Pub Date : 2022-01-01DOI: 10.15826/izv2.2022.24.2.032
Alexander V. Tchoudinov
The author of this article analyses the history of the complex and contradictory relations of Michel Vovelle (1933–2018), an outstanding French researcher of the Revolution of the eighteenth century, with Russian historians in the Soviet and post-Soviet times. It is noted that, unlike most French left-wing historians from A. Sobul’s entourage, cooperation with whom was a priority for Soviet researchers, Vovelle invariably maintained a certain distance in relation to the latter: he did not publish his works in the USSR and did not go there for regular Russian-French colloquiums. The situation changed only when Vovelle, after Sobul’s death, became head of the scholarly programme of the Bicentennial of the French Revolution. In this capacity, he made his first visit to the USSR in 1982. However, despite the warmest reception given to him by Soviet historians, he, as his memoirs demonstrate, still tried to keep a certain distance in his relations with them and was not much interested in the real situation in Soviet historical science, limiting himself to reproducing stereotypes common in the foreign press. Even less did Vovelle like his arrival in the USSR in the year of the Bicentennial of the French Revolution, when at a large conference in Moscow held at the height of Perestroika, the ideas of left-wing French historians were sharply criticised not only by their Soviet colleagues but also by the general public. The negative impressions left from that visit to Moscow were apparently so strong that in subsequent years, Vovelle refrained from any active cooperation with historians of post-Soviet Russia. And only a meeting with many of them at the colloquium in Visile (2006) showed Vovelle that, despite ideological and methodological differences with him, his Russian colleagues were infinitely far from the militant anti-communism that dominated in Eastern Europe and that they were open to fruitful cooperation with left-wing historians of France. He was finally convinced of this by a visit to Moscow in the same year, which, unfortunately, turned out to be the last for him.
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Pub Date : 2022-01-01DOI: 10.15826/izv2.2022.24.3.043
M. Khatyamova
This article analyses the ego-documentary narratives authored by writers of the younger generation of the literature of the first wave of the Russian emigration. Writers like I. Odoevtseva (On the Banks of the Neva and On the Banks of the Seine), G. Kuznetsova (Grasse Diary), and N. Berberova (Italics Are Mine: Autobiography) turned out to be united by a common personal and literary fate. They established dialogue with literary predecessors, which largely determines the aesthetic position of the authors and their place in the literature of abroad. The memoirs of I. V. Odoevtseva, as memoirs of a participant in the literary life of the Silver Age and the first wave of emigration, make it possible to recreate and preserve the era in the faces of its most prominent representatives, not so much as poets but as unique people. The organisation of the narrative in the form of dialogues meets the task of directly “resurrecting” its characters in the mind of the future reader. G. N. Kuznetsova’s diary/memoir has a two-pronged task: firstly, it helps form an aesthetic idea of émigré life and the circle close to Bunin. Also, in the memory of the descendants, it not only preserves a man but also a unique artist, who was ahead of his time and felt dramatically at odds with his literary era. Finally, it depicts the complex process of formation and self-identification of a creative personality in their dialogue with the literary “forefathers”. N. N. Berberova, who creates a myth about herself and her contemporaries according to the laws of pan-aesthetic art, includes herself in the йmigrй literary canon with a “pantheon” of literary “ancestors” (with Khodasevich and Bunin at the centre): if not a writer of the first row, then an outstanding one, a talented creative personality keeping up with the times.
