Pub Date : 2021-01-01DOI: 10.31168/2305-6754.2021.10.1.15
A. Burtseva
The article is devoted to the menologion (calendar of saints) compiled in the 20th century for Russian Byzantine Catholics. The latter are a church community with its own Byzantine-Slavic worship and piety, which follow both the Catholic and the Eastern spiritual traditions. Like the entire liturgical literature of the Russian Eastern Catholics, the menologion was created in Rome under the auspices of the Congregation for Eastern Churches, as part of the activities of the Russian Catholic Apostolate, i.e., of the mission of the Catholic Church addressed to Russia and the Russian diaspora in the world. The corpus of service books for Russian, Bulgarian and Serbian Eastern Catholics was called Recensio Vulgata. The menologion under study is contained in the books of Recensio Vulgata and was compiled on the basis of the Orthodox menologia of pre-revolutionary Russia. The compilers of the Byzantine-Catholic menologion did not just select Russian liturgical memories in a certain way, they also included the names of several martyrs of the Eastern Catholic Churches and some additional commemorations of Western saints. According to the compilers of the menologion, the history of Catholic (orthodox) holiness in North-Eastern Russia ended at the turn of the 1440s, when the Principality of Moscow and the Novgorod Republic abandoned the Union of Florence. The menologion reflects the era after the Union of Florence in the events that show the invariable patronage of the Mother of God over the people and the Russian land. The Recensio Vulgata menologion (RVM) contains twelve Russia-specific holidays that honor icons of the Mother of God, nine of which celebrate the events of the period from the late 15th to the 17th centuries. The compilers of the menologion created a well-devised system in which the East Slavic saints, the ancient saints of the Byzantine menologion, the Latin teachers of the Church, the saints of the Byzantine Catholic churches of different eras all are subject to harmonious logic, and harmony serves to organize the whole.
{"title":"The Soviet Journal “LOKAF” on Foreign Literature: How not to Become a Remarquable","authors":"A. Burtseva","doi":"10.31168/2305-6754.2021.10.1.15","DOIUrl":"https://doi.org/10.31168/2305-6754.2021.10.1.15","url":null,"abstract":"The article is devoted to the menologion (calendar of saints) compiled in the 20th century for Russian Byzantine Catholics. The latter are a church community with its own Byzantine-Slavic worship and piety, which follow both the Catholic and the Eastern spiritual traditions. Like the entire liturgical literature of the Russian Eastern Catholics, the menologion was created in Rome under the auspices of the Congregation for Eastern Churches, as part of the activities of the Russian Catholic Apostolate, i.e., of the mission of the Catholic Church addressed to Russia and the Russian diaspora in the world. The corpus of service books for Russian, Bulgarian and Serbian Eastern Catholics was called Recensio Vulgata. The menologion under study is contained in the books of Recensio Vulgata and was compiled on the basis of the Orthodox menologia of pre-revolutionary Russia. The compilers of the Byzantine-Catholic menologion did not just select Russian liturgical memories in a certain way, they also included the names of several martyrs of the Eastern Catholic Churches and some additional commemorations of Western saints. According to the compilers of the menologion, the history of Catholic (orthodox) holiness in North-Eastern Russia ended at the turn of the 1440s, when the Principality of Moscow and the Novgorod Republic abandoned the Union of Florence. The menologion reflects the era after the Union of Florence in the events that show the invariable patronage of the Mother of God over the people and the Russian land. The Recensio Vulgata menologion (RVM) contains twelve Russia-specific holidays that honor icons of the Mother of God, nine of which celebrate the events of the period from the late 15th to the 17th centuries. The compilers of the menologion created a well-devised system in which the East Slavic saints, the ancient saints of the Byzantine menologion, the Latin teachers of the Church, the saints of the Byzantine Catholic churches of different eras all are subject to harmonious logic, and harmony serves to organize the whole.","PeriodicalId":42189,"journal":{"name":"Slovene-International Journal of Slavic Studies","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69618872","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.31168/2305-6754.2021.10.1.17
G. Olsson
This article examines how Russian aspectual pairs from borrowed and colloquial verbs are formed. This question is relevant since the most common source languages of Russian loan verbs do not express the aspectual distinction (imperfective-perfective) morphologically. Seventeen new verbs, most of which belong to the technological sphere, were examined in an online experiment (N=120), in which native Russian speakers were asked to form perfective counterparts for a number of new verbs, such as гуглить ‘to google’ and эсэмэсить ‘to text, to SMS’. The results show that there is variation in the formation of these new verbs, but also that one form was chosen by most participants who formed a valid perfective. The most common perfectivizers in this experiment were the suffix -ну-, followed by the prefixes за-, про-, от- and с-. The suffix -ну- is especially productive in verbs denoting actions that can be carried out or finished in a short time but is also found in verbs denoting longer processes. This use of -ну- is characteristic for verbs in Russian slang.
