Pub Date : 2023-01-01DOI: 10.15826/izv2.2023.25.1.006
Artistic concepts of space in contemporary fiction remain one of the most important tools for explaining, evaluating, and interpreting a particular historical period. This article focuses on the comparative study of the functions of spatial images in the works of modern Belarusian and British writers: H. Mantel, P. Ackroyd, J. Crace, A. Miller, A. Arkush, L. Rublevskaya, V. Orlov, etc. The aim of the study is to identify various aspects, functions, and characteristics of literary landscapes in historical fiction and determine which of them are universal, and which are unique for authors from different countries. Based on the principles of the comparative method and the method of hermeneutic analysis, the author identifies and interprets universal spatial imagery of a house, ruins, a church, a gate, a bridge, and other significant landscape symbols. Also, she analyses the metaphor of the palimpsest in the diachronic aspect. The significance of literary visions of space in historical fiction is determined by its primary connection with the notions of culture and identity. More particularly, it is the strong historical associations that turn the national landscape into an element of cultural heritage, a repository of collective memory. This feature manifests itself in the motifs of return to the parental home (as a way of the character’s spiritual rebirth); unsuccessful restoration and architectural monstrosity as an expression of the loss of cultural codes of the past; mapping as a revolt against chaos; a revived murderous statue as a repressed, “haunting” history and its destructive influence on modern society. The perception of the physical landscape as a material form of the past determines its axiological potential. As a result, the images of Victorian architecture are used as symbols of lost greatness (P. Ackroyd, S. Waters, A. Byatt), and the images of modern (Soviet in Belarusian texts) buildings reflect the ontological emptiness and failure of the twentieth-century ideologies. The models of literary space in the texts analysed point to the perception of the historical process as a history of regress and degradation.
当代小说中的空间艺术概念仍然是解释、评价和解释特定历史时期的最重要工具之一。本文主要对白俄罗斯现代作家曼特尔、阿克罗伊德、格雷斯、米勒、阿库什、鲁布列夫斯卡娅、奥尔洛夫等作家作品中空间意象的功能进行比较研究。本研究的目的是识别历史小说中文学景观的各个方面、功能和特征，并确定哪些是普遍的，哪些是不同国家作者的独特之处。作者运用比较法和解释学分析的原则，对房屋、废墟、教堂、大门、桥梁等重要景观符号的普遍空间意象进行了识别和解读。此外，她还从历时的角度分析了重写本的隐喻。历史小说中文学空间观的重要性是由它与文化和身份概念的主要联系决定的。更具体地说，正是强烈的历史联系将国家景观变成了文化遗产的元素，一个集体记忆的储存库。这一特征体现在回归父母家的主题中(作为角色精神重生的一种方式);不成功的修复和怪异的建筑表现了过去文化规范的丧失;映射是对混乱的反抗;作为一段被压抑的、“挥之不去”的历史及其对现代社会的破坏性影响，一座复活的杀人雕像。将自然景观作为过去的物质形式的感知决定了它的价值潜力。因此，维多利亚建筑的形象被用作失去伟大的象征(P. Ackroyd, S. Waters, a . Byatt)，现代建筑的形象(白俄罗斯文本中的苏联建筑)反映了20世纪意识形态的本体论空虚和失败。本文分析的文学空间模式指向将历史进程视为倒退和退化的历史。
{"title":"Literary Space as a Means of Historical Representation in Contemporary British and Belarusian Fiction","authors":"","doi":"10.15826/izv2.2023.25.1.006","DOIUrl":"https://doi.org/10.15826/izv2.2023.25.1.006","url":null,"abstract":"Artistic concepts of space in contemporary fiction remain one of the most important tools for explaining, evaluating, and interpreting a particular historical period. This article focuses on the comparative study of the functions of spatial images in the works of modern Belarusian and British writers: H. Mantel, P. Ackroyd, J. Crace, A. Miller, A. Arkush, L. Rublevskaya, V. Orlov, etc. The aim of the study is to identify various aspects, functions, and characteristics of literary landscapes in historical fiction and determine which of them are universal, and which are unique for authors from different countries. Based on the principles of the comparative method and the method of hermeneutic analysis, the author identifies and interprets universal spatial imagery of a house, ruins, a church, a gate, a bridge, and other significant landscape symbols. Also, she analyses the metaphor of the palimpsest in the diachronic aspect. The significance of literary visions of space in historical fiction is determined by its primary connection with the notions of culture and identity. More particularly, it is the strong historical associations that turn the national landscape into an element of cultural heritage, a repository of collective memory. This feature manifests itself in the motifs of return to the parental home (as a way of the character’s spiritual rebirth); unsuccessful restoration and architectural monstrosity as an expression of the loss of cultural codes of the past; mapping as a revolt against chaos; a revived murderous statue as a repressed, “haunting” history and its destructive influence on modern society. The perception of the physical landscape as a material form of the past determines its axiological potential. As a result, the images of Victorian architecture are used as symbols of lost greatness (P. Ackroyd, S. Waters, A. Byatt), and the images of modern (Soviet in Belarusian texts) buildings reflect the ontological emptiness and failure of the twentieth-century ideologies. The models of literary space in the texts analysed point to the perception of the historical process as a history of regress and degradation.","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":"88177417","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/izv2.2023.25.1.019
J. Dohnal
