Fixation and assignment of labels to specific semantic derivation cases, namely metaphorical expressives (expressive lexical units) in Tuvan dictionaries, are considered and compared with their Russian equivalents. The Russian language influence on the semantic structure of the Tuvan lexemes is observed. Metaphorical expressives are lexemes formed by metaphorical derivation resulting in new (figurative) meanings without changing the form. The number of such units in the colloquial speech was found to increase under the Russian language influence in recent decades. New formation models non-typical for Tuvan but common in Russian have appeared. Also, the calques of Russian expressives based on models absent in Tuvan were found: bash aaryy (lit.: head pain) → “person or problem causing emotional pain or frustration to the speaker” from Russian golovnaya bol’ with the same meaning. The analysis showed Tuvan dictionaries not to reflect this phenomenon sufficiently, i.e., word figurative meanings, namely metaphorical expressives, are not represented there broadly enough. It may be because the labels marking certain words’ usage areas, particularly the label razg. (colloquial speech) is used rather liberally since the stylistic differentiation process is still ongoing in standard Tuvan. While actively used in oral colloquial speech, most expressive meanings of polysemantic words revealed in the study are not found in Tuvan dictionaries. In Russian, there are special colloquial dictionaries, as well as regional dictionaries with stylistic labels. There are no such dictionaries in Tuvan, mostly due to its vague stylistic differentiation. However, the Tuvan language is still evolving, with dictionaries updated accordingly.
在图瓦语词典中，标签固定和分配到特定的语义派生案例，即隐喻表达(表达性词汇单位)，并与俄语对等物进行了比较。观察了俄语对图瓦语词素语义结构的影响。隐喻表达是指在不改变形式的情况下，通过隐喻派生而产生新的(比喻的)意义的词汇。近几十年来，在俄语的影响下，这种单位在口语中的数量有所增加。新的地层模式在图瓦族中不常见，但在俄罗斯很常见。此外，根据图瓦语中没有的模型，发现了俄语表达词的calques: bash aaryy(字面意思:头痛)→俄语golovnaya bol '中具有相同意思的“给说话者带来情感痛苦或挫折的人或问题”。分析表明，图瓦语词典没有充分反映这一现象，即词的比喻意义，即隐喻性表达，在图瓦语词典中没有得到足够广泛的体现。这可能是因为标记某些词的使用区域的标签，特别是标签razg。(口语)的使用相当自由，因为标准图瓦语的文体分化过程仍在进行中。本研究揭示的多义词在口语口语中积极使用，但在图瓦语词典中却找不到其大部分表达意义。在俄语中，有专门的口语词典，也有带有风格标签的地区词典。图瓦语没有这样的词典，主要是由于其模糊的风格区分。然而，图瓦语仍在不断发展，词典也随之更新。
{"title":"Metaphorical expressives in Tuvan lexicography","authors":"E. K. Annai","doi":"10.17223/18137083/74/19","DOIUrl":"https://doi.org/10.17223/18137083/74/19","url":null,"abstract":"Fixation and assignment of labels to specific semantic derivation cases, namely metaphorical expressives (expressive lexical units) in Tuvan dictionaries, are considered and compared with their Russian equivalents. The Russian language influence on the semantic structure of the Tuvan lexemes is observed. Metaphorical expressives are lexemes formed by metaphorical derivation resulting in new (figurative) meanings without changing the form. The number of such units in the colloquial speech was found to increase under the Russian language influence in recent decades. New formation models non-typical for Tuvan but common in Russian have appeared. Also, the calques of Russian expressives based on models absent in Tuvan were found: bash aaryy (lit.: head pain) → “person or problem causing emotional pain or frustration to the speaker” from Russian golovnaya bol’ with the same meaning. The analysis showed Tuvan dictionaries not to reflect this phenomenon sufficiently, i.e., word figurative meanings, namely metaphorical expressives, are not represented there broadly enough. It may be because the labels marking certain words’ usage areas, particularly the label razg. (colloquial speech) is used rather liberally since the stylistic differentiation process is still ongoing in standard Tuvan. While actively used in oral colloquial speech, most expressive meanings of polysemantic words revealed in the study are not found in Tuvan dictionaries. In Russian, there are special colloquial dictionaries, as well as regional dictionaries with stylistic labels. There are no such dictionaries in Tuvan, mostly due to its vague stylistic differentiation. However, the Tuvan language is still evolving, with dictionaries updated accordingly.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"20 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80179222","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 paper discusses the activities of children's libraries in Tomsk in the 1960s and 70s. The main goal of this study is consider the history of children's libraries in the city and reveal the role of libraries in educational, cultural, political and ideological components of the everyday lives of young Tomsk residents. There are several reasons for addressing this problem. In the USSR, children were always not only in the care of the state, but also part of the political discourse about the happy childhood and the man of the future who was expected to live under communism. In this context, children's libraries were given a special status as places that successfully combined educational, cultural, political and ideological activities for children. The Tomsk Region has always been considered the intellectual center of Siberia. Therefore, it seems obvious that there has always been a special focus on the development of libraries in Tomsk. For example, the number of public libraries in the Tomsk Region increased from 135 in 1945 to 495 in 1964. This study addresses the history of children's libraries in the city. The thematic focus of their collections, and According to the regional archive, in the 1960– 70s, there were four active children's libraries in the city. The main ones were City Children's Library No. 1 located at 167 Lenin Avenue, and Marshak Children's Library No. 2 located at 17a Nikitina Street, The two other were smaller in size: Library No. 3 (81 Michurina) and City Children's Library No. 6 (9 Kolkhoznaya). The statistical reports of libraries demonstrate the increasing interest of young Tomsk residents in library activities: the number of readers, as well as number of visits grew from year to year. The libraries had quite diverse collections, which included not only books, but also periodicals. Some interesting observations can be made about the distribution of genres: socio-political publications are the second most popular genre, after fiction. Libraries were not only a place where children could receive and read books, but also hosted a variety of cultural, educational and leisure events, such as matinees, debates, exhibitions, and poetry evenings. There were Young Readers Clubs which arranged book discussions and meetings with interesting people. All this evidence suggests that children's libraries were an essential part of the city's social and cultural life. They acted as a kind of educational centers where young Tomsk residents could find answers to their questions. They were also places of leisure where children could spend their free time. Moreover, libraries inculcated some ideologically correct attitudes. Meetings, disputes, and quizzes held in libraries always addressed topics related to Lenin, communism, and activities of the Commuunist Party of the Soviet Union.
