Pub Date : 2023-01-01DOI: 10.37816/2073-9567-2023-68-30-46
E. Okladnikova
The study comes up with results of the analysis of historical material collected in the north of the Demyansk district of the Novgorod region during expeditions on the topic “Historical and cultural map of the Demyansk district” in 2021. In the course of processing the material, we drew attention to the fact that in this map, in addition to the historical and ethnocultural, the contours of the sacred landscape are clearly visible. For the Demyansk land, the sacred landscape is a geographical space where topochron meets the hero's mythologeme. While we studied the topos of the sacred landscape of the Demyansk land on the district`s north, its chronos covers the epochs of the formation of the Old Russian state, the time of the spread of Orthodoxy and its rooting in tradition, the Soviet period and its important part — the Second World War. For each of the determined toposes of the sacred landscape of the Demyansk land we identified corresponding hero mythologeme: a prince (a hero of the feudal era of the formation of the ancient Russian state), a priest (a religious figure, framer of the Christian sacred landscape of territories) and a Soviet warrior (hero of the Second World War).
{"title":"Sacred Sites of the Demiansk Land in the Context of Hero`s Mythology","authors":"E. Okladnikova","doi":"10.37816/2073-9567-2023-68-30-46","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-68-30-46","url":null,"abstract":"The study comes up with results of the analysis of historical material collected in the north of the Demyansk district of the Novgorod region during expeditions on the topic “Historical and cultural map of the Demyansk district” in 2021. In the course of processing the material, we drew attention to the fact that in this map, in addition to the historical and ethnocultural, the contours of the sacred landscape are clearly visible. For the Demyansk land, the sacred landscape is a geographical space where topochron meets the hero's mythologeme. While we studied the topos of the sacred landscape of the Demyansk land on the district`s north, its chronos covers the epochs of the formation of the Old Russian state, the time of the spread of Orthodoxy and its rooting in tradition, the Soviet period and its important part — the Second World War. For each of the determined toposes of the sacred landscape of the Demyansk land we identified corresponding hero mythologeme: a prince (a hero of the feudal era of the formation of the ancient Russian state), a priest (a religious figure, framer of the Christian sacred landscape of territories) and a Soviet warrior (hero of the Second World War).","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83635825","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}
Pub Date : 2023-01-01DOI: 10.37816/2073-9567-2023-67-186-201
S. Sevastyanova, E. E. Khudnitskaya
Interest in the “women's theme” is actualized in Russian humanities at the turn of the 21st century in terms of the feminology, historical anthropology and the history of everyday life. However, the “women's theme” in the exemplary collections of copies translated into Russian in the 17th century, still attracts little attention of researchers. This paper for the first time draws attention to women's issues as one of the cross-cutting ones in the code “Great Mirror” in its first Russian translation. The image of a woman is characterized basing on the material of 163 articles. The content of the examples is correlated with the events of the historical past of Ancient Rus` and Russian everyday life of the 17th century. The collection devotes considerable attention to the “evil wives”. Examples of women's activity show its manifestation not only as a vice, but as a social service. A woman is encouraged to lead a Christian lifestyle, to be submissive and faithful to her husband. At the same time, the source praises her wisdom and intelligence and readiness for self-sacrifice for the sake of her family and husband. Still weak, yet already noticeable in the chapters of the “Great Mirror”, manifestations of a new attitude towards women that flourished in the transitional period of Russian culture and modern times — development in the assessment of a woman's personality, strengthening women's status in the family, breaking stereotypes about a woman — were introduced not only by elements of European culture that have penetrated into Russian everyday life, but also the world culture`s plots inherent to the “female theme” of the collection.
