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Vladimir Titov’s Letter to Vladimir Odoevsky as a Well-Known Response to Ivan Turgenev’s Article “Hamlet and Don Quixote” (Contemporaries’ Reception of Turgenev’s Interpretation of the Image of Hamlet) 季托夫给奥多耶夫斯基的信——对屠格涅夫《哈姆雷特与堂吉诃德》一文的著名回应(屠格涅夫对哈姆雷特形象的解读的当代人解读)
IF 0.1 Q3 Arts and Humanities Pub Date : 2021-01-01 DOI: 10.17223/23062061/26/6
Ivan O. Volkov
For the first time, in the article, Vladimir Titov’s letter (dated 12/24 February 1869) is published and commented. In the 1820s, in Russia, Titov was well-known as a writer and literature theorist, the author of a romantic novella The Remote House on Vasilyevsky Island (1829) close to Society of Lyubomudriye. The letter extracted from the archives of the National Library of Russia is addressed to Duke Vladimir Odoevsky whose relationship with Titov was friendly from the very beginning of their acquaintance. The letter focuses on Ivan Turgenev’s speech published in the first issue of Sovremennik and titled “Hamlet and Don Quixote”. Reacting to Turgenev’s article, Titov shortly and critically accesses the comparison concentrating mainly on the image of Hamlet and thoroughly expresses his opinion on the essence of his tragic state. Titov’s opinion is just the opposite of Turgenev’s complex and multidimensional interpretation. Having experienced the great impact of the philosophy of German idealism at the beginning of his career, Titov to a great extent idealizes Shakespeare’s character whom he long knows and whom he is clearly eager to vindicate. Meanwhile, Titov does not pursue the aim to absolutely advocate the romantic halo of Hamlet as a Titanic personality (grandiose intellect and scale of feeling) and to enact the tragic pathos of the inner fight only. Developing Goethe’s definition of the essence of the character’s inner conflict, Titov, on the one hand, approaches its real understanding underlying the prince’s necessity to stay in a derogatory position of a “pitiful semiclown, indecisive grouch and shred”. On the other hand, the assessment can not be absolutely objective because Titov wants to see Hamlet as a victim of the fatal fortune which turns him into a character of an almost classical tragedy of fate. Titov’s bright and developed reaction (in the document of private nature) to Turgenev’s article is attractive and important first of all for its vividly demonstrated novelty and creativity of the writer’s view, wideness and multimodality of the author’s perception of Hamlet’s image. For the first time, Turgenev gave a developed interpretation of Shakespeare’s image in the tale “Hamlet of Shchigrovsky Province” (1848). Continuing his searches in the area of “Russian” (or “steppe”) Hamlet, Turgenev creates moral and philosophical problems of the English tragedy in the crisis socio-historical and cultural atmosphere of Russia of the 1840s. However, the principles of the artistic generalization and the peculiarities of the new reading, not mentioned and not fully comprehended by his contemporaries, were surprising and rejected when the speech “Hamlet and Don Quixote” appeared, in which Shakespeare’s character is presented ultimately vividly and lively in the then current interpretation.
第一次,在文章中,弗拉基米尔·提托夫的信(日期为1869年2月12日/24日)被发表并评论。19世纪20年代,在俄罗斯,Titov作为作家和文学理论家而闻名,他的浪漫主义中篇小说《瓦西里耶夫斯基岛上的偏僻小屋》(1829)就在柳波穆德里耶协会附近。从俄罗斯国家图书馆的档案中摘录的这封信是写给弗拉基米尔·奥多耶夫斯基公爵的,他与季托夫的关系从一开始就很友好。这封信的重点是伊万·屠格涅夫在《当代》第一期发表的题为《哈姆雷特与堂吉诃德》的演讲。蒂托夫对屠格涅夫的文章作了简短而批判的回应,以哈姆雷特的形象为中心进行了比较,并深入地阐述了他对哈姆雷特悲剧状态本质的看法。蒂托夫的观点正好与屠格涅夫复杂而多维的解释相反。提托夫早年经历了德国理想主义哲学的巨大影响,他在很大程度上理想化了莎士比亚的角色,他对莎士比亚的认识很长时间了,他显然渴望为他辩护。同时,Titov并没有追求绝对崇尚哈姆雷特作为泰坦尼克人格的浪漫光环(宏大的智慧和磅礴的情感),而只是演绎内心斗争的悲怆。一方面,Titov发展了歌德对人物内心冲突本质的定义,接近了真正的理解,即王子必须停留在一个贬损的位置上,成为一个“可怜的半城市,优柔寡断的发牢骚和破碎”。另一方面,评价也不能绝对客观,因为Titov想把哈姆雷特看作是命运的受害者,命运把他变成了一个近乎经典的命运悲剧的人物。蒂托夫对屠格涅夫文章的鲜明而深入的反应(在私人性的文献中)是吸引人的,首先是因为它生动地展示了作者观点的新颖性和创造性,以及作者对哈姆雷特形象感知的广泛性和多模性。屠格涅夫第一次在故事《什奇格罗夫斯基省的哈姆雷特》(1848)中对莎士比亚的形象进行了详尽的诠释。屠格涅夫继续他在“俄罗斯”(或“草原”)哈姆雷特领域的研究,在19世纪40年代俄罗斯危机的社会历史和文化氛围中创造了英国悲剧的道德和哲学问题。然而,当《哈姆雷特与唐吉诃德》的演讲出现时,莎士比亚的艺术泛化原则和新阅读的特殊性,没有被同时代的人提及和完全理解,却令人惊讶和拒绝,在当时的解释中,莎士比亚的性格最终被生动活泼地呈现出来。
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引用次数: 0
Book Rewiev: Kafanova, O.B. (2020) Perevody N.M. Karamzina kak Kul’turnyy Universum [Translations by N.M. Karamzin as a Cultural Universe]. Saint Petersburg: Aleteyya
IF 0.1 Q3 Arts and Humanities Pub Date : 2021-01-01 DOI: 10.17223/23062061/27/10
N. Nikonova
