{"title":"米哈伊尔·穆拉约夫和瓦西里·茹科夫斯基“法庭教育学”中的教育期刊。一条","authors":"D. V. Dolgushin","doi":"10.17223/23062061/23/1","DOIUrl":null,"url":null,"abstract":"In 1829–1831, Vasily Zhukovsky, a mentor to the heir to the throne, published two pedagogical journals Sobiratel’ [The Collector] (1829) and Muraveynik [The Ant Hill] (1831). Zhukovsky’s publishing project was greatly influenced by the traditions of court pedagogy associated with the name of Mikhail Muravyov, who taught Russian literature, Russian history and moral philosophy to Grand Dukes Alexander and Konstantin Pavlovich for many years. Muravyov wrote many prose works of an artistic and didactic nature, which were printed in a small number of copies in the Imperial printing house. One of all these publications is important: “Obitatel’ Predmestya, Periodicheskiye Listy” [The Inhabitant of the Suburbs, Periodical Sheets] (1790); it was published weekly and is the closest analogue to the court pedagogical journals of Zhukovsky. The publication is part of a prose cycle—a trilogy which also includes “Bernovskie Pis’ma” [Bernovo Letters] and “Emilievy Pis’ma” [Emil’s Letters], that Muravyov used in pedagogical practice. Muravyov tried to create a kind of a friendly community with his students, a small circle in which the sentimentalist model of communication of souls was to be realised. His prose was intended to contribute to the formation of this group space and therefore was saturated with the circle semantics. The latter particularly manifested itself in the correlation of the image of the main child character of the trilogy, Vasinka, with the personality of one of Muravyov’s students— Grand Duke Konstantin Pavlovich. Vasinka in “Emilievy Pis’ma” is an improved version of Konstantin. Vasinka has the same advantages as Konstantin and successfully fights with his shortcomings. However, the message of the trilogy is not so straightforward as to be limited by the boundaries of the circle. On the contrary, it tends to maximise universality, creating a kind of an encyclopedia of the universe, which includes people, nature, and works of art. There is no room only for urban civilisation. The diversity of the world in the trilogy is brought to the common denominator of the village idyll. Therefore, the plot of Muravyov’s narrative is weakened, because the idyll is essentially eventless. This is not a chain of events, but a series of images. This is what provides not only didactic “visibility”, but also the potential “mediality” of the text, gives the text the ability to be distributed in issues and integrate into life, merge with its chronological and everyday flow. The idyllic pictures of “Emil’s cycle” are brought together by the axiomatic level of the text. It is most clearly articulated in the conversation of the inhabitant of the suburb with Ilanov—a religious and philosophical discourse in which ethics is combined with metaphysics and cosmology. All these features of “Emil’s trilogy” were further continued and developed in Zhukovsky’s pedagogical journals. The following article will be devoted to a detailed analysis of this continuity.","PeriodicalId":40676,"journal":{"name":"Tekst Kniga Knigoizdanie-Text Book Publishing","volume":"13 1","pages":""},"PeriodicalIF":0.1000,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Educational Periodicals in the “Court Pedagogy” of Mikhail Muravyov and Vasily Zhukovsky. Article One\",\"authors\":\"D. V. Dolgushin\",\"doi\":\"10.17223/23062061/23/1\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In 1829–1831, Vasily Zhukovsky, a mentor to the heir to the throne, published two pedagogical journals Sobiratel’ [The Collector] (1829) and Muraveynik [The Ant Hill] (1831). Zhukovsky’s publishing project was greatly influenced by the traditions of court pedagogy associated with the name of Mikhail Muravyov, who taught Russian literature, Russian history and moral philosophy to Grand Dukes Alexander and Konstantin Pavlovich for many years. Muravyov wrote many prose works of an artistic and didactic nature, which were printed in a small number of copies in the Imperial printing house. One of all these publications is important: “Obitatel’ Predmestya, Periodicheskiye Listy” [The Inhabitant of the Suburbs, Periodical Sheets] (1790); it was published weekly and is the closest analogue to the court pedagogical journals of Zhukovsky. The publication is part of a prose cycle—a trilogy which also includes “Bernovskie Pis’ma” [Bernovo Letters] and “Emilievy Pis’ma” [Emil’s Letters], that Muravyov used in pedagogical practice. Muravyov tried to create a kind of a friendly community with his students, a small circle in which the sentimentalist model of communication of souls was to be realised. His prose was intended to contribute to the formation of this group space and therefore was saturated with the circle semantics. The latter particularly manifested itself in the correlation of the image of the main child character of the trilogy, Vasinka, with the personality of one of Muravyov’s students— Grand Duke Konstantin Pavlovich. Vasinka in “Emilievy Pis’ma” is an improved version of Konstantin. Vasinka has the same advantages as Konstantin and successfully fights with his shortcomings. However, the message of the