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.
{"title":"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)","authors":"Ivan O. Volkov","doi":"10.17223/23062061/26/6","DOIUrl":"https://doi.org/10.17223/23062061/26/6","url":null,"abstract":"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.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84899919","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 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.
{"title":"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","authors":"N. Nikonova","doi":"10.17223/23062061/27/10","DOIUrl":"https://doi.org/10.17223/23062061/27/10","url":null,"abstract":"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.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72518277","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The aim of the article is to 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.
{"title":"The Didactic Function of the Autobiographical Story (On the Dialect Material)","authors":"S. V. Voloshina","doi":"10.17223/23062061/25/3","DOIUrl":"https://doi.org/10.17223/23062061/25/3","url":null,"abstract":"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.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91295382","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 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
{"title":"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","authors":"Andrei E. Kunilskiy","doi":"10.17223/23062061/25/10","DOIUrl":"https://doi.org/10.17223/23062061/25/10","url":null,"abstract":"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 ","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84989669","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}
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.
{"title":"Features of the Publishing Industry Transformation","authors":"V. V. Kharitonov","doi":"10.17223/23062061/26/7","DOIUrl":"https://doi.org/10.17223/23062061/26/7","url":null,"abstract":"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.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88950320","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 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.
{"title":"Age Rating of Books and Readability: On the Correlation of Two Indices","authors":"A. V. Glazkova","doi":"10.17223/23062061/26/8","DOIUrl":"https://doi.org/10.17223/23062061/26/8","url":null,"abstract":"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.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89112574","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 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.
{"title":"The Transformation of the Reading Model in a Digital Culture","authors":"Tatiana L. Vorobyeva","doi":"10.17223/23062061/27/7","DOIUrl":"https://doi.org/10.17223/23062061/27/7","url":null,"abstract":"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.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85249665","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The aim of 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
{"title":"Illustrations in Children’s Educational Books in Russia in the Late 17th – Early 19th Centuries","authors":"N. Panina","doi":"10.17223/23062061/23/5","DOIUrl":"https://doi.org/10.17223/23062061/23/5","url":null,"abstract":"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","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85240521","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 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。
{"title":"Educational Periodicals in the “Court Pedagogy” of Mikhail Muravyov and Vasily Zhukovsky. Article One","authors":"D. V. Dolgushin","doi":"10.17223/23062061/23/1","DOIUrl":"https://doi.org/10.17223/23062061/23/1","url":null,"abstract":"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.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80879975","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}
{"title":"The Market of Electronic Books in Russia: The Specifics of Production and Distribution","authors":"I. V. Lizunova","doi":"10.17223/23062061/19/8","DOIUrl":"https://doi.org/10.17223/23062061/19/8","url":null,"abstract":"","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74560140","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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