Pub Date : 2023-01-01DOI: 10.37816/2073-9567-2023-69-379-396
Svetlana I. Mikhaylova
One of the Russian painters who left their creative mark in the Holy Land was Anton Zakharovich Ledakov, an artist of the second half of the 19th century, a graduate of the Imperial Academy of Arts. His biographical data, published in various sources, are very scarce and contradictory. For example, in the memoirs of A. N. Leskov, the artist is cast in an emotionally negative light, and the factual information presented there is refuted by archival documents of the Academy of Arts. Some refined details were found out thanks to the materials stored in the archives of Moscow, St. Petersburg and Samara: Ledakov came from court peasants of the village of Berezovy Gai of the Samara court estate. We also know from archival documents that he owned the murals of the church of the Great Martyress Catherine on Vasilyevsky Island, the ceiling in the altar of the house church of the righteous Zechariah and Elizabeth at the Elizabethan almshouse of the Eliseyevs in St. Petersburg, more than twenty icons and paintings for the chapel in Yelabuga. However, these works have not survived. A portrait of N. S. Leskov has been preserved from the artist heritage in Russia (currently located in the collection of the V. I. Dahl State Museum of the History of Russian Literature). The documents of the Central State Archive of the Samara Region made it possible to calculate estimated year of birth of the artist, but it has not yet been possible to find out the date of death. It is puzzling why the fact of the death of a person who had been in sight for a long time, and whose name was mercilessly bandied about in press, was passed by in silence. Many derogatory references to him were made by his fellow student at the Academy of Arts Ivan Nikolaevich Kramskoy, as well as the famous art critic Vladimir Vasilyevich Stasov. Most likely, he earned such a negative attitude by his commitment to academic writing and church art. In the Holy Land, he painted icons for free for the iconostasis of the Church of the Apostle Peter and the righteous Tavifa in the city of Jaffa (which were preserved), as a work entrusted to him by the Imperial Orthodox Palestinian Society. The study makes a number of assumptions about possible prototypes of this iconostasis, designed by Archimandrite Antonin (Kapustin), the fourth head of the Russian Spiritual Mission in Jerusalem, including analogies with polyptyches of Venetian Renaissance artists. The paper points out that the selection of saints for the top row at the request of the archimandrite was completely entrusted to Anton Ledakov. The author is trying to determine the motives for the artist's choice of the selection of these saints.
安东·扎哈罗维奇·列达科夫(Anton Zakharovich Ledakov)是在圣地留下创作印记的俄罗斯画家之一，他是19世纪下半叶的艺术家，毕业于帝国艺术学院(Imperial Academy of Arts)。他的传记资料，发表在各种来源，是非常稀少和矛盾的。例如，在a·n·列斯科夫(A. N. Leskov)的回忆录中，艺术家在情感上被赋予了负面的形象，那里呈现的事实信息被艺术学院的档案文件所驳斥。通过保存在莫斯科、圣彼得堡和萨马拉档案馆的材料，我们发现了一些精致的细节:列达科夫来自萨马拉宫廷庄园别列佐夫盖村的宫廷农民。我们还从档案文件中了解到，他拥有瓦西里耶夫斯基岛上伟大的凯瑟琳殉道者教堂的壁画，圣彼得堡伊利莎白家族伊丽莎白救济院正义的撒迦利亚和伊丽莎白家庭教堂祭坛的天花板，以及叶拉布加教堂的二十多幅圣像和绘画。然而，这些作品并没有保存下来。列斯科夫的肖像从俄罗斯的艺术家遗产中保存下来(目前位于俄罗斯文学史的达尔国家博物馆的收藏中)。萨马拉地区中央国家档案馆的文件使人们能够计算出这位艺术家的估计出生年份，但还无法确定其死亡日期。令人费解的是，为什么一个人的死亡已经出现了很长一段时间，他的名字在媒体上被无情地传播，却被沉默地忽略了。他在艺术学院的同学伊万·尼古拉耶维奇·克拉姆斯科伊以及著名的艺术评论家弗拉基米尔·瓦西里耶维奇·斯塔索夫对他进行了许多贬损。最有可能的是，他对学术写作和教会艺术的投入使他获得了如此消极的态度。在圣地，他免费为雅法市的使徒彼得教堂和正义的塔维法教堂的圣像画圣像(这些圣像被保存了下来)，这是帝国正统巴勒斯坦协会委托给他的工作。这项研究对这种圣像的可能原型做出了一些假设，它是由耶路撒冷俄罗斯精神使团的第四任团长阿奇曼德·安东宁(Kapustin)设计的，包括与威尼斯文艺复兴时期艺术家的多形画的类比。论文指出，在大主教的要求下，选择最上面一排的圣徒完全委托给了安东·列达科夫。作者试图确定艺术家选择这些圣人的动机。