本文研究了俄语从外来词和口语动词中形成的方面对。这个问题是相关的，因为最常见的俄语借词源语言在形态上不表达方面的区别(未完成和完成)。17个新动词，其中大部分属于科技领域，在一项在线实验中(N=120)，以俄语为母语的人被要求为一些新动词形成完全对应物，如гуглить ' to谷歌'和эсэмэсить ' to text, to SMS '。结果表明，这些新动词的形式存在差异，但大多数参与者都选择了一种形式来组成有效的完成时。在这个实验中，最常见的修饰词是后缀-ну-，其次是前缀за-， про-， -和-。后缀-ну-在表示可以在短时间内执行或完成的动作的动词中特别有效，但也可以在表示较长过程的动词中找到。-ну-的这种用法是俄语俚语中动词的特点。
{"title":"How Recently Borrowed Verbs in Russian Form Perfective Aspect — an Experimental Approach","authors":"G. Olsson","doi":"10.31168/2305-6754.2021.10.1.17","DOIUrl":"https://doi.org/10.31168/2305-6754.2021.10.1.17","url":null,"abstract":"This article examines how Russian aspectual pairs from borrowed and colloquial verbs are formed. This question is relevant since the most common source languages of Russian loan verbs do not express the aspectual distinction (imperfective-perfective) morphologically. Seventeen new verbs, most of which belong to the technological sphere, were examined in an online experiment (N=120), in which native Russian speakers were asked to form perfective counterparts for a number of new verbs, such as гуглить ‘to google’ and эсэмэсить ‘to text, to SMS’. The results show that there is variation in the formation of these new verbs, but also that one form was chosen by most participants who formed a valid perfective. The most common perfectivizers in this experiment were the suffix -ну-, followed by the prefixes за-, про-, от- and с-. The suffix -ну- is especially productive in verbs denoting actions that can be carried out or finished in a short time but is also found in verbs denoting longer processes. This use of -ну- is characteristic for verbs in Russian slang.","PeriodicalId":42189,"journal":{"name":"Slovene-International Journal of Slavic Studies","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69618918","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.31168/2305-6754.2021.10.1.6
Anna F. Litvina, F. Uspenskij
The present paper offers a rethinking of inscriptions and images on the famous artifact known as “Prince Ivan Khvorostinin’s reliquary”. We are interested both in the texts inscribed directly on various parts of this objects and those potentially linked with some of its elements. Contrary to the widely accepted opinion, the article suggests seeing this reliquary not as an attribute of state power, but as a family relic of the Khvorostinins. From this perspective, the important tools of research are the history of the cult of personal saint patrons and the history of secular Christian binominality.
