Pub Date : 2023-01-01DOI: 10.15826/izv2.2023.25.2.037
A.N. Afanasieva, S. Vinokurov
For the most part, the museum network of modern Russia formed in the first decades of the USSR. At the time, works from nationalized collections of considerable size were distributed on a large scale and somewhat chaotically among the already existing and mostly capital museums and newly created regional ones. This factor had a significant impact on the formation of the composition of most regional collections, and seriously affected the specifics of registering items such as those made of porcelain and the peculiarities of specialists’ access to them. Thus, the collection of porcelain of Western European production of the Ekaterinburg Museum of Fine Arts has around two hundred items. Despite the relatively modest number, it will nevertheless help one get sufficiently acquainted with the main trends in the development of porcelain in European countries between the eighteenth and the first half of the twentieth centuries. The history of its formation demonstrates the main trends in the replenishment of collections in the Soviet years. For many decades, namely, from the moment of the establishment of the museum in 1936 until the early 2010s, the collection in question remained practically unstudied, which was largely due to the lack of specialists characteristic of many regional museums of that time, as well as the low availability of sources for comparing and typologizing the works stored in the collections. Referring to the collection of the Ekaterinburg Museum of Fine Arts, the article considers the main problems associated with the study of regional collections of European porcelain: the fragmented provenance of artworks transferred from nationalized collections in the first decades of the museum’s development; the complex format of working with private collections due to the specifics of the socio-political system of the Soviet state which did not welcome private collecting; insufficient attention to the marks on the artworks, which can confuse an inexperienced researcher, and, as a result, the urgent need for a significant updating and addition of porcelain marks to the currently existing reference books.
{"title":"European Porcelain in Russian Regional Collections: Attribution Problems","authors":"A.N. Afanasieva, S. Vinokurov","doi":"10.15826/izv2.2023.25.2.037","DOIUrl":"https://doi.org/10.15826/izv2.2023.25.2.037","url":null,"abstract":"For the most part, the museum network of modern Russia formed in the first decades of the USSR. At the time, works from nationalized collections of considerable size were distributed on a large scale and somewhat chaotically among the already existing and mostly capital museums and newly created regional ones. This factor had a significant impact on the formation of the composition of most regional collections, and seriously affected the specifics of registering items such as those made of porcelain and the peculiarities of specialists’ access to them. Thus, the collection of porcelain of Western European production of the Ekaterinburg Museum of Fine Arts has around two hundred items. Despite the relatively modest number, it will nevertheless help one get sufficiently acquainted with the main trends in the development of porcelain in European countries between the eighteenth and the first half of the twentieth centuries. The history of its formation demonstrates the main trends in the replenishment of collections in the Soviet years. For many decades, namely, from the moment of the establishment of the museum in 1936 until the early 2010s, the collection in question remained practically unstudied, which was largely due to the lack of specialists characteristic of many regional museums of that time, as well as the low availability of sources for comparing and typologizing the works stored in the collections. Referring to the collection of the Ekaterinburg Museum of Fine Arts, the article considers the main problems associated with the study of regional collections of European porcelain: the fragmented provenance of artworks transferred from nationalized collections in the first decades of the museum’s development; the complex format of working with private collections due to the specifics of the socio-political system of the Soviet state which did not welcome private collecting; insufficient attention to the marks on the artworks, which can confuse an inexperienced researcher, and, as a result, the urgent need for a significant updating and addition of porcelain marks to the currently existing reference books.","PeriodicalId":42281,"journal":{"name":"Izvestiya Uralskogo Federalnogo Universiteta-Seriya 2-Gumanitarnye Nauki","volume":"161 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78593396","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.15826/izv2.2023.25.2.030
I. A. Kyurshunova
This article analyses dialect lexemes recorded in the Russian dialects of Karelia, which genetically go back to the Finnic lexical fund and represent a fragment of the semantic field “A speaking person”. The purpose of the article is to describe the features of the adaptation of loanwords and the peculiarities of their functioning in Russian dialects at the formal-grammatical level. Such an analysis of a genetically and semantically related group of words borrowed into dialects has never been carried out previously. The author focuses on verbal nominations denoting the speaking process and derivatives from them referring to Russian dialect and etymological dictionaries and dialectological and etymological research as a source base. For comparison, the author uses data from dictionaries of the Karelian, Vepsian, and Finnish languages. The analysis of words reveals a high variability of the material due to the adaptation of genetically different morphemes. As a foreign word entered the system of the receiving language, the root morpheme carried the main load, and to adapt it, the language used a Slavic word-formation element. The correlation of the derived nominations demonstrates that there are certain lacunae in the fixation of materials due to the peculiarities of data collection. In some cases, missing lexemes can be reconstructed according to well-known grammatical and most popular and active word-formation models in the Russian language. Also, the author puts forward a hypothesis about the time of possible occurrence of such words in the system of dialects. Russian studies of the features of formal and grammatical adaptation of the nominations of the speech process prove that loanwords first became a fact of the lexical system of the Russian language in the border territories of interaction between Russians and Veps and Karelians, and then they were introduced into the speech of Russian-speaking residents of Karelia in a wider space. The latter is confirmed by the geography of the existence of the studied lexemes related to the Russian dialects of Karelia and adjacent regions. The author pays special attention to bright indicators of borrowing at the grammatical and morphemic levels — the verbs ending in -андать/-айдать.
