He article is devoted to the study of the process of formation and development of public museums in the northern and eastern regions of Kazakhstan. The relevance of studying the problems of social movements, in which the desire of people to learn about the history of their small homeland, cultural heritage in modern conditions, is significantly increasing. This is due to the growth of national self-awareness, the search for ethnocultural identity. In a number of former Soviet republics and, first of all, in Russia and Kazakhstan, the analysis of modern phenomena is often accompanied by an appeal to the historical experience of the Soviet Union. The analysis of a large array of documents carried out by the authors made it possible to identify the features of the formation and development of the local history movement and public museums from the 1950s to the present. The article reveals the objective and subjective factors of their mass revival in the second half of the 1960s: improvement of the material situation of the population, democratization of public life, search for effective means to implement the ideological tasks of the CPSU. Based on an interest in knowing its past, the local history movement gained powerful party and state support and was vividly embodied in the form of public museums. In contrast to the pre-war stage of its development, this movement was aimed not at the study of the natural and economic resources of the local region, but at the ideological processing of the main resource - the human one, which was consolidated in the party and state documents. In the 1990s, as a result of the transformation of the USSR , the liquidation of the CPSU, and the change in the role of the party in the political system, mass public museums that carried out an ideological, political and educational mission were deprived of material support for their existence. The only exceptions were museums of corporate, educational, scientific organizations, many of which limited themselves to performing representative functions. However, it would be wrong to limit ourselves to a negative and even neutral assessment of their social role. Even being ideologized, the activities of public museums contributed to the preservation and popularization of cultural heritage, the development of horizons, instilled a sense of patriotism, love for their native land, and contributed to the organization of leisure. Moreover, perhaps we are on the verge of another upsurge in the historical and local history movement. The peoples of many countries, sated with globalization, associate a new paradigm of their development with the growth of national self-awareness, patriotism, looking for their origins in their historical cultural heritage. It is no coincidence that the growth of public organizations is noted, the purpose of which is to preserve and popularize heritage, historical reconstruction, search work in places of battles, patriotic and social volunteering. New museu
{"title":"Public museums of the north-east of Kazakhstan in the second half of the XX - beginning of the XXI century","authors":"O. Truevtseva, V. A. Kozhokar","doi":"10.17223/22220836/45/20","DOIUrl":"https://doi.org/10.17223/22220836/45/20","url":null,"abstract":"He article is devoted to the study of the process of formation and development of public museums in the northern and eastern regions of Kazakhstan. The relevance of studying the problems of social movements, in which the desire of people to learn about the history of their small homeland, cultural heritage in modern conditions, is significantly increasing. This is due to the growth of national self-awareness, the search for ethnocultural identity. In a number of former Soviet republics and, first of all, in Russia and Kazakhstan, the analysis of modern phenomena is often accompanied by an appeal to the historical experience of the Soviet Union. The analysis of a large array of documents carried out by the authors made it possible to identify the features of the formation and development of the local history movement and public museums from the 1950s to the present. The article reveals the objective and subjective factors of their mass revival in the second half of the 1960s: improvement of the material situation of the population, democratization of public life, search for effective means to implement the ideological tasks of the CPSU. Based on an interest in knowing its past, the local history movement gained powerful party and state support and was vividly embodied in the form of public museums. In contrast to the pre-war stage of its development, this movement was aimed not at the study of the natural and economic resources of the local region, but at the ideological processing of the main resource - the human one, which was consolidated in the party and state documents. In the 1990s, as a result of the transformation of the USSR , the liquidation of the CPSU, and the change in the role of the party in the political system, mass public museums that carried out an ideological, political and educational mission were deprived of material support for their existence. The only exceptions were museums of corporate, educational, scientific organizations, many of which limited themselves to performing representative functions. However, it would be wrong to limit ourselves to a negative and even neutral assessment of their social role. Even being ideologized, the activities of public museums contributed to the preservation and popularization of cultural heritage, the development of horizons, instilled a sense of patriotism, love for their native land, and contributed to the organization of leisure. Moreover, perhaps we are on the verge of another upsurge in the historical and local history movement. The peoples of many countries, sated with globalization, associate a new paradigm of their development with the growth of national self-awareness, patriotism, looking for their origins in their historical cultural heritage. It is no coincidence that the growth of public organizations is noted, the purpose of which is to preserve and popularize heritage, historical reconstruction, search work in places of battles, patriotic and social volunteering. New museu","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"8 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80741352","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 relevance of the research is determined by finding the reasons for modern schoolchildren's decline in the motivation for reading in general and classical literature, in particular. According to the authors, the change in the semiosis of culture (change of the verbal code by a visual one), as well as the rigidity of the organization of reading practices in teaching, can be named among the circumstances that cause the reading crisis. In this context, the “golden pool” of the Russian literature is facing the threat of losing its culturegenerating potential. Goal: a critical analysis of the practice of organizing the reading of Fyodor Dostoevsky's novel “Crime and Punishment” in secondary schools; highlighting its basic constituents and hidden actions that program the students' perception; identifying the directions of re-actualization of a classical literary text potential in school teaching. Objectives: the reconstruction of student and pedagogical discourse positions that objectify a literary work; a