This article examines literary interviews of Ural authors A. Salnikov and E. Simonova. The narrative analysis of the interview makes it possible to identify how the writer defines the writer’s mission, draw a conclusion about the strategies of public self-perception, its emotional dominants, and aspects of understanding the legitimacy of writing in the current literary process. The narrative about the author has a metatextual character, which is a result of the reconstruction of recurring (repetitive) motifs which are personally (emotionally) or supra-personally (culturally, regionally, nationally) conditioned. The “history of authorship” is enclosed in a narrative frame (the dialogue structure of the interview, non-free speaking). Speech genres of various types (“memory”, “anecdote”, etc.) freely circulate inside the interview. The writers’ narrative is interpreted as part of a “big story” about authorship told by its participants for a wide range of interested persons. The comparative analysis of the selected authors relates to the general moments of the creative fate of the writers (participants of the “Nizhny Tagil Renaissance” and, more broadly, the literary life of the Urals). The narrative frame of their interview depends on the fact of the “second debut” and puts Simonova and Salnikov in a situation of retrospective introspection. The event of entering the world of writers (the effectiveness of the event) is understood as a deviation from the natural course of things (Salnikov). Simonova’s self-perception speaks of a return to normality, to the natural existence of the creator in the world of words. The author makes a conclusion regarding the peculiarities of Salnikov’s and Simonova’s individual and creative self-mythologisation. For Salnikov, it is marginalisation: the writer mythologises the author’s path by crossing the border between the world of “non-writers” to the marginal world of poets. For Simonova, it is ironic casualisation: she deliberately denies poetic insights, giving importance to the ethical symmetry of talent and man through the development of self-depreciation traditional for Russian literature etiquette. The situation of the “second debut” (widely known among the reading public of different types), depending on different factors in each case but equally significant in the manifestation of writers in the public space, demonstrates the stability of the conditions accepted for themselves as authors throughout the creative path, is a way to establish the foundations of personal vitality.
{"title":"The Vital Mission of Creative Work in Contemporary Authors’ Ego-Narratives","authors":"E. Selyutina","doi":"10.15826/qr.2023.1.781","DOIUrl":"https://doi.org/10.15826/qr.2023.1.781","url":null,"abstract":"This article examines literary interviews of Ural authors A. Salnikov and E. Simonova. The narrative analysis of the interview makes it possible to identify how the writer defines the writer’s mission, draw a conclusion about the strategies of public self-perception, its emotional dominants, and aspects of understanding the legitimacy of writing in the current literary process. The narrative about the author has a metatextual character, which is a result of the reconstruction of recurring (repetitive) motifs which are personally (emotionally) or supra-personally (culturally, regionally, nationally) conditioned. The “history of authorship” is enclosed in a narrative frame (the dialogue structure of the interview, non-free speaking). Speech genres of various types (“memory”, “anecdote”, etc.) freely circulate inside the interview. The writers’ narrative is interpreted as part of a “big story” about authorship told by its participants for a wide range of interested persons. The comparative analysis of the selected authors relates to the general moments of the creative fate of the writers (participants of the “Nizhny Tagil Renaissance” and, more broadly, the literary life of the Urals). The narrative frame of their interview depends on the fact of the “second debut” and puts Simonova and Salnikov in a situation of retrospective introspection. The event of entering the world of writers (the effectiveness of the event) is understood as a deviation from the natural course of things (Salnikov). Simonova’s self-perception speaks of a return to normality, to the natural existence of the creator in the world of words. The author makes a conclusion regarding the peculiarities of Salnikov’s and Simonova’s individual and creative self-mythologisation. For Salnikov, it is marginalisation: the writer mythologises the author’s path by crossing the border between the world of “non-writers” to the marginal world of poets. For Simonova, it is ironic casualisation: she deliberately denies poetic insights, giving importance to the ethical symmetry of talent and man through the development of self-depreciation traditional for Russian literature etiquette. The situation of the “second debut” (widely known among the reading public of different types), depending on different factors in each case but equally significant in the manifestation of writers in the public space, demonstrates the stability of the conditions accepted for themselves as authors throughout the creative path, is a way to establish the foundations of personal vitality.","PeriodicalId":43664,"journal":{"name":"Quaestio Rossica","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48810834","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Old Russian scribes repeatedly tried to refute and devalue the abilities of the sorcerers in works of various genres. However, despite all attempts to instill in people a negative attitude towards sorcery, in the seventeenth century, both commoners and rulers turned for help to magicians, sorcerers, whisperers, astrologers, shamans, etc. at difficult times of their lives. A centuries-old tradition behind such appeals forced preachers to use various poetological and psychological methods of persuasion and suggestion. This article explores the rhetorical