trilogy is not so straightforward as to be limited by the boundaries of the circle. On the contrary, it tends to maximise universality, creating a kind of an encyclopedia of the universe, which includes people, nature, and works of art. There is no room only for urban civilisation. The diversity of the world in the trilogy is brought to the common denominator of the village idyll. Therefore, the plot of Muravyov’s narrative is weakened, because the idyll is essentially eventless. This is not a chain of events, but a series of images. This is what provides not only didactic “visibility”, but also the potential “mediality” of the text, gives the text the ability to be distributed in issues and integrate into life, merge with its chronological and everyday flow. The idyllic pictures of “Emil’s cycle” are brought together by the axiomatic level of the text. It is most clearly articulated in the conversation of the inhabitant of the suburb with Ilanov—a religious and philosophical discourse in which ethics is combined with metaphysics and cosmology. All these features of “Emil’s trilogy” were further continued and developed in Zhukovsky’s pedagogical journals. 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引用次数: 0
摘要
1829年至1831年,瓦西里·茹科夫斯基,王位继承人的导师,出版了两本教学期刊《收藏者》(1829)和《蚂蚁山》(1831)。茹科夫斯基的出版计划很大程度上受到与米哈伊尔·穆拉维约夫(Mikhail Muravyov)有关的宫廷教学法传统的影响,穆拉维约夫多年来一直向亚历山大大公和康斯坦丁·帕夫洛维奇大公教授俄罗斯文学、俄罗斯历史和道德哲学。穆拉维约夫写了许多艺术和说教性质的散文作品,这些作品在帝国印刷厂少量印刷。在所有这些出版物中,有一种很重要:《Obitatel ' Predmestya, Periodicheskiye list》(1790年);它每周出版一次,与茹科夫斯基的宫廷教学期刊最相似。该出版物是穆拉维约夫在教学实践中使用的散文三部曲的一部分,三部曲还包括“Bernovskie Pis 'ma”[Bernovo Letters]和“Emilievy Pis 'ma”[埃米尔的信件]。穆拉维约夫试图和他的学生建立一种友好的团体,在这个小圈子里,情感主义的心灵交流模式得以实现。他的散文旨在促成这一群体空间的形成,因此充满了循环语义。后者尤其体现在三部曲中主要儿童角色瓦辛卡的形象与穆拉维约夫的一个学生——康斯坦丁·帕夫洛维奇大公的个性之间的联系上。《爱米丽娃》中的瓦辛卡是康斯坦丁的改良版。瓦辛卡和康斯坦丁有着同样的优势,并成功地克服了他的缺点。然而,三部曲的信息并不那么直截了当,以至于被圈子的界限所限制。相反,它倾向于最大化普遍性,创造一种宇宙百科全书,其中包括人,自然和艺术作品。没有只有城市文明的空间。世界的多样性在三部曲中被带到乡村田园牧歌的共同点。因此,穆拉维约夫叙事的情节被削弱了,因为田园诗本质上是无事件的。这不是一连串的事件,而是一系列的图像。这不仅提供了说教的“可见性”,也提供了文本潜在的“媒介性”,使文本能够分布在问题中,融入生活,与时间和日常流动相融合。“埃米尔的循环”的田园诗般的画面是由文本的公理水平汇集在一起。在郊区居民与伊拉诺夫的对话中,这一点得到了最清晰的表达——一种宗教和哲学的话语,其中伦理与形而上学和宇宙学相结合。“埃米尔三部曲”的所有这些特点在茹科夫斯基的教学期刊中得到了进一步的延续和发展。下一篇文章将专门对这种连续性进行详细分析。
Educational Periodicals in the “Court Pedagogy” of Mikhail Muravyov and Vasily Zhukovsky. Article One
In 1829–1831, Vasily Zhukovsky, a mentor to the heir to the throne, published two pedagogical journals Sobiratel’ [The Collector] (1829) and Muraveynik [The Ant Hill] (1831). Zhukovsky’s publishing project was greatly influenced by the traditions of court pedagogy associated with the name of Mikhail Muravyov, who taught Russian literature, Russian history and moral philosophy to Grand Dukes Alexander and Konstantin Pavlovich for many years. Muravyov wrote many prose works of an artistic and didactic nature, which were printed in a small number of copies in the Imperial printing house. One of all these publications is important: “Obitatel’ Predmestya, Periodicheskiye Listy” [The Inhabitant of the Suburbs, Periodical Sheets] (1790); it was published weekly and is the closest analogue to the court pedagogical journals of Zhukovsky. The publication is part of a prose cycle—a trilogy which also includes “Bernovskie Pis’ma” [Bernovo Letters] and “Emilievy Pis’ma” [Emil’s Letters], that Muravyov used in pedagogical practice. Muravyov tried to create a kind of a friendly community with his students, a small circle in which the sentimentalist model of communication of souls was to be realised. His prose was intended to contribute to the formation of this group space and therefore was saturated with the circle semantics. The latter particularly manifested itself in the correlation of the image of the main child character of the trilogy, Vasinka, with the personality of one of Muravyov’s students— Grand Duke Konstantin Pavlovich. Vasinka in “Emilievy Pis’ma” is an improved version of Konstantin. Vasinka has the same advantages as Konstantin and successfully fights with his shortcomings. However, the message of the trilogy is not so straightforward as to be limited by the boundaries of the circle. On the contrary, it tends to maximise universality, creating a kind of an encyclopedia of the universe, which includes people, nature, and works of art. There is no room only for urban civilisation. The diversity of the world in the trilogy is brought to the common denominator of the village idyll. Therefore, the plot of Muravyov’s narrative is weakened, because the idyll is essentially eventless. This is not a chain of events, but a series of images. This is what provides not only didactic “visibility”, but also the potential “mediality” of the text, gives the text the ability to be distributed in issues and integrate into life, merge with its chronological and everyday flow. The idyllic pictures of “Emil’s cycle” are brought together by the axiomatic level of the text. It is most clearly articulated in the conversation of the inhabitant of the suburb with Ilanov—a religious and philosophical discourse in which ethics is combined with metaphysics and cosmology. All these features of “Emil’s trilogy” were further continued and developed in Zhukovsky’s pedagogical journals. The following article will be devoted to a detailed analysis of this continuity.