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Pub Date : 2023-01-01DOI: 10.37816/2073-9567-2023-68-329-338
D. I. Topilin
The present paper addresses the Preludes Op. 32 by Sergei V. Rachmaninoff. At first, the author presents the crucial from the researcher’s perspective semantic constants, i. e., the prevailing sense of nature and manorial life, including the correlation of indoor vs. outdoor states. The Preludes are replete with the foreboding of the impending fatal events of Russian history; they conceal oscillation between home warmth and wanderings. The idea of Russia, the idea of path, the idea of death as the pivotal elements of Rachmaninoff’s worldview manifest in the Op. 32. The author points out the relation to the major symphonic works of the period, such as the Symphony No. 2 in E minor, Op. 27, the choral symphony-poem The Bells, Op. 35. The paper attempts to “perceive” the implicit programme nature of the cycle; associations with Alexander S. Pushkin’ oeuvre emerge, as well as a subtle affinity with I. Bunin’s lyrical poetry and A Nobleman’s Nest by I. Turgenev. The Prelude in B minor is a pinnacle of the cycle’s dramatic accumulation, appearing as a glimpse into the future through the burden of the happened events; the kinship with Rachmaninoff’s emigrant works is stunning. The “boundless snow desert” as an allegorical image of the native land on the eve of disaster is depicted in the Prelude in G sharp minor, reminding of the snowstorm in wilderness from Pushkin’s Captain’s Daughter — serving as the closest association, since in the beginning of the 1910s Russia yet again faced the fire of mutiny, the devastating revolutionary abyss of wrath and cruelty. The combination of intrinsic musical-theoretical observations with the historical-cultural survey allows the author to come near the comprehensive picture. The methodological basis of the paper relies on the complex method: the author has applied hermeneutical, comparative, and historical approaches.
本文讨论谢尔盖·拉赫玛尼诺夫作品第32号前奏曲。首先，作者从研究者的角度提出了至关重要的语义常量，即自然和庄园生活的普遍感觉，包括室内与室外状态的相关性。《前奏》充满了对俄国历史上即将发生的重大事件的预感;它们掩盖了在温暖的家和流浪之间的摇摆。俄罗斯的思想，道路的思想，死亡的思想作为拉赫玛尼诺夫世界观的关键元素在作品32中体现出来。作者指出了这一时期主要交响乐作品的关系，如《E小调第二交响曲》，作品27，合唱交响诗《钟声》，作品35。本文试图“感知”周期的隐含程序性质;它与亚历山大·s·普希金(Alexander S. Pushkin)的作品产生了联系，也与I.布宁(I. Bunin)的抒情诗和I.屠格涅夫(I. Turgenev)的《贵族之巢》(a Nobleman ' s Nest)产生了微妙的联系。B小调的前奏曲是这个循环戏剧积累的顶峰，通过已经发生的事件的负担对未来的一瞥;与拉赫玛尼诺夫移民作品的亲缘关系令人惊叹。在《升G小调前奏曲》中，“茫茫雪原”作为灾难前夕祖国的寓言形象，让人联想到普希金的《上尉的女儿》中荒野中的暴风雪，这是最密切的联系，因为在20世纪10年代初，俄罗斯再次面临兵变的火焰，毁灭性的革命深渊的愤怒和残酷。内在的音乐理论观察与历史文化考察相结合，使作者得以接近全貌。本文的方法论基础依赖于复杂的方法:作者运用了解释学、比较和历史的方法。
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Pub Date : 2023-01-01DOI: 10.37816/2073-9567-2023-68-181-189
Anastasija S. Repina
The paper presents the collection and analysis of the folklore adaptations of Maria Zubova's sentimental romance “I am going away into the desert” in the 19th and 20th centuries. The transformation of the author's work in folk song and theatre culture demonstrates a complex interaction between folklore and book poetry. The biography of the author, a representative of the artistic milieu and one of the few female poets of the late 18th century, is reflected in some journal sources (“Materials for the History of Russian Female Authors” by M. N. Makarov) and fiction sources (“Russian Women of New Times” by D. L. Mordovtsev) which confirm possible authorship of the poetess. The study highlights stylistic features of love, spiritual and prison lyrics, as well as the work of folk theatre, which uses the text under study. Women's love songs, including choral songs, vary the motif of infidelity, transform the spiritual meaning of the image of the desert into a symbol of conjugal loneliness. In an Old Believer environment, the work was included in spiritual songs developing a motif of renunciation of the secular life in the wilderness. Researcher P. A. Bessonov discusses the devastating impact of “pseudo-folk” song on Russian spiritual culture. Echoes of the sentimental romance may also be found in the prison lyrics of the 20th century collected from the Siberian narrator I. K. Beketov. The final part of the study deals with the folk drama “King Maximilian”, where the cited text appears as a precedent for the Russian culture, which is proved later by its active use in numerous works of fiction.
