree (L. Speranskaya, E. Popova, S. Stelmashonok), or are active in the field of culture and art (T. Lisitskaya, G. Labodenko). The material presented in the article suggests that the artistic and graphic genre of the author’s book is actively developing in Belarus today and is waiting for further research by art historians, philologists and publishing specialists.
现代白俄罗斯作家的书仍然很少引起研究人员的注意。与此同时，21世纪对任何作品形式的关注，将“写作艺术家”和“绘画作者”都带入了文学。本文旨在回顾2014-2019年在现代白俄罗斯出版社的曲目中呈现的作者的书籍。作者的书通常被理解为文本和设计都是由一个人创作的版本。本文从文字与插图相互作用的角度，分析了白俄罗斯作家出版的20本现代作家著作:S. Stelmashonk、E. Popova、L. Speranskaya、V. Starikov、S. Volkov、Babushka Ira (Irina Chursina-Bednarska)、V. Tkach、K. Pashkevich、A. Balzhak、K. Shtalenkova、G. Labodenko、V. Komarov、K. Mizin、T. Lisitskaya、L. Miklashevich等。作者的书籍被收录在Registr、Medyyal、Kolorgrad、Zvyazda、Entsyklapedyya imya P. Broyki、Zmitser Kolas和Altiora - Zhivye kraski出版社的保留目录中。作者的大部分书籍都是针对学龄前和小学年龄的儿童;巴布什卡·艾拉(Babushka Ira)为中学年龄的读者写了《虚拟食脑者》(Virtual Brain Eater)的故事;K. Shtalenkova的奇幻小说《镜子的另一面》是给高中生看的;G. Labodenko和S. Stelmashonok向儿童和成人提供他们的收藏品;V. Komarov, K. Mizin, L. Miklashevich, T. Lisitskaya指望一个成年读者。另外，作者还讨论了受压迫的白俄罗斯诗人Larysa hienijuv的《致孙辈》一书。诗歌和信件。这本未经审查的书在她去世35年后出版，并配有作者的插图。该书构思新颖，参考资料丰富，印刷性能优良。作者指出，这位现代白俄罗斯作家的一些作品代表了一种创造性的实验;然而，在大多数出版物中，文本在空间和语义负荷方面都占主导地位。对出版物的分析表明，最有趣的作者的书属于那些拥有艺术教育学位的人(L. Speranskaya, E. Popova, S. Stelmashonok)，或者活跃在文化和艺术领域的人(T. Lisitskaya, G. Labodenko)。文章中所提供的材料表明，作者的书的艺术和图形类型在今天的白俄罗斯正在积极发展，等待艺术史学家、语言学家和出版专家进一步研究。
{"title":"The Author’s Book in the Modern Repertoire of Belarusian Publications","authors":"Dina P. Zylevich","doi":"10.17223/23062061/26/9","DOIUrl":"https://doi.org/10.17223/23062061/26/9","url":null,"abstract":"The modern Belarusian author’s book still rarely attracts researchers’ attention. At the same time, the 21st century, with its attention to the form of any work, brought both “writing artists” and “drawing authors” into literature. The article aims to review author’s books presented in the repertoire of modern Belarusian publishing houses in 2014–2019. The author’s book is usually understood as an edition in which the text and design are created by one person. From the point of view of the interaction of text and illustrations, the article analyzes 20 modern author’s books issued by Belarusian authors: S. Stelmashonk, E. Popova, L. Speranskaya, V. Starikov, S. Volkov, Babushka Ira (Irina Chursina-Bednarska), V. Tkach, K. Pashkevich, A. Balzhak, K. Shtalenkova, G. Labodenko, V. Komarov, K. Mizin, T. Lisitskaya, L. Miklashevich, and others. Author’s books are included in the repertoire of the publishing houses Registr, Medyyal, Kolorgrad, Zvyazda, Entsyklapedyya imya P. Broyki, Zmitser Kolas, and Altiora – Zhivye kraski. Most of the author’s books are addressed to children of preschool and primary school age; Babushka Ira wrote her story “Virtual Brain Eater” for readers of secondary school age; K. Shtalenkova’s fantasy novel The Other Side of the Mirror is for high school students; G. Labodenko and S. Stelmashonok offer their collections to children and adults; V. Komarov, K. Mizin, L. Miklashevich, T. Lisitskaya count on an adult reader. Separately, the author discusses the book of the repressed Belarusian poet Larysa Hienijuš … To Grandchildren. Poems and Letters. Uncensored, which is decorated with illustrations by the author and released 35 years after her death. The book has an original conception, a rich reference apparatus and a highquality printing performance. The author notes that some of the modern Belarusian author’s books represent a creative experiment; however, in most publications, the text dominates the illustration both in terms of space and semantic load. The analysis of the repertoire of publications shows that the most interesting author’s books belong to the pen of those people who have an art education degree (L. Speranskaya, E. Popova, S. Stelmashonok), or are active in the field of culture and art (T. Lisitskaya, G. Labodenko). The material presented in the article suggests that the artistic and graphic genre of the author’s book is actively developing in Belarus today and is waiting for further research by art historians, philologists and publishing specialists.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":"13 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79947620","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}
Siberian merchants as a special social and cultural phenomenon that played a role in the formation of the cultural landscape of the region was reflected in several works of the Russian literature of the 18th and 19th centuries. An important place among them belongs to the stories and essays of the Siberian writer Nikolay Naumov created in the 1870s–1880s and included in the pantheon of populist fiction. These works can be attributed to the texts of “local consciousness”, and they were quite actively studied in the Soviet and post-Soviet times. At the same time, the image of Siberian merchants in Naumov’s works that addresses the problem of regional identity in the context of national identity remained practically unexplored. Important factors in the study of this image in the works of the writer-official Naumov are the interaction of his literary and official activities; the ideology of Siberian regionalism, whose member he was a that time; and the ideology of populism, which also had a strong influence on him. Accordingly, the aim of the article is to analyze the features of the depiction of Siberian merchants in Naumov’s works of the 1870s–1880s as an implication of the archetype, the national type of a merchant in Siberian plots. The analysis carried out in the context of the mutual influence of the various social fields occupied by the writer demonstrates the dominance of the pragmatic possibilities of Naumov’s works over the literary ones. Focused on creating a “reality effect”, all the stories are characterized by essay beginning, abundant use of facts, real events, specific details of everyday life. However, with all his efforts to focus his gaze on the material and its reliability, Naumov certainly and quite clearly communicates his ideological conception to the reader. As a rule, the presented image of the Siberian merchant class is completed and consistent, and therefore rather superficial and schematic, extremely typified. Moreover, the image of the Siberian merchant miroed (lit. “world eater”; exploiter) is part of the collective image of the miroed, which also includes kulaks and officials. The influence of the field of public service can be traced both in the subject matter of the works and in their poetics. In particular, they contain an autobiographical image of the hero-narrator (official), and they are also characterized by clearly defined temporal and spatial boundaries, which strengthens the essay element. Telling the reader about the ethnography and geography of Siberia, the writer (through the hero-narrator) draws attention to its “natural” merits, on the one hand, and persistently voices the idea, which performs a cycle-forming function, that Siberia’s natural well-being and harmony is violated by human intervention often coming to Siberia from outside, on the other. Accordingly, Naumov sees the common role of officials and writers in the development of Siberia as the protection of Siberia from predatory exploitation, which