suggestive techniques and features of the argumentation system in homilies against sorcery, which are part of Izmaragd, an Old Russian collection of regulatory texts of stable composition. The author refers to The Homily of the Holy Fathers on Sorcery, a part of the 16th-century Izmaragd, and The Homily of St John Chrysostom on Those Who Are Cured of Illness by Sorcery, which is part of the Izmaragd. In 17th-century Izmaragd, The Homily of the Holy Fathers about Sorcery is part of The Homily about Those Who Are Treated by Sorcery and does not exist separately as an independent text. Therefore, referring to these texts, one can trace how the original suggestive rhetorical devices and argumentation change. The study demonstrates that in comparison with The Homily of the Holy Fathers about Sorcery, The Homily about Those Who Are Treated by Sorcery, uses a richer palette of rhetorical and psychological methods of influencing the audience. The communicative goal of convincing people to refuse to turn to sorcerers is achieved in different ways. Perhaps due to the brevity of the text itself, The Homily of the Holy Fathers on Sorcery employs simple traditional means, i. e. multiple repetitions and appeal to authority (indirect quotations). The Homily about Those Who Are Treated by Sorcery employs a different, more subtle technology of speech hypnosis in the form of direct and contextual suggestions. In addition to the rhetorical devices typical of old Russian sermons (repetitions, rhetorical questions, exclamations, appeals, comparison, etc.), the text contains an extensive system of argumentation. Appeals to authority (in particular, its subtype – appeal to fame) combine with examples that are a model of behaviour and an anti-model, as well as with maxims of a different nature (intimidating, containing promises). The two Homilies demonstrate two completely different systems of speech impact on the audience. It is unnecessary to talk about the intentional transformation of original rhetorical suggestive devices and systems of argumentation in relation to these texts. Most likely, The Homily of the Holy Fathers about Sorcery inherits the oral tradition of delivering sermons and therefore is based on simple methods of suggestion easily perceived by the ear, and The Homily about Those Who Are Treated by Sorcery, conceived as a written text, was created based on old rhetorical schools.
{"title":"Denunciations of Sorcery as Demonic Possession in Old Russian Izmaragd","authors":"O. Tufanova","doi":"10.15826/qr.2023.1.773","DOIUrl":"https://doi.org/10.15826/qr.2023.1.773","url":null,"abstract":"Old Russian scribes repeatedly tried to refute and devalue the abilities of the sorcerers in works of various genres. However, despite all attempts to instill in people a negative attitude towards sorcery, in the seventeenth century, both commoners and rulers turned for help to magicians, sorcerers, whisperers, astrologers, shamans, etc. at difficult times of their lives. A centuries-old tradition behind such appeals forced preachers to use various poetological and psychological methods of persuasion and suggestion. This article explores the rhetorical suggestive techniques and features of the argumentation system in homilies against sorcery, which are part of Izmaragd, an Old Russian collection of regulatory texts of stable composition. The author refers to The Homily of the Holy Fathers on Sorcery, a part of the 16th-century Izmaragd, and The Homily of St John Chrysostom on Those Who Are Cured of Illness by Sorcery, which is part of the Izmaragd. In 17th-century Izmaragd, The Homily of the Holy Fathers about Sorcery is part of The Homily about Those Who Are Treated by Sorcery and does not exist separately as an independent text. Therefore, referring to these texts, one can trace how the original suggestive rhetorical devices and argumentation change. The study demonstrates that in comparison with The Homily of the Holy Fathers about Sorcery, The Homily about Those Who Are Treated by Sorcery, uses a richer palette of rhetorical and psychological methods of influencing the audience. The communicative goal of convincing people to refuse to turn to sorcerers is achieved in different ways. Perhaps due to the brevity of the text itself, The Homily of the Holy Fathers on Sorcery employs simple traditional means, i. e. multiple repetitions and appeal to authority (indirect quotations). The Homily about Those Who Are Treated by Sorcery employs a different, more subtle technology of speech hypnosis in the form of direct and contextual suggestions. In addition to the rhetorical devices typical of old Russian sermons (repetitions, rhetorical questions, exclamations, appeals, comparison, etc.), the text contains an extensive system of argumentation. Appeals to authority (in particular, its subtype – appeal to fame) combine with examples that are a model of behaviour and an anti-model, as well as with maxims of a different nature (intimidating, containing promises). The two Homilies demonstrate two completely different systems of speech impact on the audience. It is unnecessary to talk about the intentional transformation of original rhetorical suggestive devices and systems of argumentation in relation to these texts. Most likely, The Homily of the Holy Fathers about Sorcery inherits the oral tradition of delivering sermons and therefore is based on simple methods of suggestion easily perceived by the ear, and The Homily about Those Who Are Treated by Sorcery, conceived as a written text, was created based on old rhetorical schools.","PeriodicalId":43664,"journal":{"name":"Quaestio Rossica","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49182052","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In its self-affirmation in the cultural field and its defiance of the extremes of Symbolism, Acmeism insisted on the diversity of its creative possibilities, the preference of the worldly content to the otherworldly, the development of a clear and transparent artistic form, the self-identity