This text responds to the conceptualisation of nineteenth-century Russian realism presented in separate chapters of the monograph Russian Realism of the 19th Century. Society, Knowledge, Narrative. The review examines the objectives set in the introductory article of the collection and their development in specific studies. The review evaluates the tendency to actualise the work done so far in understanding the concept of “realism”, to pay attention to it again, and combine the views of Russian researchers with the works of foreign scholars. The authors of individual articles of the collection manage to direct their attention to the chosen aspects of studying not only of specific literary works of realist writers of the nineteenth century, but also to those factors external to their creative activities which in many respects determined the themes, subjects, and value orientation of their works. The review also points out that, while comprehending some specific features and specific literary works, and realism as a universal phenomenon, the authors often pay attention to rather private issues. Assessing the work done and the tendency to compare the works of Russian writers with Western ones, it is stated that the authors of individual chapters are not always able to summarise the results of the research and point out exactly what is universal in realism, and what is typical of the Russian realism of the nineteenth century.
{"title":"Realism as a Perpetual Challenge. Review of: Weisman, M., Vdovin, A., Klieger, I., & Ospovat, K. (Eds.). (2020). Russkii realizm XIX veka. Obshchestvo, znanie, povestvovanie [Russian Realism of the 19th Century. Society, Knowledge, Narrative]. Moscow: Novoe literaturnoe obozrenie. 568 p.","authors":"J. Dohnal","doi":"10.15826/izv2.2023.25.1.019","DOIUrl":"https://doi.org/10.15826/izv2.2023.25.1.019","url":null,"abstract":"This text responds to the conceptualisation of nineteenth-century Russian realism presented in separate chapters of the monograph Russian Realism of the 19th Century. Society, Knowledge, Narrative. The review examines the objectives set in the introductory article of the collection and their development in specific studies. The review evaluates the tendency to actualise the work done so far in understanding the concept of “realism”, to pay attention to it again, and combine the views of Russian researchers with the works of foreign scholars. The authors of individual articles of the collection manage to direct their attention to the chosen aspects of studying not only of specific literary works of realist writers of the nineteenth century, but also to those factors external to their creative activities which in many respects determined the themes, subjects, and value orientation of their works. The review also points out that, while comprehending some specific features and specific literary works, and realism as a universal phenomenon, the authors often pay attention to rather private issues. Assessing the work done and the tendency to compare the works of Russian writers with Western ones, it is stated that the authors of individual chapters are not always able to summarise the results of the research and point out exactly what is universal in realism, and what is typical of the Russian realism of the nineteenth century.","PeriodicalId":42281,"journal":{"name":"Izvestiya Uralskogo Federalnogo Universiteta-Seriya 2-Gumanitarnye Nauki","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74944701","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/izv2.2023.25.2.020
A. Shchavelev, Aleksandr A. Fetisov
This paper analyses the socio-historical topography, the dynamics of urbanization transformations, and social stratification of the population of the early medieval metropolis in the Upper Dnieper area of the tenth — early eleventh centuries known as Sэrnesgarрr, nowadays the Gnyozdovo Archaeological Complex. It was one of the largest political, trade, and craft centres of the Viking Age within the spread of Old Russian archaeological culture. The high degree of archaeological knowledge of this site makes it possible to try and find a solution to the difficult problem of reconstructing the social hierarchy of its urban community referring to the data known to the scholarly community. The society of *Sýrnesgarðr was a developed ranked or even early stratified society with a pronounced three-level hierarchy. The upper stratum used special labour-intensive burial rites with rich grave goods accompanying the deceased; the middle stratum marked its burials with weapons; and the majority of the ordinary population practised various forms of “standard” burials without any exclusive features. The analysis of the chronology of the burials of the elite reveals two generations with different cultural attitudes, economic practices, and behavioural patterns. The first generation of the first half of the tenth century used burial rites in “great mounds” and/or in boats (or “rooks”). The second generation of the middle to second half of the tenth century used burial rites in “wooden chambers”. The change of the “ruling class” of “great mounds and boats” to a new privileged group of “wooden chambers” took place around the 940s–960s, either because the city was conquered by the troops of the Rurikid polity, or, more likely, because of an internal conflict between the two privileged groups.