{"title":"Siberian Merchants as a Factor in the Formation of the Cultural Landscape of the Region in Nikolay Naumov’s Essays and Stories of the 1870s–1880s","authors":"Vladislav A. Przhigotskiy","doi":"10.17223/23062061/26/1","DOIUrl":"https://doi.org/10.17223/23062061/26/1","url":null,"abstract":"Siberian merchants as a special social and cultural phenomenon that played a role in the formation of the cultural landscape of the region was reflected in several works of the Russian literature of the 18th and 19th centuries. An important place among them belongs to the stories and essays of the Siberian writer Nikolay Naumov created in the 1870s–1880s and included in the pantheon of populist fiction. These works can be attributed to the texts of “local consciousness”, and they were quite actively studied in the Soviet and post-Soviet times. At the same time, the image of Siberian merchants in Naumov’s works that addresses the problem of regional identity in the context of national identity remained practically unexplored. Important factors in the study of this image in the works of the writer-official Naumov are the interaction of his literary and official activities; the ideology of Siberian regionalism, whose member he was a that time; and the ideology of populism, which also had a strong influence on him. Accordingly, the aim of the article is to analyze the features of the depiction of Siberian merchants in Naumov’s works of the 1870s–1880s as an implication of the archetype, the national type of a merchant in Siberian plots. The analysis carried out in the context of the mutual influence of the various social fields occupied by the writer demonstrates the dominance of the pragmatic possibilities of Naumov’s works over the literary ones. Focused on creating a “reality effect”, all the stories are characterized by essay beginning, abundant use of facts, real events, specific details of everyday life. However, with all his efforts to focus his gaze on the material and its reliability, Naumov certainly and quite clearly communicates his ideological conception to the reader. As a rule, the presented image of the Siberian merchant class is completed and consistent, and therefore rather superficial and schematic, extremely typified. Moreover, the image of the Siberian merchant miroed (lit. “world eater”; exploiter) is part of the collective image of the miroed, which also includes kulaks and officials. The influence of the field of public service can be traced both in the subject matter of the works and in their poetics. In particular, they contain an autobiographical image of the hero-narrator (official), and they are also characterized by clearly defined temporal and spatial boundaries, which strengthens the essay element. Telling the reader about the ethnography and geography of Siberia, the writer (through the hero-narrator) draws attention to its “natural” merits, on the one hand, and persistently voices the idea, which performs a cycle-forming function, that Siberia’s natural well-being and harmony is violated by human intervention often coming to Siberia from outside, on the other. Accordingly, Naumov sees the common role of officials and writers in the development of Siberia as the protection of Siberia from predatory exploitation, which","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":"9 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83369636","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 provides an analysis of perceptual images in the aspect of text-related activities based on the poems by the Slovak symbolist poet Ivan Krasko. The focus is placed on the linguistic means of expressing perceptual semantics which allow exploring the artistic picture of the author’s world within the given literary direction. The problem of artistic perception is examined in the context of current research in the field of lin-guistic semantics and philological analysis of literary texts. In the first part of the article, the authors give a definition of a perceptual image, understood as one of the forms of an artistic image that is filled with a specific lexical and semantic content in the author’s individual worldview. A review of the works of Slovak researchers who discuss the features of the symbolist poetry of Ivan Krasko is given. It is emphasized that the creativity of the Slovak symbolist is characterized by poetic parallelism between the internal state of the lyrical hero and their surrounding nature. Sensory perception in the poetry of Ivan Krasko is focused on the awareness and classification of “perceived” objects and phenomena. The second (main) part of the article deals with a comparative linguistic analysis of the original poem “My Songs” and its poetic translation by Anna Akhmatova. The most significant artistic image in the original and translated text is všednosť/ordinariness (everydayness), which reflects the internal state of the lyrical hero and is represented by a wide range of linguistic units with perceptual semantics. The analyzed perceptual images are fog, haze, poplar, mountains, flowers, etc. At the lexical level, there are similar features in the description of the landscape: nouns and adjectives with semantics of visual perception are used – greenness, whiteness, blue-ness. The differences at the formal-syntactic level are due to the peculiarities of the syntactic structure of the Slovak language and the Russian language, while the proposi-tional semantics generally corresponds. At the stylistic level, minor differences are explained by the author’s worldview: in case of Krasko, it is a symbolist worldview; in case of Akhmatova, it is the acmeist worldview. In the original text, the main images are represented by expressions with an abstract meaning: božie muky dole v cintoríne, striebro riavy, v dolinu, vzkvetlú tisícerým kvetom; in translation, the images are more specific: crucifixion, a rose hip, a crest, a cliff. As a result of the comparative analysis of the original and translated texts, the peculiarities of the representation of the percep-tual picture of the world of the author and the translator, realized at different text levels, were revealed. Poetic transformations testify to the “special type of perception” charac-teristic of the Slovak poet as a representative of the symbolist trend.