The review notes Olga Kafanova’s great contribution to the study of the history of Russian literature, and especially works by Nikolai Karamzin, and productivity of her research as evidenced by the presented monograph. The book excels in its fundamental nature, novelty and reliability of the source base (more than 500 items of the bibliography of translations by Karamzin (1783-1800) and originals discovered while studying foreign works and periodicals). The review indicates the novelty and prospects of a number of Kafanova’s observations. In 2016, the public celebrated the 250th anniversary of Karamzin’s birth. The jubilee events were held in several countries and brought together dozens of scholars. One of the particular results of these events is an observation on the need for a comprehensive understanding of the work of Karamzin as a translator at a new level. The reviewed monograph promptly fills the noted gap and, using unique material, solves the problem of popularizing and preserving the Russian literary classics. The bibliography presented in the form of an appendix contains names of more than 50 authors of English, German, and French literature, whose texts Karamzin referred to. Based on the compiled corpus, Kafanova chooses an analytical approach that consistently reflects the evolution of Karamzin’s own system of views, on the one hand, and is based on the classic examples of Russian literary criticism and translation studies, on the other. Kafanova’s genre-generic approach easily synthesizes the several dimensions of the literary, editorial and institutional activities of Karamzin as a translator; there is no criticism of the clear definitions that classify Karamzin’s work on mastering the texts of foreign authors to one type or another. Another idea in the book is connected with a fundamental approach in the science of literature, according to which the history of literary processes is considered as a series of successive trends and directions of humanitarian thought. The reviewed book tells about the nuances of the era of pre-Romanticism, about the intricacies of interpreting Stem’s “sentimental stories of a sensitive heroine”, about the “portrait” project associated with “sensitive authors” (Wieland, Gesner, Klopstock, and others), and about the peculiarities of the Enlightenment and European Antiquity in the pantheon of literature by Karamzin and his contemporaries.
评论注意到奥尔加·卡法诺娃对俄罗斯文学史研究的巨大贡献,特别是尼古拉·卡拉姆津的作品,以及她的研究成果,正如所呈现的专著所证明的那样。这本书在其基本性质,新颖性和来源基础的可靠性方面表现出色(超过500项Karamzin(1783-1800)翻译的参考书目以及在研究外国作品和期刊时发现的原件)。这篇综述指出了Kafanova的一些观察的新颖性和前景。2016年,公众庆祝了卡拉姆津诞辰250周年。五十周年纪念活动在几个国家举行,聚集了几十位学者。这些事件的一个特别结果是观察到需要在一个新的水平上全面理解作为翻译的卡拉姆津的工作。审稿后的专著及时填补了这一空白,并以独特的材料解决了俄罗斯文学经典的普及和保存问题。以附录形式呈现的参考书目包含了50多位英国、德国和法国文学作家的名字,卡拉姆津引用了他们的作品。卡法诺瓦在整理语料库的基础上,选择了一种分析方法,一方面反映了卡拉姆津自己的观点体系的演变,另一方面又以俄罗斯文学批评和翻译研究的经典范例为基础。卡法诺瓦的体裁-类类研究方法很容易将卡拉姆津作为译者的文学、编辑和制度活动的几个维度综合起来;没有人批评将卡拉姆津掌握外国作家文本的作品划分为一种或另一种类型的明确定义。书中的另一个观点与文学科学的一种基本方法有关,根据这种方法,文学过程的历史被认为是人道主义思想的一系列连续的趋势和方向。这本书评讲述了前浪漫主义时代的细微差别,讲述了解读斯坦姆“敏感女主角的伤感故事”的复杂性,讲述了与“敏感作家”(维兰、格斯纳、克洛普斯托克等人)有关的“肖像”计划,讲述了卡拉姆津及其同时代人在文学万殿堂中的启蒙运动和欧洲古代的特点。
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引用次数: 0
The Didactic Function of the Autobiographical Story (On the Dialect Material) 自传体小说的教学功能(论方言素材)
IF 0.1 Q3 Arts and Humanities Pub Date : 2021-01-01 DOI: 10.17223/23062061/25/3
S. V. Voloshina
The aim of the article is to identify the means of linguistic expression of the di-dactic function and the factors of this function’s implementation in dialectal autobio-graphical stories. The material of the research is 120 oral autobiographical stories, which were recorded in Tomsk Oblast from the 1960s to 2018 during dialectological expeditions. The source of the material is the texts of the Tomsk dialect corpus (http://losl.tsu.ru/?q=corpus), as well as audio recordings of dialect speech, made by the author of the article during the expeditions in villages Pervomayskoe, Pervomayskiy District of Tomsk Oblast, in 2008, and Melnikovo, Shegarskiy District of Tomsk Ob-last, in 2017–2019. The didactic function is understood as the ability of autobiographical stories, in a broad sense, to be a tool of training, education, transfer of important knowledge about the world, accompanied by the desire of the stories’ authors to teach interlocutors, to explain something to them, to give advice. The author of the article identified the factors of implementing the didactic function in the autobio-graphical story. Among them are: 1) the specificity of dialect discourse: it is focused on tradition, its preservation and translation; 2) the genre of the material: since autobio-graphical texts have a retrospective orientation, informants, reporting on their lives, give an example, a model for the interlocutor to follow, or, vice versa, to avoid errors in life, not to repeat them; 3) the communicative situation and its components: first of all, these are participants of communication – a dialectologist and an informant; they be-long to different types of culture, and informants therefore strengthen the