Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie最新文献_第5页

The Formation of Russian Genre Cinema at the Beginning of the 21st Century 21世纪初俄罗斯类型电影的形成

Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie Pub Date : 2023-01-01 DOI: 10.21638/spbu15.2023.308

Vitaly F. Poznin

{"title":"The Formation of Russian Genre Cinema at the Beginning of the 21st Century","authors":"Vitaly F. Poznin","doi":"10.21638/spbu15.2023.308","DOIUrl":"https://doi.org/10.21638/spbu15.2023.308","url":null,"abstract":"The problem of genre formation in cinema constantly causes controversy and discrepancies among art historians, since this type of creativity is synthetic, using the creative possibilities of other types of art. Сommon in the definition of the term “genre” is only the provision that a genre is a way of embodying a certain concept of reality in a work, creating an artistic picture or an artistic model of the world, perceived from a certain angle, which implies a limitation in the choice of means of artistic embodiment of the theme of the work. Like any complex concept, a genre should be considered in a system of several coordinates, among which the dominant features inherent in a particular genre play the most significant role. These two dominants are: 1) the emotion that the film should evoke in the viewer (laughter, horror, sympathy, etc.); 2) the theme of the film (historical, military, sci-fi, etc.). When investigating the problem of genre formation, one should also not forget that the genre is a historical category, i. e. the specific period in which it was created plays an important role in determining the genre characteristics of a particular film. Over the past 30 years, Russian cinema has undergone significant changes in the aesthetic and ethical paradigm, including changes in the themes and genre palette of films. This article is the first attempt to analyze the process of mastering by Russian cinematography new genres for it, which were not previously in the repertoire of Russian cinema (fantasy, disaster film, horror, biopic, musical). Having considered the problem of interaction between cultural globalization and national mentality, the author comes to the conclusion that, having survived the period of imitation of foreign models, Russian genre cinema at the present stage has the opportunity to gain self-identification and become an art that is in demand by a wide audience.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135107056","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}

引用次数: 0

Alexandre Benois and Denis Diderot

IF 0.2

Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie Pub Date : 2023-01-01 DOI: 10.21638/spbu15.2023.204

A. Zavyalova

{"title":"Alexandre Benois and Denis Diderot","authors":"A. Zavyalova","doi":"10.21638/spbu15.2023.204","DOIUrl":"https://doi.org/10.21638/spbu15.2023.204","url":null,"abstract":"The article is the first to consider the influence of the views of Denis Diderot (“Salons”) on the works of Alexandre Benois — as an art historian, first of all — on his “The History of painting of all times and peoples”. As a result of a comparative analysis of the texts by two authors, it was established that both Benois and Diderot paid the greatest attention to the works of J. B. S. Chardin, F. Boucher, C. (Sh. A.) Vanloo, J.-B. Greuze, J.Robert. It has also been established that Benois described the art of Chardin and Boucher practically in the words of Diderot. The source study analysis of Benois’s article “The Collection of Drawings by Stepan Yaremich”, as well as Benois’s “Art letters” of different years, made it possible to find out his own attitude to Busher. The source study analysis of Benois’s memoirs “My Memories” and the work of R. Muther “The History of Painting in the 19th Century” made it possible to find out the source of Benois’s negative assessment of narrative and edifying in the art of Dreams — precisely those qualities that Diderot especially appreciated in the works of this artist. Comparative analysis of the text of Benois’s article “On Narrative in Painting”, his work “History of Russian Painting in the 19th Century” with the text of “Salons” by Diderot made it possible to find out that Benois used at the beginning of his activity the Diderot’s method of an expanded description.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":"33 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87278021","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}

引用次数: 0

Russian Design Graphics in Art Studies of the 19th–21st Centuries 19 - 21世纪艺术研究中的俄罗斯设计图形

IF 0.2

Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie Pub Date : 2023-01-01 DOI: 10.21638/spbu15.2023.108

E. M. Glinternik

{"title":"Russian Design Graphics in Art Studies of the 19th–21st Centuries","authors":"E. M. Glinternik","doi":"10.21638/spbu15.2023.108","DOIUrl":"https://doi.org/10.21638/spbu15.2023.108","url":null,"abstract":"The article is devoted to the historiographic problem of domestic design graphics in the history of Russian art. The analysing sources are structured in accordance with the main stages of the development of graphic design in Russia. This approach allows to visually trace the evolution of art history in the context of the corresponding cultural and historical era. In chronological order, the article examines the following periods: 18th — early 20th century, an era that can be called the protodesign period; 1920s–1930s, a period of active development of a new professional model, interrupted for the next twenty years; 1960s–1990s, a period of professional self-determination; the first decades of the 21st century, when the digital age begins and new horizons of research open up. The characteristics of each period are given from the point of view of the development of graphic design as a phenomenon of artistic creativity. The paper’s novelty is determined by the topic itself: the specifics of design in general and graphic design in particular have not yet been studied. It takes into account, basically, the range of problems studied in the Russian conventional history of art. The main tasks of the work: to show the path of development of art criticism in the work of Russian researchers; to systematize the volume and problems of the latest studies of art history over the past decades; to contribute to the formation of a more complete picture of the authors and the amount of accumulated research material. The article shows the path of development of art criticism in the work of Russian researchers — from artistic-critical to historical-theoretical comprehension throughout the 19th and 21st centuries. The foundations of fundamental research of the late 20th — early 21st century are revealed are systematized for the first time.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":"388 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86820681","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}

