Studia Slavica et Balcanica Petropolitana最新文献

{"title":"The image of Byzantium in the narratives of the Grand Duchy of Lithuania and the Polish-Lithuanian Commonwealth (15th – first half of the 17th century)","authors":"Pavel Anatolievich Vаrаbyou","doi":"10.21638/spbu19.2022.107","DOIUrl":"https://doi.org/10.21638/spbu19.2022.107","url":null,"abstract":"The article is devoted to the perception of the heritage of Byzantium in the socio-political thought of the Grand Duchy of Lithuania and the Polish-Lithuanian Commonwealth in the period from 1453 to the middle of the 17th century. Already in the second half of the 17th century, the Left-Bank Ukraine left the Polish-Lithuanian Commonwealth, and the Metropolitanate of Kyiv withdrew from the jurisdiction of the Patriarchate of Constantinople. The process of influence of the Byzantine civilization on the East Slavic culture after the fall of the Byzantine Empire is investigated. According to the findings, in the process of discussing the Union of Brest in the written tradition of the GDL and the Polish-Lithuanian Commonwealth, Orthodox, Uniate, Catholic and Reformation narratives developed, in which the image of Byzantium had different shades: from positive to extremely negative, respectively. However, these narratives, which well complement the rather meager information about Byzantium in local letopis sources, are similar in one thing: they tend to see in it not the imperial past, but the current church heritage of the Greek people, which had a significant impact on the historical fate of the lands of Rus’. For the Polish-Lithuanian szlachta as an estate, the heritage of Byzantium was not a source of their own identity. Attempts to update the political idea of the liberation of Constantinople from the rule of the Turks came from the environment of the Greek diaspora of the Polish-Lithuanian Commonwealth. However, such projects were not approved here and were cut off from life. And even a major Orthodox magnate, Prince Wasyl-Konstanty Ostrogski, did not support, albeit difficult to implement, but a more realistic project to transfer the residence of the Patriarch of Constantinople to the city of Ostrog. He also did not claim political succession from the Byzantine emperors, but did not interfere with the idea of his spiritual succession. The article pays more attention to the writings of Orthodox polemicists, because the heritage of Byzantium is very important and deserves special attention.","PeriodicalId":41089,"journal":{"name":"Studia Slavica et Balcanica Petropolitana","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67788413","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}

{"title":"Variation of the script in the East-Slavonic manuscripts of the 15th – 16th centuries","authors":"M. Korogodina","doi":"10.21638/spbu19.2022.205","DOIUrl":"https://doi.org/10.21638/spbu19.2022.205","url":null,"abstract":"The scripts of the East-Slavonic manuscripts modify significantly in the 15th and 16th centuries. New types of scripts and styles of handwriting are appeared in that time. The multiplicity of the patterns makes up many scribes to master several styles of handwriting and to vary them depending on their goals. They often use another style of handwriting for the scribe’s note. It allows a scribe to differ the main text from the information about him. Various styles of handwriting, belonged to the same scribe, were used for coding different types of text and different genres. It led to the forming in the 16th century of the close connection of the style of the script not only with the genre of the book, but with its destination also. So appearance of new styles of scripts and variation of them testifies about shifts in the attitude to the culture heritage in East-Slavonic region. The ability of scribes to write in various handwritten styles poses the question of attribution of handwriting to researchers. Currently, there is no methodology for solving this applied problem. To date, studies of the functions and structure of the scribal manner, its relationship with the genre and purpose of the text are more promising. For example, to create a book the copyist takes into account the height of the line, its ratio to the proportions of the sheet, the mirror of the text, the width of the margins and even the thickness of this book. It is important not only the time and region of the appearance of new handwriting, but also their transition to those handwritten books whose writing had previously been standardized. Any changes in the design and appearance of the book – for example, the use of unusually small and dense handwriting, the appearance of pocket books that are copied into an eighth part of a sheet – speak of new functions of the book and the formation of new traditions.","PeriodicalId":41089,"journal":{"name":"Studia Slavica et Balcanica Petropolitana","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67788792","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}

