Pub Date : 2022-01-01DOI: 10.15826/izv2.2022.24.4.078
E. Proskurina
This study focuses on The Light of Arkhangelsk, a prose collection by Igor Silantyev, a Novosibirsk-based author and philologist. The subject of the analysis is the poetics of transformation that unites all the works in the book. The autobiographical framework that forms the subject of the memoir determines the creation of the author’s artistic myth, in which everything is possible: a mixture of present and past, past and unprecedented, the real and the unreal. Allusions to the works of Gogol, Hoffmann, N. A. Ostrovsky, and other writers flicker in the text. At the same time, the reminiscent field of the collection is fraught with wide possibilities for interpretation. The book is also full of many musical leitmotifs. The author plays with genres masterfully. In his artistic universe, confession is mixed with fairy tale, legend, dream, horror, etc. And vivid images undergo many metamorphoses, arising in the memories of the self-narrator through the principle of complicity. At the same time, all the meanings found in the collection are devoid of direct manifestation but are presented from the position of homo ludens — not in the postmodern meaning of a literary game for the sake of the game. However, the grotesque phantasmagoria of transformation does not become the theatre of the absurd in the book. The ethical position of the author, whose emblem is the title of the collection, puts a limit to such confusion. The plot of I. Silantyev’s book conceals many different states of mind presented in the light of the “final understanding” of the finiteness of earthly existence and the eternity that opens behind it. It is no coincidence that the leading leitmotif images in it are wings, the sun, the dawning sky that has overcome the night. This essential layer supports the basis of hope, which is so shaky in today’s world that is losing value orientations.
{"title":"Poetics of Transformation in I. Silantyev’s The Light of Arkhangelsk","authors":"E. Proskurina","doi":"10.15826/izv2.2022.24.4.078","DOIUrl":"https://doi.org/10.15826/izv2.2022.24.4.078","url":null,"abstract":"This study focuses on The Light of Arkhangelsk, a prose collection by Igor Silantyev, a Novosibirsk-based author and philologist. The subject of the analysis is the poetics of transformation that unites all the works in the book. The autobiographical framework that forms the subject of the memoir determines the creation of the author’s artistic myth, in which everything is possible: a mixture of present and past, past and unprecedented, the real and the unreal. Allusions to the works of Gogol, Hoffmann, N. A. Ostrovsky, and other writers flicker in the text. At the same time, the reminiscent field of the collection is fraught with wide possibilities for interpretation. The book is also full of many musical leitmotifs. The author plays with genres masterfully. In his artistic universe, confession is mixed with fairy tale, legend, dream, horror, etc. And vivid images undergo many metamorphoses, arising in the memories of the self-narrator through the principle of complicity. At the same time, all the meanings found in the collection are devoid of direct manifestation but are presented from the position of homo ludens — not in the postmodern meaning of a literary game for the sake of the game. However, the grotesque phantasmagoria of transformation does not become the theatre of the absurd in the book. The ethical position of the author, whose emblem is the title of the collection, puts a limit to such confusion. The plot of I. Silantyev’s book conceals many different states of mind presented in the light of the “final understanding” of the finiteness of earthly existence and the eternity that opens behind it. It is no coincidence that the leading leitmotif images in it are wings, the sun, the dawning sky that has overcome the night. This essential layer supports the basis of hope, which is so shaky in today’s world that is losing value orientations.","PeriodicalId":42281,"journal":{"name":"Izvestiya Uralskogo Federalnogo Universiteta-Seriya 2-Gumanitarnye Nauki","volume":"16 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87587821","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 : 2022-01-01DOI: 10.15826/izv2.2022.24.2.027
O. Sidorova
This article studies the situation of contact between European and Japanese cultures and the image of Japan created in the classical work of Russian literature Frigate “Pallada” (1858) by I. Goncharov and in the novel The Thousand Autumns of Jacob de Zoet (2010) by David Mitchell, a contemporary British writer. The books were written during different periods of time, but they describe the same historical period and similar events; they both have documentary foundation. Special attention is paid to translators as characters of the books who play an important role in the plot development and provide intercultural communication. The research methodology combines methods of comparative literary criticism with a post-colonial approach, E. Said’s ideas about orientalism and ethnocentrism in particular. Comparative analysis of the two books demonstrates that the image of Japan created by the two writers has a number of similar features, which confirms its objective nature. Conversely, the authors’ perspectives and points of view of Japan differ drastically. The Russian writer looks at the Japanese down and from the outside; he considers “strangeness” and “childishness” to be their national features. Goncharov’s Eurocentric position is explained by several reasons: his knowledge of Japan was external, he was a civil servant, who cared mostly about the interests of Russia, and he represented an influential group of Eurocentric intelligentsia. D. Mitchell’s knowledge of Japan and its culture is deep and internal due to his biography. The English writer creates a bicultural novel in which the European and the Japanese worlds are equally significant. Thus, in the novel, the author offers a modern point of view on the world order and intercultural communication.