本文以斯洛伐克象征主义诗人伊万·克拉斯科的诗歌为基础，从文本相关活动的角度对感性意象进行了分析。重点放在表达感性语义的语言手段上，在给定的文学方向下探索作者世界的艺术图景。艺术感知的问题是在当前文学文本的语言语义学和语言学分析领域的研究背景下进行研究的。在文章的第一部分，作者给出了感性形象的定义，将感性形象理解为艺术形象的一种形式，在作者个人的世界观中充满了特定的词汇和语义内容。本文回顾了斯洛伐克学者对克拉斯科象征主义诗歌特征的研究。强调斯洛伐克象征主义者的创造力的特点是抒情英雄的内部状态与其周围自然之间的诗意平行。克拉斯科诗歌中的感官知觉关注的是对“感知”对象和现象的认识和分类。文章的第二部分(主要部分)是对安娜·阿赫玛托娃的原诗《我的歌》及其诗歌翻译作比较语言学分析。原文和译文中最重要的艺术形象是všednosť/ ordinary (everyday)，它反映了抒情英雄的内在状态，并由广泛的具有感性语义的语言单位来表现。分析的感知图像有雾、霾、杨树、山、花等。在词汇层面上，对景观的描述也有相似的特点:使用具有视觉感知语义的名词和形容词——绿、白、蓝。在形式句法层面上的差异是由于斯洛伐克语和俄语句法结构的特殊性，而命题语义总体上是一致的。在风格层面上，细微的差异可以用作者的世界观来解释:在克拉斯科身上，这是一种象征主义的世界观;对于阿赫玛托娃来说，这是一种种族主义的世界观。在原文中，主要图像用具有抽象意义的表达式表示:božie muky dole v cintoríne, striebro riavy, v dolinu, vzkvetlú tisícerým kvetom;在翻译中，这些形象更具体:钉十字架、玫瑰果、王冠、悬崖。通过对原文和译文的对比分析，揭示了作者和译者在不同文本层次上对世界感知图景的表征的独特性。作为象征主义思潮的代表，斯洛伐克诗人的诗歌转型体现了其“特殊的感知类型”特征。
{"title":"Perceptual Images in the Poetry of Slovak Symbolists (Based on the Original and Translated Poems by Ivan Krasko)","authors":"L. Kryukova, Irina Dulebová","doi":"10.17223/23062061/25/1","DOIUrl":"https://doi.org/10.17223/23062061/25/1","url":null,"abstract":"The article provides an analysis of perceptual images in the aspect of text-related activities based on the poems by the Slovak symbolist poet Ivan Krasko. The focus is placed on the linguistic means of expressing perceptual semantics which allow exploring the artistic picture of the author’s world within the given literary direction. The problem of artistic perception is examined in the context of current research in the field of lin-guistic semantics and philological analysis of literary texts. In the first part of the article, the authors give a definition of a perceptual image, understood as one of the forms of an artistic image that is filled with a specific lexical and semantic content in the author’s individual worldview. A review of the works of Slovak researchers who discuss the features of the symbolist poetry of Ivan Krasko is given. It is emphasized that the creativity of the Slovak symbolist is characterized by poetic parallelism between the internal state of the lyrical hero and their surrounding nature. Sensory perception in the poetry of Ivan Krasko is focused on the awareness and classification of “perceived” objects and phenomena. The second (main) part of the article deals with a comparative linguistic analysis of the original poem “My Songs” and its poetic translation by Anna Akhmatova. The most significant artistic image in the original and translated text is všednosť/ordinariness (everydayness), which reflects the internal state of the lyrical hero and is represented by a wide range of linguistic units with perceptual semantics. The analyzed perceptual images are fog, haze, poplar, mountains, flowers, etc. At the lexical level, there are similar features in the description of the landscape: nouns and adjectives with semantics of visual perception are used – greenness, whiteness, blue-ness. The differences at the formal-syntactic level are due to the peculiarities of the syntactic structure of the Slovak language and the Russian language, while the proposi-tional semantics generally corresponds. At the stylistic level, minor differences are explained by the author’s worldview: in case of Krasko, it is a symbolist worldview; in case of Akhmatova, it is the acmeist worldview. In the original text, the main images are represented by expressions with an abstract meaning: božie muky dole v cintoríne, striebro riavy, v dolinu, vzkvetlú tisícerým kvetom; in translation, the images are more specific: crucifixion, a rose hip, a crest, a cliff. As a result of the comparative analysis of the original and translated texts, the peculiarities of the representation of the percep-tual picture of the world of the author and the translator, realized at different text levels, were revealed. Poetic transformations testify to the “special type of perception” charac-teristic of the Slovak poet as a representative of the symbolist trend.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":"218 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89371313","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}
Images of the Last Judgement in the eschatological writing Sermon of Palladii the Monk attracted the interest of Old Believer scribes as a visual proof of the truth of their faith. In the epoch when the Last Judgement was intensively anticipated (the second half of the 17th and the 18th centuries), illuminated Old Believer manuscripts were especially popular and significant. In different regional centres of Old Belief, rules for decorating such manuscripts were developed. The means of formulating and spreading visual information were distinct in terms of colour, the way in which narrative details were drawn, and the general composition. Using the illuminated manuscript Sermon of Palladii the Monk as an example, one can trace these stylistic distinctions. As a result of a comparative analysis with fifteen other illuminated manuscripts, it is possible to define four sustained styles used in the creation of this artefact. The “Northern Letters” style (present among the priestless Old Believers of the Russian North, the Urals, Sibe-ria, and Central Russia) is distinguished by the particular combination of colours (the combination of bright red, green and their shades) and the templates used to paint the pictures. The “Volga” style (which united different regions of the Volga, such as Irgiz, Nizhny Novgorod, Gorodets, Kerzhenets, Saratov, and others) stands out due to the richness and variety of the colours, which ranged from light and airy to bright and catchy, like purple and violet. Developing at the beginning of the 19th century in the Urals, the “Shartash” style includes decorative elements from the artistic schools of Pomor’e, Vetka, and Guslitsa. Often, these miniatures resemble lubki in terms of their narratives, fragmentation of the plot, and numerous explanations. Among the priestless Old Believers, the so-called “Baroque Rocaille” style was widespread: this contained elements from the art of the end of the 18th and beginning of the 19th centuries (such as Baroque and Rococo). These reflected the desires of scribes and artists to take into account modern developments, thereby keeping up with the times. Examining in paral-lel several different manuscripts and their characteristic features allows us to see the repeatability of individual stable forms of composition, as well as the breadth of the colour choices and the artistic qualities of the manuscripts. As the size of the study base increases, new information on the characteristic iconographic attributes of Sermon of Palladii the Monk will become available.