本文分析了第一波俄罗斯移民浪潮中年轻一代文学作家的自我纪录片叙事。像I. Odoevtseva(《在涅瓦河畔》和《在塞纳河畔》)，G. Kuznetsova(《格拉斯日记》)和N. Berberova(《斜体字是我的:自传》)这样的作家最终被共同的个人和文学命运联系在一起。他们与文学前辈建立了对话，这在很大程度上决定了作者的审美立场和他们在国外文学中的地位。I. V. Odoevtseva的回忆录，作为白银时代和第一波移民浪潮的文学生活参与者的回忆录，使我们有可能在最杰出的代表人物的面孔上重现和保存那个时代，他们不是诗人，而是独特的人。以对话的形式组织叙事，是为了在未来读者的脑海中直接“复活”其人物。G. N.库兹涅佐娃的日记/回忆录有一个双管齐下的任务:首先，它有助于形成一个审美观念的移民生活和圈子接近布宁。此外，在后人的记忆中，它不仅保留了一个人，而且保留了一个独特的艺术家，他领先于他的时代，与他的文学时代产生了巨大的分歧。最后，描绘了创作人格在与文学“前辈”的对话中形成和自我认同的复杂过程。N. N. Berberova根据泛审美艺术的规律创造了一个关于她自己和她同时代人的神话，她把自己包括在йmigrй文学经典中，与文学“祖先”的“万神殿”一起(以Khodasevich和Bunin为中心):如果不是第一排的作家，那么就是杰出的作家，一个跟上时代的有才华的创造性人格。
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Pub Date : 2022-01-01DOI: 10.15826/izv2.2022.24.2.038
Elena A. Batorova, E. N. Raitsanova
This article examines the Mongolian female jewelry collection of the Kyakhta Local Museum amounting to almost a hundred and fifty items. The collection started with expeditions of the Russian Geographical Society in the early twentieth century and continued throughout the Soviet period when it was significantly enlarged with items from various regions of Buryatia. According to the museum’s documents, and most of the items are still unidentified, the collection consists of scattered items or their individual elements which need proper research and technical expertise. During their examination of the said items, the authors solve several problems, i.e. they analyse and describe the art piece, the semantics of the ornamentation, identify the scrambled elements and pieces of jewelry used in the traditional costume of the Buryat regions. The authors use the iconographic, iconological, and comparative methods. The full set of female jewelry for the Mongolian people adorns the head, the neck, the chest, the shoulders, the waist and both arms. The article only focuses on headpieces and items worn hanging from the temples all the way down to the chest. It includes the description of silver decorations used for the top of male and female hats, and techniques for their differentiation. The study attempts to attribute the jewelry to define its affiliation with a specific Buryat ethnic group, as different areas of Buryatia and Mongolia have their own variations and artistic identities expressed in the traditional costume of their tribes and families. The article describes three items of Mongolian female jewelry. The authors aim to continue the research by focusing on each group of female jewelry attire with reference to comparable material from different museums.
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Pub Date : 2022-01-01DOI: 10.15826/izv2.2022.24.3.053
Еvgeniya S. Zaitseva
In 438, at the initiative of Emperor Theodosius II, one of the most significant legislative collections of the late Roman Empire, the Codex Theodosianus (Eng. Theodosian Code), was published, which is a valuable source on the social history of the Roman state in Late Antiquity. Based on the data of the Codex Theodosianus and Novellae of Emperors, the author of the article reconstructs the most important components of the social status of Roman senators of the fourth century BC. It is revealed that in the view of the emperor and the compilers of the Theodosian Code, the senatorial aristocracy was thought of as the highest class of the Roman Empire. Several factors influenced the status of Roman senators. Following a “suitable” way of life and proper performance of political functions determined the position of the senator in society and formed his reputation not only in the eyes of the emperor, but also in the eyes of his community, as well as other classes. The way a person got into the ranks of the senatorial aristocracy also affected the status. So, it was not so much the origin that was important, but the observance of legality in obtaining titles, and, in the case of decurions, the legitimacy of the transition from one estate to another. Finally, the possession of the patrimony and ensuring its proper functioning guaranteed the full and timely payment of taxes by the senators, and in the eyes of the ruler was important for maintaining the high status of the senatorial aristocracy. Unlike legislation, reality was more complex. Thus, the social status was influenced by a much larger number of components (for example, the acceptance or rejection of a Roman aristocrat by the city plebs), moreover, the proper fulfillment by the senator of all the requirements put forward by the imperial power did not always lead him to success in political activity.