{"title":"Contact of Cultures and the Image of Japan in European Fiction (Frigate “Pallada” by I. Goncharov and The Thousand Autumns of Jacob de Zoet by D. Mitchell)","authors":"O. Sidorova","doi":"10.15826/izv2.2022.24.2.027","DOIUrl":"https://doi.org/10.15826/izv2.2022.24.2.027","url":null,"abstract":"This article studies the situation of contact between European and Japanese cultures and the image of Japan created in the classical work of Russian literature Frigate “Pallada” (1858) by I. Goncharov and in the novel The Thousand Autumns of Jacob de Zoet (2010) by David Mitchell, a contemporary British writer. The books were written during different periods of time, but they describe the same historical period and similar events; they both have documentary foundation. Special attention is paid to translators as characters of the books who play an important role in the plot development and provide intercultural communication. The research methodology combines methods of comparative literary criticism with a post-colonial approach, E. Said’s ideas about orientalism and ethnocentrism in particular. Comparative analysis of the two books demonstrates that the image of Japan created by the two writers has a number of similar features, which confirms its objective nature. Conversely, the authors’ perspectives and points of view of Japan differ drastically. The Russian writer looks at the Japanese down and from the outside; he considers “strangeness” and “childishness” to be their national features. Goncharov’s Eurocentric position is explained by several reasons: his knowledge of Japan was external, he was a civil servant, who cared mostly about the interests of Russia, and he represented an influential group of Eurocentric intelligentsia. D. Mitchell’s knowledge of Japan and its culture is deep and internal due to his biography. The English writer creates a bicultural novel in which the European and the Japanese worlds are equally significant. Thus, in the novel, the author offers a modern point of view on the world order and intercultural communication.","PeriodicalId":42281,"journal":{"name":"Izvestiya Uralskogo Federalnogo Universiteta-Seriya 2-Gumanitarnye Nauki","volume":"80 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91242684","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 : 2022-01-01DOI: 10.15826/izv2.2022.24.4.069
E. Borodina
This article studies the material world of the office of the Siberian Oberbergamt in the 1730s. It aims to reconstruct the interior and decoration of the building to understand the conditions in which the clerks of the authority were working, as well as to find out what ordinary people who came to the institution on a particular issue saw. The analysis of monographs and articles devoted to the problem under consideration makes it possible to conclude that there are practically no studies of this kind. More often, descriptions of administrative buildings can be found in works on the history of architecture and construction, less often one can see them in works characterising the activities of the authorities or extant buildings of government bodies. The study is based on the methods of classical primary source studies. The author refers to such primary sources as documentary materials resulting from the activities of the Siberian Regional Office and several other regional offices. First, these are inventories which were compiled when the territory or bodies of the court and/or administration were transferred from one head to another. As a result of the analysis of primary sources and historiography, the author concludes that the furniture and appearance of the Siberian Oberbergamt corresponded to the requirements for equipping the premises of state structures formulated in the General Regulations (1720). Unlike many voivodeship offices, the building of the Siberian Oberbergamt was constructed according to the samples and technologies used in St Petersburg. Despite this, its furnishings combined both the “traditional” elements of the decoration of central and regional administrative bodies of the seventeenth century (icons, benches instead of chairs, chests for storing documents) and innovations (mirrors and clocks).