{"title":"СHILDREN'S LIBRARIES: THE CASE OF TOMSK, 1960–1970","authors":"A. I. Ermolova","doi":"10.17223/22220836/41/24","DOIUrl":"https://doi.org/10.17223/22220836/41/24","url":null,"abstract":"The paper discusses the activities of children's libraries in Tomsk in the 1960s and 70s. The main goal of this study is consider the history of children's libraries in the city and reveal the role of libraries in educational, cultural, political and ideological components of the everyday lives of young Tomsk residents. There are several reasons for addressing this problem. In the USSR, children were always not only in the care of the state, but also part of the political discourse about the happy childhood and the man of the future who was expected to live under communism. In this context, children's libraries were given a special status as places that successfully combined educational, cultural, political and ideological activities for children. The Tomsk Region has always been considered the intellectual center of Siberia. Therefore, it seems obvious that there has always been a special focus on the development of libraries in Tomsk. For example, the number of public libraries in the Tomsk Region increased from 135 in 1945 to 495 in 1964. This study addresses the history of children's libraries in the city. The thematic focus of their collections, and According to the regional archive, in the 1960– 70s, there were four active children's libraries in the city. The main ones were City Children's Library No. 1 located at 167 Lenin Avenue, and Marshak Children's Library No. 2 located at 17a Nikitina Street, The two other were smaller in size: Library No. 3 (81 Michurina) and City Children's Library No. 6 (9 Kolkhoznaya). The statistical reports of libraries demonstrate the increasing interest of young Tomsk residents in library activities: the number of readers, as well as number of visits grew from year to year. The libraries had quite diverse collections, which included not only books, but also periodicals. Some interesting observations can be made about the distribution of genres: socio-political publications are the second most popular genre, after fiction. Libraries were not only a place where children could receive and read books, but also hosted a variety of cultural, educational and leisure events, such as matinees, debates, exhibitions, and poetry evenings. There were Young Readers Clubs which arranged book discussions and meetings with interesting people. All this evidence suggests that children's libraries were an essential part of the city's social and cultural life. They acted as a kind of educational centers where young Tomsk residents could find answers to their questions. They were also places of leisure where children could spend their free time. Moreover, libraries inculcated some ideologically correct attitudes. Meetings, disputes, and quizzes held in libraries always addressed topics related to Lenin, communism, and activities of the Commuunist Party of the Soviet Union.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81388929","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}
For the first time in the museum literature, the article traces the influence of university charters on the museum business in Russian universities in the XIX – early XX century. Using the original act documents extracted from the “Complete Collection of Laws of the Russian Empire”, the author showed that the charter of 1804 and all subsequent legislative acts provided for the formation of auxiliary educational institutions in universities – offices, assemblies, anatomical theaters. It is particularly stipulated that the charter of 1804 did not use the term “museum”, since it was not widely used in Russia at that time. In the act documents at the beginning of the XIX century, the word “cabinet” was used, which was in some sense a synonym for it and was used in the sense of storage, collection. But the work prescribed by legislative acts on the selection, description and preservation of exhibits, tools, and other objects necessary for teaching, allows us to talk about the birth of museum functions in universities. Starting in 1835, the charters introduced the term “museum”, they expanded the list of educational materials and aids. Taking into account the obvious lack of knowledge on the subject under study, the author gives the entire list of educational and auxiliary institutions listed in the statutes. These are the cabinets: physical, mineralogical, botanical, zoological, technological, and the collection of machines and models for applied mathematics, collections – architectural models, pharmacological, surgical instruments, obstetrical instruments, anatomical theater and collection of exhibits, zootomic theater, and collection of exhibits, as well as the Museum of Fine Arts and Antiquities. The statutes prescribe ways to replenish university collections, including through the unhindered discharge of benefits from abroad. In the university charters and staff schedules attached to the charters, it was mandatory to specify monetary amounts, determine their distribution for the maintenance of offices and museums, as well as the heads and general staff of these university departments. The article emphasizes that the charter of 1863 spelled out in detail the procedure for approving the position of curators of cabinets and museums, and in addition, their pension provision was separately prescribed. The charter of 1884 provides an expanded list of university museums, establishes the number of employees, and addresses issues of museum management. At the end of the article, it is quite appropriate to conclude that the university charters defined the legislative foundations of the museum business in Russian universities of the XIX-early XX century
{"title":"UNIVERSITY CHARTERS AS A LEGISLATIVE BASIS FOR MUSEUM BUSINESS IN RUSSIAN UNIVERSITIES (XIX – EARLY XX CENTURIES)","authors":"Ivan S. Karachentsev","doi":"10.17223/22220836/41/20","DOIUrl":"https://doi.org/10.17223/22220836/41/20","url":null,"abstract":"For the first time in the museum literature, the article traces the influence of university charters on the museum business in Russian universities in the XIX – early XX century. Using the original act documents extracted from the “Complete Collection of Laws of the Russian Empire”, the author showed that the charter of 1804 and all subsequent legislative acts provided for the formation of auxiliary educational institutions in universities – offices, assemblies, anatomical theaters. It is particularly stipulated that the charter of 1804 did not use the term “museum”, since it was not widely used in Russia at that time. In the act documents at the beginning of the XIX century, the word “cabinet” was used, which was in some sense a synonym for it and was used in the sense of storage, collection. But the work prescribed by legislative acts on the selection, description and preservation of exhibits, tools, and other objects necessary for teaching, allows us to talk about the birth of museum functions in universities. Starting in 1835, the charters introduced the term “museum”, they expanded the list of educational materials and aids. Taking into account the obvious lack of knowledge on the subject under