{"title":"Some Observations on the Reliquary of Prince Ivan Khvorostinin (1605–1621)","authors":"Anna F. Litvina, F. Uspenskij","doi":"10.31168/2305-6754.2021.10.1.6","DOIUrl":"https://doi.org/10.31168/2305-6754.2021.10.1.6","url":null,"abstract":"The present paper offers a rethinking of inscriptions and images on the famous artifact known as “Prince Ivan Khvorostinin’s reliquary”. We are interested both in the texts inscribed directly on various parts of this objects and those potentially linked with some of its elements. Contrary to the widely accepted opinion, the article suggests seeing this reliquary not as an attribute of state power, but as a family relic of the Khvorostinins. From this perspective, the important tools of research are the history of the cult of personal saint patrons and the history of secular Christian binominality.","PeriodicalId":42189,"journal":{"name":"Slovene-International Journal of Slavic Studies","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69619027","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.31168/2305-6754.2021.10.1.9
S. Dekker
Chrysostom’s homilies are characterized by a high degree of dialogicality. Multiple voices are not only expressed in lively quotes, but in enacted confrontations with fictitious opponents, such as Biblical characters, Jews or heretics. Chrysostom ‘plays’ both his own part and the opponents’ voices, who are thus not just quoted, but ‘enacted’. In order to demarcate the different voices, linguistic means can be employed; these are often fixed formulae that have occurred in Greek since the Hellenistic period as part of the ‘diatribal’ style. This article identifies a number of Greek diatribal formulae that were taken over into an Old Church Slavonic translation in the “Codex Suprasliensis”. The main focus of the article is on the function of “verba dicendi” in the ‘assignment’ of the different voices in the discourse. The distribution of “verba dicendi” is presented quantitatively, but also analysed qualitatively. The present study allows us to evaluate the extent to which the dialogical features of the diatribe have been preserved in translated Old Church Slavonic texts. This, in turn, serves as a starting point for a further assessment of diatribal influences in other translated and original Slavic texts.
{"title":"The Slavic Rendition of Greek Speech Reporting Verbs in Chrysostom’s Homilies in the “Codex Suprasliensis”: A Case Study into the Transmission of Diatribal Discourse Organization","authors":"S. Dekker","doi":"10.31168/2305-6754.2021.10.1.9","DOIUrl":"https://doi.org/10.31168/2305-6754.2021.10.1.9","url":null,"abstract":"Chrysostom’s homilies are characterized by a high degree of dialogicality. Multiple voices are not only expressed in lively quotes, but in enacted confrontations with fictitious opponents, such as Biblical characters, Jews or heretics. Chrysostom ‘plays’ both his own part and the opponents’ voices, who are thus not just quoted, but ‘enacted’. In order to demarcate the different voices, linguistic means can be employed; these are often fixed formulae that have occurred in Greek since the Hellenistic period as part of the ‘diatribal’ style. This article identifies a number of Greek diatribal formulae that were taken over into an Old Church Slavonic translation in the “Codex Suprasliensis”. The main focus of the article is on the function of “verba dicendi” in the ‘assignment’ of the different voices in the discourse. The distribution of “verba dicendi” is presented quantitatively, but also analysed qualitatively. The present study allows us to evaluate the extent to which the dialogical features of the diatribe have been preserved in translated Old Church Slavonic texts. This, in turn, serves as a starting point for a further assessment of diatribal influences in other translated and original Slavic texts.","PeriodicalId":42189,"journal":{"name":"Slovene-International Journal of Slavic Studies","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69619196","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.31168/2305-6754.2021.10.2.12
Sergey V. Knyazev
The paper reports some new data based on an experimental study in voice coarticulation of voiced and voiceless obstruents adjacent to sonorants as a function of place and manner of articulation of these consonants in Standard Modern Russian. The results of the experiment based on the 384 tokens collected from 24 participants confirm once again that in word internal clusters of [sonorant + obstruent + sonorant] coronal consonants the voice coarticulation of the obstruent is observed; it may be determined by the surrounding sonorants. The coarticulation in question may be realized in three different ways. In the case of sonorants not identical in place and manner of articulation [dental nasal + dental voiceless stop + alveolar vibrant] the closure part of the dental stop becomes voiced throughout, but this accommodation in phonation type does not lead nevertheless to the voiced/voiceless phonemes’ neutralization since the the contrast in question is still maintained by means of phonetic parameters other than voice (phonation itself), such as closure duration, burst duration (being significantly higher in underlyingly voiceless stops) and relative overall intensity (being noticeably higher in underlyingly voiced obstruents). On the other hand, in the case of dental sonorants identical in place and manner of articulation [nasal + voiceless stop + nasal], where the maximum effect of coarticulation for an homorganic stop was expected, the contrast in burst duration is eliminated since no burst of dental stop is found in the position before an homorganic nasal, but the closure part of the stop does not acquire voicing in order to prevent the voiced/voiceless phonemes’ neutralization. Finally, in the case of [dental nasal + dental voiceless stop + dentalveolar lateral] consonantal clusters the closure part of the dental stop is voiced throughout and the increased burst duration leads to (generally complete) devoicing of the following lateral. The direction of coarticulation in [ntlj] clusters is progressive, it is carried out gradually, left to right.