comparative analysis of educational dispositions; highlighting the discursive constituents of educational reading practices; identifying the directions of their renovation that make students' interest in reading a literary text more active. Methods of research: a critical discourse analysis; a conversion analysis; a pragmatic interpretation; survey methods (interviews, a focus group, experts' opinions). There have been found significant gaps in the dispositions of participants in educational reading, the presence of which is masked by common procedures of compulsion to communicative consent. Established were the key constituents of these practices (authorization, decontextualization, deactualization), which reduce the text of a literary work to the teacher's statements and the text in the textbook, which substitute the reading activity by a pseudo-literary replication. Substantiated is the didactic necessity of limiting the range of students' everyday experience actions of their educational interaction with an artifact text, alongside with developing a set of readers' new competencies based on the activation of perceptual-figurative parameters of a literary work perception and students' independent comprehension of the text. There have been established discursive operations of educational recontextualization (transformation into an academic subject) of the Russian author Fyodor Dostoevsky's literary works, the objectification and reorganization of which will contribute to the growth of the generativeness of educational relations and increase their cultural-generating effectiveness based on links with the text-artifact. The general orientation of the subject “Russian Literature” towards the assimilation of methodologically codified material by students, which produces both the unification of the literary works being studied and the despecification of the cultural contributions of their authors, as well as the leveling of the individual character of
{"title":"Educational reading practice (based on studying Dostoyevsky's works in secondary school)","authors":"A. Polonnikov, N. D. Korchalova, Dmitry Yu. Korol","doi":"10.17223/22220836/46/9","DOIUrl":"https://doi.org/10.17223/22220836/46/9","url":null,"abstract":"The relevance of the research is determined by finding the reasons for modern schoolchildren's decline in the motivation for reading in general and classical literature, in particular. According to the authors, the change in the semiosis of culture (change of the verbal code by a visual one), as well as the rigidity of the organization of reading practices in teaching, can be named among the circumstances that cause the reading crisis. In this context, the “golden pool” of the Russian literature is facing the threat of losing its culturegenerating potential. Goal: a critical analysis of the practice of organizing the reading of Fyodor Dostoevsky's novel “Crime and Punishment” in secondary schools; highlighting its basic constituents and hidden actions that program the students' perception; identifying the directions of re-actualization of a classical literary text potential in school teaching. Objectives: the reconstruction of student and pedagogical discourse positions that objectify a literary work; a comparative analysis of educational dispositions; highlighting the discursive constituents of educational reading practices; identifying the directions of their renovation that make students' interest in reading a literary text more active. Methods of research: a critical discourse analysis; a conversion analysis; a pragmatic interpretation; survey methods (interviews, a focus group, experts' opinions). There have been found significant gaps in the dispositions of participants in educational reading, the presence of which is masked by common procedures of compulsion to communicative consent. Established were the key constituents of these practices (authorization, decontextualization, deactualization), which reduce the text of a literary work to the teacher's statements and the text in the textbook, which substitute the reading activity by a pseudo-literary replication. Substantiated is the didactic necessity of limiting the range of students' everyday experience actions of their educational interaction with an artifact text, alongside with developing a set of readers' new competencies based on the activation of perceptual-figurative parameters of a literary work perception and students' independent comprehension of the text. There have been established discursive operations of educational recontextualization (transformation into an academic subject) of the Russian author Fyodor Dostoevsky's literary works, the objectification and reorganization of which will contribute to the growth of the generativeness of educational relations and increase their cultural-generating effectiveness based on links with the text-artifact. The general orientation of the subject “Russian Literature” towards the assimilation of methodologically codified material by students, which produces both the unification of the literary works being studied and the despecification of the cultural contributions of their authors, as well as the leveling of the individual character of","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"34 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86906033","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}
S. Bazhenov, N. A. Balutkina, Vera P. Korzh, Natalya Y. Lomega
“Living substance is biosphere's driving force whom main activity type is biogeochemical work in biosphere”. Biosphere development problems came up in twentieth century. Conception of sustainable development as translational headway which provides with society rational needs and conservation of environment state for future generations was accepted in 1922 at UN international conference, Rio de Janeiro. In Russia in 1992 were issued presidential decree № 236 and government decree № 217-r. In SPSTL SB RAS creation of bibliographical database of society and nature sustainable development started in 1997 due to theme actuality and large amount of scientific researches in Russia and in the world entirely. Since 2011 it is introduced in “Scientific Sibirica” database as a topic section. Deposit copies and public access scientific publications are the main database information sources. To cover all theme aspects literature selection and systematization methods and documents analytical processing structure were set up. State Classifier of Scientific and Technical information, not normative key words and thematic classifier are used as language support. Thematic classifier reflects main civilization problems represented in SB RAS research establishments priority areas of activity: general issues (historical, philosophical, law, informational), social and ecological issues, economical issues of sustainable development. Analysis of database information since 1998 to 2017 showed up next points: • reflection of social processes in data store by focus on particular sustainable development directions. • topic actuality. Annual large stock of publications (8700 documents averagely) which are highly dissipated (1236 periodicals (39%) and 5899 scientific events materials (35%) are represented by only one publication). • prevalence of scientific publications for: 13623 symposiums, seminars, conferences (81%); 605 productive Russian journals included in scientometrical systems; 448 (43%) productive Russian journals included in State Commission for Academic Degrees and Titles list. • various access levels of articles full texts: on electronic scientific library (E-library.ru) 531 (68%) productive Russian journals are at free access, the others may be viewed only directly from library or by subscription; on E-library and in Open Access systems materials of symposiums, conferences and seminars are partly accessible and temporarily published on the Internet. In the interest of specialists' and scientists' time economy they receive information by selective dissemination of information system since 1997. Since 1998 information is available by WEB-oriented information retrieval system of SPSTL SB RAS which includes optimized set of retrieval parameters; retrieval by all resources or by some certain resources; various retrieval modes; retrieval result improvement by retrieval vocabulary or hyperlinks in publications description; retrieval result saving in common formats; re