of artistic realities, and their balance. All this testified to the tendency to classical artistry, which determines not only the form of works (language and poetic style, composition) but the content (circle of ideas, problems, themes and images, and plot). The author examines how this system comprehends the chaotic and disharmonic that are part of life within its boundaries of cosmographic properties (harmonious, bright, optimistic). Earthly life as a reality declared a priority in the Acmeist paradigm is full of hostility, threats, and danger. Also of interest are the questions of how the negative category of the scary manifests itself and whether its presence testifies to the connection of Acmeism with the non-classical artistry of modernism. Answers to these questions form and represent the problems of this article. Referring to the works of N. Gumilyov, A. Akhmatova, and O. Mandelstam, the author explores the image and artistic understanding of the scary in Acmeist poetry. The article demonstrates a variety of objects, phenomena of reality, life processes, connections, and relationships that cause unpleasant feelings and experiences in poetic perception. On the one hand, the poets’ fears are due to personal characteristics and predilections, i. e., they have an individual nature and, on the other hand, they express the general tendencies of Acmeism. For Gumilyov, the dangers are associated with his love of travel. Hence the presence of a spatial component in the adventurous topic of his poems: the characters participate in battles with the sea, evil animals – the inhabitants of the African savannah, fantastic creatures, for example, with a dragon, visit the afterlife. The fears of Akhmatova’s lyrical heroine are motivated by dramatic collisions of the interpersonal, primarily love and relationships. The terrible thing for Mandelstam lurks in the fatal illness predicted to him, the sacred depth of religious faith, and the collapse of the world of cultural values that feeds his spiritual self-sufficiency. Acmeists were not afraid to depict and comprehend death, bearing the emptiness of non-existence, promising a frightening collision with the unknown and otherworldly, and plunging into a stupor of hopelessness. The scary made it possible to expand the thematic and pictorial possibilities of the works, address sociocultural issues, and reflect the tragedy of life becoming a marker of the high standard artistry of modernism.
{"title":"The Scary in Acmeist Poetry as a Marker of Modernist Artistry","authors":"Igor Vasiliev","doi":"10.15826/qr.2023.1.779","DOIUrl":"https://doi.org/10.15826/qr.2023.1.779","url":null,"abstract":"In its self-affirmation in the cultural field and its defiance of the extremes of Symbolism, Acmeism insisted on the diversity of its creative possibilities, the preference of the worldly content to the otherworldly, the development of a clear and transparent artistic form, the self-identity of artistic realities, and their balance. All this testified to the tendency to classical artistry, which determines not only the form of works (language and poetic style, composition) but the content (circle of ideas, problems, themes and images, and plot). The author examines how this system comprehends the chaotic and disharmonic that are part of life within its boundaries of cosmographic properties (harmonious, bright, optimistic). Earthly life as a reality declared a priority in the Acmeist paradigm is full of hostility, threats, and danger. Also of interest are the questions of how the negative category of the scary manifests itself and whether its presence testifies to the connection of Acmeism with the non-classical artistry of modernism. Answers to these questions form and represent the problems of this article. Referring to the works of N. Gumilyov, A. Akhmatova, and O. Mandelstam, the author explores the image and artistic understanding of the scary in Acmeist poetry. The article demonstrates a variety of objects, phenomena of reality, life processes, connections, and relationships that cause unpleasant feelings and experiences in poetic perception. On the one hand, the poets’ fears are due to personal characteristics and predilections, i. e., they have an individual nature and, on the other hand, they express the general tendencies of Acmeism. For Gumilyov, the dangers are associated with his love of travel. Hence the presence of a spatial component in the adventurous topic of his poems: the characters participate in battles with the sea, evil animals – the inhabitants of the African savannah, fantastic creatures, for example, with a dragon, visit the afterlife. The fears of Akhmatova’s lyrical heroine are motivated by dramatic collisions of the interpersonal, primarily love and relationships. The terrible thing for Mandelstam lurks in the fatal illness predicted to him, the sacred depth of religious faith, and the collapse of the world of cultural values that feeds his spiritual self-sufficiency. Acmeists were not afraid to depict and comprehend death, bearing the emptiness of non-existence, promising a frightening collision with the unknown and otherworldly, and plunging into a stupor of hopelessness. The scary made it possible to expand the thematic and pictorial possibilities of the works, address sociocultural issues, and reflect the tragedy of life becoming a marker of the high standard artistry of modernism.","PeriodicalId":43664,"journal":{"name":"Quaestio Rossica","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42583456","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The social changes of the modern era influence young people’s value preferences. This paper presents the results of a comprehensive linguo-cognitive and sociopsychological experimental study by a team of linguists from Ural Federal University, which aims to determine students’ value coordinates. In the first stage, based on the original procedure for revealing the key concepts of Russian mentality, the authors constructed a list of 59 nationwide