本文收集和分析了19世纪和20世纪玛丽亚·祖博娃的感伤浪漫小说《我要去沙漠》的民间传说改编。作者作品在民歌和戏剧文化中的转化，体现了民俗学与书诗之间复杂的互动关系。作者的传记是18世纪晚期艺术环境的代表和为数不多的女性诗人之一，反映在一些期刊资料(M. N. Makarov的“俄罗斯女性作家历史资料”)和小说资料(D. L. Mordovtsev的“新时代的俄罗斯女性”)中，这些资料证实了这位女诗人可能的作者身份。该研究突出了爱情、精神和监狱歌词的风格特征，以及民间戏剧作品，这些作品使用了所研究的文本。女性情歌，包括合唱歌曲，变换了出轨的母题，将沙漠意象的精神意义转化为夫妻孤独的象征。在一个老信徒的环境中，工作被包括在精神歌曲中，发展了一个在荒野中放弃世俗生活的主题。研究者P. A. Bessonov讨论了“伪民歌”对俄罗斯精神文化的破坏性影响。在西伯利亚叙述者I. K. Beketov收集的20世纪监狱歌词中，也可以找到感伤浪漫的回声。研究的最后一部分涉及民间戏剧“马克西米利安国王”，其中引用的文本作为俄罗斯文化的先例，后来在许多小说作品中被积极使用。
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Pub Date : 2023-01-01DOI: 10.37816/2073-9567-2023-68-225-234
Lidia N. Dmitrievskaya
The Polish writer Tadeusz Różewicz brings together lyrics and drama in his plays. This feature of his work has already been noted by previous researchers. The paper sets the task of understanding how and for what purpose the combination of lyrics and drama occurs in Różewicz's plays “The card-index” (1959), “Funny old man” (1965), “An Old Woman Hatches” (1968). The methods of the poetic in Różewicz's dramaturgy are diverse: the conflict, taken into the subconscious of the hero; internal, hidden content that dominates the external action and plot; the abundance of images-symbols, allusions, reminiscences, on which the subtext of the drama is based; frequent and sometimes obsessive repetitions that create a certain rhythm in the lines, etc. In the play “Card File”, the means of a lyrical kind of literature help the playwright to understand an ordinary, average, devastated person. Poetic images-symbols become the basis for Różewicz's plotless plays. The poeticization of drama gives the playwright the opportunity to bring inner world of a person to the stage, make the author's voice more independent and connect the viewer and reader to reflection on the key conflicts and problems of the world. Różewicz's plays are considered absurd, although most often there is no case of absurdity, since they are built according to the laws of the lyrical kind of literature.
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Pub Date : 2023-01-01DOI: 10.37816/2073-9567-2023-67-155-163
Artem Yu. Strygin
This paper examines 67 canto from Alfred Tennyson’s “In Memoriam” translated to Russian by Vladimir Nabokov, as well as the reception of Tennyson’s poetry in Nabokov’s works. The key conceptual features of the translation are analyzed with consideration of the evolution of Nabokov’s opinions on translation and literary theory in general. The paper addresses mentions of Tennyson in Nabokov’s prose and other publications in order to broaden the understanding of Nabokov’s perspective. Nabokov’s translation is compared to the original English text and to the translations by D.L. Mikhalovskii and N.M. Minskii. The study describes transformations and the differences between the strategies used by the translators. Nabokov’s commentary on his translation of “Eugene Onegin” is taken into consideration when iambic structure of the English text is examined. The author has concluded that Nabokov’s approach to the translation of Tennyson’s poem is different from his work on translations of prose from the same period and is defined by translator’s effort to reproduce both the imagery and the structure close to the original. This translation illustrates the early stage of Nabokov’s path from translation as “adaptation”, when the original is transformed in one way or another, to the literalism of “Eugene Onegin”.
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Pub Date : 2023-01-01DOI: 10.37816/2073-9567-2023-67-252-263
T. V. Belko, K. N. Saushkina
Folk arts and crafts are part of the national heritage of Russia, a recognized contribution of Russia to world culture. The preservation, revival and development of folk arts and crafts always remain a topical topic of scientific research and the practice of developing souvenir products in the modern world. The paper presents the results of research on Russian folk arts and crafts: classification models have been developed including both text and illustrative materials, taking into account the geographical location of the centers of production of traditional crafts and materials used in the production, processing techniques and decoration of products. The study comes up with the results of testing the method of structural and graphic analysis of the folk art products based on the study of historical experience and the current level of souvenir production in Russia and abroad. It involves the design project “Souvenir from Russia”, which includes a series of wooden spoons: “Cyrillic” (based on the font graphics of Cyrillic writing), “Splint” (fragmentation of splint paintings and characters), “Ivanovo calico” (based on the plot ornaments of fabrics), “Khokhloma” (fragmentation of pictorial motifs and Cyrillic fontography).