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Pub Date : 2021-01-01DOI: 10.31168/2305-6754.2021.10.1.10
Anna Jouravel
This paper is focused on one of ten extant copies, which, to varying degrees, transmit Anthony of Novgorod’s thirteenth-century travel account, “Kniga palomnik”. This copy was previously thought to have been an otherwise unknown redaction of the work, owing to the copyist’s supposed intention to compile a list of sacred sites devoid of narrative flair. By examining the textual transmission, with reference to three specific examples, this article reveals the abridgement to be mechanical rather than deliberate, rendering a damaged version of the original which cannot be considered an intentional redaction.
{"title":"On the Supposed Abridged Redaction of Anthony of Novgorod‘s “Kniga palomnik”","authors":"Anna Jouravel","doi":"10.31168/2305-6754.2021.10.1.10","DOIUrl":"https://doi.org/10.31168/2305-6754.2021.10.1.10","url":null,"abstract":"This paper is focused on one of ten extant copies, which, to varying degrees, transmit Anthony of Novgorod’s thirteenth-century travel account, “Kniga palomnik”. This copy was previously thought to have been an otherwise unknown redaction of the work, owing to the copyist’s supposed intention to compile a list of sacred sites devoid of narrative flair. By examining the textual transmission, with reference to three specific examples, this article reveals the abridgement to be mechanical rather than deliberate, rendering a damaged version of the original which cannot be considered an intentional redaction.","PeriodicalId":42189,"journal":{"name":"Slovene-International Journal of Slavic Studies","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69618713","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.31168/2305-6754.2021.10.2.1
Vít Boček
The aim of this paper is to discuss the existing theories of the origin of the Old Czech word anděl ‘angel’, whose -ď- may be explained as reflecting influence from Old Church Slavonic анг҄елъ, containing a palatalised sound, or from Medieval Latin angelus [anjelus]. New supporting arguments in favour of the latter view are presented, and, in particular, further evidence of Old Czech [ď] in place of earlier [j], the possible secondary influence of antonymous Old Czech diábel/ďábel ‘devil’ in the modification of original Old Czech anjel to anděl, and the form of words for ‘angel’ in other West and western South Slavonic languages. Also considered is the possibility that the origin of anděl is to be found in a spoken Early Romance dialect.
本文的目的是讨论现存的关于古捷克语andl ' angel '起源的理论，其- je -可能被解释为反映了古教会斯拉夫语анг҄елъ的影响，包含了一个舌化的声音，或者来自中世纪拉丁语angelus [anjelus]。本文提出了支持后一种观点的新论据，特别是，进一步的证据表明，古捷克语[j]取代了早期的[j]，古捷克语diábel/ďábel“魔鬼”在古捷克语anjel改为and l的修改中可能产生的次要影响，以及其他西方和南方斯拉夫语西部中“天使”的形式。还有一种可能性是，andl的起源是在早期罗曼语方言中发现的。
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Pub Date : 2021-01-01DOI: 10.31168/2305-6754.2021.10.2.5
Aleksandra A. Pletneva
The article is devoted to the interpretation of one of the most famous lubok prints (cheap popular prints) The Mice Are Burying the Cat, which was printed in different editions and versions from the beginning of the 18th century to the middle of the 19th century. The plot of this picture is under discussion. Some researchers view it as a parody of the funeral of Peter I, while others draw attention to the fact that the stylistic features of the early images and the language of captions indicate an earlier origin. Our analysis showed that the epithets of Kazan (Rus. казанский), of Astrakhan (Rus. астраханский) and of Siberia (Rus. сибирский) used with regard to the cat clearly refer to the title of the tsar. This points to the fact that it is a tsar's funeral that the picture parodies. The captions depicting mice reflect the entertaining laughter culture of the second half of the 17th century. It is significant that the mice are carrying buffoonery musical instruments, they are dancing, drinking alcohol and smoking tobacco. The attributes of buffoonery culture and fun, which the tsar used to combat with the support of Patriarch Nikon, make it possible to bring the prototext of the popular print into correlation with a parody of Alexei Mikhailovich's funeral. In later pictures, the plot-forming element is constituted by the indication of the areas the mice are associated with. Changes in a number of images, as well as the introduction of new toponymy, refer the viewer and reader to the funeral of Peter I, the ceremony of which involved a procession with the coats of arms of provinces. The proposed interpretation makes it possible to reconcile the two concepts and prove that this lubok represents a caricatural funeral of the tsar. However, in older engravings the funeral procession consists of buffoons, and in the later ones, it features representatives of different parts of the empire. In the first case, the tsar is Alexei Mikhailovich, and in the second case, Peter I.