引用次数: 0

Poet Sogi’s Journey to Shirakawa Barrier 诗人西木的白川之旅

Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie Pub Date : 2023-01-01 DOI: 10.21638/spbu13.2023.203

Tatiana I. Breslavets, Yuriy L. Kuzhel’

{"title":"Poet Sogi’s Journey to Shirakawa Barrier","authors":"Tatiana I. Breslavets, Yuriy L. Kuzhel’","doi":"10.21638/spbu13.2023.203","DOIUrl":"https://doi.org/10.21638/spbu13.2023.203","url":null,"abstract":"The diary of the Japanese poet Sogi (1421–1502) “Shirakawa kiko” (“Journey to the Shirakawa Barrier”, 1468) is analyzed. The sacred place, sung in the lyrics of the past, is the beginning of the song (utamakura). The diary is divided into two parts. This is the result of the development of the genre in the art of renga (connected stanzas) poets. The subject of the study is the prose part. It reveals an increased suggestiveness (yojo) of artistic speech. In the reminiscent variety, a picture of intertextual discourse is formed, the significance of the literary tradition is revealed. It makes up the latent layer of the text, covering the entire narrative. The essay is considered as a memoir diary, it is dominated by emotional content (aware), dating back to the cult of feelings of the aristocratic era. In the chronotope of the diary, a plexus of times and spaces is found, creating an illusory vision of reality as a reflection of the poet’s Zen consciousness. The journey remains unfinished, affirming the infinity of the path and recalling the rotation of the wheel of samsara — the cycle of life and death. The path in the illusory, changeable world affirms the idea of mortal existence (mujo), which has become the fundamental Zen Buddhist concept of the diary.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":"127 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135556388","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}

引用次数: 0

Changing the Image of Woman and the Family Model: Rethinking the Traditional Way of Life in the Current Realities of Japanese Society 改变女性形象与家庭模式:日本社会现状下对传统生活方式的反思

Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie Pub Date : 2023-01-01 DOI: 10.21638/spbu13.2023.211

Kseniia S. Vorkina

{"title":"Changing the Image of Woman and the Family Model: Rethinking the Traditional Way of Life in the Current Realities of Japanese Society","authors":"Kseniia S. Vorkina","doi":"10.21638/spbu13.2023.211","DOIUrl":"https://doi.org/10.21638/spbu13.2023.211","url":null,"abstract":"The paper focuses on the study of the image of Japanese mothers in modern Japanese society in the context of rethinking the traditional way of life. In the course of the research, there was made an attempt to establish what underlies the value model of modern Japanese women and to analyze the degree of influence of habitual traditional gender stereotypes. The author considers the phases of the formation of the family institution in Japan and states that the principles of Confucian ethics, manifested in the presence of moral norms of behavior, attitudes and prescriptions, can be traced in the minds of modern Japanese. However, in the conditions of accelerated socialization of women and the ongoing process of atomization of families, the burden of responsibility from traditional expectations put on a woman increases, leading to adverse consequences in the form of “neuroses in the background of raising children”. The article discusses the changes in the structure of female employment over the past decades, in order to identify problems associated with the distribution of gender roles and the changing position of Japanese women in society. As a result of the study, it was suggested that despite the tendency in Japan to shift the value model towards individualism, the features of traditional family ideology are preserved, as evidenced by the presence of numerous proverbs and idioms of the Japanese language dedicated to family relationships and based on Confucian ethics. In such a society, social roles and labor functions are still divided and consolidated, the observance of the hierarchy is maintained, despite the disintegration of traditional ties, social division, separation from the clan and large family groups.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135556685","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}

引用次数: 0

The first, private and unknown small anatomical Ruijsch collection of Peter the Great 第一个，私人的和未知的小解剖鲁伊施收集彼得大帝

Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie Pub Date : 2023-01-01 DOI: 10.21638/spbu11.2023.207

Inge Hendriks, Inga Goryacheva, Marina Tvardovskaya, Dmitrii Zhuravlev, Fredrik Boer, Pancras C. W. Hogendoorn, Ivan Gaivoronsky