core values and presented them to 633 first-year students at Ural Federal University. As a result of further content interpretation of the material, the researchers discovered that the generation of young people born in post-Soviet Russia is becoming a bearer of new values. The lack of interest in political institutions, the formation of self-mentalism, and micro-solidarity within the narrow circle of family and close people – these value preferences outlined a core of eight basic concepts, having an abstract nature, which required concretisation. At the next stage, the authors presented a questionnaire including a detailed semantic structure of nuclear concepts to first-year students (650 respondents) to determine the nuclear and peripheral conceptual meanings in students’ language consciousness. The cluster analysis of the material demonstrated that the top level of the dendrogram is occupied by the concept of the well-being of loved ones. The paper reveals the complex semantics of the “well-being” concept and shows the axiological dynamics in comprehending the axiologeme. According to historical and Church Slavonic lexicographic sources, the “well-being” linguistic unit has implicitly combined the values of the material, physical, ideal, and spiritual since the eleventh century. Twentieth-century dictionaries confirm the presence of two zones in the semantics of the concept, i. e. the inseparable unity of the spiritual and the material. Students express their choice in favour of the spiritual side of well-being. The article shows that on the upper levels of the dendrogram, there are four basic values in a complex: the concepts of family, self-realisation, faith, and happiness. Also, the authors confirm the status of the self-realisation value sense for young people at the student level, which is directly related to the family and its well-being. As for the cognitive attributes of the faith concept, the students preferred the selfrealisation value sense, which suggests that the respondents have faith in their abilities and capabilities, positive self-esteem, and trust in themselves. Values related to material well-being are on the periphery of the linguistic consciousness of Ural youth, which does not fit in the general picture of the observed pragmatic attitude of young people to modern reality. It has been suggested that the current picture of the hierarchy of value attributes is declarative: young people who have recently left school have a clear idea of the necessary norms of social behaviour establ
{"title":"The Value System of Today’s Students: From Family Well-Being to Self-Realisation","authors":"I. Vepreva, T. Itskovich, O. Mikhailova","doi":"10.15826/qr.2023.1.789","DOIUrl":"https://doi.org/10.15826/qr.2023.1.789","url":null,"abstract":"The social changes of the modern era influence young people’s value preferences. This paper presents the results of a comprehensive linguo-cognitive and sociopsychological experimental study by a team of linguists from Ural Federal University, which aims to determine students’ value coordinates. In the first stage, based on the original procedure for revealing the key concepts of Russian mentality, the authors constructed a list of 59 nationwide core values and presented them to 633 first-year students at Ural Federal University. As a result of further content interpretation of the material, the researchers discovered that the generation of young people born in post-Soviet Russia is becoming a bearer of new values. The lack of interest in political institutions, the formation of self-mentalism, and micro-solidarity within the narrow circle of family and close people – these value preferences outlined a core of eight basic concepts, having an abstract nature, which required concretisation. At the next stage, the authors presented a questionnaire including a detailed semantic structure of nuclear concepts to first-year students (650 respondents) to determine the nuclear and peripheral conceptual meanings in students’ language consciousness. The cluster analysis of the material demonstrated that the top level of the dendrogram is occupied by the concept of the well-being of loved ones. The paper reveals the complex semantics of the “well-being” concept and shows the axiological dynamics in comprehending the axiologeme. According to historical and Church Slavonic lexicographic sources, the “well-being” linguistic unit has implicitly combined the values of the material, physical, ideal, and spiritual since the eleventh century. Twentieth-century dictionaries confirm the presence of two zones in the semantics of the concept, i. e. the inseparable unity of the spiritual and the material. Students express their choice in favour of the spiritual side of well-being. The article shows that on the upper levels of the dendrogram, there are four basic values in a complex: the concepts of family, self-realisation, faith, and happiness. Also, the authors confirm the status of the self-realisation value sense for young people at the student level, which is directly related to the family and its well-being. As for the cognitive attributes of the faith concept, the students preferred the selfrealisation value sense, which suggests that the respondents have faith in their abilities and capabilities, positive self-esteem, and trust in themselves. Values related to material well-being are on the periphery of the linguistic consciousness of Ural youth, which does not fit in the general picture of the observed pragmatic attitude of young people to modern reality. It has been suggested that the current picture of the hierarchy of value attributes is declarative: young people who have recently left school have a clear idea of the necessary norms of social behaviour establ","PeriodicalId":43664,"journal":{"name":"Quaestio Rossica","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43203431","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Dramas of Time in the Space of