{"title":"Sustainable development of Siberian and Far Eastern nature and society: analysis of document flow based on electronic collection of SPSTL SB RAS","authors":"S. Bazhenov, N. A. Balutkina, Vera P. Korzh, Natalya Y. Lomega","doi":"10.17223/22220836/47/1","DOIUrl":"https://doi.org/10.17223/22220836/47/1","url":null,"abstract":"“Living substance is biosphere's driving force whom main activity type is biogeochemical work in biosphere”. Biosphere development problems came up in twentieth century. Conception of sustainable development as translational headway which provides with society rational needs and conservation of environment state for future generations was accepted in 1922 at UN international conference, Rio de Janeiro. In Russia in 1992 were issued presidential decree № 236 and government decree № 217-r. In SPSTL SB RAS creation of bibliographical database of society and nature sustainable development started in 1997 due to theme actuality and large amount of scientific researches in Russia and in the world entirely. Since 2011 it is introduced in “Scientific Sibirica” database as a topic section. Deposit copies and public access scientific publications are the main database information sources. To cover all theme aspects literature selection and systematization methods and documents analytical processing structure were set up. State Classifier of Scientific and Technical information, not normative key words and thematic classifier are used as language support. Thematic classifier reflects main civilization problems represented in SB RAS research establishments priority areas of activity: general issues (historical, philosophical, law, informational), social and ecological issues, economical issues of sustainable development. Analysis of database information since 1998 to 2017 showed up next points: • reflection of social processes in data store by focus on particular sustainable development directions. • topic actuality. Annual large stock of publications (8700 documents averagely) which are highly dissipated (1236 periodicals (39%) and 5899 scientific events materials (35%) are represented by only one publication). • prevalence of scientific publications for: 13623 symposiums, seminars, conferences (81%); 605 productive Russian journals included in scientometrical systems; 448 (43%) productive Russian journals included in State Commission for Academic Degrees and Titles list. • various access levels of articles full texts: on electronic scientific library (E-library.ru) 531 (68%) productive Russian journals are at free access, the others may be viewed only directly from library or by subscription; on E-library and in Open Access systems materials of symposiums, conferences and seminars are partly accessible and temporarily published on the Internet. In the interest of specialists' and scientists' time economy they receive information by selective dissemination of information system since 1997. Since 1998 information is available by WEB-oriented information retrieval system of SPSTL SB RAS which includes optimized set of retrieval parameters; retrieval by all resources or by some certain resources; various retrieval modes; retrieval result improvement by retrieval vocabulary or hyperlinks in publications description; retrieval result saving in common formats; re","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"38 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86472145","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
One of the fundamental problems of the development of modern society is the formation of a genuine cultural identity of man. The formed cultural identity of a person is a condition of its entry into a multicultural environment, as positive attitude towards another culture is not possible without awareness of its culture. The article reveals the thesis that musical culture, as a kind of artistic culture and part of spiritual culture, has enormous potential in the formation of cultural identity of the individual. The authors of the article prove that the identification function of musical culture is realized in connection with a number of its other functions. Cumulative function of musical culture is realized in accumulation, storage, generalization in their individual images of value-cognitive outlook of culture. The communicative function of musical culture is manifested in the fact that it is a universal system of communication of people at all levels, from the interindividual to the level of generations. As a result, there is a process of comparing the individual with the “other” (hero of the musical work), identification or vice versa, isolation from him. The communicative function comes close to the consolidating function. In the process of perception of musical work or its performance in the consciousness of the individual, a sense of belonging to the culture of his ethnic group, affinity with his culture is formed. The function of reflecting reality shows itself in reflecting in artistic images ideas, emotions and the subject world. Identifying with them, a person has individually colored associations, and emotional resonance is carried out. This emotional empathy, manifested in identifying the emotional mood of the recipient with the meaningful deployment of the musical work, is a way of ethical influence on the person and causes his cultural selfidentification. Here, the reality reflection function is connected to the emotional function of the music culture. The function of reflection of validity is also related to the cognitive function of musical culture. In modern historical conditions, when the “connection of times and generations” has been interrupted for a long period, musical culture is one of the sources of modern man‘s knowledge of the moral traditions of mankind. Without the knowledge of culture, the formation and formation of cultural identity is impossible. The ethical function shows itself in that it contains cultural specimens of ethnos. Musical culture provides individuals with basic cultural landmarks, distinctive images of cultural identity. Art provides individuals with a set of symbols with which it can associate itself (a set of potential positive and negative identities). The authors also define psychological mechanisms for the formation of cultural identity in the process of musical activity - identification and isolation.