study, the author gives the entire list of educational and auxiliary institutions listed in the statutes. These are the cabinets: physical, mineralogical, botanical, zoological, technological, and the collection of machines and models for applied mathematics, collections – architectural models, pharmacological, surgical instruments, obstetrical instruments, anatomical theater and collection of exhibits, zootomic theater, and collection of exhibits, as well as the Museum of Fine Arts and Antiquities. The statutes prescribe ways to replenish university collections, including through the unhindered discharge of benefits from abroad. In the university charters and staff schedules attached to the charters, it was mandatory to specify monetary amounts, determine their distribution for the maintenance of offices and museums, as well as the heads and general staff of these university departments. The article emphasizes that the charter of 1863 spelled out in detail the procedure for approving the position of curators of cabinets and museums, and in addition, their pension provision was separately prescribed. The charter of 1884 provides an expanded list of university museums, establishes the number of employees, and addresses issues of museum management. At the end of the article, it is quite appropriate to conclude that the university charters defined the legislative foundations of the museum business in Russian universities of the XIX-early XX century","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"7 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89209173","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 is devoted to the problem of memory visualization in the language of photography. Photography is presented as a sign system and a communicative tool of culture, as one of its mnemonic and memorial techniques. An image archive is created through a photo. It becomes a refuge of memory and material for the reconstruction and reinterpretation of memory. The author explores the nostalgic, retrospective genre of photography. The appearance of this genre demonstrates an increase in the demand of culture, society and personality for memory, to assert themselves in the present through a search for a connection with the past. The purpose of the article is the analysis of the visual language of photographic projects related to the theme of memory, the analysis of visual rhetoric, and the identification of a set of "visual toposes" and metaphors of memory. This article reviewed the projects of two young Ural photographers Anastasia Bogomolova and Sergey Poteryayev. Their work connects the theme of memory, the problem of reconstruction, reinterpretation and retranscription of the past. These projects are a kind of visual research of personal and collective memory, the development of the problems of places of memory and mythology of the place. The theme of memory in projects is directly related to the problem of identity. In the course of the study, the author of the article relies on materials from creative projects and exhibitions, information from copyright sites. The author also uses materials interviews in which photographers talk about themselves, about the history of project creation, conceptual ideas and creative orientations. Creativity of Anastasia Bogomolova appears as a performative act, as "unpacking the archive". For a photographer, memory becomes the basis of individual and family identity. In the exposition space, photographs are complemented by objects, video and sound installations, and performances. The projects of Sergey Poteryaev represent photo stories about real places and people. The photographer refers to the relationship of the fate of the disappearing settlements and their inhabitants. Using a collage technique, the photographer connects the past and the present, creates pictures of memory. The analysis of the visual language of the photo projects was carried out, the conceptual bases of the projects and creative techniques were investigated. The article identifies the key methods and techniques of working with photography, the basic metaphors and images through which personal, family, and collective memory became visible. The author shows that both photographers apply a topographical approach to memory in accordance with the nature of photography. Project photos convey such memory characteristics as paradox and surreality, multi-layered and collage, selectivity, fragmentation, and construction. The events of the past are distant from us, but images of memory exist in the present. Images of memory can fade; overlap each o
{"title":"VISUALIZATION OF MEMORY IN PROJECTS OF URAL PHOTOGRAPHERS A. BOGOMOLOVA AND S. POTERYAEV","authors":"T. Iakovleva","doi":"10.17223/22220836/43/14","DOIUrl":"https://doi.org/10.17223/22220836/43/14","url":null,"abstract":"The article is devoted to the problem of memory visualization in the language of photography. Photography is presented as a sign system and a communicative tool of culture, as one of its mnemonic and memorial techniques. An image archive is created through a photo. It becomes a refuge of memory and material for the reconstruction and reinterpretation of memory. The author explores the nostalgic, retrospective genre of photography. The appearance of this genre demonstrates an increase in the demand of culture, society and personality for memory, to assert themselves in the present through a search for a connection with the past. The purpose of the article is the analysis of the visual language of photographic projects related to the theme of memory, the analysis of visual rhetoric, and the identification of a set of \"visual toposes\" and metaphors of memory. This article reviewed the projects of two young Ural photographers Anastasia Bogomolova and Sergey Poteryayev. Their work connects the theme of memory, the problem of reconstruction, reinterpretation and retranscription of the past. These projects are a kind of visual research of personal and collective memory, the development of the problems of places of memory and mythology of the place. The theme of memory in projects is directly related to the problem of identity. In the course of the study, the author of the article relies on materials from creative projects and exhibitions, information from copyright sites. The author also uses materials interviews in which photographers talk about themselves, about the history of project creation, conceptual ideas and creative orientations. Creativity of Anastasia Bogomolova appears as a performative act, as \"unpacking the archive\". For a photographer, memory becomes the basis of individual and family identity. In the exposition space, photographs are complemented by objects, video and sound installations, and performances. The projects of Sergey Poteryaev represent photo stories about real places and people. The photographer refers to the relationship of the fate of the disappearing settlements and their inhabitants. Using a collage technique, the photographer connects the past and the present, creates pictures of memory. The analysis of the visual language of the photo projects was carried out, the conceptual bases of the projects and creative techniques were investigated. The article identifies the key methods and techniques