Emotions","authors":"L. Soboleva","doi":"10.15826/qr.2023.1.772","DOIUrl":"https://doi.org/10.15826/qr.2023.1.772","url":null,"abstract":"<jats:p>___</jats:p>","PeriodicalId":43664,"journal":{"name":"Quaestio Rossica","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41314269","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines The Tale of the Mammoth and the Glacier Man, an unfinished novel by P. L. Dravert. The text is analysed from the point of view of prehistoric fiction and science fiction, as well as from the point of view of the reflection of constants basic for the “Siberian text” of Russian literature. The “Siberian text” was first put forward by V. I. Tyupa. In Russian culture, Siberia is connected with several ideas. It is a place for exiles, a place of death and resurrection, a utopian paradise, and a territory where mammoths lived. Dravert’s work contains all these characteristics. At the turn of the twentieth century, in Russian literature, there appear several texts about ancient mammoth hunters. It was possible due to the development of paleontology as a science. Dravert’s texts stand out from the texts on the same topic. The writer does not show the world of the past to the reader but brings the ancient man to early twentieth-century Siberia. With the help of comparative analysis, the author identifies typical features of the paleo-fiction of Russian modernism (the figure of a mammoth, the topos of a fire, non-localisation in time), as well as the innovations introduced by Dravert. The novel considers not only the Russian traditions of depicting Siberia but also the tradition of Jules Verne. The very figure of the mammoth, extremely significant for modernism, also goes back to the “Siberian” and “Permian” texts (traditions common in Siberia). The author concludes that the text reproduces the unfinished novel of the constants characteristic of the “Siberian text” when their function changes: all established clichés begin to serve as an adventure plot in the spirit of Jules Verne.
{"title":"P. L. Dravert’s Prehistoric Science Fiction in the “Siberian Text” of Russian Literature","authors":"Tatiana I. Khoruzhenko","doi":"10.15826/qr.2023.1.791","DOIUrl":"https://doi.org/10.15826/qr.2023.1.791","url":null,"abstract":"This article examines The Tale of the Mammoth and the Glacier Man, an unfinished novel by P. L. Dravert. The text is analysed from the point of view of prehistoric fiction and science fiction, as well as from the point of view of the reflection of constants basic for the “Siberian text” of Russian literature. The “Siberian text” was first put forward by V. I. Tyupa. In Russian culture, Siberia is connected with several ideas. It is a place for exiles, a place of death and resurrection, a utopian paradise, and a territory where mammoths lived. Dravert’s work contains all these characteristics. At the turn of the twentieth century, in Russian literature, there appear several texts about ancient mammoth hunters. It was possible due to the development of paleontology as a science. Dravert’s texts stand out from the texts on the same topic. The writer does not show the world of the past to the reader but brings the ancient man to early twentieth-century Siberia. With the help of comparative analysis, the author identifies typical features of the paleo-fiction of Russian modernism (the figure of a mammoth, the topos of a fire, non-localisation in time), as well as the innovations introduced by Dravert. The novel considers not only the Russian traditions of depicting Siberia but also the tradition of Jules Verne. The very figure of the mammoth, extremely significant for modernism, also goes back to the “Siberian” and “Permian” texts (traditions common in Siberia). The author concludes that the text reproduces the unfinished novel of the constants characteristic of the “Siberian text” when their function changes: all established clichés begin to serve as an adventure plot in the spirit of Jules Verne.","PeriodicalId":43664,"journal":{"name":"Quaestio Rossica","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46883336","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
At the post-tourism stage, the attitude towards travel perceived as a way to get a unique experience and associated with a kind of game is changing. Along with this, destinations also begin to be perceived differently – as something modelled in accordance with the expectations of the tourist and their subjective ideas about local culture, which inevitably leads to conflicts with the local population, who do not want to adapt to the needs of “strangers”. The protest against the exploitation of local identity and excessive tourist flow has led to the emergence of tourism-phobia, which takes on various forms – from reflecting a negative attitude towards tourists in various languages to anti-tourist public organisations. Overcoming the fear of visitors who can change the usual way of life and impose a new identity becomes one of the most important elements for the successful development of tourism in a destination. In this regard, cases of cities that are gaining popularity among niche tourists are of particular interest. The article considers the examples of Magnitogorsk and Vyksa, two metallurgical monotowns – leaders of Russian industrial tourism. The author demonstrates that the presence of a historically established image known outside the city can reduce the risk of tourism-phobia, while as a result of the lack of explicit self-representation, inauthentic attractors arise (such as the Art-Ovrag / Vyksa Festival), which are attractive to tourists but rejected by the local community, which becomes an obstacle to the harmonious development of tourism and hospitality in a particular location. Building communication with the locals which helps demonstrate the positive aspects of the inevitable transformation, the search for compromises and the formation of industrial pride is the key to levelling the negative effects of tourism and the successful implementation of creative projects in industrial single-industry towns.