{"title":"Whom Are the Mice Burying? The Interpretation of the Lubok Print The Mice Are Burying the Cat","authors":"Aleksandra A. Pletneva","doi":"10.31168/2305-6754.2021.10.2.5","DOIUrl":"https://doi.org/10.31168/2305-6754.2021.10.2.5","url":null,"abstract":"The article is devoted to the interpretation of one of the most famous lubok prints (cheap popular prints) The Mice Are Burying the Cat, which was printed in different editions and versions from the beginning of the 18th century to the middle of the 19th century. The plot of this picture is under discussion. Some researchers view it as a parody of the funeral of Peter I, while others draw attention to the fact that the stylistic features of the early images and the language of captions indicate an earlier origin. Our analysis showed that the epithets of Kazan (Rus. казанский), of Astrakhan (Rus. астраханский) and of Siberia (Rus. сибирский) used with regard to the cat clearly refer to the title of the tsar. This points to the fact that it is a tsar's funeral that the picture parodies. The captions depicting mice reflect the entertaining laughter culture of the second half of the 17th century. It is significant that the mice are carrying buffoonery musical instruments, they are dancing, drinking alcohol and smoking tobacco. The attributes of buffoonery culture and fun, which the tsar used to combat with the support of Patriarch Nikon, make it possible to bring the prototext of the popular print into correlation with a parody of Alexei Mikhailovich's funeral. In later pictures, the plot-forming element is constituted by the indication of the areas the mice are associated with. Changes in a number of images, as well as the introduction of new toponymy, refer the viewer and reader to the funeral of Peter I, the ceremony of which involved a procession with the coats of arms of provinces. The proposed interpretation makes it possible to reconcile the two concepts and prove that this lubok represents a caricatural funeral of the tsar. However, in older engravings the funeral procession consists of buffoons, and in the later ones, it features representatives of different parts of the empire. In the first case, the tsar is Alexei Mikhailovich, and in the second case, Peter I.","PeriodicalId":42189,"journal":{"name":"Slovene-International Journal of Slavic Studies","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69620101","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.31168/2305-6754.2021.10.2.6
V. Bezrogov, O. Kosheleva, E. Romashina
The article focusses on the manuscript stored in Leiden as a witness of Russian-German linguistic, cultural, and pedagogical transfer. The manuscript consists of three parts and contains a "linguistic" introduction, the full text of the Orbis Pictus by Jan Comenius in two languages, and a German-Russian dictionary. The authors systematized the results of previous studies of the manuscript by foreign Slavists, put forward and substantiated their own assumptions about its origin. Based on paleographic and textological analysis of the Leiden manuscript, its place among other manuscript copies of the Russian translation of Orbis Pictus was determined.