{"title":"Material World of Ekaterinburg Offices in the Mid-1730s (with Reference to the Premises of the Siberian Oberbergamt)","authors":"E. Borodina","doi":"10.15826/izv2.2022.24.4.069","DOIUrl":"https://doi.org/10.15826/izv2.2022.24.4.069","url":null,"abstract":"This article studies the material world of the office of the Siberian Oberbergamt in the 1730s. It aims to reconstruct the interior and decoration of the building to understand the conditions in which the clerks of the authority were working, as well as to find out what ordinary people who came to the institution on a particular issue saw. The analysis of monographs and articles devoted to the problem under consideration makes it possible to conclude that there are practically no studies of this kind. More often, descriptions of administrative buildings can be found in works on the history of architecture and construction, less often one can see them in works characterising the activities of the authorities or extant buildings of government bodies. The study is based on the methods of classical primary source studies. The author refers to such primary sources as documentary materials resulting from the activities of the Siberian Regional Office and several other regional offices. First, these are inventories which were compiled when the territory or bodies of the court and/or administration were transferred from one head to another. As a result of the analysis of primary sources and historiography, the author concludes that the furniture and appearance of the Siberian Oberbergamt corresponded to the requirements for equipping the premises of state structures formulated in the General Regulations (1720). Unlike many voivodeship offices, the building of the Siberian Oberbergamt was constructed according to the samples and technologies used in St Petersburg. Despite this, its furnishings combined both the “traditional” elements of the decoration of central and regional administrative bodies of the seventeenth century (icons, benches instead of chairs, chests for storing documents) and innovations (mirrors and clocks).","PeriodicalId":42281,"journal":{"name":"Izvestiya Uralskogo Federalnogo Universiteta-Seriya 2-Gumanitarnye Nauki","volume":"2 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90187591","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 : 2022-01-01DOI: 10.15826/izv2.2022.24.2.022
K. Bugrov
This paper deals with the historical and cultural heritage of an important industrial centre of the Urals, the city of Zlatoust, namely, its constructivist architecture which emerged during the age of the first five-year plans, and which remained out of researchers’ view. The specifics of the urban process of the industrialisation age in older industrial settlements of the Urals was defined by the deployment of new constructivist buildings in the existing dense urban environment and in the proximity to production sites. The author describes two key locations of new construction in detail. In the old centre, around the Square of the Third International and along Lenin Street, the old dominants were demolished in the early 1930s (cathedral, Lutheran church) and replaced by new ones (club, bank, fire station, 4-storey residential buildings). In the northern part of the town, the residential zone was developed by the Zlatoust Steel Mill, which was heavily reconstructed in the early 1930s, its settlement had a peculiar planning (terraces on the steep slope of a mountain). Drawing upon archival sources, the author traces the process of planning and construction of key residential and public buildings of Zlatoust (factory kitchen, public bath), shows the peculiarities of urban development in the industrial settlement in the Urals, and outlines the projects of particular structures as well as the course of construction. In the second half of the 1930s, the urban development of Zlatoust was stagnating, and most projects from this period (House of Specialists, House of the Soviets) remained on paper. The author specially describes the housing policy of the Zlatoust Steel Mill. Also, he demonstrates that Zlatoust was a leader among the old (pre-revolutionary) industrial settlements in terms of construction, however, due to the outpacing population growth, administrative changes in the second half of the 1930s and the complex natural landscape, the social infrastructure of the city remained underdeveloped. That, in turn, provoked an acute shortage of housing and communal crises during the Great Patriotic War. The constructivist heritage of Zlatoust was incapable of becoming a cultural symbol of the city in the second half of the twentieth century, and even suffered major losses associated with both the expansion of industrial sites and the outflow of the population from the old part of the settlement.