{"title":"On Creative Biography of the Artist of the Second half of the 19th Century Anton Zakharovich Ledakov","authors":"Svetlana I. Mikhaylova","doi":"10.37816/2073-9567-2023-69-379-396","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-69-379-396","url":null,"abstract":"One of the Russian painters who left their creative mark in the Holy Land was Anton Zakharovich Ledakov, an artist of the second half of the 19th century, a graduate of the Imperial Academy of Arts. His biographical data, published in various sources, are very scarce and contradictory. For example, in the memoirs of A. N. Leskov, the artist is cast in an emotionally negative light, and the factual information presented there is refuted by archival documents of the Academy of Arts. Some refined details were found out thanks to the materials stored in the archives of Moscow, St. Petersburg and Samara: Ledakov came from court peasants of the village of Berezovy Gai of the Samara court estate. We also know from archival documents that he owned the murals of the church of the Great Martyress Catherine on Vasilyevsky Island, the ceiling in the altar of the house church of the righteous Zechariah and Elizabeth at the Elizabethan almshouse of the Eliseyevs in St. Petersburg, more than twenty icons and paintings for the chapel in Yelabuga. However, these works have not survived. A portrait of N. S. Leskov has been preserved from the artist heritage in Russia (currently located in the collection of the V. I. Dahl State Museum of the History of Russian Literature). The documents of the Central State Archive of the Samara Region made it possible to calculate estimated year of birth of the artist, but it has not yet been possible to find out the date of death. It is puzzling why the fact of the death of a person who had been in sight for a long time, and whose name was mercilessly bandied about in press, was passed by in silence. Many derogatory references to him were made by his fellow student at the Academy of Arts Ivan Nikolaevich Kramskoy, as well as the famous art critic Vladimir Vasilyevich Stasov. Most likely, he earned such a negative attitude by his commitment to academic writing and church art. In the Holy Land, he painted icons for free for the iconostasis of the Church of the Apostle Peter and the righteous Tavifa in the city of Jaffa (which were preserved), as a work entrusted to him by the Imperial Orthodox Palestinian Society. The study makes a number of assumptions about possible prototypes of this iconostasis, designed by Archimandrite Antonin (Kapustin), the fourth head of the Russian Spiritual Mission in Jerusalem, including analogies with polyptyches of Venetian Renaissance artists. The paper points out that the selection of saints for the top row at the request of the archimandrite was completely entrusted to Anton Ledakov. The author is trying to determine the motives for the artist's choice of the selection of these saints.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"31 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":"135709274","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: 10.37816/2073-9567-2023-67-21-34
S. Ryazantsev, E. Pismennaya, Yulia E. Pletneva
The Internet is becoming one of the main platforms for communication, as well as an important source of information for people. It has a special role for migrants, since Internet communication can cover large geographical distances. The purpose of this study was to identify the features of the internet communication of the Russian-speaking youth abroad using the example of Brazil. Particular attention is paid to identifying the most popular Internet sites and the most relevant discussion questions. The results of an anonymous survey of Russian-speaking youth in Brazil act as the empirical basis of the study. The study showed that Internet communication plays an important role in strengthening communication within the Russian-speaking community and preserving common cultural values. Interestingly, there is a significant difference in how internet communication is perceived by those born in Brazil, and those who were born in Russia (USSR) and are a migrant in the first generation. The Internet acts here as a unique platform allowing these two groups of compatriots to interact and communicate. On the one hand, there is an exchange of experience and useful information about the host country, which can significantly facilitate adaptation for newly arrived migrants. On the other hand, they, in turn, give the “Russian Brazilians” an opportunity to get information about Russia, stimulate the interest in Russian language and culture. According to the results of the study, the compatriots who were born in Brazil were more interested in maintaining ties with their historical homeland.