{"title":"The Stylistic Peculiarities of the Illuminated Manuscript Sermon of Palladii the Monk in Old Believer Book Culture","authors":"N. V. Anufrieva","doi":"10.17223/23062061/25/4","DOIUrl":"https://doi.org/10.17223/23062061/25/4","url":null,"abstract":"Images of the Last Judgement in the eschatological writing Sermon of Palladii the Monk attracted the interest of Old Believer scribes as a visual proof of the truth of their faith. In the epoch when the Last Judgement was intensively anticipated (the second half of the 17th and the 18th centuries), illuminated Old Believer manuscripts were especially popular and significant. In different regional centres of Old Belief, rules for decorating such manuscripts were developed. The means of formulating and spreading visual information were distinct in terms of colour, the way in which narrative details were drawn, and the general composition. Using the illuminated manuscript Sermon of Palladii the Monk as an example, one can trace these stylistic distinctions. As a result of a comparative analysis with fifteen other illuminated manuscripts, it is possible to define four sustained styles used in the creation of this artefact. The “Northern Letters” style (present among the priestless Old Believers of the Russian North, the Urals, Sibe-ria, and Central Russia) is distinguished by the particular combination of colours (the combination of bright red, green and their shades) and the templates used to paint the pictures. The “Volga” style (which united different regions of the Volga, such as Irgiz, Nizhny Novgorod, Gorodets, Kerzhenets, Saratov, and others) stands out due to the richness and variety of the colours, which ranged from light and airy to bright and catchy, like purple and violet. Developing at the beginning of the 19th century in the Urals, the “Shartash” style includes decorative elements from the artistic schools of Pomor’e, Vetka, and Guslitsa. Often, these miniatures resemble lubki in terms of their narratives, fragmentation of the plot, and numerous explanations. Among the priestless Old Believers, the so-called “Baroque Rocaille” style was widespread: this contained elements from the art of the end of the 18th and beginning of the 19th centuries (such as Baroque and Rococo). These reflected the desires of scribes and artists to take into account modern developments, thereby keeping up with the times. Examining in paral-lel several different manuscripts and their characteristic features allows us to see the repeatability of individual stable forms of composition, as well as the breadth of the colour choices and the artistic qualities of the manuscripts. As the size of the study base increases, new information on the characteristic iconographic attributes of Sermon of Palladii the Monk will become available.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":"46 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72639466","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article examines the artistic system of the book of poems Polusonety [HalfSonnets] by Georgiy Golohvastov, the ideological leader of a group of poets of the first wave of emigrants (E.V. Khristiani, D.A. Magula, V.S. Ilyashenko) that originated in the 1920s-1930s in New York. The article deals with the specific phenomenon of a “temple cycle” as a text in the text of Polusonety. The cycle can be specified by the author as a structural unit of the book, or it can “stand out” as a united text space based on thematic or figurative unity. The latter is our case. The object of the research is the realization in the half-sonnets of the image-code of the Temple, which is a symbol of Russian culture within the model of the poet’s world, the basis of the traditional world order reverently stored in the memory of the emigrant poet. The “temple cycle” is considered as a single lyrical text. The cross-cutting theme of the cycle is the Holy Rus, represented in the image of the world lucent Temple; this image is in the memory of every emigrant. The signs of the Temple in Golokhvastov’s half-sonnets are “dark lamps at the kiot”, “monk”, “poor temple with a wrecked bell tower”, “skete”. The poet voluntarily emigrated to the United States after the revolution of 1917, but his memory preserved the idyllic image of Cathedral Russia that shaped in his poetic system as the conceptual artistic and aesthetic model of the “Russian world” closely connected with the Orthodox faith. The poet perceived faith as the embodiment of spiritual coordinates of Russian people forced to live in a foreign land, associated it with images of monastery, cross, icons, monk in his poetry. These semiotic codes illustrate Golokhvastov’s “Russian thought”. The code of the Temple in Golokhvastov’s art system has various transformations: it is a lonely monastic skete, an ancient monastery, and a small city parish. The space of the Temple is individualized under the influence of the historical and cultural situation, psycho-mental characteristics, and personal experience of the author. The temple for Golokhvastov’s lyrical hero is a locus of gaining strength and peace of mind, in which he can get rid of loneliness among the hostile alien crowd. The altar, icons, and deacon’s singing remind the lyrical hero of his ancestral estate, where he “trembled in his chlid’s prayers.” The renewing and purifying space of Christian symbols leads him by prayer and uncomplicated contemplation. Staying in the space of the House of God, the lyrical hero regains the forever lost Holy Rus. We come to the following conclusions: the figurative world of Golokhvastov’s “temple cycle” is deeply consistent with the spirit of the Christian doctrine of God, which was represented by the poet in various lyrical forms and images throughout his creative life. Being a text in the text, this cycle extends the boundaries of the understanding of the emigrant poet’s artistic model and the integrity of his poetic system.