of working with photography, the basic metaphors and images through which personal, family, and collective memory became visible. The author shows that both photographers apply a topographical approach to memory in accordance with the nature of photography. Project photos convey such memory characteristics as paradox and surreality, multi-layered and collage, selectivity, fragmentation, and construction. The events of the past are distant from us, but images of memory exist in the present. Images of memory can fade; overlap each o","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"114 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88016861","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 purpose of this article is to present sculpture parks at the modern stage of development, from the last third of the 20th century to our day. The relevance of this purpose is due to the relevance of these parks, which meets, firstly, on the challenges of culture, reproducing itself in the synthesis of landscape and monumental-decorative arts; secondly, on the demands of the population in artistically interpreted natural spaces; thirdly, on the life-building claims of modern art, which is looking for optimal ways of self-presentation. The representation of the sculpture parks is implied their systematization, which, in the course of the factual and visual material analysis, exhibits the most typical trends of formal and informative diversity and takes the form of a typology. To start building a typology, it was necessary to draw up a rather broad and spacious representative sample of objects and to select reference criteria in the trends of the manifold. Thus, a representative sample was made up of 90 Europe, Asia, Africa, Australia, and North and South America brightest objects, and following criteria were put forward: environmental involvement, authorship, the nature of specific forms and links between them. Typology showed that approximately two thirds of the sculpture parks are a product of the natural environment and one third of the architectural environment. In the natural environment, in authentic natural spaces, these are co-author full (independent and contextual) and special (by place, material, style, theme) formats, as well as mono-author formats. In an architectural environment, in integrated or interpreted natural spaces, these are, first of all, city formats that can be both co-authors and mono-authors: destinations, stops, transit zones. The implementation of the typology was facilitated by the attraction of a new material for the national art history. In the scientific circulation were introduced information about objects that were not mentioned before and unknown artists. Accounting for this information, along with known realities, allowed us to reach a higher understanding level of sculpture parks as a modern hypostasis of artistic synthesis.
{"title":"SCULPTURE PARKS OF THE XX CENTURY LAST THIRD – THE XXI CENTURY BEGINNING: TYPOLOGY EXPERIENCE","authors":"I. Steklova, Olesya I. Raguzhina","doi":"10.17223/22220836/41/7","DOIUrl":"https://doi.org/10.17223/22220836/41/7","url":null,"abstract":"The purpose of this article is to present sculpture parks at the modern stage of development, from the last third of the 20th century to our day. The relevance of this purpose is due to the relevance of these parks, which meets, firstly, on the challenges of culture, reproducing itself in the synthesis of landscape and monumental-decorative arts; secondly, on the demands of the population in artistically interpreted natural spaces; thirdly, on the life-building claims of modern art, which is looking for optimal ways of self-presentation. The representation of the sculpture parks is implied their systematization, which, in the course of the factual and visual material analysis, exhibits the most typical trends of formal and informative diversity and takes the form of a typology. To start building a typology, it was necessary to draw up a rather broad and spacious representative sample of objects and to select reference criteria in the trends of the manifold. Thus, a representative sample was made up of 90 Europe, Asia, Africa, Australia, and North and South America brightest objects, and following criteria were put forward: environmental involvement, authorship, the nature of specific forms and links between them. Typology showed that approximately two thirds of the sculpture parks are a product of the natural environment and one third of the architectural environment. In the natural environment, in authentic natural spaces, these are co-author full (independent and contextual) and special (by place, material, style, theme) formats, as well as mono-author formats. In an architectural environment, in integrated or interpreted natural spaces, these are, first of all, city formats that can be both co-authors and mono-authors: destinations, stops, transit zones. The implementation of the typology was facilitated by the attraction of a new material for the national art history. In the scientific circulation were introduced information about objects that were not mentioned before and unknown artists. Accounting for this information, along with known realities, allowed us to reach a higher understanding level of sculpture parks as a modern hypostasis of artistic synthesis.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83551195","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 «History of formation and activity of Council of Museums in museums of local history of the north-east of Kazakhstan in the 40-50s of the XX century» deals with the problem of organizing research in museums. The First All-Russian Museum Congress in 1931 contributed the transformation of museums from academic centers to cultural institutions and made scientific research impossible in museums. However, the lack of professionally trained personnel, the low level of scientific description of collections, construction of expositions, exhibitions, content of lectures and excursions, led to a gradual decline of the authority of museums. Based on the documents that were found in the funds of the State archives of Pavlodar region, Semipalatinsk, Ust-Kamenogorsk, the authors convincingly prove the flawed and erroneous attitudes of the congress. The study used archival documents on the creation of Council of Museums, their personnel composition, and main activities. It is proved that the need to revive the research activities of museums has led to new forms and methods of organizing research work. Council of Museums in local history museums of the north-east of Kazakhstan were established in the late 1940s. There were difficulties in organization due to the lack of specialists who could work in the museum on a voluntary basis. They attracted employees of party, soviet, and trade union organizations who were educated as teachers of geography and history. In special cases, managers of agriculture and industry were included. The members of the Council worked in three directions corresponding to the structure of the departments of local history museums of that time: nature, history, industry and agriculture. The Council of the Pavlodar regional Museum of Local History was registered only formally, its members did not meet and