{"title":"The Elite of Sýrnesgarðr: On the Social Stratification of the Population of the Gnyozdovo Archaeological Complex, 10th — Early 11th Centuries","authors":"A. Shchavelev, Aleksandr A. Fetisov","doi":"10.15826/izv2.2023.25.2.020","DOIUrl":"https://doi.org/10.15826/izv2.2023.25.2.020","url":null,"abstract":"This paper analyses the socio-historical topography, the dynamics of urbanization transformations, and social stratification of the population of the early medieval metropolis in the Upper Dnieper area of the tenth — early eleventh centuries known as Sэrnesgarрr, nowadays the Gnyozdovo Archaeological Complex. It was one of the largest political, trade, and craft centres of the Viking Age within the spread of Old Russian archaeological culture. The high degree of archaeological knowledge of this site makes it possible to try and find a solution to the difficult problem of reconstructing the social hierarchy of its urban community referring to the data known to the scholarly community. The society of *Sýrnesgarðr was a developed ranked or even early stratified society with a pronounced three-level hierarchy. The upper stratum used special labour-intensive burial rites with rich grave goods accompanying the deceased; the middle stratum marked its burials with weapons; and the majority of the ordinary population practised various forms of “standard” burials without any exclusive features. The analysis of the chronology of the burials of the elite reveals two generations with different cultural attitudes, economic practices, and behavioural patterns. The first generation of the first half of the tenth century used burial rites in “great mounds” and/or in boats (or “rooks”). The second generation of the middle to second half of the tenth century used burial rites in “wooden chambers”. The change of the “ruling class” of “great mounds and boats” to a new privileged group of “wooden chambers” took place around the 940s–960s, either because the city was conquered by the troops of the Rurikid polity, or, more likely, because of an internal conflict between the two privileged groups.","PeriodicalId":42281,"journal":{"name":"Izvestiya Uralskogo Federalnogo Universiteta-Seriya 2-Gumanitarnye Nauki","volume":"37 6 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72957314","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/izv2.2023.25.2.022
M. Kurysheva
For the first time in historiography, this paper introduces and analyses a unique miniature map of Crete from the manuscript Paris. gr. 2737 written by Angelos Vergikios, a famous sixteenth-century Greek calligrapher. This map illustrates the beginning of Book 3 of Pseudo-Oppian’s poem about hound hunting. The creator of the manuscript was a Cretan Greek who first emigrated to Italy and then to France. Naturally, for him Crete was an important location of his personal memory, so this miniature was especially elaborated and marked with the scribe’s special marginalia. An analysis of the peculiarities of the map of Crete suggests that the author of the miniature was also a native of Crete, which provides further support for the hypothesis that Vergikios’ daughter, whose name is unknown, was the miniaturist. For the creators of the manuscript, the miniature was primarily a reflection of their nostalgia for their lost homeland. The map seamlessly combines the ancient antique story of Zeus’ birth on Crete with the sixteenth-century system of four pillars of power of the Venetian maritime Empire on the island. Thus, the Byzantine image of a significant locus of the fantasy world of Antiquity is combined with the geopolitical reality of the Mediterranean of the Modern Age. Consequently, this miniature map illustrates the paradoxical mechanism of the revival of ancient tradition during the sixteenth century Renaissance very well by ‘reinventing’ it, i.e. by copying, revising and modernising the Byzantine model.