{"title":"Musical culture in the development of the cultural identity of the individual","authors":"N. I. Kashina, N. G. Tagiltseva","doi":"10.17223/22220836/45/4","DOIUrl":"https://doi.org/10.17223/22220836/45/4","url":null,"abstract":"One of the fundamental problems of the development of modern society is the formation of a genuine cultural identity of man. The formed cultural identity of a person is a condition of its entry into a multicultural environment, as positive attitude towards another culture is not possible without awareness of its culture. The article reveals the thesis that musical culture, as a kind of artistic culture and part of spiritual culture, has enormous potential in the formation of cultural identity of the individual. The authors of the article prove that the identification function of musical culture is realized in connection with a number of its other functions. Cumulative function of musical culture is realized in accumulation, storage, generalization in their individual images of value-cognitive outlook of culture. The communicative function of musical culture is manifested in the fact that it is a universal system of communication of people at all levels, from the interindividual to the level of generations. As a result, there is a process of comparing the individual with the “other” (hero of the musical work), identification or vice versa, isolation from him. The communicative function comes close to the consolidating function. In the process of perception of musical work or its performance in the consciousness of the individual, a sense of belonging to the culture of his ethnic group, affinity with his culture is formed. The function of reflecting reality shows itself in reflecting in artistic images ideas, emotions and the subject world. Identifying with them, a person has individually colored associations, and emotional resonance is carried out. This emotional empathy, manifested in identifying the emotional mood of the recipient with the meaningful deployment of the musical work, is a way of ethical influence on the person and causes his cultural selfidentification. Here, the reality reflection function is connected to the emotional function of the music culture. The function of reflection of validity is also related to the cognitive function of musical culture. In modern historical conditions, when the “connection of times and generations” has been interrupted for a long period, musical culture is one of the sources of modern man‘s knowledge of the moral traditions of mankind. Without the knowledge of culture, the formation and formation of cultural identity is impossible. The ethical function shows itself in that it contains cultural specimens of ethnos. Musical culture provides individuals with basic cultural landmarks, distinctive images of cultural identity. Art provides individuals with a set of symbols with which it can associate itself (a set of potential positive and negative identities). The authors also define psychological mechanisms for the formation of cultural identity in the process of musical activity - identification and isolation.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"24 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86390454","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 highlights the almost unexplored issue of the collection of photographs preserved in the Department of Manuscripts and Book Monuments of the Scientific Library of Tomsk State University. The photographs were taken by August Ivanovich Skassi. The author of the article managed to find biographical information about the photographer. As a military topographer, Skassi participated in scientific expeditions in Central and Central Asia. Knowing about his work, Grigory Nikolaevich Potanin invited Scassi on an expedition to China and Tibet, which lasted three years -from 1884 to 1886. It is known that Scassi made a topographic survey of the area along the route of Potanin's journey (more than 7 thousand kilometers long). In addition, he took about 200 photographs, which depicted the urban landscapes of China and the people who met on the expedition path. The author of the article notes that the works of G.N. Potanina, A.I. Scassi, A.V. Potanina in the Chinese expedition were awarded medals of the Imperial Russian Geographical Society. Potanin highly valued the photographs of Skassi and kept some of them in his personal collection. It is known that in 1920 G.N. Potanin died and was buried in Tomsk, and his collection of photographs, together with his manuscripts and the library, first came to the Siberian Research Institute, and then to the library of Tomsk University. And a few decades later, a library employee N.V. Vasenkin carried out the attribution of these photographs. The collection of 16 photographs is stored in the collection of the Department of Manuscripts and Book Monuments of the Scientific Library of Tomsk State University as part of the Potanin fund. The photographs depict the Buddhist monasteries of Gumbum, Kadan-Syume and Wutai, the shrine of Yun-zhao-si in Wutai, the streets and individual buildings of Chinese cities and villages. The collection contains photographs of the family of the Dzungarian prince and the family of a Mongol official from Amdos, as well as portraits of ordinary people in China. Photographs of Tangut men in national clothes and servants of the Buddhist monastery Labran are unique. Most of the photographs are pasted onto cardboard or forms from the photo studio where they were printed. Many of the photographs have handwritten text made by G.N. Potanin. The photographs are well preserved, but are damaged: the paper has turned yellow, there are tears along the edges, and others. The collection of photographs by A.I. Skassi has reliable information about the history and culture of China and is an important historical source.