did not take any part in the activities of the museum. This was explained by the insufficient number of professional personnel, due to the lack of higher educational institutions in the region, as well as the employment of specialists in the main job. A significant number of interested specialists lived in Semipalatinsk and Ust-Kamenogorsk, forming a group of local history activists there, which had a positive impact on the creation and work of Council of Museums. Members of the councils gave lectures in the museum, went on business trips to collect exhibits, were engaged in the preparation, examination and adjustment of thematic and exposition plans, preparation of collected materials for exhibition, helped to establish the relationship of museums with administrative, industrial and public organizations. Museum employees could not perform such work on their own, due to the lack of necessary professional competencies and time. Thus, we can conclude that it is necessary to include third-party workers of science and education in the museum councils. The governing bodies and museum workers felt a lack of specialists in various fie
{"title":"HISTORY OF FORMATION AND ACTIVITY OF COUNCIL OF MUSEUMS IN MUSEUMS OF LOCAL HISTORY OF THE NORTH-EAST OF KAZAKHSTAN IN THE 40-50S OF THE XX CENTURY","authors":"O. Truevtseva, V. A. Kozhokar","doi":"10.17223/22220836/43/24","DOIUrl":"https://doi.org/10.17223/22220836/43/24","url":null,"abstract":"The article «History of formation and activity of Council of Museums in museums of local history of the north-east of Kazakhstan in the 40-50s of the XX century» deals with the problem of organizing research in museums. The First All-Russian Museum Congress in 1931 contributed the transformation of museums from academic centers to cultural institutions and made scientific research impossible in museums. However, the lack of professionally trained personnel, the low level of scientific description of collections, construction of expositions, exhibitions, content of lectures and excursions, led to a gradual decline of the authority of museums. Based on the documents that were found in the funds of the State archives of Pavlodar region, Semipalatinsk, Ust-Kamenogorsk, the authors convincingly prove the flawed and erroneous attitudes of the congress. The study used archival documents on the creation of Council of Museums, their personnel composition, and main activities. It is proved that the need to revive the research activities of museums has led to new forms and methods of organizing research work. Council of Museums in local history museums of the north-east of Kazakhstan were established in the late 1940s. There were difficulties in organization due to the lack of specialists who could work in the museum on a voluntary basis. They attracted employees of party, soviet, and trade union organizations who were educated as teachers of geography and history. In special cases, managers of agriculture and industry were included. The members of the Council worked in three directions corresponding to the structure of the departments of local history museums of that time: nature, history, industry and agriculture. The Council of the Pavlodar regional Museum of Local History was registered only formally, its members did not meet and did not take any part in the activities of the museum. This was explained by the insufficient number of professional personnel, due to the lack of higher educational institutions in the region, as well as the employment of specialists in the main job. A significant number of interested specialists lived in Semipalatinsk and Ust-Kamenogorsk, forming a group of local history activists there, which had a positive impact on the creation and work of Council of Museums. Members of the councils gave lectures in the museum, went on business trips to collect exhibits, were engaged in the preparation, examination and adjustment of thematic and exposition plans, preparation of collected materials for exhibition, helped to establish the relationship of museums with administrative, industrial and public organizations. Museum employees could not perform such work on their own, due to the lack of necessary professional competencies and time. Thus, we can conclude that it is necessary to include third-party workers of science and education in the museum councils. The governing bodies and museum workers felt a lack of specialists in various fie","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"21 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76499892","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 comparison of various artistic phenomena, which are separated geographically and chronologically, is a complicated analytical precedent. The matching requires stable criteria, and a distance (spatial, temporal, cultural or artistic) makes the difficulties to the formulation of analytical principles. Different historical epochs form their own independent systems, which do not always imply the possibility of the direct comparison. At the same time, such juxtaposition gives possibility to identify common pictorial and ideological principles of artistic structures, which don’t have the strict identical forms. The comparison of separated artistic phenomena allows to determine the common platform of culture and to discover the integral principle of various artistic systems. This article is devoted to the comparing of two independent art systems. The Chinese Ru ware pottery of the Song dynasty and the international minimalism of the 1960s and 1980s are distanced one from another both territorially and chronologically. At the same time, they are close artistic systems, where the unifying factor is the idea and the sense of form. Within the framework of the article, the very possibility of comparing different artistic systems is considered. The text examines the possible criteria of such comparison. It raises the questions on the principles of the artistic relations. The starting point of the work is the specification of the basic characteristics for the Ru ware pottery and the determination of the basic principles of international minimalism of the 1960s and 1980s. The article examines the specific features and peculiarities of Ru ware pottery, which, despite its popularity, is not enough studied in the Russian analytical space. Besides, the text indicates the specific features of European and American minimalism. This direction also presents material for systematic study. One of the main tasks for this work is the presentation of key parameters related to the form elements of Ru ware pottery and the description of conceptual components related to the international minimalism. Comparing these two systems, authors refer to the basic categories of European theory of art, which appearance is associated with the names of Wilhelm Vorringer and Henry Welflin. The main criteria that allows to compare these artistic trends is «the sense of form» - the concept that was determined in German art-theory in the first half of the XXth century. The use of this categories and the discovery of the concept of the sense of form, allows to show a parallel between the principles of Ru ware pottery and the system of international minimalism of the second half of the XXth century.