interpretive element in their stories, explaining what a word means, where and how an object is used, etc. As a rule, informants are older, so they give recommendations to dialectolo-gists, teach them: Now, girls, you live in a good century. It is just necessary to work, just to work. To learn, to work, and then all will be well. So, girls, live, take care of your life. Take care of life. The theme, time and space of communication were also identified among the components of the communicative situation. All these factors take part in the representation of the didactic function. It is determined that didacticism can be expressed in the speech genres of advice, explanation, and culinary recipe. The di-dactic function is represented by imperative statements, words of the category of state, statements reflecting informants’ values and ideas about ethical and moral categories, by infinitive constructions, statements with verbs in the form of abstract present or fu-ture tenses, lexemes expressing moral values. It has been determined that the didacti-cism of autobiographical texts is associated with the self-reflection of informants about their lives and, more broadly, with the analysis of generational experience.
本文旨在探讨方言自传体小说中话语功能的语言表达方式及话语功能实现的因素。该研究的材料是20世纪60年代至2018年在托木斯克州方言考察期间记录的120个口述自传体故事。材料的来源是托木斯克方言语料库(http://losl.tsu.ru/?q=corpus)的文本,以及本文作者2008年在托木斯克州Pervomayskoe村和2017-2019年在托木斯克州谢加斯基区Melnikovo村探险时录制的方言演讲录音。说教功能被理解为自传体故事的能力,从广义上讲,是一种训练,教育的工具,传递关于世界的重要知识,伴随着故事作者教导对话者的愿望,向他们解释一些事情,给出建议。本文探讨了在自传体小说中实施说教功能的因素。其中包括:1)方言话语的特殊性:注重传统、传统的保存和翻译;2)材料的类型:由于自传体文本具有回顾性取向,告密者在报道他们的生活时,为对话者提供了一个例子,一个榜样,以遵循,反之亦然,以避免生活中的错误,而不是重复它们;3)交际情境及其组成部分:首先,这些人是交际的参与者——辩证法者和信息者;他们属于不同类型的文化,因此告密者在他们的故事中加强了解释性因素,解释一个词的意思,一个物体在哪里以及如何使用,等等。一般来说,告密者年龄较大,所以他们会向方言学家提出建议,教导他们:姑娘们,你们生活在一个美好的世纪。工作是必要的,只是为了工作。去学习,去工作,然后一切都会好的。所以,姑娘们,好好生活,好好生活。爱护生命。在交际情境的构成要素中,还确定了交际的主题、时间和空间。所有这些因素都参与了教学功能的表现。这是确定的,说教可以表达在建议,解释和烹饪食谱的演讲体裁。指示功能主要表现在祈使句、状态类词语、反映告密者价值观和伦理道德观念的语句、不定式结构、抽象现在时或将来时形式的动词语句、表达道德价值观的词汇等方面。已经确定的是,自传体文本的说教主义与告密者对其生活的自我反思有关,更广泛地说,与代际经验的分析有关。
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引用次数: 0
Review: Pigin, A.V. & Andrianova, I.S. (Eds) (2019) Filologiya kak Prizvanie: Sbornik Statey k Yubileyu Professora Vladimira Nikolaevicha Zakharova [Philology as a Vocation: Collection of Articles to the Anniversary of Professor Vladimir Nikolaevich Zakharov]. Petrozavodsk: Petrozavodsk State Univer
IF 0.1 Q3 Arts and Humanities Pub Date : 2021-01-01 DOI: 10.17223/23062061/25/10
Andrei E. Kunilskiy
The review draws attention to a great contribution made by Professor Vladimir Zakharov to the study of the history of Russian literature, especially of Dostoevsky’s oeuvre. The longstanding and continuing research of Dostoevsky’s works made him deduce that Russian literature in whole was Christian with its particular evangelic text, Christian chronotope and general paschal, conciliar and salvational character. It is em-phasized that these pivotal concepts do not contradict the complexity (sometimes ambi-guity) of the nature of Russian literature and confirm the relevance of Pyotr Chaadaev’s call to recognize the impact of Christianity wherever and in whatever manner the hu-man thought touches upon it, even with the purpose of competing with it. The articles published in the collection prove the efficiency of Zakharov’s academic research. The articles cover various themes and attract a wide scope of materials, such as Old Russian literature and literature of the 18th, 19th and 20th centuries, as well as that of the Soviet period and Russian literature abroad. The review takes into consideration the originality and potential of a number of remarks made in the articles, and introduces some clarifi-cations and supplements. Special attention has been paid to the articles dedicated to Dostoevsky’s oeuvre and his relations with other authors. The review emphasizes that one must understand the difference of Dostoevsky from other writers. Thus, with regard to the use of the “poetics of paradox” by Dostoevsky and Osip Senkovsky (as stated in V.A. Koshelev’s article), it is asserted that the concept of paradox and the image of a paradoxer play a significant role in Dostoevsky’s reasoning, but not with the aim of brandishing his originality and pinpointing the comic and absurd character of objective reality. In Dostoevsky, ideas inconsistent with common notions yet comprising the truth turn out to be paradoxical. The review also draws attention to differences in the out-looks of Dostoevsky and Chekhov, thus entering into a debate with the researcher N.V. Prashcheruk regarding the spiritual kinship of the two great Russian writers. The review distinguishes the articles of V.A. Viktorovich, B.N. Tarasov, and B.N. Tikhomirov for the