{"title":"The “Temple Cycle” in the Book of Poems by the Emigrant Poet Georgiy Golokhvastov as a Text in a Text","authors":"O. Strashkova, Anastasiya D. Alexenko","doi":"10.17223/23062061/27/1","DOIUrl":"https://doi.org/10.17223/23062061/27/1","url":null,"abstract":"The article examines the artistic system of the book of poems Polusonety [HalfSonnets] by Georgiy Golohvastov, the ideological leader of a group of poets of the first wave of emigrants (E.V. Khristiani, D.A. Magula, V.S. Ilyashenko) that originated in the 1920s-1930s in New York. The article deals with the specific phenomenon of a “temple cycle” as a text in the text of Polusonety. The cycle can be specified by the author as a structural unit of the book, or it can “stand out” as a united text space based on thematic or figurative unity. The latter is our case. The object of the research is the realization in the half-sonnets of the image-code of the Temple, which is a symbol of Russian culture within the model of the poet’s world, the basis of the traditional world order reverently stored in the memory of the emigrant poet. The “temple cycle” is considered as a single lyrical text. The cross-cutting theme of the cycle is the Holy Rus, represented in the image of the world lucent Temple; this image is in the memory of every emigrant. The signs of the Temple in Golokhvastov’s half-sonnets are “dark lamps at the kiot”, “monk”, “poor temple with a wrecked bell tower”, “skete”. The poet voluntarily emigrated to the United States after the revolution of 1917, but his memory preserved the idyllic image of Cathedral Russia that shaped in his poetic system as the conceptual artistic and aesthetic model of the “Russian world” closely connected with the Orthodox faith. The poet perceived faith as the embodiment of spiritual coordinates of Russian people forced to live in a foreign land, associated it with images of monastery, cross, icons, monk in his poetry. These semiotic codes illustrate Golokhvastov’s “Russian thought”. The code of the Temple in Golokhvastov’s art system has various transformations: it is a lonely monastic skete, an ancient monastery, and a small city parish. The space of the Temple is individualized under the influence of the historical and cultural situation, psycho-mental characteristics, and personal experience of the author. The temple for Golokhvastov’s lyrical hero is a locus of gaining strength and peace of mind, in which he can get rid of loneliness among the hostile alien crowd. The altar, icons, and deacon’s singing remind the lyrical hero of his ancestral estate, where he “trembled in his chlid’s prayers.” The renewing and purifying space of Christian symbols leads him by prayer and uncomplicated contemplation. Staying in the space of the House of God, the lyrical hero regains the forever lost Holy Rus. We come to the following conclusions: the figurative world of Golokhvastov’s “temple cycle” is deeply consistent with the spirit of the Christian doctrine of God, which was represented by the poet in various lyrical forms and images throughout his creative life. Being a text in the text, this cycle extends the boundaries of the understanding of the emigrant poet’s artistic model and the integrity of his poetic system.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":"8 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88765597","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}
One often comes across the opinion of researchers that there are many lacunae in the history of regional literatures. Until quite recently, this could be said about the liter-ature of the Urals. The publication of the first volume of A History of Ural Literature gives literary scholars a reason to hope that, with the full implementation of the project of the Ural academic literature, many of its blank spots will be closed. It seems that at least half of these hopes have already been justified since, in 2021, the second volume of A History of the Literature of the Urals was published. It is a multi-page publication in two books, the result of many years of work by a team of Russian literary critics. The volume’s editor-in-chief is Doctor of Philology, Professor Elena Konstantinovna Sozina The idea of “crossing regional and national breeds on the basis of the literature of a certain region”, preached by the book compilers, seems extremely productive. The peculiarity of this book, as the introduction claims, is “that the history of regional Russian literature is united here with the histories of a number of national literatures of peoples who have lived in the Urals since ancient times and have a cultural, and now also administrative, autonomy within the region”. The book’s authors rightly emphasize the “social” character of the literature of the mining Urals in the nineteenth century. They write that the specificity of the Urals largely determined the characteristic feature inherent in its culture, art, literature: sociality, sometimes even sociology, manifested, among other things, in the minds of the inhabitants of the region, in their constant and persistent interest in public affairs, in their positioning of the region as working, collectivist, united by a common destiny and common interests. The publication is superbly prepared (the materials were edited by the Cand. Sci. (Philology) T.A. Arsenova) and illustrated (the selection of illustrative material was made by the Cand. Sci. (Art History) E.P. Alekseev). Thus, thanks to the efforts of the authors, we are dealing with a systematic work on the history of the Ural litera-ture of the 19th century, which will undoubtedly be addressed by both novice and expert researchers.