{"title":"The idea of a «Belarusian Saint» in the 19th – early 20th centuries: Alternatives and contradictions","authors":"V. Koronevskii","doi":"10.21638/spbu19.2022.209","DOIUrl":"https://doi.org/10.21638/spbu19.2022.209","url":null,"abstract":"The article is devoted to the problem of the origin and formation of the idea of the patron saint of the Belarusian territories and the Belarusian people in the period up to 1914. First of all, the history of the «Belarusian» component of the cult of St. Euphrosyne of Polotsk is analyzed. For the first time in the Belarusian context, she appears as early as 1663 in the poems of Simeon of Polotsk, however, in the future, the corresponding idea of the «patron saint of Belarus» was actualized only in the 1830s and then in the early 1870s. Until the 1890s it is mentioned only situationally: in periods that are especially important for local Orthodoxy, individual representatives of the Orthodox clergy of Polotsk and Vitebsk position the saint as the patroness of not only the Polotsk, but also the Belarusian region. However, at the turn of the XIX–XX centuries the idea of the «Belarusian Euphrosyne» is becoming more popular, and not only the Belarusian region, but also the Belarusian people are increasingly being called the object of the patronage of St. Euphrosyne. The idea reached its peak in 1910, when it was loudly declared that Euphrosyne of Polotsk was the patroness of the Belarusian branch of the «triune Russian people». In addition, the existence of the idea of a «Belarusian saint» among the leaders of the Belarusian national movement at the beginning of the 20th century is considered. It is established that as such they positioned the traditionally revered in the region Polish Catholic saints, and, first of all, St. Andrew Bobola, while the image of St. Euphrosyne did not play a prominent role in their narrative. The common and special features in the processes of origin and development of two «projects» of Belarusian saints, their correlation with each other are singled out.","PeriodicalId":41089,"journal":{"name":"Studia Slavica et Balcanica Petropolitana","volume":"110 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67788384","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}

{"title":"The United Artistic and Historical Comission and its role in the Anatoly Lunacharsky’s plans of organization of the central department for protection of historical and cultural heritage (January – early February 1918)","authors":"Irina Nikolayevna Smirnova, R. Sokolov","doi":"10.21638/spbu19.2022.212","DOIUrl":"https://doi.org/10.21638/spbu19.2022.212","url":null,"abstract":"The article analyzes the situation of the protection of historical and cultural heritage in the end of 1917 – beginning of 1918 in Petrograd. After the October Revolution Anatoly Lunacharsky (the people’s commissar for education) decided to organize the central department for protection of historical and cultural heritage of Russia. This project was previously discussed by the Provisional Government. After the October Revolution it became even more current question. On the one hand it was the time of the building on completely new principles of state administration, and on the other, it was the time of general instability and in fact the outbreak of civil war. Responsibility for the safety of such artifacts (among them museum collections were the most important), which lay with the Bolsheviks, could be used as a weighty argument in the fight against numerous political opponents. It was in urgent need to take the preservation of cultural and historical monuments under centralized control. The foundation for such an organization was prepared by the Petrograd Artistic and Historical Commission, which began its activity in the period between the two revolutions of 1917. After the October Revolution, its members, realizing the importance of the tasks, refused to join the sabotage of the actions of the new government and continued to fulfill their duties. The authors analyze a number of archival documents, not previously considered by researchers in this perspective. These documents give reason to propose that Anatoly Lunacharsky planned to create the State Council for Arts under his own patronage in the period between January and February 1918. Also, he planned to transform the United Artistic and Historical Commission into the central executive body for protection of historical and cultural heritage. In fact, it should have been the ministry-equivalent organization. After the creation of the State Council for Arts this Commission should save its functions of the central executive institution. In this regard P. P. Veyner prepared a Note by the Anatoly Lunacharsky’s request, the publication of the text of which is carried out by the authors for the first time.","PeriodicalId":41089,"journal":{"name":"Studia Slavica et Balcanica Petropolitana","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67788448","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}

{"title":"The Late Paleologian icon of the Nativity of Christ from the Patriarch’s museum of church art at the Cathedral of Christ the Saviour in Moscow: on the features of the painting style","authors":"Natalia Nikolaevna Bobrova","doi":"10.21638/spbu19.2022.111","DOIUrl":"https://doi.org/10.21638/spbu19.2022.111","url":null,"abstract":"Byzantine icons of the 14th century in Russian museums are scattered material. In this regard, the situation when it is possible to identify or at least raise the question of whether two icons of such an artistic level from different collections belong to the same master is almost unique. The Late Paleologian icon of the Resurrection of Lazarus from the the Russian Museum can without exaggeration be called the pearl of the collection. The icon was received by the Russian Museum in 1928 from the collection of G. N. Gamon-Gaman through the State Museum Fund. There is a small icon of the Nativity of Christ distinguished by high pictorial skill in the collection of the new Patriarchal Museum of Church Art at the Cathedral of Christ the Savior in Moscow. The study of this late Paleologian monument is just beginning, but the special relevance of its research is due to the fact that the artistic features allow us to compare this image with the aforementioned icon of the Resurrection of Lazarus, a landmark monument of the collection of the Russian Museum. A number of features of the icon of the Nativity painting technique makes it possible to speak about a significant stylistic community of these two monuments despite the fact that the preservation of it is not the best. The similarity of the nuances of color, the principles of shaping, the presence of common characteristic techniques in the construction of gaps, the picturesque solution of clothes, the dashed manner of modeling the light part of the slides, individual handwriting and great similarity in individual details, the general features of the drawing of the hands and feet of the characters, the nature of the vegetation image, the proportions of the figures, the size of the image, the features of gilding halos (on top of the paint layer) ― all these aspects reveal such a close similarity of painting techniques that it becomes possible to raise the question of identifying in this case the individual manner of one master and the belonging of these two icons to the festive row of the same iconostasis. Technical studies of the icon of the Resurrection of Lazarus were carried out by S. I. Golubev during the restoration in the Russian Museum in 1986–1990, the research results of which definitely make it possible for a more substantive comparative analysis of the two icons.","PeriodicalId":41089,"journal":{"name":"Studia Slavica et Balcanica Petropolitana","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67788478","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}