{"title":"Map of the Island of Crete in the Greek Manuscript Paris. gr. 2737 by 16th-Century Calligrapher Angelos Vergikios","authors":"M. Kurysheva","doi":"10.15826/izv2.2023.25.2.022","DOIUrl":"https://doi.org/10.15826/izv2.2023.25.2.022","url":null,"abstract":"For the first time in historiography, this paper introduces and analyses a unique miniature map of Crete from the manuscript Paris. gr. 2737 written by Angelos Vergikios, a famous sixteenth-century Greek calligrapher. This map illustrates the beginning of Book 3 of Pseudo-Oppian’s poem about hound hunting. The creator of the manuscript was a Cretan Greek who first emigrated to Italy and then to France. Naturally, for him Crete was an important location of his personal memory, so this miniature was especially elaborated and marked with the scribe’s special marginalia. An analysis of the peculiarities of the map of Crete suggests that the author of the miniature was also a native of Crete, which provides further support for the hypothesis that Vergikios’ daughter, whose name is unknown, was the miniaturist. For the creators of the manuscript, the miniature was primarily a reflection of their nostalgia for their lost homeland. The map seamlessly combines the ancient antique story of Zeus’ birth on Crete with the sixteenth-century system of four pillars of power of the Venetian maritime Empire on the island. Thus, the Byzantine image of a significant locus of the fantasy world of Antiquity is combined with the geopolitical reality of the Mediterranean of the Modern Age. Consequently, this miniature map illustrates the paradoxical mechanism of the revival of ancient tradition during the sixteenth century Renaissance very well by ‘reinventing’ it, i.e. by copying, revising and modernising the Byzantine model.","PeriodicalId":42281,"journal":{"name":"Izvestiya Uralskogo Federalnogo Universiteta-Seriya 2-Gumanitarnye Nauki","volume":"23 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84468055","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/izv2.2023.25.1.011
O. Semyonov
This article analyses the reforms of Tobolsk voivode P. I. Godunov (one of the most famous “profit-seekers” of the seventeenth century) in the yam messenger system (Rus. yamskaya gon’ba). To a considerable extent, it is based on unpublished sources from Moscow and St Petersburg archives. Mostly, they are documents of management and record keeping of central and local administrations (letters to voivodes, military governors’ formal replies, etc.), accounting documentation (clerks’ descriptions, etc.), and private documents (petitions). Many of them have never been published previously. The author uses comparative, anthropological, and genetic methods; also, the article examines both unfulfilled reforms (a plan for the distribution of organised communication to Tobolsk) and those implemented by Godunov (a reduction of government parcels sent to Moscow, transfer of residents of the Samarovo yam “to arable land”, assistance in reducing the monetary salaries of Tura, Tyumen, Demyansk, and Samarovo yamshchiks enforcing state supervision over the yam lands). It is demonstrated that the reforms were devoid of innovation. Godunov adhered to the state course and followed the previous administrators, however, acting more dynamically. Generally, during his voivodship, the situation of Siberian yamshchiks worsened. However, by contrast with reforms in other areas of local life, Godunov’s yam reorganisations appeared sustainable. They were kept by Moscow and partially revised only 15 years later after the profit-seeker’s departure from Tobolsk. Referring to Godunov’s activities and their fate, the author shows the state’s contradictory attitude to yamskaya gon’ba “for the Stone”. On the one hand, Moscow sought to reduce the costs of the communication system, and, on the other hand, it sometimes gave way to the yamshchiks because it needed reliable communication with Siberia.