{"title":"The Role of Internet Communication in Consolidation of the Russian-Speaking Community in Brazil","authors":"S. Ryazantsev, E. Pismennaya, Yulia E. Pletneva","doi":"10.37816/2073-9567-2023-67-21-34","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-67-21-34","url":null,"abstract":"The Internet is becoming one of the main platforms for communication, as well as an important source of information for people. It has a special role for migrants, since Internet communication can cover large geographical distances. The purpose of this study was to identify the features of the internet communication of the Russian-speaking youth abroad using the example of Brazil. Particular attention is paid to identifying the most popular Internet sites and the most relevant discussion questions. The results of an anonymous survey of Russian-speaking youth in Brazil act as the empirical basis of the study. The study showed that Internet communication plays an important role in strengthening communication within the Russian-speaking community and preserving common cultural values. Interestingly, there is a significant difference in how internet communication is perceived by those born in Brazil, and those who were born in Russia (USSR) and are a migrant in the first generation. The Internet acts here as a unique platform allowing these two groups of compatriots to interact and communicate. On the one hand, there is an exchange of experience and useful information about the host country, which can significantly facilitate adaptation for newly arrived migrants. On the other hand, they, in turn, give the “Russian Brazilians” an opportunity to get information about Russia, stimulate the interest in Russian language and culture. According to the results of the study, the compatriots who were born in Brazil were more interested in maintaining ties with their historical homeland.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"19 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73483954","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: 10.37816/2073-9567-2023-67-202-215
T. Rostovskaya, A. M. Egorychev, S. Gulyaev
The paper deals with issues related to the phenomenon of the museum as a socio-cultural institution for the development of man and society. We are talking about the analysis of the nature of collecting, the meanings and values that a person finds when it is necessary to determine the purpose of the existence of himself and his being world, as well as issues affecting the evolution of the birth, formation and development of the museum phenomenon in the human community, its role in the shaping of a reasonable, cultural and spiritual person. The most diverse samples of culture (paintings, sculptures, household items, etc.), created by creative artists, representatives of different national communities, carry a huge educational potential, stimulating the development of the mind, feelings and spiritual qualities of a person, introduce him to the world of beauty. In the aggregate with other social institutions of society (education, family, leisure, etc.), the world of museums constitutes the socio-cultural space of the human being's world, the existence of the whole society, which implements the function of not only preserving the ethical foundations of society, but also its development. The entire multi-thousand-year history of mankind carries in its historical memory the desire to understand the beauty of the surrounding world, to create and preserve such works of culture that may compete with nature itself in their beauty. This desire quite naturally gave rise to the cult of collecting beautiful samples of culture, preserving them and, ultimately, putting them on public display. This is how the birth, formation and development of the museum as a socio-cultural institute of world civilization took place. It is the museum as a social institution that carries a huge historical memory of the creator, intelligent, cultural and spiritual man.