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Pub Date : 2022-01-01DOI: 10.15826/izv2.2022.24.4.063
N. Pushkareva, A. Zhidchenko
This article analyses the features of women’s social memory about the everyday life of a non-capital Soviet city of the late 1950s — early 1960s. The authors consider the event of the Khrushchev Thaw period, which now exists, rather, as part of the oral tradition, i.e. one about the history of the competition between Omsk and Leningrad for the best solution to the problem of their landscaping. In the 1950s–1960s, such a competition was disguised by ideologists as a game in order to increase the pace of work of the competing parties, so that the participants of such a “game” would not feel increased control over the degree of labour productivity and how consciously they used material resources. The empirical material the authors refer to consists of records of oral stories of female Omsk old-timers, who participated in the improvement and creating green spaces in their city more than half a century ago. Also, the authors employ regulatory documents, periodicals, materials from film and photographic archives, and industrial literature. The interdisciplinary research is carried out using traditional historical methods developed by gender anthropology, oral and female history approaches, and ethnology of everyday practices. An analysis of the sequences of oral texts makes it necessary to raise the question of the causes and nature of a stable positive reaction to an event half a century ago and to conclude about the special nature of “nostalgia for the Soviet”, about the sense of collectivism lost over time or the emotions of youth re-experienced. The gender factor (the perception of life at home and the street as a private space, which women traditionally cared for) provided an optimistic colouring of the events remembered, which have not been previously analysed in studies of urban non-capital Soviet everyday life.
{"title":"Memory of “Green Construction” in Omsk in the 1950s–1960s: Gender Aspect","authors":"N. Pushkareva, A. Zhidchenko","doi":"10.15826/izv2.2022.24.4.063","DOIUrl":"https://doi.org/10.15826/izv2.2022.24.4.063","url":null,"abstract":"This article analyses the features of women’s social memory about the everyday life of a non-capital Soviet city of the late 1950s — early 1960s. The authors consider the event of the Khrushchev Thaw period, which now exists, rather, as part of the oral tradition, i.e. one about the history of the competition between Omsk and Leningrad for the best solution to the problem of their landscaping. In the 1950s–1960s, such a competition was disguised by ideologists as a game in order to increase the pace of work of the competing parties, so that the participants of such a “game” would not feel increased control over the degree of labour productivity and how consciously they used material resources. The empirical material the authors refer to consists of records of oral stories of female Omsk old-timers, who participated in the improvement and creating green spaces in their city more than half a century ago. Also, the authors employ regulatory documents, periodicals, materials from film and photographic archives, and industrial literature. The interdisciplinary research is carried out using traditional historical methods developed by gender anthropology, oral and female history approaches, and ethnology of everyday practices. An analysis of the sequences of oral texts makes it necessary to raise the question of the causes and nature of a stable positive reaction to an event half a century ago and to conclude about the special nature of “nostalgia for the Soviet”, about the sense of collectivism lost over time or the emotions of youth re-experienced. The gender factor (the perception of life at home and the street as a private space, which women traditionally cared for) provided an optimistic colouring of the events remembered, which have not been previously analysed in studies of urban non-capital Soviet everyday life.","PeriodicalId":42281,"journal":{"name":"Izvestiya Uralskogo Federalnogo Universiteta-Seriya 2-Gumanitarnye Nauki","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82031900","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 : 2022-01-01DOI: 10.15826/izv2.2022.24.2.033
N. Khrapunov
This paper analyses the myths which appeared around some local archaeological and architectonic sites after the Crimea’s incorporation into Russia in 1783. The author refers to legends of the flood developing around the mediaeval “cave towns”, the remnants of the temple of Tauric Diana, the imprints of St Andrew’s feet, the turbe at the mediaeval town of Chufut-Kale, and Maria Potocka as a captive of the Crimean khan’s harem. The author demonstrates the multidirectional intellectual interactions of various social groups such as local populations, migrants, and learned travellers representing different cultures and countries. It has been shown that the greatest role for the mythologisation of the sites was played by Russian and foreign travelogues which interpreted particular monuments as tourist attractions and drew their readers’ attention to them. By that moment, the real history of the sites had already been forgotten. Moreover, educated travellers knew some plots of classical history which allegedly happened in the peninsula, and therefore tried to “find” their traces amidst Crimean landscapes. The travellers also perceived Crimean Tatar legends and transformed them in a new manner. The locals, in their own turn, understood the tales produced by foreign intellectuals as parts of their own local history. A particular phenomenon comprises the attempts of the Christian migrants to the Crimea to find “support” among the monuments which they interpreted as very old Christian shrines related to the events known from the books. As a result, there appeared incorrect interpretations of the sites, which, because of their romantic and fascinating nature, became imprinted in public mind. This process contributed to the turning of some cultural heritage sites into tourist attractions and therefore made an impact on the establishment of the Crimea as a tourist centre.