公元438年，在狄奥多西二世皇帝的倡议下，《狄奥多西法典》(Codex Theodosianus)成为罗马帝国晚期最重要的立法收藏之一。《狄奥多西法典》(Theodosian Code)出版，是研究古代晚期罗马国家社会史的宝贵资料。本文以《狄奥多西anus》和《Novellae of emperor》的资料为基础，重构了公元前4世纪罗马元老院社会地位的最重要组成部分。据透露，在皇帝和《狄奥多西法典》的编纂者看来，元老院贵族被认为是罗马帝国的最高阶层。有几个因素影响了罗马元老的地位。遵循“合适”的生活方式和适当履行政治职能决定了元老院在社会中的地位，并形成了他不仅在皇帝眼中，而且在他的社区以及其他阶级眼中的声誉。一个人进入元老院贵族阶层的方式也影响着他的地位。所以，重要的不是起源，而是在获得头衔时遵守合法性，在decurions的情况下，从一个等级到另一个等级的过渡的合法性。最后，拥有遗产并确保其正常运作，保证了元老院及时足额缴纳税款，在统治者眼中，这对于维持元老院贵族的高地位至关重要。与立法不同，现实情况更为复杂。因此，社会地位受到更多因素的影响(例如，城市平民对罗马贵族的接受或拒绝)，此外，元老院议员对皇权提出的所有要求的适当满足并不总是使他在政治活动中取得成功。
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Pub Date : 2022-01-01DOI: 10.15826/izv2.2022.24.1.001
Evgeniya N. Kuzmina, Evgeniya N. Kuzmina, Lyubov N. Arbachakova
The authors of the article analyse the specifics of the depiction of sound and music in the heroic epic poetry of peoples of Siberia, who have preserved their epic tradition until recently. The authors refer to a number of epic texts by Altaians, Buryats, Tuvinians, Khakassians, and Shors. As demonstrated by the review of theoretical works carried out in the article, the musical aspect of the epic, which has attracted the attention of scholars, was focused on the study of epic intonation, timbre, and the use of musical instruments to accompany the storytelling (V. I. Verbitsky, V. V. Radlov, N. P. Dyrenkova, A. V. Anokhin, N. A. Baskakov, L. P. Potapov, Yu. I. Sheikin, R. B. Nazarenko, G. B. Sychenko, O. E. Dobzhanskaya, etc.). The use of the typological method makes it possible to carry out a comparative analysis of text fragments from the epics of the Turco-Mongol peoples, based on which it is concluded that noise sounds are conveyed in texts using onomatopoeias and ideophones. Music is conveyed through the description of its impact on characters, animals, and natural objects. It can be healing and destructive. These descriptions contain a sound code, which, like all other techniques of the epic, is aimed at conveying epic images. The oral nature of the functioning of folklore works makes it possible to use expressive techniques and means that give life to a certain monotony in the performance of monumental epic texts. More particularly, these include various ideophones. Descriptions of sounds, singing, and music are presented in stable poetic stereotypes in heroic epic poetry, which constitute the fund of the “common places” of the epic. The comparison of these descriptions shows their similarity in the structural, poetic, and compositional form, as well as in the same set of artistic and pictorial means used to create images.
本文分析了西伯利亚各族人民英雄史诗中声音和音乐描写的特点，西伯利亚各族人民至今仍保留着史诗传统。作者引用了许多阿尔泰人、布里亚特人、图维尼亚人、哈卡西亚人和肖尔人的史诗文本。从本文所开展的理论工作综述中可以看出，史诗的音乐方面受到学者们的关注，主要集中在史诗的语调、音色和乐器伴奏等方面的研究(V. I. Verbitsky, V. V. Radlov, N. P. Dyrenkova, A. V. Anokhin, N. A. Baskakov, L. P. Potapov, Yu。I.谢金，R. B.纳扎连科，G. B. Sychenko, O. E. Dobzhanskaya等)。使用类型学方法可以对突厥-蒙古民族史诗的文本片段进行比较分析，在此基础上得出结论，噪音声音在文本中使用拟声词和意指词来传达。音乐是通过描述其对人物、动物和自然物体的影响来传达的。它可以治愈，也可以破坏。这些描述包含了一种声音代码，它像所有其他史诗技巧一样，旨在传达史诗图像。民俗作品功能的口述性质，使得在史诗文本的表演中，有可能使用表现手法和手段，赋予某种单调的生命。更具体地说，这些包括各种音标。在英雄史诗中，声音、歌声和音乐的描述以稳定的诗歌定式呈现，构成了史诗“共性”的基础。这些描述的比较显示出它们在结构、诗意和构图形式上的相似性，以及用于创造图像的同一套艺术和绘画手段。
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Pub Date : 2022-01-01DOI: 10.15826/izv2.2022.24.3.048
V. Kuchko
Pearls are some of the most frequently encountered gems in Russian folklore. This reflects their importance for Russian culture, where from the sixteenth and seventeenth centuries and up to the nineteenth century, they were among its symbols. Pearls were not only gems representing the highest strata of society and the highest clergy. They were relatively easily accessible to the common people, and even to the peasantry, especially in the Russian North, the territory of their extraction in Russia (the poor peasantry used imitations). The rootedness and high value of pearls in folk life contributed to the fact that words from the word-formation family жемчуг can be found in almost all genres of Russian folklore. This article aims to give a general idea of the relevance of the image of pearls in the texts of Russian folklore. The objectives of the article are also to highlight the genre breadth within which this image functions; to mention the themes and motifs in which there are references to pearls; to reveal the symbolism of pearls in folklore texts; to note the textual partners that most often accompany the appearance of pearls in folklore. The article mostly refers to Songs Collected by P. N. Rybnikov; collections of lamentations by E. V. Barsov and B. B. Efimenkova; collection of fairy tales by A. N. Afanasyev; song collection by A. I. Sobolevsky and some other collections of local and all-Russian folklore.