{"title":"Tobolsk Voivode P. I. Godunov’s Profit-Seeking Activity in Yamskaya Gon’ba in Siberia in the 17th Century","authors":"O. Semyonov","doi":"10.15826/izv2.2023.25.1.011","DOIUrl":"https://doi.org/10.15826/izv2.2023.25.1.011","url":null,"abstract":"This article analyses the reforms of Tobolsk voivode P. I. Godunov (one of the most famous “profit-seekers” of the seventeenth century) in the yam messenger system (Rus. yamskaya gon’ba). To a considerable extent, it is based on unpublished sources from Moscow and St Petersburg archives. Mostly, they are documents of management and record keeping of central and local administrations (letters to voivodes, military governors’ formal replies, etc.), accounting documentation (clerks’ descriptions, etc.), and private documents (petitions). Many of them have never been published previously. The author uses comparative, anthropological, and genetic methods; also, the article examines both unfulfilled reforms (a plan for the distribution of organised communication to Tobolsk) and those implemented by Godunov (a reduction of government parcels sent to Moscow, transfer of residents of the Samarovo yam “to arable land”, assistance in reducing the monetary salaries of Tura, Tyumen, Demyansk, and Samarovo yamshchiks enforcing state supervision over the yam lands). It is demonstrated that the reforms were devoid of innovation. Godunov adhered to the state course and followed the previous administrators, however, acting more dynamically. Generally, during his voivodship, the situation of Siberian yamshchiks worsened. However, by contrast with reforms in other areas of local life, Godunov’s yam reorganisations appeared sustainable. They were kept by Moscow and partially revised only 15 years later after the profit-seeker’s departure from Tobolsk. Referring to Godunov’s activities and their fate, the author shows the state’s contradictory attitude to yamskaya gon’ba “for the Stone”. On the one hand, Moscow sought to reduce the costs of the communication system, and, on the other hand, it sometimes gave way to the yamshchiks because it needed reliable communication with Siberia.","PeriodicalId":42281,"journal":{"name":"Izvestiya Uralskogo Federalnogo Universiteta-Seriya 2-Gumanitarnye Nauki","volume":"27 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85390780","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/izv2.2023.25.2.035
L. Budrina
Belonging to the style of late eclectics, products of the Ekaterinburg Lapidary Factory are scarce in the collections of Russian museums. Their small size and complex forms did not correspond to the notion of objects worthy of preservation. For this reason, most of the works created by Ural masters in the 1870s–1900s did not enter their collections at the early stage of the formation of Soviet museums. The insignificant presence of these works in available collections, the possibility of becoming acquainted with many of them only from graphic materials, together with a general negative attitude towards the decorative arts of late eclecticism and historicism, led to a lack of systematic analysis, often replaced by general phrases about decadence and insufficient artistic level. Meanwhile, more and more works by the Imperial Lapidary Factory in Ekaterinburg appearing on the antique market during this period are evidence of a strenuous search for new forms. The absence of a recognizable approach to form makes the attribution of such items extremely difficult, and often impossible without reference to the graphic heritage of the factory. Scattered and still awaiting systematization, it indicates the involvement of artists of different trends in the search for new forms and principles of decorating stone works. The article considers the existing complexes of graphic works connected with the activity of the Ekaterinburg Lapidary Factory, restoring the fate of previously undescribed objects. Also, the author provides information on the known materials, analyzing the style of proposed and executed designs and providing examples of attributions made based on drawings. Several graphic sheets are introduced into scholarly circulation for the first time.
{"title":"Graphic Heritage as a Tool for the Attribution and Style Analysis of Works of the Imperial Ekaterinburg Lapidary Factory of the Last Third of the 19th — Early 20th Centuries","authors":"L. Budrina","doi":"10.15826/izv2.2023.25.2.035","DOIUrl":"https://doi.org/10.15826/izv2.2023.25.2.035","url":null,"abstract":"Belonging to the style of late eclectics, products of the Ekaterinburg Lapidary Factory are scarce in the collections of Russian museums. Their small size and complex forms did not correspond to the notion of objects worthy of preservation. For this reason, most of the works created by Ural masters in the 1870s–1900s did not enter their collections at the early stage of the formation of Soviet museums. The insignificant presence of these works in available collections, the possibility of becoming acquainted with many of them only from graphic materials, together with a general negative attitude towards the decorative arts of late eclecticism and historicism, led to a lack of systematic analysis, often replaced by general phrases about decadence and insufficient artistic level. Meanwhile, more and more works by the Imperial Lapidary Factory in Ekaterinburg appearing on the antique market during this period are evidence of a strenuous search for new forms. The absence of a recognizable approach to form makes the attribution of such items extremely difficult, and often impossible without reference to the graphic heritage of the factory. Scattered and still awaiting systematization, it indicates the involvement of artists of different trends in the search for new forms and principles of decorating stone works. The article considers the existing complexes of graphic works connected with the activity of the Ekaterinburg Lapidary Factory, restoring the fate of previously undescribed objects. Also, the author provides information on the known materials, analyzing the style of proposed and executed designs and providing examples of attributions made based on drawings. Several graphic sheets are introduced into scholarly circulation for the first time.","PeriodicalId":42281,"journal":{"name":"Izvestiya Uralskogo Federalnogo Universiteta-Seriya 2-Gumanitarnye Nauki","volume":"21 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81022409","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/izv2.2023.25.1.001
Yuliya. E. But
This article explores poems devoted to the dynastic festivities of the ruling House of Habsburg as one of the multiple instruments of fostering loyalty and dynastic patriotism, primarily in in-school youth who were regarded as future citizens of the Austrian Empire. The concepts of dynastic patriotism, Kaisertreue (literally, faithfulness to the emperor), Huldigungsschriften (literally, homage writings), the Habsburg myth, pietas Austriaca, and Habsburg propaganda provide the theoretical and methodological basis of the research. The author refers to three poems devoted to the wedding festivities of Emperor Francis Joseph and Elizabeth of Bavaria in 1854. Two of them — one of which is written in Hungarian and the other in German — are examples of the panegyric ode and were authored by schoolteachers. The third one is a moral poem, easy to understand, with a heartwarming storyline. All the three poems in question are quite ordinary in terms of literary and artistic merit. Their choice is motivated by the author’s desire to demonstrate through those Huldigungsschriften her hypothesis that the Habsburg myth which emphasised the virtues and all-encompassing benevolence of the Habsburg rulers was being transmitted in various formats and different languages to in-school youth in the lands of the Austrian monarchy to foster loyalty and dynastic patriotism. Rather than studying the three writings for their literary and artistic merit, the article mainly focuses on discussing this kind of poetry as a historical phenomenon and an instrument of propaganda which was aimed at developing a loyal and faithful population of the polyethnic and multicultural Habsburg Empire.