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Pub Date : 2022-01-01DOI: 10.15826/izv2.2022.24.1.011
S. Nefedov
This article analyses the economic policy of the Russian government between 1855 and 1865 in the context of Immanuel Wallerstein’s World Systems Theory. The mid-nineteenth century saw an expansion of the modern world system, when the industrialised countries of the “centre” pulled the agrarian countries into the world market as the “periphery” supplying raw materials. Following its defeat in the Crimean War, Russia became an object of pressure from the “centre”, which was both diplomatic and ideological in nature (in the form of an increasingly popular principle of free trade). On the other hand, Russian landowners were interested in supplying grain to the world market; this required “export” railways from the interior to the seaports to be constructed. Inclusion in the world system made it possible to attract foreign capital to the construction of roads, but only on condition of rejecting protectionism. In 1857, the government drastically cut customs duties. The import of cheap metal and railway equipment deprived Russian factories of orders. While in the West railway construction was the driving force of industrial development, the Russian industry was deprived of these incentives and increasingly lagged behind the countries of the “centre”. However, abandoning protectionism did not help attract foreign investment. The Principal Society of Russian Railways, created with the participation of French bankers, was unable to spread its shares in the West. Unsuccessful measures to spread these shares in Russia caused a drop in the rate of the credit rouble, and further attempts to stabilise the exchange rate led to heavy financial losses. As a result, the construction of export roads and the final entry of Russia into the world market was delayed by a decade.
{"title":"Economic Policy and Railway Construction under Alexander II (1855–1865)","authors":"S. Nefedov","doi":"10.15826/izv2.2022.24.1.011","DOIUrl":"https://doi.org/10.15826/izv2.2022.24.1.011","url":null,"abstract":"This article analyses the economic policy of the Russian government between 1855 and 1865 in the context of Immanuel Wallerstein’s World Systems Theory. The mid-nineteenth century saw an expansion of the modern world system, when the industrialised countries of the “centre” pulled the agrarian countries into the world market as the “periphery” supplying raw materials. Following its defeat in the Crimean War, Russia became an object of pressure from the “centre”, which was both diplomatic and ideological in nature (in the form of an increasingly popular principle of free trade). On the other hand, Russian landowners were interested in supplying grain to the world market; this required “export” railways from the interior to the seaports to be constructed. Inclusion in the world system made it possible to attract foreign capital to the construction of roads, but only on condition of rejecting protectionism. In 1857, the government drastically cut customs duties. The import of cheap metal and railway equipment deprived Russian factories of orders. While in the West railway construction was the driving force of industrial development, the Russian industry was deprived of these incentives and increasingly lagged behind the countries of the “centre”. However, abandoning protectionism did not help attract foreign investment. The Principal Society of Russian Railways, created with the participation of French bankers, was unable to spread its shares in the West. Unsuccessful measures to spread these shares in Russia caused a drop in the rate of the credit rouble, and further attempts to stabilise the exchange rate led to heavy financial losses. As a result, the construction of export roads and the final entry of Russia into the world market was delayed by a decade.","PeriodicalId":42281,"journal":{"name":"Izvestiya Uralskogo Federalnogo Universiteta-Seriya 2-Gumanitarnye Nauki","volume":"201 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76623831","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 : 2022-01-01DOI: 10.15826/izv2.2022.24.4.071
V. Moskvin