{"title":"RU WARE POTTERY AND THE PRINCIPLES OF MINIMALISM: TO THE PROBLEM OF THE SENSE OF FORM","authors":"E. V. Vasil’eva, Y. Bu","doi":"10.17223/22220836/42/4","DOIUrl":"https://doi.org/10.17223/22220836/42/4","url":null,"abstract":"The comparison of various artistic phenomena, which are separated geographically and chronologically, is a complicated analytical precedent. The matching requires stable criteria, and a distance (spatial, temporal, cultural or artistic) makes the difficulties to the formulation of analytical principles. Different historical epochs form their own independent systems, which do not always imply the possibility of the direct comparison. At the same time, such juxtaposition gives possibility to identify common pictorial and ideological principles of artistic structures, which don’t have the strict identical forms. The comparison of separated artistic phenomena allows to determine the common platform of culture and to discover the integral principle of various artistic systems. This article is devoted to the comparing of two independent art systems. The Chinese Ru ware pottery of the Song dynasty and the international minimalism of the 1960s and 1980s are distanced one from another both territorially and chronologically. At the same time, they are close artistic systems, where the unifying factor is the idea and the sense of form. Within the framework of the article, the very possibility of comparing different artistic systems is considered. The text examines the possible criteria of such comparison. It raises the questions on the principles of the artistic relations. The starting point of the work is the specification of the basic characteristics for the Ru ware pottery and the determination of the basic principles of international minimalism of the 1960s and 1980s. The article examines the specific features and peculiarities of Ru ware pottery, which, despite its popularity, is not enough studied in the Russian analytical space. Besides, the text indicates the specific features of European and American minimalism. This direction also presents material for systematic study. One of the main tasks for this work is the presentation of key parameters related to the form elements of Ru ware pottery and the description of conceptual components related to the international minimalism. Comparing these two systems, authors refer to the basic categories of European theory of art, which appearance is associated with the names of Wilhelm Vorringer and Henry Welflin. The main criteria that allows to compare these artistic trends is «the sense of form» - the concept that was determined in German art-theory in the first half of the XXth century. The use of this categories and the discovery of the concept of the sense of form, allows to show a parallel between the principles of Ru ware pottery and the system of international minimalism of the second half of the XXth century.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"6 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88389935","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 creation of a taxonomy is an important stage in the formation of culturology as a mature field of scientific knowledge. It presupposes a discussion of the question of the foundation - a taxonomic unit that specifically structures the universe of cultures and world history. Although many efforts have been made to create a type as a taxonomic unit, this problem remains unresolved. When discussing the issue of the typological taxon of culture, three of its characteristics are distinguished (integrity, qualitative certainty and the ability to express the natural order), and two reasons are identified that do not allow to solve the problem of the typology of cultures. The first is that the concept of «type» is constructed as a theoretical construct (being logically constructed, it does not express the uniqueness of civilization / culture). The second reason is found in typological strategies in the scientific program of organicism and philosophy of life (in particular, the philosophy of culture of O. Spengler). Declaring the idea of local civilizations (independent historical principles), they do not solve the problem of the structure of reality (do not introduce a discontinuous metaphysical structure). The article substantiates the idea of creating a discontinuous paradigm of culturology, and in this regard, the prospects of the results of the phenomenological tradition of philosophy. According to time analytics of M. Heidegger, the type of unique culture is understood as its fundamental hermeneutic structure of being. The typology of cultures is understood not as a methodological, but rather as an ontological problematics predominantly. In taxonomy, a typological taxon expresses the unique characteristics of a civilization (culture) and serves as a discrete unit that specifically structures the universe of cultures. Taking into account the uniqueness of the type as a taxonomic unit, the question of a single principle of typological taxonomy (or a single architectonics of cultural studies) is raised. This issue is solved by referring to E. Husserl's theory of objectivity, to the concepts of "quasi-region" ("pure objectivity" or formal ontology) and regional ontologies ("material ontologies"). “Quasi-region” in relation to regional ontologies acts as a formal logic of objectivity, but each region, being formally subordinate to the content, is not derived from “pure objectivity.” Each region creates its own eidetic ontology, therefore the prospect of creating a typological systematics presupposes the development of an eidetics of unique regions. Moreover, a single science of culture unites culturological discourses of unique civilizations and cultures