{"title":"The first, private and unknown small anatomical Ruijsch collection of Peter the Great","authors":"Inge Hendriks, Inga Goryacheva, Marina Tvardovskaya, Dmitrii Zhuravlev, Fredrik Boer, Pancras C. W. Hogendoorn, Ivan Gaivoronsky","doi":"10.21638/spbu11.2023.207","DOIUrl":"https://doi.org/10.21638/spbu11.2023.207","url":null,"abstract":"The anatomical collection of Frederik Ruijsch (1638–1731) concerning injected dry and wet preparations attracted the attention and interest of several generations of scientists and other admirers, including Tsar Peter the Great of Russia (1672–1725). Even today, this interest has not weakened since its manufacture more than three hundred years ago. The main collection of the famous Dutchman was purchased by Tsar Peter the Great in 1717 for his Kunstkamera, now Peter the Great’s Museum of Anthropology and Ethnography in Saint Petersburg. In books and articles, first written by A. I. Tarenetsky, later by M. A. Tikotin, and again by V. V. Ginzburg was pointed out that several dozens of preparations of Frederik Ruijsch are located in the anatomical museum of the Military Medical Academy named S. M. Kirov in St. Petersburg. This collection is called “the small collection” and was acquired by Peter the Great in 1697–1698 as a private collection. This collection was intended for educational purposes and is nowadays almost unknown in, and outside the scientific world. We set ourselves the task to study the history of the acquisition of this small collection, to find out its journey to the end destination by researching early published or unpublished sources. The small collection paved the way for other botanical, zoological, and anatomical collections and has significant historical importance.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":"551 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135913609","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}

引用次数: 0

Methods for assessing comorbidity and its role in patients with cardiac pathology 评估合并症的方法及其在心脏病理患者中的作用

Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie Pub Date : 2023-01-01 DOI: 10.21638/spbu11.2023.201

Arseniy Blokhin, Alexander Shishkin, Sergey Minkin

{"title":"Methods for assessing comorbidity and its role in patients with cardiac pathology","authors":"Arseniy Blokhin, Alexander Shishkin, Sergey Minkin","doi":"10.21638/spbu11.2023.201","DOIUrl":"https://doi.org/10.21638/spbu11.2023.201","url":null,"abstract":"There are several different definitions of the combination of multiple nosology within one organism: comorbidity, multimorbidity, syntropy, and dystropy, etc. Comorbidity is an important component of pathophysiological processes, which has a significant impact on the course and outcome of cardiac diseases in patients. Therefore, in recent decades, researchers have been actively engaged in the problem of assessing the degree of contribution of comorbidity to the overall state of the body. For this purpose, a number of scales and indices of comorbidity have been developed, which allow estimating the burden of comorbidity on the underlying disease within certain groups of diseases. Consideration of comorbidity in routine clinical practice allows to increase reliable prognostic assumptions and correctly build a therapeutic strategy. As a result, it improves patients’ quality of life, allows them to achieve favorable outcomes, and most effectively prevents complications in patients with comorbidity. The assessment of comorbidity in cardiological, endocrinological, oncological, and neurological pathologies is particularly important, since they have the most general negative effect on the entire patient’s body.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135914045","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}

引用次数: 0

The Sources and Meaning of the Term Decency in the Writings of Prince Dmitry Golitsyn on Fine Arts 戈利琴亲王美术作品中“体面”一词的来源与意义

IF 0.2

Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie Pub Date : 2022-01-01 DOI: 10.21638/spbu15.2022.407

A. Sechin

{"title":"The Sources and Meaning of the Term Decency in the Writings of Prince Dmitry Golitsyn on Fine Arts","authors":"A. Sechin","doi":"10.21638/spbu15.2022.407","DOIUrl":"https://doi.org/10.21638/spbu15.2022.407","url":null,"abstract":"The author focuses on one of the most important terms of normative aesthetics and art, decency, which occupies a prominent place in the writings of Prince Dmitry Golitsyn (1734–1803), devoted to the issues of architecture and fine arts. A detailed study of the origins of decency and the meaning of this concept leads to the identification of three stages in its development, consistently considered with the involvement of both source texts and the works of modern scholars. The first stage was the flourishing of classical ancient Greek art, which corresponds to the concept of τὸ πρέπον, formed in the consciousness and rhetorical culture of Athens. In relation to the fine arts, its importance cannot be overestimated, since decency was not conceived without an adequate and eye-catching external expression of typical images, including their social status and ethical content. Under its influence, a system of canons of European art was born in ancient Greece. The second stage is associated with the Renaissance, when the idea of convenevolezza arises. It was focused on the Classical Antiquity and the appropriate iconographic tradition and therefore had a pronounced retrospective character. Finally, the classicism of the Enlightenment era, or neoclassicism, the time of Golitsyn’s life and work, picks up the baton of the norm in art and the deviations from it made by nature itself. Golitsyn’s interpretation of decency in his treatises and its correct understanding by art historians are important, since these works formed the basis of the Russian doctrine of normative, primarily academic art. Decency in the understanding of the ancient Greeks, Italians of the Renaissance and enlighteners of the 18th century did not completely dissolve in the works of the great and ordinary masters of those distant times. It is invariably revived when it comes to the visualization of traditions, proprieties and various norms within artistic culture, about the artist’s service to the model, the canon.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":"44 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80179969","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}