{"title":"A collection of expedition photographs by A.I. Skassi in the collection of the department of manuscripts and book monuments of the Scientific library of TSU","authors":"I. Golev","doi":"10.17223/22220836/46/21","DOIUrl":"https://doi.org/10.17223/22220836/46/21","url":null,"abstract":"The article highlights the almost unexplored issue of the collection of photographs preserved in the Department of Manuscripts and Book Monuments of the Scientific Library of Tomsk State University. The photographs were taken by August Ivanovich Skassi. The author of the article managed to find biographical information about the photographer. As a military topographer, Skassi participated in scientific expeditions in Central and Central Asia. Knowing about his work, Grigory Nikolaevich Potanin invited Scassi on an expedition to China and Tibet, which lasted three years -from 1884 to 1886. It is known that Scassi made a topographic survey of the area along the route of Potanin's journey (more than 7 thousand kilometers long). In addition, he took about 200 photographs, which depicted the urban landscapes of China and the people who met on the expedition path. The author of the article notes that the works of G.N. Potanina, A.I. Scassi, A.V. Potanina in the Chinese expedition were awarded medals of the Imperial Russian Geographical Society. Potanin highly valued the photographs of Skassi and kept some of them in his personal collection. It is known that in 1920 G.N. Potanin died and was buried in Tomsk, and his collection of photographs, together with his manuscripts and the library, first came to the Siberian Research Institute, and then to the library of Tomsk University. And a few decades later, a library employee N.V. Vasenkin carried out the attribution of these photographs. The collection of 16 photographs is stored in the collection of the Department of Manuscripts and Book Monuments of the Scientific Library of Tomsk State University as part of the Potanin fund. The photographs depict the Buddhist monasteries of Gumbum, Kadan-Syume and Wutai, the shrine of Yun-zhao-si in Wutai, the streets and individual buildings of Chinese cities and villages. The collection contains photographs of the family of the Dzungarian prince and the family of a Mongol official from Amdos, as well as portraits of ordinary people in China. Photographs of Tangut men in national clothes and servants of the Buddhist monastery Labran are unique. Most of the photographs are pasted onto cardboard or forms from the photo studio where they were printed. Many of the photographs have handwritten text made by G.N. Potanin. The photographs are well preserved, but are damaged: the paper has turned yellow, there are tears along the edges, and others. The collection of photographs by A.I. Skassi has reliable information about the history and culture of China and is an important historical source.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"68 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77151280","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":"Review of the book “Museological heritage of North Asia. Issue 3: The works of Alexandra Viktorovna Potanina”","authors":"K. Konev","doi":"10.17223/22220836/47/22","DOIUrl":"https://doi.org/10.17223/22220836/47/22","url":null,"abstract":"","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"59 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89061101","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 1950, the People's Republic of China and the USSR signed the Treaty of Friendship, Alliance and Mutual Assistance. The development of the Chinese economy and the sphere of art has experienced the all-round influence of the USSR. The Chinese language was translated works on the revolutionary struggle of the Soviet people, as well as on the topic of production and construction. Many works began to be produced in the format of picture story books. This trend greatly contributed to the popularization and dissemination of Soviet literature and art in China. Gu Bingxin is one of the talented artists of picture story books on Soviet revolutionary themes. Gu Bingxin is a key figure in the Lianhuanhua area. During his life he created more than one hundred books. Only in the fifties the artist created fifty picture story books. Picture story books „Lenin in October” and „Lenin in 1918”, created by Gu Bingxin and other artists and based on the films of the same name, can be attributed to the best works on the theme of the Russian revolution. They combine not only the successfully used traditional Chinese shading techniques, but also the perspective laws, borrowed from Western European painting, as well as the language features of the film text. The characters of the books are characterized by careful elaboration, a rich composition and an ideal density of lines. These works have high artistic value and are still considered valuable specimens in collections of book lovers in pictures. In 1971 and 1972 The Shanghai Publishing House Renmin Meishu produced these two picture story books - “Lenin in October” and “Lenin in 1918” respectively. Three million copies of the first edition were quickly sold out. Both works fully reflected the expressiveness of the contour drawing. Bends of lines and strokes, obtained by pressing the tip of the brush with the subsequent easy removal of the brush by moving to the right, showed a change in the structure of the body and the direction of movements. The density, length, thickness and direction of the lines conveyed a sense of space. Drawing on the needs of the image, the artists used the near, middle, distant plan, horizontal angle of view, top view and other compositional techniques with different angles of view. This helped to reproduce on paper realistic scenes from life. However, in general, the style of painting turned out to be too strict and neat, the illustrations were not enough fun. It was these shortcomings that showed that the freedom of artists in the style and form of painting, the choice of the main theme and even their personal freedom was severely limited by the conditions dictated by the Cultural Revolution and which made it difficult to create such rare masterpieces.