{"title":"TYPOLOGICAL SYSTEMATICS IN THE SCIENCE OF CULTURE: FOUNDATIONS AND PROSPECTS","authors":"Audra-Kristina I. Zabulionite","doi":"10.17223/22220836/43/3","DOIUrl":"https://doi.org/10.17223/22220836/43/3","url":null,"abstract":"The creation of a taxonomy is an important stage in the formation of culturology as a mature field of scientific knowledge. It presupposes a discussion of the question of the foundation - a taxonomic unit that specifically structures the universe of cultures and world history. Although many efforts have been made to create a type as a taxonomic unit, this problem remains unresolved. When discussing the issue of the typological taxon of culture, three of its characteristics are distinguished (integrity, qualitative certainty and the ability to express the natural order), and two reasons are identified that do not allow to solve the problem of the typology of cultures. The first is that the concept of «type» is constructed as a theoretical construct (being logically constructed, it does not express the uniqueness of civilization / culture). The second reason is found in typological strategies in the scientific program of organicism and philosophy of life (in particular, the philosophy of culture of O. Spengler). Declaring the idea of local civilizations (independent historical principles), they do not solve the problem of the structure of reality (do not introduce a discontinuous metaphysical structure). The article substantiates the idea of creating a discontinuous paradigm of culturology, and in this regard, the prospects of the results of the phenomenological tradition of philosophy. According to time analytics of M. Heidegger, the type of unique culture is understood as its fundamental hermeneutic structure of being. The typology of cultures is understood not as a methodological, but rather as an ontological problematics predominantly. In taxonomy, a typological taxon expresses the unique characteristics of a civilization (culture) and serves as a discrete unit that specifically structures the universe of cultures. Taking into account the uniqueness of the type as a taxonomic unit, the question of a single principle of typological taxonomy (or a single architectonics of cultural studies) is raised. This issue is solved by referring to E. Husserl's theory of objectivity, to the concepts of \"quasi-region\" (\"pure objectivity\" or formal ontology) and regional ontologies (\"material ontologies\"). “Quasi-region” in relation to regional ontologies acts as a formal logic of objectivity, but each region, being formally subordinate to the content, is not derived from “pure objectivity.” Each region creates its own eidetic ontology, therefore the prospect of creating a typological systematics presupposes the development of an eidetics of unique regions. Moreover, a single science of culture unites culturological discourses of unique civilizations and cultures","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"10 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85603248","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}
Animated documentary is becoming one of the fastest growing phenomena of modern screen art in the post-truth era. The review and analysis of scientific works devoted to animated documentary is seen as relevant both for the further development of scientific thought and the search for new research strategies that expand the problem field, and for the practical sphere. The research was conducted on the basis of a review and analysis of scientific literature (monographs and articles in international journals included in electronic research system international databases Scopus, Web of Science, eLibrary.ru) in English, Spanish and Russian for the period 1997-2019. The novelty of the review article is not only an attempt to present a systematic view of animated documentary as a phenomenon of screen art, but also to identify and systematize the areas in which scientific discussions are conducted. It introduces the reader to theoretical views on the terminology, Genesis, specifics, nature, and classification systems of documentary animation. Animated documentary appeared when the cinema was just taking first steps but its development began in the 1980s. At this time, animation begins to take an interest in reality, inner peace, and socially taboo topics. Since the 1990s, the foundations of animated documentary are laid, narrative strategies are developed, and a new language are actively sought. Interest in animated documentary from the scientific community arose only in the 2000s. On the one hand, it has been manifested by the increasing role of documentation in the art, which has taken on an attraction character since the advent of digital technology; on the other hand, and as a consequence of the convergence of screen arts and the emergence of hybridization trends. The academic community has focused around developing definitions and understanding what can be attributed to the field of documentary animation. By 2010, the scientific literature focused on issues related to the specifics of animated documentary, ways of presenting reality, and indexing. By the mid-2010s, animation is becoming the subject of interdisciplinary study. At this time, there are develop tools for analyzing works of animated documentaries, and its genre system begins to build. One of the main features of animated documentaries is hybridity. Its dual nature is born of fluctuations between the certainty of facts and artistic embodiment. The problems of authenticity and representation of reality become one of the most controversial topics in an animated film. The work provides an overview of theoretical studies on the genesis, history and particularities of animadoc. The theoretical texts identify three approaches that form the main directions in the analysis of animated documentary. The first group of researchers analyzes this phenomenon and its nature based on the theories of documentaries and the transformation with the advent of digital technologies, of the concepts of reality, a
动画纪录片正在成为后真相时代现代电影艺术中发展最快的现象之一。对动画纪录片的科学著作的回顾和分析被认为与科学思想的进一步发展和寻找扩大问题领域的新研究策略以及实践领域有关。该研究是在回顾和分析1997-2019年期间英文、西班牙文和俄文的科学文献(包括电子研究系统国际数据库Scopus、Web of Science、elibrarry .ru中收录的国际期刊的专著和文章)的基础上进行的。这篇评论文章的新颖之处在于，它不仅试图对动画纪录片作为一种屏幕艺术现象进行系统的观察，而且还试图识别和系统化进行科学讨论的领域。它向读者介绍了纪录片动画的术语、起源、特点、性质和分类系统的理论观点。动画纪录片出现在电影刚刚起步的时候，但它的发展始于20世纪80年代。在这个时候，动画开始对现实、内心的平静和社会禁忌话题感兴趣。20世纪90年代以来，动画纪录片奠定了基础，发展了叙事策略，积极寻求新的语言。科学界对动画纪录片的兴趣直到2000年代才开始出现。一方面，它表现为文献在艺术中的作用越来越大，自数字技术出现以来，文献在艺术中具有吸引力;另一方面，又由于影视艺术的趋同而出现了杂交的趋势。学术界一直专注于发展定义和理解纪录片动画领域的内容。到2010年，科学文献集中在与动画纪录片的细节、呈现现实的方式和索引相关的问题上。到2010年代中期，动画正在成为跨学科研究的主题。此时，动画纪录片的作品分析工具已经成熟，类型体系开始形成。动画纪录片的一个主要特点是混合性。它的双重性产生于事实的确定性和艺术的体现之间的波动。真实性和现实再现的问题成为动画电影中最具争议的话题之一。本文对动画的起源、历史及其特殊性的理论研究进行了综述。理论文本确定了三种方法，形成了动画纪录片分析的主要方向。第一组研究人员从纪录片的理论以及随着数字技术的到来，现实、真实性和事实(文献)概念的转变出发，分析了这一现象及其本质。第二组作者认为动画是现代动画的一种现象，它是由于技术更新和作为社会文化实践的角色变化而产生的。第三组科学家认为animadoc是一种后后现代现象，它是作为一种呈现世界的手段而出现的，在这个世界中，边界是流动的，网络空间成为一种新的现实。通过回顾，我们可以得出这样的结论:动画纪录片是一种反思性质的后摄影视觉新模式的表现，在这种模式中，折射现实图像的想象力变得至关重要。尽管学术界对这一现象很感兴趣，也出现了一些理论著作，但对这一现象的研究还处于起步阶段。尽管学术界对其感兴趣，但由于现象本身的混合性、分析表征策略的工作模型和方法的不完善以及形成概念工具的问题，造成了少量深入的理论工作。