{"title":"Nominations of the Speech Process of Finnic Origin in the Russian Dialects of Karelia (Structural Aspect)","authors":"I. A. Kyurshunova","doi":"10.15826/izv2.2023.25.2.030","DOIUrl":"https://doi.org/10.15826/izv2.2023.25.2.030","url":null,"abstract":"This article analyses dialect lexemes recorded in the Russian dialects of Karelia, which genetically go back to the Finnic lexical fund and represent a fragment of the semantic field “A speaking person”. The purpose of the article is to describe the features of the adaptation of loanwords and the peculiarities of their functioning in Russian dialects at the formal-grammatical level. Such an analysis of a genetically and semantically related group of words borrowed into dialects has never been carried out previously. The author focuses on verbal nominations denoting the speaking process and derivatives from them referring to Russian dialect and etymological dictionaries and dialectological and etymological research as a source base. For comparison, the author uses data from dictionaries of the Karelian, Vepsian, and Finnish languages. The analysis of words reveals a high variability of the material due to the adaptation of genetically different morphemes. As a foreign word entered the system of the receiving language, the root morpheme carried the main load, and to adapt it, the language used a Slavic word-formation element. The correlation of the derived nominations demonstrates that there are certain lacunae in the fixation of materials due to the peculiarities of data collection. In some cases, missing lexemes can be reconstructed according to well-known grammatical and most popular and active word-formation models in the Russian language. Also, the author puts forward a hypothesis about the time of possible occurrence of such words in the system of dialects. Russian studies of the features of formal and grammatical adaptation of the nominations of the speech process prove that loanwords first became a fact of the lexical system of the Russian language in the border territories of interaction between Russians and Veps and Karelians, and then they were introduced into the speech of Russian-speaking residents of Karelia in a wider space. The latter is confirmed by the geography of the existence of the studied lexemes related to the Russian dialects of Karelia and adjacent regions. The author pays special attention to bright indicators of borrowing at the grammatical and morphemic levels — the verbs ending in -андать/-айдать.","PeriodicalId":42281,"journal":{"name":"Izvestiya Uralskogo Federalnogo Universiteta-Seriya 2-Gumanitarnye Nauki","volume":"86 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83973772","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.15826/izv2.2023.25.2.032
Mаria V. Dyuzenli
This article reveals the peculiarities of idiostyles referring to works by nineteenth-century classical Russian writers (F. M. Dostoevsky, L. N. Tolstoy, A. P. Chekhov, and I. S. Turgenev). Based on intertext and inter-style statistical comparison, the author aims to reveal lexical compatibility and some individual particularities of using some frequent reporting verbs in literary texts belonging to the same period. The research is methodologically based on the ideographic approach to literary text analysis which takes into consideration internal correlations existing between lexical paradigmatics and syntagmatics. Lexical bigrams (pairs of words used in one phrase context) are taken as a unit of comparative lexicostatistical and contextological analysis. Word combinations of this type are used by the same writer in different texts, though they are not found in works by the other authors. The only obligatory element of a lexical bigram is a word which is often used by all the writers in question as it reveals the specific patterns of an author’s work with the same language material (such reporting verbs as сказать (‘say’), спросить (‘ask’), ответить (‘answer’), заметить (‘note’) are very representative for this purpose). So-called “idiostylistic markers” most frequently used to describe the moment of speech are identified for each writer in question. The author draws conclusions about the individual specificity of these stylistic patterns. Author-specific lexical compatibility shows that in the contexts of the verbs in question with lexical bigrams extracted from novels by L. N. Tolstoy, the use of the verb отвечать (‘answer’) prevails and involves an expression of emotions. The verb замечать (‘note’) which is frequently used in novels by F. M. Dostoevsky, reveals psychological perceptional particularities of speech of the other. The author argues that the use of the verb говорить (‘say’) for introducing direct speech is typical of А. P. Chekhov’s idiostyle where it is syntactically combined with adverbial participles denoting various nonspeech actions drawing the reader’s attention to a particular detail. The verb промолвить (‘utter’) is specific for I. S. Turgenev’s idiostyle and reveals implicit but semantically important correlations existing between the concepts of speech, thought, and motion.