{"title":"Fostering Kaisertreue in the Austrian Empire: Literature on the Occasion of the Marriage of Emperor Francis Josef (1854)","authors":"Yuliya. E. But","doi":"10.15826/izv2.2023.25.1.001","DOIUrl":"https://doi.org/10.15826/izv2.2023.25.1.001","url":null,"abstract":"This article explores poems devoted to the dynastic festivities of the ruling House of Habsburg as one of the multiple instruments of fostering loyalty and dynastic patriotism, primarily in in-school youth who were regarded as future citizens of the Austrian Empire. The concepts of dynastic patriotism, Kaisertreue (literally, faithfulness to the emperor), Huldigungsschriften (literally, homage writings), the Habsburg myth, pietas Austriaca, and Habsburg propaganda provide the theoretical and methodological basis of the research. The author refers to three poems devoted to the wedding festivities of Emperor Francis Joseph and Elizabeth of Bavaria in 1854. Two of them — one of which is written in Hungarian and the other in German — are examples of the panegyric ode and were authored by schoolteachers. The third one is a moral poem, easy to understand, with a heartwarming storyline. All the three poems in question are quite ordinary in terms of literary and artistic merit. Their choice is motivated by the author’s desire to demonstrate through those Huldigungsschriften her hypothesis that the Habsburg myth which emphasised the virtues and all-encompassing benevolence of the Habsburg rulers was being transmitted in various formats and different languages to in-school youth in the lands of the Austrian monarchy to foster loyalty and dynastic patriotism. Rather than studying the three writings for their literary and artistic merit, the article mainly focuses on discussing this kind of poetry as a historical phenomenon and an instrument of propaganda which was aimed at developing a loyal and faithful population of the polyethnic and multicultural Habsburg Empire.","PeriodicalId":42281,"journal":{"name":"Izvestiya Uralskogo Federalnogo Universiteta-Seriya 2-Gumanitarnye Nauki","volume":"6 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90910579","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/izv2.2023.25.1.010
Referring to a part of the Canongate project Myth, Ph. Pullman’s book The Good Man Jesus and the Scoundrel Christ (2010), this article examines the correlation of myth and literature, specific to twenty-first-century culture, mediated by the influence of postmodernism and mass culture. Pullman’s book is considered within a more general framework of using myth as a tool of the author’s polemic with the influential ideological trends of our time (cf. The Penelopiad by M. Atwood and her polemic with feminism). Together with the author’s essays, the novel is not only perceived as an instance of apocryphal literature, so characteristic of twentieth-century authors when referring to Christianity, but also as a document of the main ideological stance — Pullman’s anti-clericalism and atheism. The ardent polemic message, bordering on blasphemy, finds its most original expression in the character reduplication (the person of Jesus Christ is split in two). This article aims to explore the ideological and socio-cultural roots of this device, the degree of its intellectual and artistic originality, its individual author’s premises. Pullman’s work with canonical and non-canonical gospels leads him to problematise their fictionality, genre nature, and narrative structure. Onomastic statistical analysis leads the writer to put forward an artistic hypothesis about the possible reduplication of a historical character, thus modelling a counterfactual situation, by means of which not only does he question religious dogma, but also makes each of his readers feel responsible for the shape that the history of the God-man has assumed. Using the methodology of historical-literary, comparative-typological, narratological and intermedial analysis, the author of the article concludes that the dualism of the image of Jesus Christ can be traced to the problematic nature of his anthroponym, and is undoubtedly associated with the state of postmodern knowledge, with the erosion of religious dogmas within intellectual and ethical pluralism, as well as with the influence of Gnosticism and mass culture (films, comics).