abundance of sources, accuracy and consistency of their key theses. The academic hypothesis stated by I.A. Esaulov about two cultural currents (European culture of Modern Times and Christian tradition) influencing the formation of Russian literature should be taken into account when creating the history of national literature that must capture the essence and character of its genesis correctly. The review states that articles on Old Russian literature (L.V. Sokolova, T.F. Volkova, A.V. Pigin) are characterized by a detailed study of the material and a broad philological background on the whole. Finally, the review states that the collection has again proved the diversity of Zakha-rov’s research interests, the potential of his ideas
这篇评论引起了人们对弗拉基米尔·扎哈罗夫教授对俄罗斯文学史,特别是陀思妥耶夫斯基作品研究的巨大贡献的关注。对陀思妥耶夫斯基作品的长期和持续的研究使他推断,俄罗斯文学整体上是基督教的,具有特殊的福音文本,基督教的年表以及普遍的逾越节,公义和救赎的特征。作者强调,这些关键的概念并不与俄罗斯文学本质的复杂性(有时是模棱两可的)相矛盾,并证实了彼得·查达耶夫(peter Chaadaev)的呼吁,即无论人类思想以何种方式触及基督教,甚至以与之竞争的目的,都要承认基督教的影响。该文集发表的文章证明了扎哈罗夫学术研究的有效性。这些文章涵盖了各种主题,吸引了广泛的材料,如旧俄罗斯文学和18、19和20世纪的文学,以及苏联时期和国外的俄罗斯文学。审查考虑到文章中一些评论的原创性和潜力,并提出了一些澄清和补充。对陀思妥耶夫斯基作品及其与其他作家关系的文章给予了特别的关注。这篇评论强调,人们必须了解陀思妥耶夫斯基与其他作家的区别。因此,关于陀思妥耶夫斯基和奥西普·森科夫斯基对“悖论的诗学”的使用(如V.A.科舍列夫的文章所述),有人断言,悖论的概念和悖论者的形象在陀思妥耶夫斯基的推理中发挥了重要作用,但不是为了炫耀他的独创性和精确地指出客观现实的滑稽和荒谬的特征。在陀思妥耶夫斯基的作品中,与一般观念不一致但却包含真理的思想是自相矛盾的。这篇评论也引起了人们对陀思妥耶夫斯基和契诃夫的不同看法的关注,从而与研究者N.V.普拉什切鲁克就这两位伟大的俄罗斯作家的精神亲缘关系展开了辩论。这篇综述将V.A. Viktorovich, B.N. Tarasov和B.N. Tikhomirov的文章区分为来源丰富,关键论点的准确性和一致性。在创作民族文学史时,必须考虑到伊萨洛夫关于影响俄罗斯文学形成的两种文化潮流(近代欧洲文化和基督教传统)的学术假设,必须正确把握民族文学史起源的本质和特征。这篇评论指出,关于俄罗斯古代文学的文章(L.V. Sokolova, T.F. Volkova, A.V. Pigin)的特点是对材料进行了详细的研究,总体上具有广泛的语言学背景。最后,评论指出,这些收藏再次证明了Zakha-rov的研究兴趣的多样性,他的思想的潜力以及他自己在俄罗斯和国际文献学界活动中的有益作用。
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引用次数: 0
Features of the Publishing Industry Transformation 出版产业转型的特征
IF 0.1 Q3 Arts and Humanities Pub Date : 2021-01-01 DOI: 10.17223/23062061/26/7
V. V. Kharitonov
There are three stages in the technological history of the modern book industry as a scalable and mass production of books. The main attention is paid to the history of digital books, the beginning of which is associated not so much with the beginning of digital book production, but with the advent of digital distribution. On the technical side, this meant developing common industry standards for the digital book, building a distribution infrastructure based on the Internet, and gaining broadband access to it for the mass consumer. Equally significant were the cultural shifts that accompanied or resulted from this technical transformation. The digitalization of the book itself did not have a significant impact on the industry before the ubiquity of the Internet, since the sphere of existence of digital books was limited to a small number of qualified users. Everything changed in the first two decades of the 21st century, when the laws of the “attention economy” came into force and the mechanism of competition for the user’s time by content was activated. A digital book, on the one hand, is becoming more accessible; on the other hand, the time spent on reading books is being reduced. The development of computer technologies and the Internet, in addition to removing the barrier to access to content, removes a significant number of barriers to content publication. It is important to note that the publishing filter in the context of open publication also ceases to work in legal terms, and its disappearance led, in particular, to the emergence and rapid growth of fan fiction literature, which is in the “gray” zone of copyright. The spread of the Internet, of course, creates not only problems, but also opportunities for publishers, in particular, by changing communication with readers. The Internet has made possible not only direct communication with the reader and reader communities, but also a much more effective prompt response to readers’ requests, including those supported by compelling economic incentives. The changes that are taking place in the book industry at the third stage of technological transformation have a very heterogeneous effect on publishers in different countries, depending on the degree of market development, Internet penetration, and readers’ digital content habits. The main point is that these changes take place in very different ways in different types of book publishing. Obviously, “book”, whatever its definition one gives, is just a convenient collective format for completely different texts, materialized or embodied in digital form in different ways. At the same time, the functional purpose of the text and the way the reader treats it determine the trajectory along which the industrial niche corresponding to certain types of publications will develop, in which direction it will evolve.