{"title":"Basic Reporting Verbs as Markers of the Author’s Idiostlyle","authors":"Mаria V. Dyuzenli","doi":"10.15826/izv2.2023.25.2.032","DOIUrl":"https://doi.org/10.15826/izv2.2023.25.2.032","url":null,"abstract":"This article reveals the peculiarities of idiostyles referring to works by nineteenth-century classical Russian writers (F. M. Dostoevsky, L. N. Tolstoy, A. P. Chekhov, and I. S. Turgenev). Based on intertext and inter-style statistical comparison, the author aims to reveal lexical compatibility and some individual particularities of using some frequent reporting verbs in literary texts belonging to the same period. The research is methodologically based on the ideographic approach to literary text analysis which takes into consideration internal correlations existing between lexical paradigmatics and syntagmatics. Lexical bigrams (pairs of words used in one phrase context) are taken as a unit of comparative lexicostatistical and contextological analysis. Word combinations of this type are used by the same writer in different texts, though they are not found in works by the other authors. The only obligatory element of a lexical bigram is a word which is often used by all the writers in question as it reveals the specific patterns of an author’s work with the same language material (such reporting verbs as сказать (‘say’), спросить (‘ask’), ответить (‘answer’), заметить (‘note’) are very representative for this purpose). So-called “idiostylistic markers” most frequently used to describe the moment of speech are identified for each writer in question. The author draws conclusions about the individual specificity of these stylistic patterns. Author-specific lexical compatibility shows that in the contexts of the verbs in question with lexical bigrams extracted from novels by L. N. Tolstoy, the use of the verb отвечать (‘answer’) prevails and involves an expression of emotions. The verb замечать (‘note’) which is frequently used in novels by F. M. Dostoevsky, reveals psychological perceptional particularities of speech of the other. The author argues that the use of the verb говорить (‘say’) for introducing direct speech is typical of А. P. Chekhov’s idiostyle where it is syntactically combined with adverbial participles denoting various nonspeech actions drawing the reader’s attention to a particular detail. The verb промолвить (‘utter’) is specific for I. S. Turgenev’s idiostyle and reveals implicit but semantically important correlations existing between the concepts of speech, thought, and motion.","PeriodicalId":42281,"journal":{"name":"Izvestiya Uralskogo Federalnogo Universiteta-Seriya 2-Gumanitarnye Nauki","volume":"49 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90885024","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.15826/izv2.2023.25.1.004
Irina A. Riznychok
This article is devoted to the reception of Ernst Neizvestny’s art by the American daily and specialised press between the 1960s and 1980s. The research focuses on constructing the heroic image of Ernst Neizvestny based on several clichйs that are well-established in American culture: a fighter for freedom in art and an oppressed artist, “an artist in exile” after emigration. This article aims to fix the changes in the reception of Ernst Neizvestny’s oeuvre by American critics and journalists at different stages of the Cold War. The interdisciplinary approach contains the social, historical, and political factors that underlie artistic practice and necessitate the use of methods from different areas of the humanities including media and cultural studies. The main sources are reviews of solo exhibitions, interviews with the artist, notes, and articles in the American press. They are supplemented by video interviews with the sculptor from the archives of the National Centre for Contemporary Art (part of the Pushkin State Museum of Fine Arts) and the Garage Museum of Contemporary Art, Neizvestny’s published correspondence, as well as historical archival materials. If in the publications of the 1960s and 1970s, the authors were most interested in the relationship between Neizvestny and the Soviet authorities, at the end of the Détente, more analytical materials on art history appeared. The author concludes that the actualisation of a particular image depended on social and political factors, changes in the international cultural landscape, and the nature of the relationship between the two superpowers. The construction of the heroic image of Neizvestny in the US media became one of the tools of anti-Soviet propaganda in the cultural confrontation. An analysis of the reception of E. Neizvestny’s artworks helps reveal the ways in which ideas about Soviet art were produced and spread in American culture during the Cold War.