{"title":"Dualistic Rethinking of the Christian Myth by Philip Pullman","authors":"","doi":"10.15826/izv2.2023.25.1.010","DOIUrl":"https://doi.org/10.15826/izv2.2023.25.1.010","url":null,"abstract":"Referring to a part of the Canongate project Myth, Ph. Pullman’s book The Good Man Jesus and the Scoundrel Christ (2010), this article examines the correlation of myth and literature, specific to twenty-first-century culture, mediated by the influence of postmodernism and mass culture. Pullman’s book is considered within a more general framework of using myth as a tool of the author’s polemic with the influential ideological trends of our time (cf. The Penelopiad by M. Atwood and her polemic with feminism). Together with the author’s essays, the novel is not only perceived as an instance of apocryphal literature, so characteristic of twentieth-century authors when referring to Christianity, but also as a document of the main ideological stance — Pullman’s anti-clericalism and atheism. The ardent polemic message, bordering on blasphemy, finds its most original expression in the character reduplication (the person of Jesus Christ is split in two). This article aims to explore the ideological and socio-cultural roots of this device, the degree of its intellectual and artistic originality, its individual author’s premises. Pullman’s work with canonical and non-canonical gospels leads him to problematise their fictionality, genre nature, and narrative structure. Onomastic statistical analysis leads the writer to put forward an artistic hypothesis about the possible reduplication of a historical character, thus modelling a counterfactual situation, by means of which not only does he question religious dogma, but also makes each of his readers feel responsible for the shape that the history of the God-man has assumed. Using the methodology of historical-literary, comparative-typological, narratological and intermedial analysis, the author of the article concludes that the dualism of the image of Jesus Christ can be traced to the problematic nature of his anthroponym, and is undoubtedly associated with the state of postmodern knowledge, with the erosion of religious dogmas within intellectual and ethical pluralism, as well as with the influence of Gnosticism and mass culture (films, comics).","PeriodicalId":42281,"journal":{"name":"Izvestiya Uralskogo Federalnogo Universiteta-Seriya 2-Gumanitarnye Nauki","volume":"76 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74316321","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/izv2.2022.24.2.040
A. V. Guseva
The International Exhibition of Chinese Art that took place in London’s Burlington House from November 1935 to March 1936 is recognised as the major exhibition of ancient and classical Chinese art of the twentieth century. Over two hundred collectors and institutions from 14 countries provided their objects of art to the exhibition. None of the previous exhibitions had had as many items: the number of objects was extraordinary with 3,080 entries in the catalogue of the London exhibition. Moreover, it was the first foreign exhibition presenting items from the former imperial collection of the Forbidden City (Gugun Museum since 1925). In addition to numerous porcelain and bronze items from private and museum collections, the exhibition contained about 300 paintings (monumental painting, scrolls, album sheets, and fans). While it is generally believed that western collectors only started being seriously interested in painting after World War II, the exhibition contained over a hundred paintings of non-Chinese provenance. Due to its scale, the International Exhibition of Chinese Art of 1935 could be considered a representative example of trends in the Chinese art collecting of the 1930s. For this reason, a close analysis of the catalogue may help enrich our idea of the formation of collections of Chinese art, the formation of taste, and its evolution over time. Data related to the paintings from the catalogue are analysed and then compared to the current descriptions from museum databases and catalogues.