在现代图书工业的技术史上,有三个阶段是可扩展和大规模生产书籍的阶段。主要关注的是数字图书的历史,它的开始与数字图书生产的开始没有多大关系,而是与数字发行的出现有关。在技术方面,这意味着为数字图书制定通用的行业标准,建立基于互联网的分销基础设施,并为大众消费者获得宽带接入。同样重要的是伴随技术变革而来的文化变迁。在互联网普及之前,图书的数字化本身并没有对行业产生重大影响,因为数字图书的存在范围仅限于少数合格的用户。21世纪头20年,“注意力经济”的规律开始生效,内容对用户时间的竞争机制被激活,一切都改变了。一方面,电子书变得越来越容易获取;另一方面,花在读书上的时间正在减少。计算机技术和因特网的发展除了消除了获取内容的障碍外,还消除了内容出版的大量障碍。值得注意的是,在开放出版的背景下,出版过滤器在法律上也不再起作用,它的消失尤其导致了同人小说文学的出现和快速增长,而同人小说文学处于版权的“灰色”地带。当然,互联网的普及不仅带来了问题,也给出版商带来了机会,尤其是通过改变与读者的交流方式。互联网不仅使与读者和读者社区的直接交流成为可能,而且使对读者的要求,包括那些有强有力的经济激励支持的要求,作出更有效的迅速回应成为可能。在技术转型的第三阶段,图书行业正在发生的变化对不同国家的出版商产生了非常不同的影响,这取决于市场发展程度、互联网普及率和读者的数字内容习惯。主要的一点是,这些变化在不同类型的图书出版中以非常不同的方式发生。显然,“书”,不管它的定义是什么,都只是一种方便的集合形式,用于完全不同的文本,以不同的方式物化或体现在数字形式中。同时,文本的功能目的和读者对待它的方式决定了与某些类型出版物相对应的产业利基将沿着哪个方向发展。
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引用次数: 1
Age Rating of Books and Readability: On the Correlation of Two Indices 图书年龄分级与易读性:两项指标的相关性研究
IF 0.1 Q3 Arts and Humanities Pub Date : 2021-01-01 DOI: 10.17223/23062061/26/8
A. V. Glazkova
The article examines the correlation of two indices characterizing the level of linguistic or semantic complexity of the book content. The first index is the age rating in accordance with the Russian Age Rating System for information products. The second index is the ease of understanding of the text, calculated based on the common readability metrics. The author compares the values of readability metrics for texts with different age rating scores. The experiments were carried out on the collection of 5,516 book previews collected by the author of the article. The previews used are freely available in electronic libraries, and they have age rating scores obtained from their publishers. In accordance with the system adopted in the Russian Federation, age rating scores characterize the book’s targeting to the following age categories: 0+, 6+, 12+, 16+, and 18+. In most cases, the size of the book preview is 10% of the full text, which makes it possible to calculate readability indices. The collected texts were scored according to five commonly used readability metrics: Flash-Kincaid Index, Coleman-Liau Index, ARI Index, SMOG Index, and Dale-Chell Formula. As a result of the readability assessment for the texts of each age category, the author obtained recommended levels of education necessary for their understanding. The obtained values were averaged within the age category and analyzed. The results of the experiments allow asserting that in most cases there is a direct relationship between the age rating score of the book and the expected level of education required to understand it. Moreover, readability scores in accordance with all the considered metrics are directly proportional to age rating scores for age categories from 0+ to 16+. The readability scores of books in the 18+ category roughly correspond to children’s literature, which is apparently explained by the genre characteristics of the books marked by the 18+ label. First of all, the results obtained indicate the adequacy of the existing approach to assessing the book age rating in terms of attributing the text to the target audience by age. Secondly, the relationship between readability indices and age rating scores allow using the values of readability metrics as text features in various computational linguistics tasks aimed at text addressee prediction.