{"title":"Museum as a Socio-cultural Institute for the Development of Man and Society","authors":"T. Rostovskaya, A. M. Egorychev, S. Gulyaev","doi":"10.37816/2073-9567-2023-67-202-215","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-67-202-215","url":null,"abstract":"The paper deals with issues related to the phenomenon of the museum as a socio-cultural institution for the development of man and society. We are talking about the analysis of the nature of collecting, the meanings and values that a person finds when it is necessary to determine the purpose of the existence of himself and his being world, as well as issues affecting the evolution of the birth, formation and development of the museum phenomenon in the human community, its role in the shaping of a reasonable, cultural and spiritual person. The most diverse samples of culture (paintings, sculptures, household items, etc.), created by creative artists, representatives of different national communities, carry a huge educational potential, stimulating the development of the mind, feelings and spiritual qualities of a person, introduce him to the world of beauty. In the aggregate with other social institutions of society (education, family, leisure, etc.), the world of museums constitutes the socio-cultural space of the human being's world, the existence of the whole society, which implements the function of not only preserving the ethical foundations of society, but also its development. The entire multi-thousand-year history of mankind carries in its historical memory the desire to understand the beauty of the surrounding world, to create and preserve such works of culture that may compete with nature itself in their beauty. This desire quite naturally gave rise to the cult of collecting beautiful samples of culture, preserving them and, ultimately, putting them on public display. This is how the birth, formation and development of the museum as a socio-cultural institute of world civilization took place. It is the museum as a social institution that carries a huge historical memory of the creator, intelligent, cultural and spiritual man.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"38 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83761304","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: 10.37816/2073-9567-2023-69-73-89
Svetlana D. Sinchuk
The paper discusses the hypothesis that there was once a figurative-semantic identification of a cow / bull and a tree in the Slavic folk culture. The analysis of such identification is carried out taking into account the peculiarities of the pagan worldview. Images of horned animals are rarely found in Slavic decorative and applied art, since horns have acquired a negative meaning in the context of the Christian religion. Therefore, traces of such archaic views should be sought using appropriate data from folklore, linguistics, and ethnography. Also, in the process of searching, it is necessary to go beyond the Slavic world and turn to the traditional cultures of the peoples neighboring the Slavs in the north and northeast; since their Christianization was carried out at a much later time, the remnants of their pagan cults have come down to us in greater safety. The origin of the figurative-semantic connection between the concepts of “cow / bull” and “tree” is explained by the fact that these animals, like the world tree, acted once as cosmological symbols. This explains the interchangeability of their images, observed in folklore and in ritual practice, as well as the genesis of a number of homonyms and words of the same root, existing in the Russian dialect vocabulary, united by the corresponding theme.
{"title":"The Image of a ‘Tree-cow’ in Slavic Folk Culture","authors":"Svetlana D. Sinchuk","doi":"10.37816/2073-9567-2023-69-73-89","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-69-73-89","url":null,"abstract":"The paper discusses the hypothesis that there was once a figurative-semantic identification of a cow / bull and a tree in the Slavic folk culture. The analysis of such identification is carried out taking into account the peculiarities of the pagan worldview. Images of horned animals are rarely found in Slavic decorative and applied art, since horns have acquired a negative meaning in the context of the Christian religion. Therefore, traces of such archaic views should be sought using appropriate data from folklore, linguistics, and ethnography. Also, in the process of searching, it is necessary to go beyond the Slavic world and turn to the traditional cultures of the peoples neighboring the Slavs in the north and northeast; since their Christianization was carried out at a much later time, the remnants of their pagan cults have come down to us in greater safety. The origin of the figurative-semantic connection between the concepts of “cow / bull” and “tree” is explained by the fact that these animals, like the world tree, acted once as cosmological symbols. This explains the interchangeability of their images, observed in folklore and in ritual practice, as well as the genesis of a number of homonyms and words of the same root, existing in the Russian dialect vocabulary, united by the corresponding theme.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"13 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":"135710653","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: 10.37816/2073-9567-2023-69-300-311
Olga A. Tufanova
The article examines the fragment Tale and Story… How Did God Get Rid of Evil and Fierce Heretic Grishka Otrepev from the manuscript narrative compilation of T. F. Bolshakov collection. The widespread edition of the monument was already known to N. M. Karamzin and published in Readings in the Imperial Society of Russian History and Antiquities, a brief edition, allegedly authored by clerk Vasily Sukov, published in the 13th volume of Russian Historical Library. In the handwritten collection, the text under study is an unfinished fragment and covers the events from 1584 to 1603. The main attention is paid to the deeds of Boris Godunov. The specificity of presentation of historical material in the Tale ... testifies to the author’s inclination towards the style of chronicle weather records. The absence of transcendental explanations of the causes of what is happening in the world of people, laconism in the presentation of events, documentary protocol, minimal use of figurative and expressive means indicate that the author deliberately abandoned the artistic techniques traditional for Russian medieval literature, putting the poetry of fact at the head. Many contemporaries of the events of Time of Troubles, declaring the principle of plausibility, sought to fit contemporary events into the context of world history in traditional literary ways. In the text, we are dealing with other principles for creating a historical narrative, when the facts speak for itselves, and its selection (in the absence of commentary) indirectly indicates the author’s assessment of an event or period in the country’s history. Perhaps the non-standard presentation of historical events and persons was one of the reasons why the text was not completed in the collection under consideration.