{"title":"Chinese Paintings from Western Museum Collections at the International Exhibition of Chinese Art in London, 1935: On the History of Collecting and Attributing Chinese Paintings","authors":"A. V. Guseva","doi":"10.15826/izv2.2022.24.2.040","DOIUrl":"https://doi.org/10.15826/izv2.2022.24.2.040","url":null,"abstract":"The International Exhibition of Chinese Art that took place in London’s Burlington House from November 1935 to March 1936 is recognised as the major exhibition of ancient and classical Chinese art of the twentieth century. Over two hundred collectors and institutions from 14 countries provided their objects of art to the exhibition. None of the previous exhibitions had had as many items: the number of objects was extraordinary with 3,080 entries in the catalogue of the London exhibition. Moreover, it was the first foreign exhibition presenting items from the former imperial collection of the Forbidden City (Gugun Museum since 1925). In addition to numerous porcelain and bronze items from private and museum collections, the exhibition contained about 300 paintings (monumental painting, scrolls, album sheets, and fans). While it is generally believed that western collectors only started being seriously interested in painting after World War II, the exhibition contained over a hundred paintings of non-Chinese provenance. Due to its scale, the International Exhibition of Chinese Art of 1935 could be considered a representative example of trends in the Chinese art collecting of the 1930s. For this reason, a close analysis of the catalogue may help enrich our idea of the formation of collections of Chinese art, the formation of taste, and its evolution over time. Data related to the paintings from the catalogue are analysed and then compared to the current descriptions from museum databases and catalogues.","PeriodicalId":42281,"journal":{"name":"Izvestiya Uralskogo Federalnogo Universiteta-Seriya 2-Gumanitarnye Nauki","volume":"40 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76353461","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/izv2.2022.24.1.008
A. Safronova
This article describes the circumstances behind the opening of the first arithmetic schools in the Urals. Together with grammar schools, they formed a new type of educational institutions of Russia, belonging to the mining department and becoming the largest secular educational institutions of Russia with a democratic structure of students in the 1730s. Thanks to these schools, it was possible to arrange factory apprenticeships for specialists in various fields, and qualified personnel were trained for the developing Ural industry. The author describes the first actions of the authorities taken to organise arithmetic schools at the Uktus Plant and in Kungur, which celebrated their 300th anniversaries in 2021, as well as the role of Vasily Tatishchev, the chief of the factories, and the Collegium of Mining (Berg-kollegia) in that. It is demonstrated that in 1720–1721, being interested in staff training for factories made up by local youth, the Collegium of Mining made it possible for schools to accept children of scribes and clergymen residing in the territories but not subordinated to the mining authorities; moreover, such schools also made it possible for peasants assigned to plants to join, which was a unique example in the history of Russia at the time. The article traces Vasily Tatishchev’s actions in enrolling children to schools, replenishing them with pupils and assigning them government salaries. Additionally, the author establishes the number of children taught in such schools, the places of their distribution to the cases, and reveals the difficult financial conditions of educating children away from their homes. Particular attention is paid to the teaching staff comprising Moscow Artillery School graduates, who performed their main factory duties in addition to their training, except for one, who worked only with children at the Uktus school. Finally, the article describes the destiny of the Kungur arithmetic school, i.e. the transfer of its students in 1725 to Ekaterinburg by order of the Collegium of Mining.
{"title":"The First Arithmetic Schools in the Urals (1721–1725)","authors":"A. Safronova","doi":"10.15826/izv2.2022.24.1.008","DOIUrl":"https://doi.org/10.15826/izv2.2022.24.1.008","url":null,"abstract":"This article describes the circumstances behind the opening of the first arithmetic schools in the Urals. Together with grammar schools, they formed a new type of educational institutions of Russia, belonging to the mining department and becoming the largest secular educational institutions of Russia with a democratic structure of students in the 1730s. Thanks to these schools, it was possible to arrange factory apprenticeships for specialists in various fields, and qualified personnel were trained for the developing Ural industry. The author describes the first actions of the authorities taken to organise arithmetic schools at the Uktus Plant and in Kungur, which celebrated their 300th anniversaries in 2021, as well as the role of Vasily Tatishchev, the chief of the factories, and the Collegium of Mining (Berg-kollegia) in that. It is demonstrated that in 1720–1721, being interested in staff training for factories made up by local youth, the Collegium of Mining made it possible for schools to accept children of scribes and clergymen residing in the territories but not subordinated to the mining authorities; moreover, such schools also made it possible for peasants assigned to plants to join, which was a unique example in the history of Russia at the time. The article traces Vasily Tatishchev’s actions in enrolling children to schools, replenishing them with pupils and assigning them government salaries. Additionally, the author establishes the number of children taught in such schools, the places of their distribution to the cases, and reveals the difficult financial conditions of educating children away from their homes. Particular attention is paid to the teaching staff comprising Moscow Artillery School graduates, who performed their main factory duties in addition to their training, except for one, who worked only with children at the Uktus school. Finally, the article describes the destiny of the Kungur arithmetic school, i.e. the transfer of its students in 1725 to Ekaterinburg by order of the Collegium of Mining.","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":"89184091","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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