本文考察了表征图书内容的语言或语义复杂程度的两个指标之间的相关性。第一个指标是根据俄罗斯信息产品年龄分级系统进行的年龄分级。第二个指标是文本的易理解性,基于常见的可读性指标计算。作者比较了不同年龄评分文本的可读性指标值。实验是在本文作者收集的5516本图书预览集上进行的。所使用的预览可以在电子图书馆免费获得,并且它们有从出版商那里获得的年龄评级分数。根据俄罗斯联邦采用的系统,年龄分级分数描述了这本书针对以下年龄段的目标:0+,6+,12+,16+和18+。在大多数情况下,图书预览的大小是全文的10%,这使得计算可读性指数成为可能。根据五种常用的可读性指标进行评分:Flash-Kincaid指数、Coleman-Liau指数、ARI指数、SMOG指数和Dale-Chell公式。通过对每个年龄组文本的可读性评估,作者获得了他们理解所需的推荐教育水平。所得值在年龄组内取平均值并进行分析。实验的结果可以断言,在大多数情况下,书的年龄评级分数与理解它所需的预期教育水平之间存在直接关系。此外,根据所有考虑的指标,可读性得分与0+到16+年龄类别的年龄评分得分成正比。18+类别书籍的可读性得分大致对应于儿童文学,这显然是由18+标签所标记的书籍的类型特征所解释的。首先,所获得的结果表明,在按年龄将文本归给目标读者方面,现有的评估图书年龄评级方法是适当的。其次,可读性指标与年龄评分之间的关系允许在各种旨在预测文本收件人的计算语言学任务中使用可读性指标的值作为文本特征。
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引用次数: 0
The Transformation of the Reading Model in a Digital Culture 数字文化下阅读模式的转变
IF 0.1 Q3 Arts and Humanities Pub Date : 2021-01-01 DOI: 10.17223/23062061/27/7
Tatiana L. Vorobyeva
The article explores the transformation of the traditional reading model in the conditions of the modern information society and digital culture. The author considers the problem in the anthropological aspect as a radical cognitive restructuring of reading perception and modernization of reading practices. This requires a revision of the essential concepts of the reading theory and of methodological approaches to their study. Firstly, this concerns texts that change their nature in the digital environment and acquire a multimodal polycode character. Changing the medium and the way in which it is recorded leads to a change from linear, sequential reading to a parallel, divergent way of reader’s thinking, which significantly affects the depth of attention and understanding of the text. In this regard, researchers note the gradual replacement of slow, thoughtful reading by widely used scanning techniques, superficial search reading that realizes specific pragmatic goals. The modern reading model replaces the traditional, consolidating function with a differentiating one, related to the stratification of the readership and the formation of different reading subcultures and online reading communities. Internet reading, which is especially popular among young people, is becoming “social”, aiming at active online communication and the creation of its own fanfiction content. This removes the institutional distance between the author and the reader, and significantly changes the status position of reading, which loses its role as a terminal value and becomes a secondary, collateral occupation. Reader differentiation is also evident in the mental digital generational divide; reading practices of adherents of the traditional reading model become increasingly elitist in today’s socio-cultural context. This gap is exacerbated by the current trend towards the visualisation of reading, which accelerates perception of information but negates essential reading competencies. The transformation of the reading model has deep historical roots and is legitimate, so the reader’s ability to be “multitextual”, i.e. to switch to different modes of perception, choosing different reading strategies depending on the text and the situations, is important today This can be facilitated by education and book publishing that adapt to the characteristics of the new reading model.
本文探讨了在现代信息社会和数字文化条件下,传统阅读模式的转变。从人类学的角度看,这一问题是阅读感知的根本性认知重构和阅读实践的现代化。这就需要对阅读理论的基本概念和研究方法进行修正。首先,这涉及到在数字环境中改变其性质并获得多模态多码特征的文本。媒介和记录方式的改变导致读者的思维方式从线性的、顺序的阅读转变为平行的、发散的阅读,这极大地影响了读者对文本的关注和理解的深度。在这方面,研究人员注意到,缓慢的、深思熟虑的阅读逐渐被广泛使用的扫描技术所取代,肤浅的搜索阅读实现了特定的语用目标。现代阅读模式以差异化功能取代了传统的整合功能,这与读者群体的分层、不同阅读亚文化和网络阅读社区的形成有关。尤其受年轻人欢迎的网络阅读正变得“社交化”,旨在积极的在线交流和创造自己的同人小说内容。这消除了作者和读者之间的制度距离,并显著改变了阅读的地位地位,使其失去了终端价值的作用,成为一种次要的、附带的职业。读者分化在精神上的数字代沟中也很明显;在当今的社会文化背景下,传统阅读模式的追随者的阅读实践变得越来越精英化。目前的阅读可视化趋势加剧了这一差距,这种趋势加速了对信息的感知,但却否定了基本的阅读能力。阅读模式的转变有着深刻的历史根源,是合理的,因此读者的“多文本”能力,即根据文本和情境切换不同的感知模式,选择不同的阅读策略,在今天是很重要的,这可以通过适应新阅读模式特征的教育和图书出版来促进。
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引用次数: 1
Illustrations in Children’s Educational Books in Russia in the Late 17th – Early 19th Centuries 17世纪末至19世纪初俄罗斯儿童教育书籍中的插图
IF 0.1 Q3 Arts and Humanities Pub Date : 2020-08-01 DOI: 10.17223/23062061/23/5
N. Panina