{"title":"“In the Unity and Diversity of Artistic Traditions” (Book Review: Sozina, E.K. (Ed.) (2020) Istoriya Literatury Urala. XIX Vek: V 2 Kn. [A History of Ural Literature. 19th Century: In 2 Books]. Moscow: LRC)","authors":"T. A. Sirotkina","doi":"10.17223/23062061/25/11","DOIUrl":"https://doi.org/10.17223/23062061/25/11","url":null,"abstract":"One often comes across the opinion of researchers that there are many lacunae in the history of regional literatures. Until quite recently, this could be said about the liter-ature of the Urals. The publication of the first volume of A History of Ural Literature gives literary scholars a reason to hope that, with the full implementation of the project of the Ural academic literature, many of its blank spots will be closed. It seems that at least half of these hopes have already been justified since, in 2021, the second volume of A History of the Literature of the Urals was published. It is a multi-page publication in two books, the result of many years of work by a team of Russian literary critics. The volume’s editor-in-chief is Doctor of Philology, Professor Elena Konstantinovna Sozina The idea of “crossing regional and national breeds on the basis of the literature of a certain region”, preached by the book compilers, seems extremely productive. The peculiarity of this book, as the introduction claims, is “that the history of regional Russian literature is united here with the histories of a number of national literatures of peoples who have lived in the Urals since ancient times and have a cultural, and now also administrative, autonomy within the region”. The book’s authors rightly emphasize the “social” character of the literature of the mining Urals in the nineteenth century. They write that the specificity of the Urals largely determined the characteristic feature inherent in its culture, art, literature: sociality, sometimes even sociology, manifested, among other things, in the minds of the inhabitants of the region, in their constant and persistent interest in public affairs, in their positioning of the region as working, collectivist, united by a common destiny and common interests. The publication is superbly prepared (the materials were edited by the Cand. Sci. (Philology) T.A. Arsenova) and illustrated (the selection of illustrative material was made by the Cand. Sci. (Art History) E.P. Alekseev). Thus, thanks to the efforts of the authors, we are dealing with a systematic work on the history of the Ural litera-ture of the 19th century, which will undoubtedly be addressed by both novice and expert researchers.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":"44 4","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72486796","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 this article, Mikhail Shishkin is presented as a literary successor to James Joyce’s modernist tradition of writing. The nature of the ties connecting his creative method with that of Joyce is considered in two aspects which also qualify the narrative structure of his texts, namely the autobiographical and intertextual ones. While the autobiographical features of Joyce’s works can be estimated by his numerous biographies and archives, the facts from Shishkin’s life, the writer being our contemporary, can mostly be judged on by their creative interpretations in his own literary works. However, in its degree of truthiness, Shishkin’s autobiographical prose is in large excess over that of Joyce’s who would rather tend to aesthetic transformations of his life in the art forms. The two writers’ life stories themselves demonstrate a noticeable parallelism: both are linguistically sensitive; both did similar jobs along with their primary, literary occupation (a teacher, a journalist, a lecturer, a translator); for both, mother’s death of cancer and the child’s illness are reflected in recurrent literary motifs; both left for Switzerland to write about homeland from the meta-distance of the artist. Shishkin follows Joyce’s strategy of interlacing the intimate, painful episodes of his personal life into the literary texture of his writings. The very episodes of the lives of the two writers belonging to different national and historical cultures are quite identical, too. It is only that Shishkin goes further than Joyce in directness and candour, thus putting Joyce’s principle of mimesis on edge. This ultimate autobiographicity makes Shishkin, on the one hand, a successor to the tradition of Russian classical literature (remember his “love for Akaki Akakievitch”), as well as the tradition of truth in the 20th-century literature. On the other hand, it attaches him to the postmodern trend of transforming text into reality. Anyway, unlike postmodernists who are destroying literary discourse together with the characters articulating it, Shishkin “plays” with it in order to bring the novel back to life. Aesthetically, Shishkin reproduces and expounds Joyce’s theory of the “rhythm of beauty”, his technique of radical intertextuality and anastomosis connections of “all in all”. The story “The Blind Musician” has every trait of modernist poetics outlined above. The plays with light and darkness set by the cyclic rhythm of the day/night alternation and by regular shifts from mimetic to mythopoetic (intertextual) discourse are the structural narrative devices similar to those used by Joyce. Joyce’s characters, like Minotaurs, are wandering blindly through the labyrinth of Dublin until they arrive at the visionary moment of epiphany, when the beauty of a trivial truth lights up in their minds. Shishkin’s ideology is also modernist in character, since his “new linguoworld” is created as a mode of reconciling man with this world’s imperfections and as a mode of clari