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Pub Date : 2022-01-01DOI: 10.15826/izv2.2022.24.2.025
Tatiana A. Poluektova
This article is devoted to the study of the peculiar genre features of Afterimage (2000), a novel by the English-born Canadian writer Helen Humphreys. The author of the article introduces the definition of the concept of photographic ekphrasis, i.e. a description in the text of a photograph that is the subject of a character’s reflection or the result of a collaboration of the photographer and the model. The photographic discourse penetrates the plot-compositional, character, space-time, and narrative levels of the poetics of the novel. Starting with the analysis of the title of the novel, the author of the article concludes about the decisive role of photography in the genre structure of the novel. This makes it possible to introduce the term “photoreconstruction novel” and categorise the novel analysed as belonging to this type. This genre form implies a number of characteristic features: the presence of protophotographic ekphrasis (the existence of a real photographic prototype in culture defined by the reader on the basis of secondary cultural experience (this term is introduced for the first time)); the novel is set in a period remote from the modern times, as a rule between the mid-nineteenth and early twentieth centuries; the main character is a photographer-reconstructor of a myth / mythological image; supported by the motif of theatricalisation (“the character of being staged”). Particular attention is paid to the link of allegorical photographic works of the English Victorian photographer J. M. Cameron and photographic ekphrases in the novel by H. Humphreys. The organic synthesis of two types of art — artistic words and photographic art — forms intermediate connections in the novel, expanding the field of interpretation and implying an active role of the reader. Humphreys’ Afterimage based on the genre structure of a photographic ekphrasis fits into the context of the phototextual English-language novel of the late nineteenth — early twenty-first centuries.
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Pub Date : 2022-01-01DOI: 10.15826/izv2.2022.24.3.041
E. Sozina
This article analyses the functioning of the concepts of “epoch”, “period”, and “generation” in nineteenth-century literature, criticism, and literature studies. The concept of “epoch” presupposes a linear stage understanding and interpretation of history, and “period” can also be used within other concepts of historical development. The “epoch”, sometimes replaced by the “century”, and the “period” were traditionally used as measurement units of literature and culture history (cf. works of A. Bestuzhev, I. Kireevsky, V. Belinsky, etc.). One of the first periodisations of the history of Russian literature which employed these concepts was given by I. M. Born. The concept of “generation” in its meaning contains a biological, natural connotation, and therefore is not necessarily associated with the linear stage understanding of historical time. As S. N. Zenkin puts it, “a generation is time embodied in people, in their dramatic destiny”. The concept of “generation” is often used in periods of historical time which require a person to comprehend themselves and their place in history. A good example is Romanticism in the first decades of the nineteenth century. Another factor that actualises generational problems is the influence of biological and naturalistic ideas when a community motif of people doomed to be born and live with this influence “in their blood” emerges in this quite unfavorable time. This situation is considered by the author of this paper regarding the functioning of the “generation” concept in A. P. Chekhov’s works, who actively marked himself as belonging to the eighties’ “artel” (generation) in the 1880s. This concept as a subject of his characters’ argument subsequently recurs in Chekhov’s works of fiction. All the concepts mentioned are also analysed in the History of the Russian Literature of the 19th Century (1908–1911, ed. D. N. Ovsyaniko-Kulikovsky), which summed up the achievements of the nineteenth-century cultural and historical school. The author emphasises how this book (History...) develops a method of working with these concepts, and this method later comes in demand with the twentieth-century humanities.