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Pub Date : 2020-12-26DOI: 10.31168/2305-6754.2020.9.2.9
Petr S. Stefanovich
The article analyzes the history of the concept of a “Slavic-Russian nation”. The concept was first used by Zacharia Kopystenskij in 1624, but its wide occurrence starts in 1674, when Synopsis , the first printed history of Russia, was published in Kiev. In the book, “Slavic-Russian nation” refers to an ancient Slavic people, which preceded the “Russian nation” ( “rossiyskiy narod” ) of the time in which the book was written. Uniting “Slavs” and “Russians” ( “rossy” ) into one “Slavic-Russian nation”, the author of Synopsis followed the idea which was proposed but not specifically defined by M. Stryjkovskij in his Chronicle (1582) and, later, by the Kievan intellectuals of the 1620s–30s. The construction of Synopsis was to prove that “Russians” ( “rossy” ) were united by both the common Slavic origin and the Church Slavonic language used by the Orthodox Slavic peoples. According to Synopsis , they were also supposed to be united by the Muscovite tsar’s authority and the Orthodox religion. The whole conception made Synopsis very popular in Russia in the late 17th century and later. Earlier in the 17th-century literature of the Muscovite State, some authors also proposed ethno-genetic constructions based on Stryjkovskij’s Chronicle and other Renaissance historiography. Independently from the Kievan literature, the word “Slavic-Russian” was invented (first appearance in the Legend about Sloven and Rus , 1630s). Both the Kievan and Muscovite constructions of a mythical “Slavic-Russian nation” aimed at making an “imagined” ethno-cultural nation. They contributed to forming a new Russian imperial identity in the Petrine epoch. However, the concept of a “Slavic-Russian nation” was not in demand in the political discourse of the Petrine Empire. It was sporadically used in the historical works of the 18th century (largely due to the influence of Synopsis ), but played no significant role in the proposed interpretations of Russian history. DOI: 10.31168/2305-6754.2020.9.2.9
{"title":"The “Slavic-Russian Nation” in the Historical Literature of Ukraine and Russia from the 1600s to the mid-1700s","authors":"Petr S. Stefanovich","doi":"10.31168/2305-6754.2020.9.2.9","DOIUrl":"https://doi.org/10.31168/2305-6754.2020.9.2.9","url":null,"abstract":"The article analyzes the history of the concept of a “Slavic-Russian nation”. The concept was first used by Zacharia Kopystenskij in 1624, but its wide occurrence starts in 1674, when Synopsis , the first printed history of Russia, was published in Kiev. In the book, “Slavic-Russian nation” refers to an ancient Slavic people, which preceded the “Russian nation” ( “rossiyskiy narod” ) of the time in which the book was written. Uniting “Slavs” and “Russians” ( “rossy” ) into one “Slavic-Russian nation”, the author of Synopsis followed the idea which was proposed but not specifically defined by M. Stryjkovskij in his Chronicle (1582) and, later, by the Kievan intellectuals of the 1620s–30s. The construction of Synopsis was to prove that “Russians” ( “rossy” ) were united by both the common Slavic origin and the Church Slavonic language used by the Orthodox Slavic peoples. According to Synopsis , they were also supposed to be united by the Muscovite tsar’s authority and the Orthodox religion. The whole conception made Synopsis very popular in Russia in the late 17th century and later. Earlier in the 17th-century literature of the Muscovite State, some authors also proposed ethno-genetic constructions based on Stryjkovskij’s Chronicle and other Renaissance historiography. Independently from the Kievan literature, the word “Slavic-Russian” was invented (first appearance in the Legend about Sloven and Rus , 1630s). Both the Kievan and Muscovite constructions of a mythical “Slavic-Russian nation” aimed at making an “imagined” ethno-cultural nation. They contributed to forming a new Russian imperial identity in the Petrine epoch. However, the concept of a “Slavic-Russian nation” was not in demand in the political discourse of the Petrine Empire. It was sporadically used in the historical works of the 18th century (largely due to the influence of Synopsis ), but played no significant role in the proposed interpretations of Russian history. DOI: 10.31168/2305-6754.2020.9.2.9","PeriodicalId":42189,"journal":{"name":"Slovene-International Journal of Slavic Studies","volume":"21 1","pages":"417-447"},"PeriodicalIF":0.2,"publicationDate":"2020-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90689322","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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