{"title":"Joyce’s Literary Tradition in Mikhail Shishkin’s Prose and Its Evocation in the Story “The Blind Musician”","authors":"Ludmila V. Comuzzi","doi":"10.17223/23062061/26/3","DOIUrl":"https://doi.org/10.17223/23062061/26/3","url":null,"abstract":"In this article, Mikhail Shishkin is presented as a literary successor to James Joyce’s modernist tradition of writing. The nature of the ties connecting his creative method with that of Joyce is considered in two aspects which also qualify the narrative structure of his texts, namely the autobiographical and intertextual ones. While the autobiographical features of Joyce’s works can be estimated by his numerous biographies and archives, the facts from Shishkin’s life, the writer being our contemporary, can mostly be judged on by their creative interpretations in his own literary works. However, in its degree of truthiness, Shishkin’s autobiographical prose is in large excess over that of Joyce’s who would rather tend to aesthetic transformations of his life in the art forms. The two writers’ life stories themselves demonstrate a noticeable parallelism: both are linguistically sensitive; both did similar jobs along with their primary, literary occupation (a teacher, a journalist, a lecturer, a translator); for both, mother’s death of cancer and the child’s illness are reflected in recurrent literary motifs; both left for Switzerland to write about homeland from the meta-distance of the artist. Shishkin follows Joyce’s strategy of interlacing the intimate, painful episodes of his personal life into the literary texture of his writings. The very episodes of the lives of the two writers belonging to different national and historical cultures are quite identical, too. It is only that Shishkin goes further than Joyce in directness and candour, thus putting Joyce’s principle of mimesis on edge. This ultimate autobiographicity makes Shishkin, on the one hand, a successor to the tradition of Russian classical literature (remember his “love for Akaki Akakievitch”), as well as the tradition of truth in the 20th-century literature. On the other hand, it attaches him to the postmodern trend of transforming text into reality. Anyway, unlike postmodernists who are destroying literary discourse together with the characters articulating it, Shishkin “plays” with it in order to bring the novel back to life. Aesthetically, Shishkin reproduces and expounds Joyce’s theory of the “rhythm of beauty”, his technique of radical intertextuality and anastomosis connections of “all in all”. The story “The Blind Musician” has every trait of modernist poetics outlined above. The plays with light and darkness set by the cyclic rhythm of the day/night alternation and by regular shifts from mimetic to mythopoetic (intertextual) discourse are the structural narrative devices similar to those used by Joyce. Joyce’s characters, like Minotaurs, are wandering blindly through the labyrinth of Dublin until they arrive at the visionary moment of epiphany, when the beauty of a trivial truth lights up in their minds. Shishkin’s ideology is also modernist in character, since his “new linguoworld” is created as a mode of reconciling man with this world’s imperfections and as a mode of clari","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":"60 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77193746","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}
Early printed herbals have a special place in the 15th-century book production as they were popular both with academics, including medical scientists and pharmacists, and with the common reader. The popular response to the mass production of herbal books made possible by the invention of printing left textual and linguistic evidence in the form of handwritten marginal notes. In the present study, six copies of illustrated herbals printed in Mainz by Peter Schoeffer in 1484 and 1485 are compared as to the subject, language and function of the marginal notes found in them. Five of these books are from the Rare Books Department of the Russian State (former Lenin) Library, the sixth copy from the Moscow University Library is used to enable better comparison. The analysis has shown that the types of marginal notes vary significantly depending on the owners’ social status, interest, background, and on the time and region. Marginal notes in Latin or Greek are considered from the point of view of their thematic (content) and chronological (dating) characteristics. As the result of many centuries of natural science, herbals were an important source of professional knowledge for academics, including medical scientists and pharmacists, of the time. Thematically, linguistically and paleographically, marginal notes of this type can be ascribed to professionals or students of natural sciences. Notes made considerably later than the incunabula era can in fact only be explained by an academic interest on the part of the reader (some notes date after 1700). Marginal notes made in German and, judging by the handwriting, dating closer to 1500 reflect work of common medical practitioners or even of lay readers, who used their herbals to cope with practical problems of their everyday life. These German marginal notes are of high interest as a source for German language history, as they contain synonymous names of plants, additional to those used in the printed text. The analysis of their form, dialect, and distribution proves that they offer valuable lexical material (regional names) in the semantic field usually scarcely documented in medieval literary texts. Those descriptions, which are indicative of region or dialect, show a distinct Southern German origin of their authors.