本文考察了T. F.布尔沙科夫文集手稿叙事汇编中的《故事与故事——上帝如何除掉邪恶凶猛的异教徒格里斯卡·奥特雷佩夫》片段。N. M. Karamzin已经知道了这座纪念碑的广泛版本，并发表在《俄罗斯历史和文物帝国学会读物》中，这是一个简短的版本，据称是由职员Vasily Sukov撰写的，发表在俄罗斯历史图书馆的第13卷。在手抄本中，正在研究的文本是一个未完成的片段，涵盖了从1584年到1603年的事件。主要关注的是鲍里斯·戈杜诺夫的事迹。《故事》中历史材料呈现的特殊性……证明了作者倾向于编年史天气记录的风格。对人类世界中正在发生的事情的原因缺乏先验的解释，在事件的呈现中简洁，纪实的协议，最少使用比喻和表达手段表明，作者故意放弃了俄罗斯中世纪文学的传统艺术技巧，把事实的诗歌放在首位。许多与《乱世风云》事件同时代的人，宣称其合理性原则，试图以传统的文学方式将当代事件融入世界历史的背景中。在文本中，我们处理的是创造历史叙事的其他原则，当事实为自己说话时，它的选择(在没有评论的情况下)间接表明了作者对该国历史上一个事件或时期的评估。也许对历史事件和人物的不规范表述是所审议的合集中文本未完成的原因之一。
{"title":"Poetry of Fact in the Tale and Story… How Did God Get Rid of Evil and Fierce Heretic Grishka Otrepev from the manuscript compilation of T. F. Bolshakov Collection","authors":"Olga A. Tufanova","doi":"10.37816/2073-9567-2023-69-300-311","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-69-300-311","url":null,"abstract":"The article examines the fragment Tale and Story… How Did God Get Rid of Evil and Fierce Heretic Grishka Otrepev from the manuscript narrative compilation of T. F. Bolshakov collection. The widespread edition of the monument was already known to N. M. Karamzin and published in Readings in the Imperial Society of Russian History and Antiquities, a brief edition, allegedly authored by clerk Vasily Sukov, published in the 13th volume of Russian Historical Library. In the handwritten collection, the text under study is an unfinished fragment and covers the events from 1584 to 1603. The main attention is paid to the deeds of Boris Godunov. The specificity of presentation of historical material in the Tale ... testifies to the author’s inclination towards the style of chronicle weather records. The absence of transcendental explanations of the causes of what is happening in the world of people, laconism in the presentation of events, documentary protocol, minimal use of figurative and expressive means indicate that the author deliberately abandoned the artistic techniques traditional for Russian medieval literature, putting the poetry of fact at the head. Many contemporaries of the events of Time of Troubles, declaring the principle of plausibility, sought to fit contemporary events into the context of world history in traditional literary ways. In the text, we are dealing with other principles for creating a historical narrative, when the facts speak for itselves, and its selection (in the absence of commentary) indirectly indicates the author’s assessment of an event or period in the country’s history. Perhaps the non-standard presentation of historical events and persons was one of the reasons why the text was not completed in the collection under consideration.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"61 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":"135710654","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: 10.37816/2073-9567-2023-69-145-167
Lubov G. Ganina, Elena L. Madlevskaya, Aleksandr B. Ostrovskii
The paper reveals the intention and its implementing through a museum exhibition. Based on thematically selected monuments of traditional and everyday culture, the exhibition touches on events, images of Christian historical memory. First of all, it is Annunciation, Christmas, Crucifixion and Resurrection, as well as a number of Old Testament stories — the Creation of the World, Noah's Ark, the Judgment of Solomon. The various thematic sections of the exhibition depict such significant images as the paradise tree of life, the lion, the archangels, as well as fish — the early Christian symbol of Jesus Christ, grapes (the symbol of the Church of Christ). The presented groups of objects are diverse in their place in folk life: ritual paraphernalia, nativity scene, house carvings, interior decoration items— ceramic products (plates, tiles), wooden painted utensils, woven and embroidered towels, decorative bone products, jewelry of the Eastern Slavs and Finno-Ugric peoples. The selecting of exhibits took into account that the ornamentation of objects of traditional and everyday culture had its source not always directly from the plots set forth in biblical texts, but also their folklore processing in the form of legends, beliefs; a number of sections display apocryphal Christian texts that were widespread among the people. The exhibition gave an idea of the integration of a number of key biblical subjects and images, especially the New Testament, into the worldview of Orthodox peoples. The fixation of certain images for specific categories of objects that had a specific purpose in everyday life created a single visible fabric of national Orthodoxy.