{"title":"Who was the «first Vsevolod»? A new interpretation of the ktetor inscription in the Saviour Church on Nereditsa Hill","authors":"P. Lukin","doi":"10.21638/spbu19.2022.207","DOIUrl":"https://doi.org/10.21638/spbu19.2022.207","url":null,"abstract":"The article discusses a praise inscription in the Saviour Church on Nereditsa Hill, built and decorated with frescoes at the end of the 12th c. In the church there is a portrait of the ktetor, Prince Yaroslav Vladimirovich of Novgorod, with an inscription praising him, in which he is called «the God-loving prince, the second Vsevolod». The question arises: who was meant by the «first Vsevolod»? Scholars offered two candidates: the Vladimir Prince Vsevolod the Big Nest, whose protégé was Yaroslav, and the Novgorod Prince Vsevolod Mstislavich, driven out of Novgorod in 1136. Vsevolod the Big Nest, as has been shown in previous scholarship, does not fit this role, because at the time of the temple`s painting he was alive, and such exaltation did not comply with the Old Russian traditions. The main argument in favour of the candidacy of Vsevolod Mstislavich is an account of the hagiographic work, written in Pskov on the occasion of the transfer of his relics. However, it turns out to be a late and unreliable text. The author substantiates the idea that by the «first Vsevolod» may have been implied the Prince of Kiev Vsevolod Yaroslavich (1077, 1078–1093), who was the great grandfather of Yaroslav Vladimirovich. In annals there are evidences of veneration of Vsevolod Jaroslavich by his descendants, the eldest of which in the late 1190s was Yaroslav. Besides, it was Vsevolod Yaroslavich who according to some evidence was considered as a donator of the Novgorod liberties at that time. On the other hand, Yaroslav’s father Vladimir Mstislavich and Vsevolod Mstislavich were the sons of the prince of Kiev Mstislav the Great from different marriages, and belonged to the princely clans mostly warring with each other. Both for Yaroslav Vladimirovich and for Novgorodians Vsevolod Yaroslavich was a much more acceptable figure to be praised and to serve as a model for descendants. The article shows that historiography was influenced by late hagiography and modern historians’ perceptions of the Novgorod «revolution» of 1136, of which Vsevolod Mstislavich was a victim. At the same time real dynastic beliefs of Riurikids in pre-Mongol Rus and the elite surrounding them have turned out to be almost completely forgotten.","PeriodicalId":41089,"journal":{"name":"Studia Slavica et Balcanica Petropolitana","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67788313","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}

{"title":"Ethnic stereotypes of the Ukrainians (Little Russians) and Belarusians (Belorussians) in the visual texts in Russian culture in the second half of the 19th century: Issues of interpretations","authors":"M. Leskinen","doi":"10.21638/spbu19.2022.202","DOIUrl":"https://doi.org/10.21638/spbu19.2022.202","url":null,"abstract":"The article analyzes a number of visual representations of «Little Russians» / «Malorusy» (Ukrainians) and Belarusians («Belorussians» / «White Russians»), which were addressed to a wide range of Russian society in the 1860s – 1900s and which were formed under the influence of literature, scientific and popular ethnographies descriptions and text-books. These visual texts were creating the stereotypical images of peoples / nations (so as of the Russian people) in mass consciousness the Russian Empire. The works that are accessible primarily by the mass audience (genre canvases, book illustrations, magazine lithographs, advertisements, posters, postcards etc) are analyzed in context of ethnic stereotypes (of «Little Russians» / «Malorusy» (Ukrainians) and of «Belorussians» / «White Russians» (Belarusians)) reflections. The author is considered some methodological problems deals with stereotypes’ researching in the field of the identification of «the Russian people» as the unity of Great Russians, Little Russians and White Russians during imperial nation-building. Complications of interpreting visual ethnic images are also due to the differences of discourse of the Ukrainian and Belarusian identities history and national movements in the Russian Empire of the 19th century. In particular, Ukrainian Soviet and modern historiography considers many artists to the pantheon of national culture. But if we accept such attributions, it turns out that stereotypes of the «others» (the heterostereotypes of Little Russians / Ukrainians) turns out to be their auto stereotypes. If we proceed from the assumptions that the creators of the images belonged to the Russian («all-Russian») culture, the questions arise did they interpret them as specifically ethnic, or as the embodiment of regional / gender or only the social (the peasant) variations?","PeriodicalId":41089,"journal":{"name":"Studia Slavica et Balcanica Petropolitana","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67788614","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}