{"title":"“The Man Who Clashed with Khrushchev”: Ernst Neizvestny in the American Press in the 1960s–1980s","authors":"Irina A. Riznychok","doi":"10.15826/izv2.2023.25.1.004","DOIUrl":"https://doi.org/10.15826/izv2.2023.25.1.004","url":null,"abstract":"This article is devoted to the reception of Ernst Neizvestny’s art by the American daily and specialised press between the 1960s and 1980s. The research focuses on constructing the heroic image of Ernst Neizvestny based on several clichйs that are well-established in American culture: a fighter for freedom in art and an oppressed artist, “an artist in exile” after emigration. This article aims to fix the changes in the reception of Ernst Neizvestny’s oeuvre by American critics and journalists at different stages of the Cold War. The interdisciplinary approach contains the social, historical, and political factors that underlie artistic practice and necessitate the use of methods from different areas of the humanities including media and cultural studies. The main sources are reviews of solo exhibitions, interviews with the artist, notes, and articles in the American press. They are supplemented by video interviews with the sculptor from the archives of the National Centre for Contemporary Art (part of the Pushkin State Museum of Fine Arts) and the Garage Museum of Contemporary Art, Neizvestny’s published correspondence, as well as historical archival materials. If in the publications of the 1960s and 1970s, the authors were most interested in the relationship between Neizvestny and the Soviet authorities, at the end of the Détente, more analytical materials on art history appeared. The author concludes that the actualisation of a particular image depended on social and political factors, changes in the international cultural landscape, and the nature of the relationship between the two superpowers. The construction of the heroic image of Neizvestny in the US media became one of the tools of anti-Soviet propaganda in the cultural confrontation. An analysis of the reception of E. Neizvestny’s artworks helps reveal the ways in which ideas about Soviet art were produced and spread in American culture during the Cold War.","PeriodicalId":42281,"journal":{"name":"Izvestiya Uralskogo Federalnogo Universiteta-Seriya 2-Gumanitarnye Nauki","volume":"25 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78736370","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.15826/izv2.2023.25.1.008
N. Oynotkinova
This article reveals the semantics and origin of theonyms of the highest pantheon of the pagan tradition of the Altaians (Teleuts, Telengits, Altai-Kizhi, Chalkans, Tubalars, and Kumandins) on the basis of folklore material. The relevance of the study is associated with an increased interest in Tengrian religion among the modern peoples of the Altaic language family. The innovative character of the research lies in the application of the ethnolinguistic onomastic approach to the study of theonyms of the Altaians. The main research method is a descriptive method based on the contextual and semantic analysis of theonyms. Particular attention is paid to the internal form and origin of theonyms. The author concludes that the highest pantheon among the Altaians was formed on the basis of the cult of the sky and represents the personification of the heavenly elements, which is akin to many developed mythological systems of antiquity. Teheri ‘Sky’ stands out as the Supreme God belonging to the Upper world. The subject of deification in Altai folklore was the idea of natural elements and cosmic phenomena, which are a kind of force that can affect a person’s life. The personification of various qualities and parts of the sky was reflected in various names of celestial deities, the constituent parts of which contain the lexeme Teheri ‘Sky’. Some theonyms appeared because of the personification of celestial phenomena: thunder, lightning, and hail. The author notes that the process of identifying various deities embodying various attributive qualities and characteristics of the supreme god seems to be a historically later stage in the development of polytheism than the time of the appearance of the idea of the one god Teheri ‘Sky’. With the adoption of the ideas of other world religions (Buddhism, Islam, and Christianity) and shamanism with its polytheism in the culture of the Turkic-Mongolian peoples, the status of the deities of the Upper World was ranked, including the status of the supreme god Teheri ‘Sky’, which was replaced by other theonyms.