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Pub Date : 2023-01-01DOI: 10.37816/2073-9567-2023-69-312-325
Natalia A. Prozorova
The study examines the position of O. F. Bergholz in the literary field of the 1930s and the struggle for legitimization of the status of the Leningrad poet in the early 1940s. The purpose of the paper is to determine the place of the poetess in the literary process of the 1930s and to identify the factors (dispositions) that contributed to her successful creative realization during wartime. In the 1930s, despite the «consecration» of M. Gorky, of Bergholz's first books, she became an object of attacks and repression: she was in a situation of alienation from the writer's environment due to the “Averbach case”, and spent six-month in prison isolation following trumped-up charges of counterrevolutionary activity. It was not that Bergholz fought for a strong position in literary field, but for the mere survival in it. After the repressions and prison, the theme of human suffering came into focus of the poetess's attention; she came to be inclined to view the blockade hardships of Leningrad residents. Bergholz's habitus, her author's strategy aimed at “helping people mentally”, correlated with the tasks of wartime. The reader's expectations for support not by the “poetry of conditional formulas”, but by a simple and “relieving” word coincided with Bergholz's aesthetics. The blockade texts moved her from the periphery of the literary field to its forefront. The poetess expressed the joint traumatic experience in a form of “letters” and “conversations” with a lively, personal intonation; let the Leningrad theme manifested in a new style (“barely poems”); opened readers` eyes on “themselves”; she conveyed the existential experience of a person on the verge of death and saw the heroism of the Leningraders as a psychological issue (how to escape “dehumanizing”). These factors allowed her to achieve the legitimate status of the besieged Leningrad`s poetess.
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Pub Date : 2023-01-01DOI: 10.37816/2073-9567-2023-69-257-267
Georgy A. Veligorsky
The paper examines the influence of English metaphysical poets of the 16th – 17th centuries (A. Marvell, G. Vaughan, T. Traherne, J. Herbert) on the children’s “estate” novel of the Victorian era. The author conducts analysis for what purpose the children’s writers (M. Gatty, J. H. Ewing et al.) introduce the appropriate intertext into their novels and stories (to emphasize the unsteadiness of the world; to create “volatile” nostalgic images; depicting the estate as an earthly paradise, etc.). The study discusses the quotes they use (both as epigraphs and inclusions in the fabric of the narrative), as well as considers how these ideas were perceived by English “estate” authors of the 20th century (K. Grahame, F. H. Burnett, Ph. Pearce, et al.). The paper pays special attention to the novel “Under the Salisbury Spire” by E. Marshall, the first novel for children, where a poet, a representative of the “metaphysical school”, is introduced as one of the main characters. The research also touches upon the reception of metaphysical works in Russian literature of the middle of the 20th century, associated with the estate theme (works by A. A. Akhmatova, V. V. Nabokov, N. A. Zabolotsky, et al.).