{"title":"German Incunabula Herbals from the Russian State Library: Towards Popular Literature","authors":"C. Squires","doi":"10.17223/23062061/26/4","DOIUrl":"https://doi.org/10.17223/23062061/26/4","url":null,"abstract":"Early printed herbals have a special place in the 15th-century book production as they were popular both with academics, including medical scientists and pharmacists, and with the common reader. The popular response to the mass production of herbal books made possible by the invention of printing left textual and linguistic evidence in the form of handwritten marginal notes. In the present study, six copies of illustrated herbals printed in Mainz by Peter Schoeffer in 1484 and 1485 are compared as to the subject, language and function of the marginal notes found in them. Five of these books are from the Rare Books Department of the Russian State (former Lenin) Library, the sixth copy from the Moscow University Library is used to enable better comparison. The analysis has shown that the types of marginal notes vary significantly depending on the owners’ social status, interest, background, and on the time and region. Marginal notes in Latin or Greek are considered from the point of view of their thematic (content) and chronological (dating) characteristics. As the result of many centuries of natural science, herbals were an important source of professional knowledge for academics, including medical scientists and pharmacists, of the time. Thematically, linguistically and paleographically, marginal notes of this type can be ascribed to professionals or students of natural sciences. Notes made considerably later than the incunabula era can in fact only be explained by an academic interest on the part of the reader (some notes date after 1700). Marginal notes made in German and, judging by the handwriting, dating closer to 1500 reflect work of common medical practitioners or even of lay readers, who used their herbals to cope with practical problems of their everyday life. These German marginal notes are of high interest as a source for German language history, as they contain synonymous names of plants, additional to those used in the printed text. The analysis of their form, dialect, and distribution proves that they offer valuable lexical material (regional names) in the semantic field usually scarcely documented in medieval literary texts. Those descriptions, which are indicative of region or dialect, show a distinct Southern German origin of their authors.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":"58 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80629596","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}
This article is dedicated to the problem of attributing the publications of illegal Old Believer printers in the second half of the nineteenth century: such publications do not have bibliographical data or have false information about the place of publication. At the centre of the author’s attention is the largest and longest-running printing company in the Old Believer market that belonged to the brothers Ovchinnikov. For publications from the eighteenth to the early nineteenth centuries, the main element which allows us to attribute a book to this or that printer is decoration; however, this criterion is insufficient for books from the second half of the nineteenth century. Old Believer merchants were publishers of books in the eighteenth and early nineteenth centuries; they placed their orders in rather large printing companies with an established set of decorations. Even in the printers they started at the end of the eighteenth century, they followed the tradition of using individual and distinctive ornamentation. In the second half of the nineteenth century, peasants or townsmen were publishers of books. Lacking sufficient funds and due to the illegal character of their activities, their printers were small and mobile, and they printed books on cheap paper in order to lower pro-duction costs. With only rare exceptions, the decoration of such books was not rich: either it was absent in general or there were only typeset decorations. If they did have headpieces, different printers used the same models. As such, ornamentation cannot be used as a universal indicator for attributing these publications, although it can be part of a set of such indicators. Fonts play the main role in defining an edition, but it is neces-sary to create a reference guide of fonts if this indicator is to be used practically. This article reflects the results of an analysis of fonts and decorative elements in publications from the Ovchinnikov printer. Very many such publications used a great variety of fonts simultaneously. According to indirect data, the books date from the 1860s. They might initially be taken for sammelbände since the type of paper changes along with the fonts. However, the integrity of the text during the transition from one font type to the next undermines this assumption. The article poses the question of how to explain the peculiarities of such publications. There is no one-dimensional answer. However, the author makes some suggestions: it is possible that at some point the printer was dispersed, with several printing presses placed in different houses. When a comparatively large volume was produced, the material was shared out and printed on these separate press-es. However, this hypothesis provokes the question: why do blocks of text printed in one font not follow each other in sequence? The article contains examples of the printer’s fonts and artistic elements the author identified.
{"title":"Problems of Attributing the Publications of the Old Believer Ovchinnikov Printer","authors":"I. Pochinskaya","doi":"10.17223/23062061/25/5","DOIUrl":"https://doi.org/10.17223/23062061/25/5","url":null,"abstract":"This article is dedicated to the problem of attributing the publications of illegal Old Believer printers in the second half of the nineteenth century: such publications do not have bibliographical data or have false information about the place of publication. At the centre of the author’s attention is the largest and longest-running printing company in the Old Believer market that belonged to the brothers Ovchinnikov. For publications from the eighteenth to the early nineteenth centuries, the main element which allows us to attribute a book to this or that printer is decoration; however, this criterion is insufficient for books from the second half of the nineteenth century. Old Believer merchants were publishers of books in the eighteenth and early nineteenth centuries; they placed their orders in rather large printing companies with an established set of decorations. Even in the printers they started at the end of the eighteenth century, they followed the tradition of using individual and distinctive ornamentation. In the second half of the nineteenth century, peasants or townsmen were publishers of books. Lacking sufficient funds and due to the illegal character of their activities, their printers were small and mobile, and they printed books on cheap paper in order to lower pro-duction costs. With only rare exceptions, the decoration of such books was not rich: either it was absent in general or there were only typeset decorations. If they did have headpieces, different printers used the same models. As such, ornamentation cannot be used as a universal indicator for attributing these publications, although it can be part of a set of such indicators. Fonts play the main role in defining an edition, but it is neces-sary to create a reference guide of fonts if this indicator is to be used practically. This article reflects the results of an analysis of fonts and decorative elements in publications from the Ovchinnikov printer. Very many such publications used a great variety of fonts simultaneously. According to indirect data, the books date from the 1860s. They might initially be taken for sammelbände since the type of paper changes along with the fonts. However, the integrity of the text during the transition from one font type to the next undermines this assumption. The article poses the question of how to explain the peculiarities of such publications. There is no one-dimensional answer. However, the author makes some suggestions: it is possible that at some point the printer was dispersed, with several printing presses placed in different houses. When a comparatively large volume was produced, the material was shared out and printed on these separate press-es. However, this hypothesis provokes the question: why do blocks of text printed in one font not follow each other in sequence? The article contains examples of the printer’s fonts and artistic elements the author identified.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":"13 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85654403","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：