{"title":"Theonyms of the Highest Pantheon in Folklore Texts of the Altaians","authors":"N. Oynotkinova","doi":"10.15826/izv2.2023.25.1.008","DOIUrl":"https://doi.org/10.15826/izv2.2023.25.1.008","url":null,"abstract":"This article reveals the semantics and origin of theonyms of the highest pantheon of the pagan tradition of the Altaians (Teleuts, Telengits, Altai-Kizhi, Chalkans, Tubalars, and Kumandins) on the basis of folklore material. The relevance of the study is associated with an increased interest in Tengrian religion among the modern peoples of the Altaic language family. The innovative character of the research lies in the application of the ethnolinguistic onomastic approach to the study of theonyms of the Altaians. The main research method is a descriptive method based on the contextual and semantic analysis of theonyms. Particular attention is paid to the internal form and origin of theonyms. The author concludes that the highest pantheon among the Altaians was formed on the basis of the cult of the sky and represents the personification of the heavenly elements, which is akin to many developed mythological systems of antiquity. Teheri ‘Sky’ stands out as the Supreme God belonging to the Upper world. The subject of deification in Altai folklore was the idea of natural elements and cosmic phenomena, which are a kind of force that can affect a person’s life. The personification of various qualities and parts of the sky was reflected in various names of celestial deities, the constituent parts of which contain the lexeme Teheri ‘Sky’. Some theonyms appeared because of the personification of celestial phenomena: thunder, lightning, and hail. The author notes that the process of identifying various deities embodying various attributive qualities and characteristics of the supreme god seems to be a historically later stage in the development of polytheism than the time of the appearance of the idea of the one god Teheri ‘Sky’. With the adoption of the ideas of other world religions (Buddhism, Islam, and Christianity) and shamanism with its polytheism in the culture of the Turkic-Mongolian peoples, the status of the deities of the Upper World was ranked, including the status of the supreme god Teheri ‘Sky’, which was replaced by other theonyms.","PeriodicalId":42281,"journal":{"name":"Izvestiya Uralskogo Federalnogo Universiteta-Seriya 2-Gumanitarnye Nauki","volume":"125 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74809049","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.15826/izv2.2023.25.2.024
V. Shkerin
In 1835, auditor L. F. Yaroshevitsky discovered many unaccounted precious and semi-precious stones in the apartment of Ya. V. Kokovin, the commander of the Ekaterinburg Lapidary Factory. Among them was a large emerald, which, according to the auditor, “almost surpassed the dignity of the emerald in the crown of Julius Caesar”. The stones were packed in boxes, sealed, and sent to St Petersburg. After the boxes were opened in the capital, it turned out that the specified emerald had disappeared without a trace. The search for the gem remained fruitless. In the Essays on the History of Stone published in 1961 by academic A. E. Fersman, L. A. Perovsky, the vice-president of the Appanage Department and owner of a large collection of minerals was claimed to have stolen the emerald. For the sake of substantiating this version, the text of L. F. Yaroshevitsky’s report was distorted. Under the name of the “Emerald of Kokovin”, another Ural mineral got into the collection of the Fersman Mineralogical Museum of the Russian Academy of Sciences. There is also no certainty that the author of the version was A. E. Fersman himself, because the academic died in 1945, leaving the second volume of Essays unfinished. The authority of academic A. E. Fersman and the popularity of his Essays (last reprinted in 2003) still contribute to the replication of the unfounded version of L. A. Perovsky’s stealing the “Emerald of Kokovin”. The purpose of this article is to justify the name of the “zealous lover of mineralogy”, as the famous German mineralogist prof. Gustav Rose called Lev Perovsky.