{"title":"How Not to Get Stuck in an Art-Ovrag: Tourism-phobia and Modern Coping Strategies","authors":"E. Bugrova","doi":"10.15826/qr.2023.1.783","DOIUrl":"https://doi.org/10.15826/qr.2023.1.783","url":null,"abstract":"At the post-tourism stage, the attitude towards travel perceived as a way to get a unique experience and associated with a kind of game is changing. Along with this, destinations also begin to be perceived differently – as something modelled in accordance with the expectations of the tourist and their subjective ideas about local culture, which inevitably leads to conflicts with the local population, who do not want to adapt to the needs of “strangers”. The protest against the exploitation of local identity and excessive tourist flow has led to the emergence of tourism-phobia, which takes on various forms – from reflecting a negative attitude towards tourists in various languages to anti-tourist public organisations. Overcoming the fear of visitors who can change the usual way of life and impose a new identity becomes one of the most important elements for the successful development of tourism in a destination. In this regard, cases of cities that are gaining popularity among niche tourists are of particular interest. The article considers the examples of Magnitogorsk and Vyksa, two metallurgical monotowns – leaders of Russian industrial tourism. The author demonstrates that the presence of a historically established image known outside the city can reduce the risk of tourism-phobia, while as a result of the lack of explicit self-representation, inauthentic attractors arise (such as the Art-Ovrag / Vyksa Festival), which are attractive to tourists but rejected by the local community, which becomes an obstacle to the harmonious development of tourism and hospitality in a particular location. Building communication with the locals which helps demonstrate the positive aspects of the inevitable transformation, the search for compromises and the formation of industrial pride is the key to levelling the negative effects of tourism and the successful implementation of creative projects in industrial single-industry towns.","PeriodicalId":43664,"journal":{"name":"Quaestio Rossica","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44303288","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article reviews Svyatopolk-Mirsky, a book by M. V. Efimov and G. Smith published by Molodaya gvardiya in the Lives of Remarkable People series (2021). It was written by the oldest English specialist in Russian literature Professor G. S. Smith and a well-known Russian researcher of the literature and culture of Russia abroad M. V. Efimov. Both have studied the life and literary legacy of the character of their book for many years. For the first time in Russia, using the Russian and European tradition of biographical studies and historical-literary, cultural, and textual practices, the authors have carried out a full-scale reconstruction of the biography of one of the most striking and enigmatic figures of the first wave of the Russian emigration. The authors of the book introduce a significant scope of archival materials and memories of contemporaries, hard-to-access English and émigré periodicals, and other sources into scholarly circulation. It makes it possible to create a detailed account of the main events of prince D. P. Svyatopolk-Mirsky’s life – from his childhood to his tragic death in the Magadan camp, dramatic twists of fate and the reasons behind them, his close circle and distant environment, the political, historical, cultural, and literary context of the events described. The biographers’ interest in the inner world and the psychology of Svyatopolk-Mirsky’s actions is combined with a subtle philological analysis of his literary criticism and studies. According to the reviewers, the book is a major event in the Russian literary, political, and cultural history of the 1920s–1930s.
