17世纪末至19世纪初俄罗斯儿童教育书籍中的插图

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Tekst Kniga Knigoizdanie-Text Book Publishing Pub Date : 2020-08-01 DOI:10.17223/23062061/23/5
N. Panina
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In the first quarter of the 19th century, the children’s book had a typical European visual design and continued the trends inherited from the 18th century: translations, borrowings, and revised texts in publications often copied illustrations rather than made new ones. A new stage came at the end of the 1820s, when Russia was actively developing independent children’s literature, and professional authors and criticism appeared. It was the time of the pedagogical experiments of Vasily Zhukovsky. This article does not claim to analyse Zhukovsky’s pedagogical activity comprehensively, but this activity is significant for the subject-matter of the study. In his pedagogy, Zhukovsky went to a new level when searching for intermedial ways of transmission of the universal coherence of phenomena, the systemic representation of knowledge about the world, and the ideas of the world as a system. The search, though much slower, was also observed in contemporary children’s books. The integration of cognitive and didactic functions in the Russian-language children’s book of the 18th century resulted in a mix of different principles of illustration in one publication. These principles are: (1) emblematic: the title, image, and text form a three-part structure; (2) encyclopedic: the sheet contains separate numbered images of the same type of objects excluded from the visual context; (3) narrative: the plot, expressive and figurative, including caricature, illustrations are readily used in an educational book due to their persuasiveness. Each of these principles has its own ways of displaying coherence. An encyclopedic illustration shows an object in a series of similar ones, in an enumeration, shows the structure of the object. An emblem gives its symbolic and allegorical interpretation. A narrative illustration shows its functions and its involvement in causal relations, depicting the environment of events and objects. 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引用次数: 1

摘要

本文的目的是分析在俄文出版物的材料上插图的儿童教育书籍的历史转型期。这是一个中间表征的功能逐渐从象征性发展到百科全书式和叙事性比喻的时期。这一过程与儿童图书的文学史及其体裁转换有关。18世纪后30年,俄罗斯的儿童文学形成了一个独立的方向,有其特殊的目标,为进一步探索包括教育在内的儿童图书设计的具体方法奠定了基础。在19世纪的前25年,儿童读物具有典型的欧洲视觉设计,并延续了从18世纪继承下来的趋势:出版物中的翻译、借用和修订文本经常复制插图,而不是制作新的插图。19世纪20年代末,俄罗斯进入了独立儿童文学积极发展的新阶段,出现了专业作家和批评。这是瓦西里·茹科夫斯基进行教学实验的时期。本文并没有全面分析茹科夫斯基的教学活动,但这一活动对研究的主题具有重要意义。在他的教学法中,茹科夫斯基在寻找现象的普遍一致性、关于世界的知识的系统表示以及作为一个系统的世界观念的传播的中间方式时,达到了一个新的水平。这种搜寻虽然要慢得多,但在当代儿童书籍中也可以观察到。在18世纪的俄语儿童读物中,认知和教学功能的整合导致了在一本出版物中混合了不同的插图原则。这些原则是:(1)象征性:标题、图像和文本构成一个三部分结构;(2)百科全书式(encyclopedic):该页包含了排除在视觉环境之外的同一类型物体的单独编号图像;(3)叙事性:具有表现力和比喻性的情节,包括漫画、插图等,因为它们具有说服力,所以很容易在教育书籍中使用。这些原则中的每一个都有自己的方式来显示一致性。百科全书式的插图在一系列相似的插图中显示一个物体,在列举中显示该物体的结构。徽记具有象征意义和寓意意义。叙事性插图展示了它的功能及其在因果关系中的作用,描绘了事件和对象的环境。所研究时期的儿童读物倾向于整合所有这些方式。当标志作为一种独立的中间类型退化时,象征传统的某些元素被新形式的出版物积极地借鉴。这一标志为现代欧洲书籍提供了最重要的中间工具,以展示世界作为一个系统的普遍一致性。时代的变化不可避免地导致了象征性符号意义的模糊。所分析的时期的及物性是在寻找一种新的中间形式的连贯性中表达的,类似于在有效性方面失去的文本和插图的象征性双媒质。在寻找这样一种形式的过程中,声称包罗万象的百科全书出版物使用了插图的象征和叙事原则。反过来,叙事性的说明,由类似的包容性,一致性和普遍性的愿望驱动,吸收象征性和百科全书的原则。
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Illustrations in Children’s Educational Books in Russia in the Late 17th – Early 19th Centuries
The aim of this article is to analyse the transition period in the history of illustrating children’s educational books on the material of Russian-language publications. It is the period in which the function of an intermedial representation gradually develops from emblematic to encyclopedic and narrative-figurative images. This process is related to the literary history of children’s books and their genre transformations. In the last third of the 18th century, children’s literature in Russia was formed as an independent direction with its special goals, and the basis for further search for specific methods of children’s book design, including educational ones, was laid. In the first quarter of the 19th century, the children’s book had a typical European visual design and continued the trends inherited from the 18th century: translations, borrowings, and revised texts in publications often copied illustrations rather than made new ones. A new stage came at the end of the 1820s, when Russia was actively developing independent children’s literature, and professional authors and criticism appeared. It was the time of the pedagogical experiments of Vasily Zhukovsky. This article does not claim to analyse Zhukovsky’s pedagogical activity comprehensively, but this activity is significant for the subject-matter of the study. In his pedagogy, Zhukovsky went to a new level when searching for intermedial ways of transmission of the universal coherence of phenomena, the systemic representation of knowledge about the world, and the ideas of the world as a system. The search, though much slower, was also observed in contemporary children’s books. The integration of cognitive and didactic functions in the Russian-language children’s book of the 18th century resulted in a mix of different principles of illustration in one publication. These principles are: (1) emblematic: the title, image, and text form a three-part structure; (2) encyclopedic: the sheet contains separate numbered images of the same type of objects excluded from the visual context; (3) narrative: the plot, expressive and figurative, including caricature, illustrations are readily used in an educational book due to their persuasiveness. Each of these principles has its own ways of displaying coherence. An encyclopedic illustration shows an object in a series of similar ones, in an enumeration, shows the structure of the object. An emblem gives its symbolic and allegorical interpretation. A narrative illustration shows its functions and its involvement in causal relations, depicting the environment of events and objects. The children’s book of the studied period tends to integrate all these ways. While the emblem as an independent intermedial genre degrades, certain elements of the emblematic tradition are actively borrowed by new forms of publications. The emblem gives the European book of modern times the most important intermedial tools for displaying universal coherence, the world as a system. The change of the epochs leads to an inevitable blurring of the meaning of the emblematic sign. The transitive nature of the analysed period is expressed in the search for a new intermedial form of coherence, similar to the lost emblematic bimediality of the text and illustration in terms of effectiveness. In the search for such a form, encyclopedic publications that claimed to be all-encompassing use the emblematic and narrative principles of illustration. In turn, the narrative illustration, driven by a similar desire for inclusiveness, consistency, and universality, absorbs the emblematic and encyclopedic principles.
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Tekst Kniga Knigoizdanie-Text Book Publishing
Tekst Kniga Knigoizdanie-Text Book Publishing HUMANITIES, MULTIDISCIPLINARY-
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