The aim of this article is to analyse the transition period in the history of illustrating children’s educational books on the material of Russian-language publications. It is the period in which the function of an intermedial representation gradually develops from emblematic to encyclopedic and narrative-figurative images. This process is related to the literary history of children’s books and their genre transformations. In the last third of the 18th century, children’s literature in Russia was formed as an independent direction with its special goals, and the basis for further search for specific methods of children’s book design, including educational ones, was laid. In the first quarter of the 19th century, the children’s book had a typical European visual design and continued the trends inherited from the 18th century: translations, borrowings, and revised texts in publications often copied illustrations rather than made new ones. A new stage came at the end of the 1820s, when Russia was actively developing independent children’s literature, and professional authors and criticism appeared. It was the time of the pedagogical experiments of Vasily Zhukovsky. This article does not claim to analyse Zhukovsky’s pedagogical activity comprehensively, but this activity is significant for the subject-matter of the study. In his pedagogy, Zhukovsky went to a new level when searching for intermedial ways of transmission of the universal coherence of phenomena, the systemic representation of knowledge about the world, and the ideas of the world as a system. The search, though much slower, was also observed in contemporary children’s books. The integration of cognitive and didactic functions in the Russian-language children’s book of the 18th century resulted in a mix of different principles of illustration in one publication. These principles are: (1) emblematic: the title, image, and text form a three-part structure; (2) encyclopedic: the sheet contains separate numbered images of the same type of objects excluded from the visual context; (3) narrative: the plot, expressive and figurative, including caricature, illustrations are readily used in an educational book due to their persuasiveness. Each of these principles has its own ways of displaying coherence. An encyclopedic illustration shows an object in a series of similar ones, in an enumeration, shows the structure of the object. An emblem gives its symbolic and allegorical interpretation. A narrative illustration shows its functions and its involvement in causal relations, depicting the environment of events and objects. The children’s book of the studied period tends to integrate all these ways. While the emblem as an independent intermedial genre degrades, certain elements of the emblematic tradition are actively borrowed by new forms of publications. The emblem gives the European book of modern times the most important intermedial tools for displaying universal coherence, the world as a system
本文的目的是分析在俄文出版物的材料上插图的儿童教育书籍的历史转型期。这是一个中间表征的功能逐渐从象征性发展到百科全书式和叙事性比喻的时期。这一过程与儿童图书的文学史及其体裁转换有关。18世纪后30年,俄罗斯的儿童文学形成了一个独立的方向,有其特殊的目标,为进一步探索包括教育在内的儿童图书设计的具体方法奠定了基础。在19世纪的前25年,儿童读物具有典型的欧洲视觉设计,并延续了从18世纪继承下来的趋势:出版物中的翻译、借用和修订文本经常复制插图,而不是制作新的插图。19世纪20年代末,俄罗斯进入了独立儿童文学积极发展的新阶段,出现了专业作家和批评。这是瓦西里·茹科夫斯基进行教学实验的时期。本文并没有全面分析茹科夫斯基的教学活动,但这一活动对研究的主题具有重要意义。在他的教学法中,茹科夫斯基在寻找现象的普遍一致性、关于世界的知识的系统表示以及作为一个系统的世界观念的传播的中间方式时,达到了一个新的水平。这种搜寻虽然要慢得多,但在当代儿童书籍中也可以观察到。在18世纪的俄语儿童读物中,认知和教学功能的整合导致了在一本出版物中混合了不同的插图原则。这些原则是:(1)象征性:标题、图像和文本构成一个三部分结构;(2)百科全书式(encyclopedic):该页包含了排除在视觉环境之外的同一类型物体的单独编号图像;(3)叙事性:具有表现力和比喻性的情节,包括漫画、插图等,因为它们具有说服力,所以很容易在教育书籍中使用。这些原则中的每一个都有自己的方式来显示一致性。百科全书式的插图在一系列相似的插图中显示一个物体,在列举中显示该物体的结构。徽记具有象征意义和寓意意义。叙事性插图展示了它的功能及其在因果关系中的作用,描绘了事件和对象的环境。所研究时期的儿童读物倾向于整合所有这些方式。当标志作为一种独立的中间类型退化时,象征传统的某些元素被新形式的出版物积极地借鉴。这一标志为现代欧洲书籍提供了最重要的中间工具,以展示世界作为一个系统的普遍一致性。时代的变化不可避免地导致了象征性符号意义的模糊。所分析的时期的及物性是在寻找一种新的中间形式的连贯性中表达的,类似于在有效性方面失去的文本和插图的象征性双媒质。在寻找这样一种形式的过程中,声称包罗万象的百科全书出版物使用了插图的象征和叙事原则。反过来,叙事性的说明,由类似的包容性,一致性和普遍性的愿望驱动,吸收象征性和百科全书的原则。
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引用次数: 1
Educational Periodicals in the “Court Pedagogy” of Mikhail Muravyov and Vasily Zhukovsky. Article One 米哈伊尔·穆拉约夫和瓦西里·茹科夫斯基“法庭教育学”中的教育期刊。一条
IF 0.1 Q3 Arts and Humanities Pub Date : 2020-08-01 DOI: 10.17223/23062061/23/1
D. V. Dolgushin