1835年，审计员l.f. Yaroshevitsky在Ya的公寓里发现了许多未计算的宝石和半宝石。V.科科文，叶卡捷琳堡宝石厂的指挥官。其中有一颗很大的祖母绿，据审计员说，这颗祖母绿“几乎超过了凯撒王冠上的祖母绿”。这些石头被装在箱子里，密封起来，送到圣彼得堡。在京城打开箱子后，才发现那块翡翠消失得无影无踪。寻找宝石仍然毫无结果。在学者a . E. Fersman于1961年出版的《石头历史随笔》中，据称是属地部副总裁、大量矿物收藏的所有者L. a . Perovsky偷走了这颗祖母绿。为了证实这个说法，雅罗什维茨基报告的文本被歪曲了。在“科科温祖母绿”的名义下，另一种乌拉尔矿物进入俄罗斯科学院费斯曼矿物博物馆的收藏。也不确定这个版本的作者就是a·e·费斯曼本人，因为这位学者于1945年去世，《随笔》第二卷未完成。学者a·e·费斯曼的权威和他的《随笔》(最后一次重印是在2003年)的受欢迎程度，仍然有助于复制l·a·佩罗夫斯基偷走“科科文的翡翠”的毫无根据的版本。本文的目的是为德国著名矿物学家古斯塔夫·罗斯教授所称的“狂热的矿物学爱好者”列夫·佩洛夫斯基正名。
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Pub Date : 2023-01-01DOI: 10.15826/izv2.2023.25.1.003
Olga V. Zalesskaya, Alena V. Orobii
The aim of this interdisciplinary article is to analyse the image of a Chinese character, as well as reflect the historical facts of the presence of the Chinese in Russian fiction. The article focuses on the ideological context. The authors refer to My Great Brother (1954), a historical and revolutionary novel by Ilya Chernev. The novel highlights the main stages of the revolutionary struggle of the Amur and Trans-Baikal proletariat. Most of the key characters in the novel are Chinese people. In the article, following H. Gьnther, the authors single out four diverse characters, the Chinese, that reflect the participation of foreign revolutionaries during the civil war: a proletarian, a warrior, a victim, and a politician. The “historical” component of the article confirms that workers who were subjects of other states and stayed on the territory of Russia were recruited into armed formations to fight counter-revolutionary forces, taking an active part in the partisan movement, and supplying the partisans with food, medicines, and ammunition. The article identifies the reasons why the Chinese joined the revolutionary associations: liberation from exploitation, socialisation, but at the same time, the ideological instability of the Chinese revolutionaries due to the motley social composition and poor knowledge of the Russian language. The article discusses the artistic means Chernev employs to portray the Chinese characters. It is proved that the novel is an example of a work commissioned by the state. Even though the novel My Great Brother has not gained fame, its value is determined by the material itself underlying its artistic canvas. The participation of Chinese citizens in the civil war remains one of the little-studied topics of Russian history, and in literature, the novel My Great Brother is the only work of fiction on this topic.
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Pub Date : 2023-01-01DOI: 10.15826/izv2.2023.25.2.023
Lenar F. Abzalov, Marat S. Gatin, Ilyas A. Mustakimov, R. Pochekaev
This article analyses the state policy of the medieval Turkic-Mongol khanates towards lost property. The authors introduce the first Russian translation of a yarligh on the appointment of bularguchi, an official who oversaw the search, storage, and return of lost property. The yarligh comes from the Dastur al-Katib Fi Ta’yin al-Maratib, a Persian-language treaty written in 1360s by Muhammad b. Hindushah Nakhchivani, an official at the service of the rulers of Mongol Iran. A complex interdisciplinary analysis of this document helps characterize the legal status of the bularguchi and the evolution of the state policy towards the lost property in the Turkic-Mongol states from the Mongol and Yuan Empires to the Crimean Khanate. The authors attempt to clarify the differences between the property which was lost and that which was recognized escheat after the death of its owner abroad. The authors establish that the rulers of the Turkic-Mongol states took measures to provide the rights of the owners of the lost property, but at the same time, officials abused their power to pass such property to the state treasury as it was a substantial part of the state revenue. The source base of the research includes legal acts, notes of contemporaries, and diplomatic correspondence. The authors also consider works of specialists who dealt with the bularguchi institution as well as questions on the fate of the lost property in the medieval Turkic-Mongol states.