{"title":"DOCUMENTARY ANIMATED: GENESIS AND SPECIFICITY (PREVIEW ARTICLE)","authors":"N. G. Krivulya","doi":"10.17223/22220836/43/7","DOIUrl":"https://doi.org/10.17223/22220836/43/7","url":null,"abstract":"Animated documentary is becoming one of the fastest growing phenomena of modern screen art in the post-truth era. The review and analysis of scientific works devoted to animated documentary is seen as relevant both for the further development of scientific thought and the search for new research strategies that expand the problem field, and for the practical sphere. The research was conducted on the basis of a review and analysis of scientific literature (monographs and articles in international journals included in electronic research system international databases Scopus, Web of Science, eLibrary.ru) in English, Spanish and Russian for the period 1997-2019. The novelty of the review article is not only an attempt to present a systematic view of animated documentary as a phenomenon of screen art, but also to identify and systematize the areas in which scientific discussions are conducted. It introduces the reader to theoretical views on the terminology, Genesis, specifics, nature, and classification systems of documentary animation. Animated documentary appeared when the cinema was just taking first steps but its development began in the 1980s. At this time, animation begins to take an interest in reality, inner peace, and socially taboo topics. Since the 1990s, the foundations of animated documentary are laid, narrative strategies are developed, and a new language are actively sought. Interest in animated documentary from the scientific community arose only in the 2000s. On the one hand, it has been manifested by the increasing role of documentation in the art, which has taken on an attraction character since the advent of digital technology; on the other hand, and as a consequence of the convergence of screen arts and the emergence of hybridization trends. The academic community has focused around developing definitions and understanding what can be attributed to the field of documentary animation. By 2010, the scientific literature focused on issues related to the specifics of animated documentary, ways of presenting reality, and indexing. By the mid-2010s, animation is becoming the subject of interdisciplinary study. At this time, there are develop tools for analyzing works of animated documentaries, and its genre system begins to build. One of the main features of animated documentaries is hybridity. Its dual nature is born of fluctuations between the certainty of facts and artistic embodiment. The problems of authenticity and representation of reality become one of the most controversial topics in an animated film. The work provides an overview of theoretical studies on the genesis, history and particularities of animadoc. The theoretical texts identify three approaches that form the main directions in the analysis of animated documentary. The first group of researchers analyzes this phenomenon and its nature based on the theories of documentaries and the transformation with the advent of digital technologies, of the concepts of reality, a","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"10 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73179655","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 paper analyzes techniques of contrasting the loci of “German” and “emigrant” Berlin (opposition “center–periphery”), ways of representing the images of native Germans and Russians, variants how immigrants “domesticate” socio-cultural space being alien to them (nominating loci “in Russian way”; consciousness transformation of foreign space into own one due to its cultural and linguistic content, etc.). Fedor sees the images of Germans as depersonalized but emigrants as individualized. Native Berliners are perceived as a less cultured nation, yet seamlessly integrated into the sociocultural landscape of their native city. Exiles from Russia occupy a “marginal” place in the geography of the city and the social hierarchy of the European capital while standing out in contrast in the space of Berlin (appearance, speech). Overcoming social minority is refusing integration and trying to preserve cultural identity (language, literature, art, social connections, and authority among Russian writers and scientists) in a foreign country. The “alien” socio-cultural space of Berlin has twofold semantics: first – mortality and non-genuineness and second – a creative cradle. It encourages Fedor to rethink his memories of childhood, family, and father and sets the vector for personal and creative development. Berlin embodies a “foreign,” “hostile,” “uncomfortable” space but helps to strengthen the values laid down in childhood and survive in exile, which is existentially meaningful. External restrictions contribute to the birth of internal freedom, allowing the hero to rise above social smallness, preserve his own dignity, determine the choice of authorities, and Express his own views in love and creativity.
{"title":"The socio-cultural space of Berlin in V. Nabokov’s novel “The Gift”","authors":"T. G. Mastepak","doi":"10.17223/18137083/74/13","DOIUrl":"https://doi.org/10.17223/18137083/74/13","url":null,"abstract":"The paper analyzes techniques of contrasting the loci of “German” and “emigrant” Berlin (opposition “center–periphery”), ways of representing the images of native Germans and Russians, variants how immigrants “domesticate” socio-cultural space being alien to them (nominating loci “in Russian way”; consciousness transformation of foreign space into own one due to its cultural and linguistic content, etc.). Fedor sees the images of Germans as depersonalized but emigrants as individualized. Native Berliners are perceived as a less cultured nation, yet seamlessly integrated into the sociocultural landscape of their native city. Exiles from Russia occupy a “marginal” place in the geography of the city and the social hierarchy of the European capital while standing out in contrast in the space of Berlin (appearance, speech). Overcoming social minority is refusing integration and trying to preserve cultural identity (language, literature, art, social connections, and authority among Russian writers and scientists) in a foreign country. The “alien” socio-cultural space of Berlin has twofold semantics: first – mortality and non-genuineness and second – a creative cradle. It encourages Fedor to rethink his memories of childhood, family, and father and sets the vector for personal and creative development. Berlin embodies a “foreign,” “hostile,” “uncomfortable” space but helps to strengthen the values laid down in childhood and survive in exile, which is existentially meaningful. External restrictions contribute to the birth of internal freedom, allowing the hero to rise above social smallness, preserve his own dignity, determine the choice of authorities, and Express his own views in love and creativity.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"55 8","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72463751","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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