In 1829–1831, Vasily Zhukovsky, a mentor to the heir to the throne, published two pedagogical journals Sobiratel’ [The Collector] (1829) and Muraveynik [The Ant Hill] (1831). Zhukovsky’s publishing project was greatly influenced by the traditions of court pedagogy associated with the name of Mikhail Muravyov, who taught Russian literature, Russian history and moral philosophy to Grand Dukes Alexander and Konstantin Pavlovich for many years. Muravyov wrote many prose works of an artistic and didactic nature, which were printed in a small number of copies in the Imperial printing house. One of all these publications is important: “Obitatel’ Predmestya, Periodicheskiye Listy” [The Inhabitant of the Suburbs, Periodical Sheets] (1790); it was published weekly and is the closest analogue to the court pedagogical journals of Zhukovsky. The publication is part of a prose cycle—a trilogy which also includes “Bernovskie Pis’ma” [Bernovo Letters] and “Emilievy Pis’ma” [Emil’s Letters], that Muravyov used in pedagogical practice. Muravyov tried to create a kind of a friendly community with his students, a small circle in which the sentimentalist model of communication of souls was to be realised. His prose was intended to contribute to the formation of this group space and therefore was saturated with the circle semantics. The latter particularly manifested itself in the correlation of the image of the main child character of the trilogy, Vasinka, with the personality of one of Muravyov’s students— Grand Duke Konstantin Pavlovich. Vasinka in “Emilievy Pis’ma” is an improved version of Konstantin. Vasinka has the same advantages as Konstantin and successfully fights with his shortcomings. However, the message of the trilogy is not so straightforward as to be limited by the boundaries of the circle. On the contrary, it tends to maximise universality, creating a kind of an encyclopedia of the universe, which includes people, nature, and works of art. There is no room only for urban civilisation. The diversity of the world in the trilogy is brought to the common denominator of the village idyll. Therefore, the plot of Muravyov’s narrative is weakened, because the idyll is essentially eventless. This is not a chain of events, but a series of images. This is what provides not only didactic “visibility”, but also the potential “mediality” of the text, gives the text the ability to be distributed in issues and integrate into life, merge with its chronological and everyday flow. The idyllic pictures of “Emil’s cycle” are brought together by the axiomatic level of the text. It is most clearly articulated in the conversation of the inhabitant of the suburb with Ilanov—a religious and philosophical discourse in which ethics is combined with metaphysics and cosmology. All these features of “Emil’s trilogy” were further continued and developed in Zhukovsky’s pedagogical journals. The following article will be devoted to a detailed analysis of this continuity.
1829年至1831年,瓦西里·茹科夫斯基,王位继承人的导师,出版了两本教学期刊《收藏者》(1829)和《蚂蚁山》(1831)。茹科夫斯基的出版计划很大程度上受到与米哈伊尔·穆拉维约夫(Mikhail Muravyov)有关的宫廷教学法传统的影响,穆拉维约夫多年来一直向亚历山大大公和康斯坦丁·帕夫洛维奇大公教授俄罗斯文学、俄罗斯历史和道德哲学。穆拉维约夫写了许多艺术和说教性质的散文作品,这些作品在帝国印刷厂少量印刷。在所有这些出版物中,有一种很重要:《Obitatel ' Predmestya, Periodicheskiye list》(1790年);它每周出版一次,与茹科夫斯基的宫廷教学期刊最相似。该出版物是穆拉维约夫在教学实践中使用的散文三部曲的一部分,三部曲还包括“Bernovskie Pis 'ma”[Bernovo Letters]和“Emilievy Pis 'ma”[埃米尔的信件]。穆拉维约夫试图和他的学生建立一种友好的团体,在这个小圈子里,情感主义的心灵交流模式得以实现。他的散文旨在促成这一群体空间的形成,因此充满了循环语义。后者尤其体现在三部曲中主要儿童角色瓦辛卡的形象与穆拉维约夫的一个学生——康斯坦丁·帕夫洛维奇大公的个性之间的联系上。《爱米丽娃》中的瓦辛卡是康斯坦丁的改良版。瓦辛卡和康斯坦丁有着同样的优势,并成功地克服了他的缺点。然而,三部曲的信息并不那么直截了当,以至于被圈子的界限所限制。相反,它倾向于最大化普遍性,创造一种宇宙百科全书,其中包括人,自然和艺术作品。没有只有城市文明的空间。世界的多样性在三部曲中被带到乡村田园牧歌的共同点。因此,穆拉维约夫叙事的情节被削弱了,因为田园诗本质上是无事件的。这不是一连串的事件,而是一系列的图像。这不仅提供了说教的“可见性”,也提供了文本潜在的“媒介性”,使文本能够分布在问题中,融入生活,与时间和日常流动相融合。“埃米尔的循环”的田园诗般的画面是由文本的公理水平汇集在一起。在郊区居民与伊拉诺夫的对话中,这一点得到了最清晰的表达——一种宗教和哲学的话语,其中伦理与形而上学和宇宙学相结合。“埃米尔三部曲”的所有这些特点在茹科夫斯基的教学期刊中得到了进一步的延续和发展。下一篇文章将专门对这种连续性进行详细分析。
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引用次数: 0
The Market of Electronic Books in Russia: The Specifics of Production and Distribution 俄罗斯电子图书市场:生产和分销的细节
IF 0.1 Q3 Arts and Humanities Pub Date : 2019-04-01 DOI: 10.17223/23062061/19/8
I. V. Lizunova
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引用次数: 3
期刊
Tekst Kniga Knigoizdanie-Text Book Publishing
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