This article interprets O. Mandelstam’s poem, which is not quite clear in its content, and therefore controversial. To achieve this purpose, the author employs consituational and contextual analysis, as well as techniques of the experimental method, more particularly, transformational analysis. To confirm the linguistic reality of the revealed metaphorical images, the author uses the analogy technique, which determines the choice of sources of illustrative examples. The study demonstrates that in this poem, direct and indirect, primarily metaphorical nominations are intertwined, being significantly complicated and obscured by the tactics of “superimposing an image on an image” (A. N. Tolstoy). From this point of view, the poem should be characterised as a semantic palimpsest formed by a number of figurative layers: 1) speech sinks into silence (verses 3–4): a metaphorical motif of water appears; 2) as a development of this motif, the presentation of women (and hence the heroine) as fish and the hero as a fisherman becomes understandable (verses 5–8); 3) fish turn out to be nuns (verses 9–12), with the implication of humility, abstinence, and inner cold (“the moist shine of the pupils is in vain”); 4) the presentation of the hero as a janissary, and the heroine as a Turkish woman belonging to him (verses 13–20); further development of the motif of water: drinking the crooked (‘sinful’) water of passion for the heroine, i. e. ‘against her will’ (verses 17–20); 5) metaphorical recoding of the theme realised in verses 17–20: representation of the heroine in the image of the savior of those dying from sinful passion (verses 21–22). Behind these ambiguous images, the author of the article recognises an episode of the poet’s biography, i. e. unrequited love for poetess M. S. Petrovykh, a topic whose delicacy required the use of euphemistic codes. The multilayered imagery complicated by the incompleteness of the context makes the thematic outline of the text almost elusive.
本文对曼德尔施塔姆的这首诗进行了解读，这首诗的内容并不十分明确，因此引起了争议。为了达到这一目的，作者采用情境分析和语境分析，以及实验方法的技术，特别是转换分析。为了确认所揭示的隐喻形象的语言真实性，作者运用了类比手法，这决定了例证来源的选择。研究表明，在这首诗中，直接的和间接的，主要是隐喻性的提名交织在一起，被“形象叠加”的策略(A. N.托尔斯泰)弄得非常复杂和模糊。从这个角度来看，这首诗应该被描述为由许多比喻层组成的语义重写本:1)言语陷入沉默(第3-4节):水的隐喻母题出现;2)作为这一主题的发展，将女性(以及女主人公)呈现为鱼，将男主角呈现为渔夫变得可以理解(第5-8节);3)鱼是修女(9-12节)，寓意谦卑、禁欲和内心的冷漠(“眼目湿润的光辉是徒然的”);4)男主角是门卫，女主是属于他的土耳其女人(13-20节);水的主题的进一步发展:为女主角喝扭曲的(“罪恶的”)激情之水，即“违背她的意愿”(第17-20节);5)在第17-20节中实现的主题的隐喻性重新编码:以救世主的形象表现女主角，拯救那些因罪恶的激情而死去的人(第21-22节)。在这些模棱两可的形象背后，作者认识到诗人传记中的一段插曲，即对女诗人M. S. Petrovykh的单恋，这个话题的微妙需要使用委婉的代码。多层次的意象加上语境的不完整，使得文本的主题轮廓几乎难以捉摸。
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Pub Date : 2022-01-01DOI: 10.15826/izv2.2022.24.1.016
E. Grudeva, S. Solovyova
This article is devoted to the problem of analysing the taxis as a text category in the structure of a consistent montage text. The research refers to Letters from Tula (1918), a novel by B. Pasternak. The choice of the text is due to the specifics of its structure. In a montage text, the functional-semantic category of the taxis reflects the author’s idea of the temporal correlation of actions within the framework of an integral period, a temporal frame. Its boundaries are determined by the perceiver. The main methods of linguistic analysis in the article are the descriptive, analytical, and interpretive. The connection between the taxis category and the idea of a semantic plurality of situations appears in the structure of the montage text. Their immersion in a single temporal frame and the system of syntactic means and connections allows them to overcome the simultaneity of the text. Special attention is paid to the system of syntactic means of taxis implementation. This approach makes it possible to reveal the features of the spatio-temporal organisation of the text and discover the principles of compatibility of the components of the text, and their conditionality. The system of grammatical means reflects the conjugation of actions and the intentionality of taxis meanings. In the structure of the text, taxis relations arise between juxtaposed and distantly located fragments of the text connected only by the framework of a common period. Simultaneity becomes the predominant type of the relationship. The system of grammatical means of taxis organisation made up by the unity of aspectual semantics, the parallelism of syntactic structures, and various types of syntactic repetitions becomes a factor that makes it possible to combine parallel developing thematic lines and different ways of narration in the text to show the process of perceptual activity, drawing the reader’s attention to several simultaneously comprehended events as an integrated fragment of reality and stabilising the space of the montage text. The connection between the taxis and the subject’s point of view organises the connections between the subjective and the objective, the figurative and the logical and strengthens the intentionality of taxis semantics, one of whose functions is the organisation of the reading strategy.