{"title":"History of building picture story books “Lenin in October” and “Lenin in 1918”","authors":"Q. Liu","doi":"10.17223/22220836/45/14","DOIUrl":"https://doi.org/10.17223/22220836/45/14","url":null,"abstract":"In 1950, the People's Republic of China and the USSR signed the Treaty of Friendship, Alliance and Mutual Assistance. The development of the Chinese economy and the sphere of art has experienced the all-round influence of the USSR. The Chinese language was translated works on the revolutionary struggle of the Soviet people, as well as on the topic of production and construction. Many works began to be produced in the format of picture story books. This trend greatly contributed to the popularization and dissemination of Soviet literature and art in China. Gu Bingxin is one of the talented artists of picture story books on Soviet revolutionary themes. Gu Bingxin is a key figure in the Lianhuanhua area. During his life he created more than one hundred books. Only in the fifties the artist created fifty picture story books. Picture story books „Lenin in October” and „Lenin in 1918”, created by Gu Bingxin and other artists and based on the films of the same name, can be attributed to the best works on the theme of the Russian revolution. They combine not only the successfully used traditional Chinese shading techniques, but also the perspective laws, borrowed from Western European painting, as well as the language features of the film text. The characters of the books are characterized by careful elaboration, a rich composition and an ideal density of lines. These works have high artistic value and are still considered valuable specimens in collections of book lovers in pictures. In 1971 and 1972 The Shanghai Publishing House Renmin Meishu produced these two picture story books - “Lenin in October” and “Lenin in 1918” respectively. Three million copies of the first edition were quickly sold out. Both works fully reflected the expressiveness of the contour drawing. Bends of lines and strokes, obtained by pressing the tip of the brush with the subsequent easy removal of the brush by moving to the right, showed a change in the structure of the body and the direction of movements. The density, length, thickness and direction of the lines conveyed a sense of space. Drawing on the needs of the image, the artists used the near, middle, distant plan, horizontal angle of view, top view and other compositional techniques with different angles of view. This helped to reproduce on paper realistic scenes from life. However, in general, the style of painting turned out to be too strict and neat, the illustrations were not enough fun. It was these shortcomings that showed that the freedom of artists in the style and form of painting, the choice of the main theme and even their personal freedom was severely limited by the conditions dictated by the Cultural Revolution and which made it difficult to create such rare masterpieces.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"37 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81351476","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":"Professor Bodyanskiy against plagiarism and plagiarists","authors":"Nadezhda M. Dmitrienko","doi":"10.17223/22220836/47/21","DOIUrl":"https://doi.org/10.17223/22220836/47/21","url":null,"abstract":"","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"12 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91094532","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 subject of this article is a visual manifestation of the transition to metamodern architecture in the reconstruction of Esma Sultan's palace in Istanbul. Its architectural and design solution was created in the framework of the new urban paradigm of the XXI century. The project solves a whole range of tasks from the preservation of historical heritage to the creation of an attractive commercial real estate facility. The objective of the article is to conduct a semiotic analysis of the Esma Sultan architectural complex which will demonstrate the transition from the paradigm of the urban culture of postmodernism to metamodernism. Esma Sultan's semantic analysis reveals the meanings that remain not articulated in the special literature about this project. The method of historical retrospection is applied to the analysis of the object. This made it possible to assess the general trends in the production of urban space at the early the twenty-first century. A comparison of Esma Sultan's palace to the projects that are close in style and overall design showed the prospect of creating a modern mental image of the city. The authors concluded that the semiotic system of this architectural object is focused on the presentation of a multi-level semantic space. The loft-style palace not only organizes space, but creates a lifestyle with its egocentric hedonistic notes. The article proves that the reconstruction of Esma Sultan declares a new style of life and a type of urban culture in which spatiality becomes an expression of a multi-layered meaning. Rebuilding is not the same as reconstruction because its goal is not to return the past in the image of the building but to “hang” between experiencing the past and its awareness in the present. Thus, the Esma Sultan project became an example of a generalization of paradigm shifts in human perceptions of the 1990s - 2000s and a demonstration of the transition to the sociocultural situation of metamodern. We see how metamodern eliminates the very principle of dichotomy of choice, evaluation and functionality. The technological leap of the beginning of the 21st century, the changing nature of sociocultural practices, the abandonment of the policy of multiculturalism (the practice of social collage) influenced the formation of a new understanding of the problem of meanings manifested through spatiality, contingency and contextuality of any phenomenon.