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Pub Date : 2023-01-01DOI: 10.37816/2073-9567-2023-69-56-72
Daria Y. Ermilova
The paper explores female images of posters of the Second World War. It was important to find out how the world of images corresponded to the challenges of the time and how adequately it reflected this time. This approach reveals that the constructed world is not identical to reality — it does not reflect all the roles that women performed, especially in the USSR. The image of the Motherland was the main thing on Soviet posters for the front and less often — the reward for Victory and victims. The posters for the rear were dominated by the image of a working woman. Unlike American and British posters with young “female friends”, Soviet posters depicted women more realistically – and there are almost no women in military uniforms on Soviet ones, although posters of the second half of the 1930s often depicted women of “male” professions (scientists, doctors, pilots, etc.). During the war, such images disappeared completely. There are no images of pilots, snipers, radio operators on Soviet posters, although they are reflected in other types of art. The main reason is seemingly the fact that military propaganda created a masculine image of a warrior-defender, while women were assigned to the traditional gender roles of mother, faithful friend, keeper of the hearth or a symbol of the Motherland. The experience of World War II propaganda, which focused on visual images, may be valuable for modernity, despite the specifics of communications in the digital world.
{"title":"Is Poster a Mirror of Time or Reflection of Stereotypes? Female Images on Soviet Posters of the Great Patriotic War","authors":"Daria Y. Ermilova","doi":"10.37816/2073-9567-2023-69-56-72","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-69-56-72","url":null,"abstract":"The paper explores female images of posters of the Second World War. It was important to find out how the world of images corresponded to the challenges of the time and how adequately it reflected this time. This approach reveals that the constructed world is not identical to reality — it does not reflect all the roles that women performed, especially in the USSR. The image of the Motherland was the main thing on Soviet posters for the front and less often — the reward for Victory and victims. The posters for the rear were dominated by the image of a working woman. Unlike American and British posters with young “female friends”, Soviet posters depicted women more realistically – and there are almost no women in military uniforms on Soviet ones, although posters of the second half of the 1930s often depicted women of “male” professions (scientists, doctors, pilots, etc.). During the war, such images disappeared completely. There are no images of pilots, snipers, radio operators on Soviet posters, although they are reflected in other types of art. The main reason is seemingly the fact that military propaganda created a masculine image of a warrior-defender, while women were assigned to the traditional gender roles of mother, faithful friend, keeper of the hearth or a symbol of the Motherland. The experience of World War II propaganda, which focused on visual images, may be valuable for modernity, despite the specifics of communications in the digital world.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135710644","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}
Pub Date : 2023-01-01DOI: 10.37816/2073-9567-2023-69-326-338
Anna S. Akimova
The research bases on reviews of Soviet critics collected and systematized for the first time on the works of A.N. Tolstoy dedicated to the Peter’s I epoch such as the story Peter’s Day (1918) and the play On the Rack (1929). These works directly related to the idea of the novel Peter the Great. As shown in the periodical press reviews of the play, as well as of the performance, soon to be staged by the Moscow Art Theater 2 (1929), their perception determined the tone of the papers dedicated to the first book of the novel Peter the Great (1930). The study provides an overview of all six reviews written by Boris Valbe, Gerge Gorbachev, Cornelii Zelinsky, Nikolai Jesuitov et al., and outlines their main provisions and comments. The main drawback, according to critics, was the lack of a Marxist understanding of history in the novel reflected in the selection of historical sources and facts and in the image of the main character, Peter I. Assessing the chronicle order of the composition of the work differently everyone noted the colorful language, cheery humor and dialogues. The reviews of 1931 shaped the main approaches to the evaluation of the novel which will be developed in 1935 after the release of the second book through the concept of a lonely ruler, historical parallelism, i. e. solving the issues of modernity based on the Peter’s epoch, reflection in the novel of the role of “trading capital”. The study of the reception of the first book by A.N. Tolstoy will allows us determining its role and significance in the historical and cultural context as well as — more broadly — considering the main approaches to the evaluation of the historical novels and the representation of images of historical figures in Soviet culture.