本文考察了16 - 17世纪英国玄学诗人(A. Marvell, G. Vaughan, T. Traherne, J. Herbert)对维多利亚时代儿童“地产”小说的影响。作者分析了儿童作家(M. Gatty, J. H. Ewing等)在小说和故事中引入适当的互文的目的(强调世界的不稳定性;创造“易变”的怀旧形象;将庄园描绘成人间天堂等)。该研究讨论了他们使用的引用(作为铭文和叙事结构中的内容)，并考虑了20世纪英国“遗产”作者(K. Grahame, F. H. Burnett, Ph. Pearce等人)如何理解这些观点。本文以马歇尔的第一部儿童小说《索尔兹伯里尖塔下》为研究对象，介绍了一位“玄学派”的代表诗人作为主要人物之一。该研究还涉及了20世纪中期俄罗斯文学中与房地产主题相关的形而上学作品的接受(a.a.阿赫玛托娃，v.v.纳博科夫，n.a.扎波洛茨基等人的作品)。
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Pub Date : 2023-01-01DOI: 10.37816/2073-9567-2023-68-59-67
A. Khisamutdinov
The paper describes the study of the Russian population in the Far East, which was carried out by the famous traveler Vladimir Klavdievich Arsenyev (1872–1930). At the first stage, his research was of a military purpose with elements of ethnography, aimed at the defense of the Russian Far East. After 1917, Arseniev dealt with the problems of the indigenous inhabitants of the region, as well as activities related to the settlers. His publications on Slavic studies are based on travel diaries and field reports on the results of expeditions (1906-1926). The first monograph on the Russian population was the “Military-geographical and military-statistical essay of the Ussuri Territory” (1911), the last “Life and Character of the Peoples of the Far Eastern Territory”, prepared in collaboration with E. I. Titov (1928). In some cases, his assessments are subjective. The publication notes scientists and local historians who were engaged in the same research and were in close relations with Arsenyev (local historian S. I. Yakovlev, Russian historian M. A. Petrakeev, anthropologist E. M. Chepurkovsky, ethnographers M. K. Azadovsky, G. S. Vinogradov, V. V. Bogdanov and A. G. Danilin, philologist A.P. Georgievsky). The publication uses the personal library and archival collection of the scientist, stored in the Society for the Study of the Amur Territory (OIAK) in Vladivostok. The paper is dedicated to the 150th anniversary of the birth of V. K. Arsenyev, which is celebrated in September 2022.
本文介绍了著名旅行家阿尔谢耶夫(1872-1930)对远东地区俄罗斯人口的研究。在第一阶段，他的研究是出于军事目的，带有民族志的元素，旨在保卫俄罗斯远东地区。1917年后，阿尔谢耶夫处理了该地区土著居民的问题，以及与定居者有关的活动。他关于斯拉夫研究的出版物是基于旅行日记和考察结果的实地报告(1906-1926)。关于俄罗斯人口的第一本专著是《乌苏里领土的军事-地理和军事-统计论文》(1911年)，最后一本是《远东地区人民的生活和性格》，是与e.i. Titov合作编写的(1928年)。在某些情况下，他的评价是主观的。该出版物注意到从事相同研究并与阿尔谢耶夫关系密切的科学家和当地历史学家(当地历史学家S. I. Yakovlev，俄罗斯历史学家M. A. Petrakeev，人类学家E. M. Chepurkovsky，民族学家M. K. Azadovsky, G. S. Vinogradov, V. V. Bogdanov和A. G. Danilin，语言学家A.P. Georgievsky)。该出版物使用了这位科学家的个人图书馆和档案收藏，这些收藏存放在符拉迪沃斯托克的阿穆尔河地区研究协会(OIAK)。这篇论文是为了纪念v·k·阿尔谢耶夫(V. K. Arsenyev)诞辰150周年，该纪念日将于2022年9月举行。
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Pub Date : 2023-01-01DOI: 10.37816/2073-9567-2023-67-216-251
Alexey M. Salimov, Anton A. Salimov
The main street of Tver originates in the far Middle Ages, but a relatively clear idea of this “highway” may be traced only starting from the 17th century, when the development and urban planning structure of the Russian city, in accordance with peculiar views of reality, were reflected in the works of icon painters, as well as foreign travelers. The era of Peter I strengthened the documental use when depicting the layout of a late medieval city, yet the fixation of urban planning structure was largely spared from instrumental survey, since domestic cartographers of the first quarter of the 18th century, as a rule, preferred to focus on the iconographic tradition. Residential, religious and other urban objects are represented in these materials in quite a schematic and sometimes generalized way. The situation changed by the middle of the 18th century, but this period (the second quarter — the middle of the 18th century) in the cartographic heritage of Tver still remains a blank spot. For this reason, it is currently quite difficult to outline the route of the city’s main highway in the pre-Catherine era, since in the mid-1760s the direction and configuration of the main street of Tver were changed by the initiative of Catherine II. Nevertheless, this study attempts to reconstruct the location of the pre-Catherine “highway”, as well as to present the nature of almost completely lost urban development associated with this street in the late Middle Ages and in the first half of the 18th century.
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