引用次数: 0

“Demonic, Ecstatic Antiquity”: On the Interpretation of Myth in the Opera “Elektra” by Richard Strauss — Hugo von Hofmannsthal “恶魔般的、狂喜的古代”:论理查德·施特劳斯歌剧《艾丽卡》中神话的诠释——雨果·冯·霍夫曼斯塔尔

IF 0.2

Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie Pub Date : 2022-01-01 DOI: 10.21638/spbu15.2022.201

N. Vlasova

{"title":"“Demonic, Ecstatic Antiquity”: On the Interpretation of Myth in the Opera “Elektra” by Richard Strauss — Hugo von Hofmannsthal","authors":"N. Vlasova","doi":"10.21638/spbu15.2022.201","DOIUrl":"https://doi.org/10.21638/spbu15.2022.201","url":null,"abstract":"The opera “Elektra” is of particular significance for Richard Strauss. It opens an ancient line in his musical and theatrical legacy and is at the same time the culmination of expressionist tendencies in his work. It also marks the start of Strauss’s collaboration with H. von Hofmannsthal as librettist. The tragedy of Hofmannsthal focuses on trends typical of the new understanding of antiquity in the second half of the 19th century. An interest in the archaic, in ancient cults and rituals representing the irrational aspects of Greek culture, is brought to the forefront. Hofmannsthal’s “Electra” was one of the first literary works to embody the new image of Greece. In the course of work on the opera, a particular role played the treatise on matriarchy in the pre-Hellenistic era “Das Mutterrecht” (1861) by J. J. Bachofen. It acquired unexpected relevance at the turn of the 19th and 20th centuries when matriarchy was anxiously perceived as a resurgent world order. Hofmannsthal’s “Electra” appears as the realm of matriarchy. The concentration on the image of the title character, the embodiment on the stage of a short but key segment of her life, the raging of dark passions make Elektra a characteristic phenomenon of expressionist theatre. In Strauss’s opera the role of Elektra is further expanded. With the help of sharp stylistic contrasts in the musical characterization of the heroine, Strauss conveys the dissociation of her personality, her loss of identity. For Strauss, “Elektra” was the culmination of extreme emotional states that demanded the use of the most daring, within his style, compositional means. “Elektra” marks a turning point in the composer’s work. His next opera is “Der Rosenkavalier”, written in an entirely different style. Strauss’s subsequent operas on ancient themes are also very far from the irrationalist and innovative pathos of “Elektra”.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":"52 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86568265","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}

引用次数: 0

Western Prototypes of Ivan Krylov Iconography 伊凡·克雷洛夫肖像学的西方原型

IF 0.2

Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie Pub Date : 2022-01-01 DOI: 10.21638/spbu15.2022.109

M. Chernysheva

{"title":"Western Prototypes of Ivan Krylov Iconography","authors":"M. Chernysheva","doi":"10.21638/spbu15.2022.109","DOIUrl":"https://doi.org/10.21638/spbu15.2022.109","url":null,"abstract":"The article focuses on selected examples of the 19th century iconography of Ivan Krylov. Depictions of the poet are considered within the representational tradition that originated in the age of Enlightenment and reflected the transformation of writers into public figures and celebrities. This tradition highlighted the growing social influence of writers, as well as the growing power of society, which, regardless of the will of monarchs and state institutions, dictated literary reputations and chose idols for itself. Western prototypes most significant to Krylov’s iconography were the sculptural and pictorial representations of Voltaire acquired by Catherine II, and statues of Walter Scott installed in Scotland shortly after the novelist’s death. The article argues that Nicholas I paid special attention to these latest Scottish monuments when choosing among different concepts for the first monument to Krylov. The portrayals of famous writers evolved in the context of ideas of “great man” and “national poet”. The article examines the semantic variations with which the term “national poet” was used in Russia under Nicholas I. Representations of Krylov are analyzed not only as evidence of his personal literary reputation and public success, but also as markers of social influence that writers as a community were gaining at the time. In Russia, this process was, paradoxically, under the close and effective control of the state and of the tsar personally.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":"20 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84461592","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}

引用次数: 0