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Pub Date : 2022-01-01DOI: 10.15826/izv2.2022.24.2.037
E. Lavrentyeva
This article is devoted to a small Nevyansk icon from the Chelyabinsk State Museum of Fine Arts depicting the Mother of God. As part of the scholarly research carried out by the State Research Institute for Restoration (Moscow), a technological analysis of the icon was conducted to clarify its attribution. The author reveals features of the material and structural complex, the chemical composition of paints and prime, the state of preservation, traces of later “restoration” as well as modern restoration interventions. A number of signs make it possible to attribute the icon to the works of the first half of the eighteenth century painted by Old Believers on the territory of Ural Demidov factories: the presence of anhydrite (anhydrous gypsum) as a filler of the prime (the author assumes that it is a feature of Nevyansk icons because there are deposits of anhydrite in the Urals), blue pigments of the author’s paints (the use of synthetic azurite and the absence of Prussian blue are characteristics of icons of this period), and, most importantly — is the use of the same art technic and artistic materials as in the earliest dated Nevyansk icon Our Lady of Egypt (1734) from the Museum “Nevyansk Icon” in Ekaterinburg. Thus, the research carried out confirms the new attribution of the Our Lady of Vladimir icon proposed by Yevgeny Roizman. The technical and technological features revealed completely disprove its previous dating to the nineteenth century and put it on a par with works of the first generation of local masters. Thus, the article emphasises the important role of the study of artistic materials and techniques in the attribution of paintings.
{"title":"Role of Instrumental and Technological Examination in the Attribution of Paintings (with Reference to Our Lady of Vladimir from the Chelyabinsk Collection)","authors":"E. Lavrentyeva","doi":"10.15826/izv2.2022.24.2.037","DOIUrl":"https://doi.org/10.15826/izv2.2022.24.2.037","url":null,"abstract":"This article is devoted to a small Nevyansk icon from the Chelyabinsk State Museum of Fine Arts depicting the Mother of God. As part of the scholarly research carried out by the State Research Institute for Restoration (Moscow), a technological analysis of the icon was conducted to clarify its attribution. The author reveals features of the material and structural complex, the chemical composition of paints and prime, the state of preservation, traces of later “restoration” as well as modern restoration interventions. A number of signs make it possible to attribute the icon to the works of the first half of the eighteenth century painted by Old Believers on the territory of Ural Demidov factories: the presence of anhydrite (anhydrous gypsum) as a filler of the prime (the author assumes that it is a feature of Nevyansk icons because there are deposits of anhydrite in the Urals), blue pigments of the author’s paints (the use of synthetic azurite and the absence of Prussian blue are characteristics of icons of this period), and, most importantly — is the use of the same art technic and artistic materials as in the earliest dated Nevyansk icon Our Lady of Egypt (1734) from the Museum “Nevyansk Icon” in Ekaterinburg. Thus, the research carried out confirms the new attribution of the Our Lady of Vladimir icon proposed by Yevgeny Roizman. The technical and technological features revealed completely disprove its previous dating to the nineteenth century and put it on a par with works of the first generation of local masters. Thus, the article emphasises the important role of the study of artistic materials and techniques in the attribution of paintings.","PeriodicalId":42281,"journal":{"name":"Izvestiya Uralskogo Federalnogo Universiteta-Seriya 2-Gumanitarnye Nauki","volume":"12 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81202923","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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