{"title":"The Life and Death of the Red Prince","authors":"O. Osovsky, V. Kirzhaeva","doi":"10.15826/qr.2023.1.794","DOIUrl":"https://doi.org/10.15826/qr.2023.1.794","url":null,"abstract":"This article reviews Svyatopolk-Mirsky, a book by M. V. Efimov and G. Smith published by Molodaya gvardiya in the Lives of Remarkable People series (2021). It was written by the oldest English specialist in Russian literature Professor G. S. Smith and a well-known Russian researcher of the literature and culture of Russia abroad M. V. Efimov. Both have studied the life and literary legacy of the character of their book for many years. For the first time in Russia, using the Russian and European tradition of biographical studies and historical-literary, cultural, and textual practices, the authors have carried out a full-scale reconstruction of the biography of one of the most striking and enigmatic figures of the first wave of the Russian emigration. The authors of the book introduce a significant scope of archival materials and memories of contemporaries, hard-to-access English and émigré periodicals, and other sources into scholarly circulation. It makes it possible to create a detailed account of the main events of prince D. P. Svyatopolk-Mirsky’s life – from his childhood to his tragic death in the Magadan camp, dramatic twists of fate and the reasons behind them, his close circle and distant environment, the political, historical, cultural, and literary context of the events described. The biographers’ interest in the inner world and the psychology of Svyatopolk-Mirsky’s actions is combined with a subtle philological analysis of his literary criticism and studies. According to the reviewers, the book is a major event in the Russian literary, political, and cultural history of the 1920s–1930s.","PeriodicalId":43664,"journal":{"name":"Quaestio Rossica","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45646212","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The analysis of graphic works by the amateur artist A. N. Valevsky (1896–1938) from the collection of the Ulyanovsk Regional Art Museum makes it possible to get a subjective view of the events of the Civil War in Russia. An officer of Kolchak’s army and later a commander of the Red Army, in his drawings, Valevsky recorded not only the everyday realities of the era but also his own experiences and feelings. The famous Soviet painters of the 1920s‑1930s (M. B. Grekov, A. A. Deineka, K. S. Petrov-Vodkin, B. V. Johanson, etc.) avoided any personal interpretation of the events and independent assessments of the revolutionary cataclysms in their epic paintings dedicated to the Civil War. Such a thing is rare in the works of White émigré artists. On the other hand, amateur artists, for whom the documentation of events happening around and internal experiences was a vital need, more often allowed themselves to interpret the history of the “Russian troubles”. Valevsky created his drawings between 1921 and 1925, after the artist’s return to peaceful life and, thus, they can be perceived as memories of what he had experienced. The manner of his graphic works is diverse; they combine grotesque techniques with an attempt to capture reality, and tragic episodes go hand in hand with romantic and comical. In many compositions, the author includes examples of urban and military folklore, lines from poems, romances, and ditties popular among ordinary people. This technique gives the plots both the “spirit of the times” and metaphoricism important for a work of art – the meaningfulness of images. According to the article, the examination of the material also gives a feeling of the autobiographical nature of the entire graphic cycle.
对乌里扬诺夫斯克地区艺术博物馆收藏的业余艺术家a. N. Valevsky(1896-1938)的图形作品进行分析，可以对俄罗斯内战的事件进行主观的看法。作为高尔察克军队的一名军官，后来成为红军的指挥官，瓦列夫斯基在他的绘画中不仅记录了那个时代的日常现实，还记录了他自己的经历和感受。20世纪20年代至30年代的著名苏联画家(m.b. Grekov、a.a. Deineka、k.s. Petrov-Vodkin、b.v. Johanson等)在他们描绘内战的史诗绘画中，避免对事件进行任何个人解释和对革命灾难的独立评估。这样的事情在白人移民艺术家的作品中是罕见的。另一方面，对业余艺术家来说，记录周围发生的事件和内部经历是至关重要的需求，他们更经常允许自己解释“俄罗斯麻烦”的历史。瓦列夫斯基在1921年至1925年间创作了他的画作，在艺术家回归平静生活之后，因此，它们可以被视为他所经历的记忆。他的图形作品的方式是多样的;他们将怪诞的技巧与捕捉现实的尝试结合起来，悲剧情节与浪漫和喜剧齐头并进。在许多作品中，作者包括城市和军事民间传说的例子，诗歌的台词，爱情故事，以及普通民众中流行的小曲。这种手法使情节既有“时代精神”，又有对艺术作品很重要的隐喻性——意象的意义。文章认为，对材料的考察也给人一种整个图形周期的自传体性质的感觉。
{"title":"A Personal History of the Civil War in Alexander Valevsky’s Drawings","authors":"E. Alekseev","doi":"10.15826/qr.2023.1.777","DOIUrl":"https://doi.org/10.15826/qr.2023.1.777","url":null,"abstract":"The analysis of graphic works by the amateur artist A. N. Valevsky (1896–1938) from the collection of the Ulyanovsk Regional Art Museum makes it possible to get a subjective view of the events of the Civil War in Russia. An officer of Kolchak’s army and later a commander of the Red Army, in his drawings, Valevsky recorded not only the everyday realities of the era but also his own experiences and feelings. The famous Soviet painters of the 1920s‑1930s (M. B. Grekov, A. A. Deineka, K. S. Petrov-Vodkin, B. V. Johanson, etc.) avoided any personal interpretation of the events and independent assessments of the revolutionary cataclysms in their epic paintings dedicated to the Civil War. Such a thing is rare in the works of White émigré artists. On the other hand, amateur artists, for whom the documentation of events happening around and internal experiences was a vital need, more often allowed themselves to interpret the history of the “Russian troubles”. Valevsky created his drawings between 1921 and 1925, after the artist’s return to peaceful life and, thus, they can be perceived as memories of what he had experienced. The manner of his graphic works is diverse; they combine grotesque techniques with an attempt to capture reality, and tragic episodes go hand in hand with romantic and comical. In many compositions, the author includes examples of urban and military