本文分析了“时代”、“时期”、“世代”等概念在19世纪文学、批评和文学研究中的作用。“时代”的概念以对历史的线性阶段理解和解释为前提，“时期”也可以在其他历史发展概念中使用。“年代”有时被“世纪”取代，“时期”传统上被用作文学和文化史的测量单位(参见别斯图热夫、基里耶夫斯基、别林斯基等人的著作)。俄国文学史上最早使用这些概念的时期之一是由i.m.玻恩提出的。“世代”的概念在其意义上包含生物的、自然的内涵，因此不一定与对历史时间的线性阶段理解相关联。正如s·n·赞金(S. N. Zenkin)所说，“一代人是体现在人们身上、体现在他们戏剧性命运中的时间”。“一代”的概念通常用于历史时期，这需要一个人了解自己和他们在历史中的地位。一个很好的例子是19世纪头几十年的浪漫主义。造成代际问题的另一个因素是生物学和自然主义思想的影响，在这个非常不利的时代，注定要在这种影响下出生和生活的人的社区主题“在他们的血液中”出现。契诃夫在19世纪80年代积极地将自己标记为属于80年代的“artel”(一代)，本文的作者在考虑“世代”概念在契诃夫作品中的功能时考虑了这种情况。这个概念作为他笔下人物争论的主题，后来在契诃夫的小说作品中反复出现。在《19世纪俄罗斯文学史》(1908-1911,D. N. Ovsyaniko-Kulikovsky主编)中也分析了上述所有概念，该书总结了19世纪文化和历史学派的成就。作者强调这本书(历史……)如何发展了一种处理这些概念的方法，这种方法后来在20世纪的人文学科中得到了应用。
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Pub Date : 2022-01-01DOI: 10.15826/izv2.2022.24.4.080
A. Fokin, Boris E. Stepanov
This article presents an attempt to comprehend Soviet rural cinematography as a mechanism of forming imaginary space. The Soviet cinema is analysed as one of the mechanisms of identity formation and place attachment based on Benedict Anderson’s concept. The cinema becomes an important mechanism for transforming nature and territory into environment and space. Examining Soviet Films about the Village: An Attempt at Historical Interpretation of the Artistic Image, a monograph by Lyudmila Mazur and Oleg Gorbachev, the article emphasises the authors’ innovative approach to understanding cinematography as a historical source, which makes it possible to reconstruct several aspects of life in the Soviet village at different periods of its existence. The authors offer a critical reflection on the concepts of Lyudmila Mazur and Oleg Gorbachev and an expanded comprehension of Soviet films on rural themes.
{"title":"When the Villages were Big: Imaginary Spaces on the Soviet Screen. Review of: Mazur, L. N., & Gorbachev, O. V. Soviet Films about the Village: An Attempt at Historical Interpretation of the Artistic Image. Moscow: ROSSPAN. 349 p., il.","authors":"A. Fokin, Boris E. Stepanov","doi":"10.15826/izv2.2022.24.4.080","DOIUrl":"https://doi.org/10.15826/izv2.2022.24.4.080","url":null,"abstract":"This article presents an attempt to comprehend Soviet rural cinematography as a mechanism of forming imaginary space. The Soviet cinema is analysed as one of the mechanisms of identity formation and place attachment based on Benedict Anderson’s concept. The cinema becomes an important mechanism for transforming nature and territory into environment and space. Examining Soviet Films about the Village: An Attempt at Historical Interpretation of the Artistic Image, a monograph by Lyudmila Mazur and Oleg Gorbachev, the article emphasises the authors’ innovative approach to understanding cinematography as a historical source, which makes it possible to reconstruct several aspects of life in the Soviet village at different periods of its existence. The authors offer a critical reflection on the concepts of Lyudmila Mazur and Oleg Gorbachev and an expanded comprehension of Soviet films on rural themes.","PeriodicalId":42281,"journal":{"name":"Izvestiya Uralskogo Federalnogo Universiteta-Seriya 2-Gumanitarnye Nauki","volume":"90 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83542330","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/izv2.2022.24.4.068
D. Redin
Among the various innovations that appeared in Russia under Peter I, the widespread practice of public procurement for the needs of the armed forces turned out to be underestimated in historiography. Significant public funds used to finance the purchase of food, fodder, uniforms, and ammunition became available for looting by unscrupulous officials and contractors. As a result, the losses of the state budget turned out to be so great that the tsar began to consider the theft of money through state contracts one of the main threats to the state. However, the problem was not only financial damage. The criminalisation of public procurement created a corruption environment and stimulated the emergence of criminal communities in the state apparatus. This article continues the author’s research on this topic and presents preliminary observations on how Tsar Peter tried to build an organised system for combating economic crime in the field of public procurement. Particular attention is paid to the activities of the Moscow Contracting Office, a subsidiary body of the Office of Contracting Affairs. Since the head of the Department of Contractual Affairs, the captain of the Lifeguards of the Preobrazhensky Regiment, Colonel Gerasim Ivanovich Koshelev, simultaneously headed the office investigating high-profile cases of embezzlement and smuggling (the cases of the Solovyov brothers and Arkhangelsk vice-governor Alexei Alexandrovich Kurbatov), he combined the personnel potential of both subordinate departments. In part, this gave the work of the Office of Contracting Affairs and its Moscow branch the form of an investigative body. The reconstruction and study of control and supervisory bodies’ work in the field of public finance is complex, affecting unexplored issues of the economic, administrative and social history of Russia in the early modern period.
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