{"title":"‘The same Alexey Tried...’: Historical Concept of the First Book of the Novel Peter the Great by A.N. Tolstoy in the Assessment of Soviet Criticism","authors":"Anna S. Akimova","doi":"10.37816/2073-9567-2023-69-326-338","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-69-326-338","url":null,"abstract":"The research bases on reviews of Soviet critics collected and systematized for the first time on the works of A.N. Tolstoy dedicated to the Peter’s I epoch such as the story Peter’s Day (1918) and the play On the Rack (1929). These works directly related to the idea of the novel Peter the Great. As shown in the periodical press reviews of the play, as well as of the performance, soon to be staged by the Moscow Art Theater 2 (1929), their perception determined the tone of the papers dedicated to the first book of the novel Peter the Great (1930). The study provides an overview of all six reviews written by Boris Valbe, Gerge Gorbachev, Cornelii Zelinsky, Nikolai Jesuitov et al., and outlines their main provisions and comments. The main drawback, according to critics, was the lack of a Marxist understanding of history in the novel reflected in the selection of historical sources and facts and in the image of the main character, Peter I. Assessing the chronicle order of the composition of the work differently everyone noted the colorful language, cheery humor and dialogues. The reviews of 1931 shaped the main approaches to the evaluation of the novel which will be developed in 1935 after the release of the second book through the concept of a lonely ruler, historical parallelism, i. e. solving the issues of modernity based on the Peter’s epoch, reflection in the novel of the role of “trading capital”. The study of the reception of the first book by A.N. Tolstoy will allows us determining its role and significance in the historical and cultural context as well as — more broadly — considering the main approaches to the evaluation of the historical novels and the representation of images of historical figures in Soviet culture.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135710869","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}
Pub Date : 2023-01-01DOI: 10.37816/2073-9567-2023-69-189-202
Tatiana K. Savchenko
The paper looks into the specificities of poetic intonation in Sergey Yesenin’s poems. Yesenin’s making as a poet took place in the Silver Age of Russian literature, which explains a syncretism of arts in his work. This concerns primarily a synthesis of poetry and music. The study focuses on poems from the “Persian motifs” cycle and a “short poem” “My Way” (“Moy put”). In songlike poems an intonational component, being the dominant one, finds its realization in the poem’s syntax. The analysis of the poems’ melody allows us to detect numerous chorus variations, which order the verses and underline their melodic cohesion. Melodic harmony is visible on the semantic as well as on the intonation and syntactic levels, including the composition, while alliterations and assonances account for the harmony of sound instrumentation of the poems. The paper also studies facture, an important concept which closely concerns the intonational component. The facture character of Yesenin’s poems is made up of the specificities of the metrics and rhythm, compositional-stylistic and rhythmic-intonational devices, pauses, stresses, author’s punctuation, etc.
{"title":"Sergei Yesenin`s Poetic Intonation (By the Example of the Poem Cycle ‘Persian Motifs’ and the Poem ‘My Way’","authors":"Tatiana K. Savchenko","doi":"10.37816/2073-9567-2023-69-189-202","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-69-189-202","url":null,"abstract":"The paper looks into the specificities of poetic intonation in Sergey Yesenin’s poems. Yesenin’s making as a poet took place in the Silver Age of Russian literature, which explains a syncretism of arts in his work. This concerns primarily a synthesis of poetry and music. The study focuses on poems from the “Persian motifs” cycle and a “short poem” “My Way” (“Moy put”). In songlike poems an intonational component, being the dominant one, finds its realization in the poem’s syntax. The analysis of the poems’ melody allows us to detect numerous chorus variations, which order the verses and underline their melodic cohesion. Melodic harmony is visible on the semantic as well as on the intonation and syntactic levels, including the composition, while alliterations and assonances account for the harmony of sound instrumentation of the poems. The paper also studies facture, an important concept which closely concerns the intonational component. The facture character of Yesenin’s poems is made up of the specificities of the metrics and rhythm, compositional-stylistic and rhythmic-intonational devices, pauses, stresses, author’s punctuation, etc.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"08 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135710875","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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