{"title":"Visualization of the transition to metamodern: a semiotic analysis of the Esma Sultan architectural project (Istanbul)","authors":"A. Artemenko, Yaroslava I. Artemenko","doi":"10.17223/22220836/47/13","DOIUrl":"https://doi.org/10.17223/22220836/47/13","url":null,"abstract":"The subject of this article is a visual manifestation of the transition to metamodern architecture in the reconstruction of Esma Sultan's palace in Istanbul. Its architectural and design solution was created in the framework of the new urban paradigm of the XXI century. The project solves a whole range of tasks from the preservation of historical heritage to the creation of an attractive commercial real estate facility. The objective of the article is to conduct a semiotic analysis of the Esma Sultan architectural complex which will demonstrate the transition from the paradigm of the urban culture of postmodernism to metamodernism. Esma Sultan's semantic analysis reveals the meanings that remain not articulated in the special literature about this project. The method of historical retrospection is applied to the analysis of the object. This made it possible to assess the general trends in the production of urban space at the early the twenty-first century. A comparison of Esma Sultan's palace to the projects that are close in style and overall design showed the prospect of creating a modern mental image of the city. The authors concluded that the semiotic system of this architectural object is focused on the presentation of a multi-level semantic space. The loft-style palace not only organizes space, but creates a lifestyle with its egocentric hedonistic notes. The article proves that the reconstruction of Esma Sultan declares a new style of life and a type of urban culture in which spatiality becomes an expression of a multi-layered meaning. Rebuilding is not the same as reconstruction because its goal is not to return the past in the image of the building but to “hang” between experiencing the past and its awareness in the present. Thus, the Esma Sultan project became an example of a generalization of paradigm shifts in human perceptions of the 1990s - 2000s and a demonstration of the transition to the sociocultural situation of metamodern. We see how metamodern eliminates the very principle of dichotomy of choice, evaluation and functionality. The technological leap of the beginning of the 21st century, the changing nature of sociocultural practices, the abandonment of the policy of multiculturalism (the practice of social collage) influenced the formation of a new understanding of the problem of meanings manifested through spatiality, contingency and contextuality of any phenomenon.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"9 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75108441","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 research employs the comparative-historical method to expand insight into the so-called “Siberian text” and introduce new materials into academic circulation. The author uses works by the leaders of Siberian Oblastnichestvo (regionalism) of the mid-19th century and by the creators of the Far Eastern literary and artistic futuristic collections of the early Soviet rule to identify different approaches and views on the “Sibirica” plot in the emerging Siberian literature and art. This material under discussion has hardly ever been addressed or systemically analysed, which makes it comprehension relevant. The “Idea of Siberia” has become the main paradigm of the creative heritage of senior Oblastniki (regionalists). The founders of the Siberian doctrine put into it their view of Siberia as integrity. Siberian culture was to shape in this logic, too, developing its own type of an artist with a clear awareness of the “idea of place.” The main theses were outlined by the leaders of Siberian Oblastnichestvo Grigory N. Potanin and Nikolay M. Yadrintsev. Their ideas are later given a new meaning in the controversy among the Far Eastern futurists in the early Soviet years. In particular, in the collection “The Siberian Motif in Poetry (From Baldauf to the present day)”, the famous Marxist critic Nikolay F. Chuzhak suggests reconsidering the concept of “couleur locale.” Using the example of Innokentiy V. Fedorov-Omulevsky, whose creative biography was connected both with Siberia and the metropolis, Chuzhak makes references not only to regional literature, but also considers Siberian plots in the works of such artists as Vasily Surikov, Vladimir Vuchichevich, and Grigory Gurkin. In 1923, the Irkutsk art critic Dmitriy A. Boldyrev-Kazarin publishes an article “Sibirica in Art”, which, in fact, argues with Chuzhak's collection. Boldyrev-Kazarin puts forward the idea that it was precisely Chuzhak's ultra-Marxist approach that prevented him from fully understanding the “Sibirica” plot. He highlights the review of the futurist poet Nikolay Aseev “Siberian Tale” on Sergey Tretyakov's poetic cycle “Travel Pass”, created by the poet during his trip from Chita to Moscow. For Boldyrev-Kazarin, Aseev is primarily a poet, therefore “his approach to an exciting topic is based on artistic intuition rather than on exact, scientific analysis.” Tretyakov's poetic cycle, in turn, is a variant of the travelogue, which was mostly developed among futurists; therefore, the text space in his traveling poetic cycle becomes much more significant than another transcription of Siberia. Thus, in the process of formation and development of the “Sibirica” plot, it becomes more obvious, in terms of the frontier category, that European Russia in relation to Siberia is increasingly acquiring the features of a mobile zone of consolidation and development, a zone that is no longer divides as much as it brings together the internal and external spaces of culture.