本文分析了中世纪突厥-蒙古汗国对待失物的国家政策。作者介绍了第一个俄文翻译的一篇关于bularguchi任命的文章，bularguchi是一名官员，负责监督搜查，储存和归还丢失的财产。yarligh来自Dastur al-Katib Fi Ta 'yin al-Maratib，这是一份波斯语条约，于1360年代由mohammad b. Hindushah Nakhchivani撰写，他是蒙古伊朗统治者的官员。对这份文件进行复杂的跨学科分析，有助于描述从蒙古和元帝国到克里米亚汗国的突厥-蒙古国家对失落财产的国家政策的演变。提交人试图澄清丧失的财产与在国外财产所有人死亡后才得到承认的财产之间的区别。作者确定，突厥-蒙古国家的统治者采取措施为失物所有者提供权利，但与此同时，官员滥用权力将这些财产转移到国库，因为这是国家收入的重要组成部分。研究的来源基础包括法律行为、同时代的笔记和外交信函。作者还考虑了处理bulbulguchi机构的专家的作品，以及关于中世纪突厥-蒙古国家丢失财产命运的问题。
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Pub Date : 2023-01-01DOI: 10.15826/izv2.2023.25.2.038
E. Gordeeva
This article highlights and examines two types of portrait genre: portrait with a pet and portrait of a pet with reference to the Russian painting of the eighteenth — early twentieth centuries. So far, works of this kind have not been considered as specific iconographic groups, the ways of their development have not been traced, and their undoubted connection and mutual influence has not been noted. Meanwhile, it seems to be an important case for studying the animalistic genre. The article analyzes the image of a pet, its interpretations, and characteristics in portrait and animalistic painting. The purpose of this article is to trace the evolution of the depiction of pets. This article reflects the initial stage of research on this topic and to a considerable extent, only indicates some problems for further study. Methodologically, the author mostly employs systematic, iconographic, formal, and stylistic analyses of works of Russian painting from museum collections. As a result, the researcher determines the main characteristics of the portrait with a pet and portrait of a pet. The article demonstrates that in the nineteenth — early twentieth centuries, from a more static and conditional “touching” elements in the portrait with models, the images of animals become real characters endowed with certain characteristics involved in emotional interaction with their owner. Similarly, the same was observed in the animalistic portrait of a pet: from a ceremonial picture, iconographically close to secular portraits, where the main goal is to capture the appearance of a pet, in the late nineteenth — early twentieth centuries, there appeared more empathy and psychologism in the interpretation of the image of a pet. It is noteworthy that by the early twentieth century, portraits with pets were created more and more often, and the “distance” between the person and the animal was significantly reduced. At the same time, the portrait of the pet itself was in less demand and transformed into the animalistic genre as it is.
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Pub Date : 2023-01-01DOI: 10.15826/izv2.2023.25.2.028
K. Bugrov
This paper examines the history of the largest units of the aviation materials industry (processing of light alloys), i.e. heavy-duty hydraulic presses with a power of more than 15,000 tons, which became the basis of the global aviation industry in the 1960s. The author traces the emergence of these units in the US and the USSR and describes the main centers of their deployment. Based on extensive materials from the media, the author scrutinizes the positioning of the technological equipment of the industry for the processing of light alloys in the public sphere of the USSR. The article demonstrates that in the 1950s, press-building was in the focus of attention of the Soviet public sphere as one of the key areas of scientific and technological development. However, starting with the late 1950s, materials on equipping enterprises for the processing of light alloys almost disappeared from the public domain. The second wave of public interest in the machines of the light alloy industry occurred in the late 1960s; it was associated with a general change in approaches to the positioning of the aviation industry of the USSR, and with the important international contract for the construction of a heavy-duty press in France. At this stage, the Novokramatorsk Heavy Machine-Building Plant turned out to be in the spotlight, while the Ural manufacturers and users of such machines continued to remain under a kind of veil of silence. Therefore, the unique equipment of light alloy processing enterprises in Verkhnyaya Salda and Kamensk-Uralsky, as well as the experience of the Ural Heavy Machine-Building Plant in designing and producing such equipment, did not get a place in the industrial mythology of the region, which makes it difficult to position them as valuable elements of the historical and cultural heritage of the Urals.
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