folklore, lines from poems, romances, and ditties popular among ordinary people. This technique gives the plots both the “spirit of the times” and metaphoricism important for a work of art – the meaningfulness of images. According to the article, the examination of the material also gives a feeling of the autobiographical nature of the entire graphic cycle.","PeriodicalId":43664,"journal":{"name":"Quaestio Rossica","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45663303","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article considers the cholera epidemic (cholera morbus), which first shook Russia in the early 1830s, and more precisely, the time when cholera reached Moscow (summer and autumn of 1830). The article draws on numerous pieces of documentary evidence from those years and later. The cultural and historical approach to studying them makes it possible to present a “bitterly deplorable picture of the dying humanity” and assess the degree of fear and depression in people in the face of the “Indian infection” previously unknown to medicine. The article interprets “cholera morbus” as a fact that is tragically significant not only for Russian public life but also as a literary situation in which a human being faces death. Using the biographical method, the author studies the literary situation referring to the creative behaviour of two authors, A. A. Orlov, and M. Yu. Lermontov. Orlov entered the history of Russian literature as a “grassroots writer” (A. I. Reitblat) known as the author of parody arrangements of the “Vyzhigin” novels by F. V. Bulgarin. However, Orlov also wrote the “Moscow story” known as The Meeting of Plague with Cholera, or The Sudden Destruction of all Human Intentions (1830), which, due to the established literary reputation of the author, does not attract researchers’ attention. The article notes that by parodying the genre form of a vision traditionally designed for the mass reader, Orlov fills it with cutting-edge content and even sends a civic message encouraging readers and instilling faith in God and the Sovereign. Staying in Moscow for the entire epidemic, M. Yu. Lermontov would for the first time get real experience of facing death, which would be reflected in his work. Analysing the poems of different genres (Plague in Saratov, Plague (Excerpt), Grave of a Fighter, Death – Sunset Burns with a Fiery Streak…) created in 1830 during the cholera epidemic (as evidenced by the marks in the autograph), the author of the article concludes that cholera morbus was perceived by the young poet, unlike the creator of the “Moscow story”, not in a particular historical aspect but in philosophical terms. The experience of death, aggravated by the “picture of the dying humanity”, contributed to Lermontov’s comprehension of the eternal antinomy of being in its dialectical unity. Death and life, death and immortality would become a cross-cutting theme in Lermontov’s work giving it philosophical depth and timeless content.
{"title":"“Cholera Morbus” in Moscow as a Literary Situation","authors":"S. Ermolenko","doi":"10.15826/qr.2023.1.774","DOIUrl":"https://doi.org/10.15826/qr.2023.1.774","url":null,"abstract":"This article considers the cholera epidemic (cholera morbus), which first shook Russia in the early 1830s, and more precisely, the time when cholera reached Moscow (summer and autumn of 1830). The article draws on numerous pieces of documentary evidence from those years and later. The cultural and historical approach to studying them makes it possible to present a “bitterly deplorable picture of the dying humanity” and assess the degree of fear and depression in people in the face of the “Indian infection” previously unknown to medicine. The article interprets “cholera morbus” as a fact that is tragically significant not only for Russian public life but also as a literary situation in which a human being faces death. Using the biographical method, the author studies the literary situation referring to the creative behaviour of two authors, A. A. Orlov, and M. Yu. Lermontov. Orlov entered the history of Russian literature as a “grassroots writer” (A. I. Reitblat) known as the author of parody arrangements of the “Vyzhigin” novels by F. V. Bulgarin. However, Orlov also wrote the “Moscow story” known as The Meeting of Plague with Cholera, or The Sudden Destruction of all Human Intentions (1830), which, due to the established literary reputation of the author, does not attract researchers’ attention. The article notes that by parodying the genre form of a vision traditionally designed for the mass reader, Orlov fills it with cutting-edge content and even sends a civic message encouraging readers and instilling faith in God and the Sovereign. Staying in Moscow for the entire epidemic, M. Yu. Lermontov would for the first time get real experience of facing death, which would be reflected in his work. Analysing the poems of different genres (Plague in Saratov, Plague (Excerpt), Grave of a Fighter, Death – Sunset Burns with a Fiery Streak…) created in 1830 during the cholera epidemic (as evidenced by the marks in the autograph), the author of the article concludes that cholera morbus was perceived by the young poet, unlike the creator of the “Moscow story”, not in a particular historical aspect but in philosophical terms. The experience of death, aggravated by the “picture of the dying humanity”, contributed to Lermontov’s comprehension of the eternal antinomy of being in its dialectical unity. Death and life, death and immortality would become a cross-cutting theme in Lermontov’s work giving it philosophical depth and timeless content.","PeriodicalId":43664,"journal":{"name":"Quaestio Rossica","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44503470","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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