本研究采用比较历史的方法，拓展对所谓“西伯利亚文本”的认识，并将新材料引入学术流通。作者利用19世纪中期西伯利亚地区主义领袖的作品和苏联早期远东未来主义文学艺术作品集的创作者的作品，来识别新兴西伯利亚文学艺术中“西伯利亚”情节的不同方法和观点。所讨论的材料几乎从未被处理或系统地分析过，这使它具有理解的意义。“西伯利亚理念”已经成为资深Oblastniki(地域主义者)的创意遗产的主要范例。西伯利亚学说的奠基人把他们的西伯利亚视为完整的。西伯利亚文化也是按照这种逻辑形成的，它发展出了自己的艺术家类型，对“地方观念”有清晰的认识。主要提纲由西伯利亚州领导人格里戈里·n·波塔宁和尼古拉·m·雅德林采夫概述。他们的思想后来在苏联早期远东未来主义者的争论中被赋予了新的意义。特别是在《诗歌中的西伯利亚母题(从巴尔道夫至今)》一书中，著名马克思主义评论家尼古拉·f·楚扎克建议重新思考“色彩场所”的概念。以Innokentiy V. Fedorov-Omulevsky为例，他的创作传记与西伯利亚和大都市都有联系，Chuzhak不仅参考了地区文学，还考虑了Vasily Surikov, Vladimir Vuchichevich和Grigory Gurkin等艺术家作品中的西伯利亚情节。1923年，伊尔库茨克艺术评论家德米特里·a·博尔季列夫-卡扎林(Dmitriy A. boldymov - kazarin)发表了一篇文章《艺术中的西伯利亚》(Sibirica In art)，实际上是在反驳楚扎克的收藏。boldyev - kazarin提出，正是由于Chuzhak的极端马克思主义方法，使他无法完全理解“西伯利亚”阴谋。他重点介绍了未来主义诗人尼古拉·阿西耶夫《西伯利亚故事》对谢尔盖·特列季亚科夫从契塔到莫斯科旅行期间创作的诗作《旅行通行证》的评论。对于Boldyrev-Kazarin来说，Aseev主要是一个诗人，因此“他对一个令人兴奋的话题的方法是基于艺术直觉，而不是精确的科学分析。”反过来，特列季亚科夫的诗歌循环是游记的一种变体，游记主要是在未来主义者中发展起来的;因此，他的旅行诗歌循环中的文本空间比另一个西伯利亚的抄写要重要得多。因此，在“西伯利亚”地块的形成和发展过程中，就边界范畴而言，欧洲俄罗斯与西伯利亚的关系越来越明显地获得了一个巩固和发展的流动区域的特征，这个区域不再是分裂的，而是将内外文化空间聚集在一起。
{"title":"The “sibirica” plot in literary and artistic transformation (on the history of one controversy)","authors":"E. Makarova","doi":"10.17223/22220836/47/7","DOIUrl":"https://doi.org/10.17223/22220836/47/7","url":null,"abstract":"The research employs the comparative-historical method to expand insight into the so-called “Siberian text” and introduce new materials into academic circulation. The author uses works by the leaders of Siberian Oblastnichestvo (regionalism) of the mid-19th century and by the creators of the Far Eastern literary and artistic futuristic collections of the early Soviet rule to identify different approaches and views on the “Sibirica” plot in the emerging Siberian literature and art. This material under discussion has hardly ever been addressed or systemically analysed, which makes it comprehension relevant. The “Idea of Siberia” has become the main paradigm of the creative heritage of senior Oblastniki (regionalists). The founders of the Siberian doctrine put into it their view of Siberia as integrity. Siberian culture was to shape in this logic, too, developing its own type of an artist with a clear awareness of the “idea of place.” The main theses were outlined by the leaders of Siberian Oblastnichestvo Grigory N. Potanin and Nikolay M. Yadrintsev. Their ideas are later given a new meaning in the controversy among the Far Eastern futurists in the early Soviet years. In particular, in the collection “The Siberian Motif in Poetry (From Baldauf to the present day)”, the famous Marxist critic Nikolay F. Chuzhak suggests reconsidering the concept of “couleur locale.” Using the example of Innokentiy V. Fedorov-Omulevsky, whose creative biography was connected both with Siberia and the metropolis, Chuzhak makes references not only to regional literature, but also considers Siberian plots in the works of such artists as Vasily Surikov, Vladimir Vuchichevich, and Grigory Gurkin. In 1923, the Irkutsk art critic Dmitriy A. Boldyrev-Kazarin publishes an article “Sibirica in Art”, which, in fact, argues with Chuzhak's collection. Boldyrev-Kazarin puts forward the idea that it was precisely Chuzhak's ultra-Marxist approach that prevented him from fully understanding the “Sibirica” plot. He highlights the review of the futurist poet Nikolay Aseev “Siberian Tale” on Sergey Tretyakov's poetic cycle “Travel Pass”, created by the poet during his trip from Chita to Moscow. For Boldyrev-Kazarin, Aseev is primarily a poet, therefore “his approach to an exciting topic is based on artistic intuition rather than on exact, scientific analysis.” Tretyakov's poetic cycle, in turn, is a variant of the travelogue, which was mostly developed among futurists; therefore, the text space in his traveling poetic cycle becomes much more significant than another transcription of Siberia. Thus, in the process of formation and development of the “Sibirica” plot, it becomes more obvious, in terms of the frontier category, that European Russia in relation to Siberia is increasingly acquiring the features of a mobile zone of consolidation and development, a zone that is no longer divides as much as it brings together the internal and external spaces of culture.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"813 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75314783","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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