{"title":"“The land… somewhat distant from the Monarch’s view”: Central Russia in the first half of the XIX centurury","authors":"E. Boltunova","doi":"10.21638/spbu19.2022.203","DOIUrl":"https://doi.org/10.21638/spbu19.2022.203","url":null,"abstract":"The articles examines the history of Central Russia, or what was known as the governorates of Greater Russia (velikorusskiye / velikorossiyskiye gubernii), in the first half of the 19th century, during the reigns of Alexander I and Nicholas I. The author starts with focusing on the naming of the region and tracing its borders – both as it appeared in research discourses and in the rising language of the authorities. Following on with a look at the new practices of administration and the language of symbols, the author concludes that the region was steadily marginalized both in the “outside gaze” and even in the region’s selfidentification. The author suggests that over time this perception of Central Russia crystallized into a mental construct which largely survived numerous regime changes from the Russian Empire to the USSR to Post-Soviet Russia. A case for studying the administration of the territories is found in Alexander I’s project of governorates general (as it was put in practice in Greater Russia and then dismantled under Nicholas I). Special attention is paid to the work of governors general A. D. Balashov and A. N. Bakhmetev, most notably to the latter’s memorandum “On the advantage of and need for governors general” (1826). The document explores reasons for preserving the institute of governorates general in the Russian Empire’s hinterlands. The article also presents an overview of the research field as it can be applied to studying Central Russia as compared to the body of literature on the history of Russia’s other macro-regions.","PeriodicalId":41089,"journal":{"name":"Studia Slavica et Balcanica Petropolitana","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67788728","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}

{"title":"The «Fatherland» of the Serbian Kings Milutin and Dečanski or Some Additional Thoughts on the «Medieval Serbian Oecumene»","authors":"M. Popović, Vratislav Zervan","doi":"10.21638/spbu19.2022.102","DOIUrl":"https://doi.org/10.21638/spbu19.2022.102","url":null,"abstract":"Mihailo St. Popović, in his part of the Study, follows up on the premise that an own local concept of ecumene was emerging during the reigns of Stefan Uroš II Milutin and Stefan Uroš III Dečanski. In his analysis, he relies on Serbian medieval charters and inscription. Following the analysis of the charter of Serbian King Stefan Uroš II Milutin for the Ulijare settlement, he recognizes the clear antithesis between the fatherland and the Serbian Land of the Serbian King on one hand, and Great Romania and the Greek Empire of the Byzantine Emperor, on the other. According to him, the narrative part of the manuscript clearly proves that it is not possible to notice the concept of universality in Milutin’s politics. Inspired by the research of Paul Nick Kardulias, he considers the Kingdom of Serbia as a self-contained space. With an emphasis on the examination of the charters and inscriptions, he states that during the reign of Milutin, such a space was probably created. From the World System Analysis perspective, charters and inscriptions from the reign of Stefan Uroš III Dečanski paint a slightly different picture. They probably illustrate the transition from selfcontained space to the great realm. In his part of the study, Vratislav Zevran focused mainly on the semantic level of the use of Slavic pendants of the Greek word οἰκουμένη and expressions otьčьstvije and otьčьstvo. The most common equivalent of the word οἰκουμένη was the loan translation vъseljenaja. By analyzing the use of the adjective derivative vьseljenьskyi in connection with the Byzantine common titles, he finds that the idea of universality prevailed only in the titles of general councils, and the only Byzantine Emperor thusly named was Andronikos II. Although he does not recognize the use of the adjective derivative vьseljenьskyi anywhere near the Serbian monarch, he believes that based on several examples, Serbian panegyric probably promoted the idea of a Serbian ruler who was also vьseljenьskyi. The key concept of a fatherland still lacks a comprehensive analysis of sources. Two forms otьčьstvije and otьčьstvo have settled in Church Slavonic. Over time, the ambivalence of both forms merged into a concept that implied the meaning of «family», «genus» and/or «generation». At the same time, they were joined by the attributes «royal» or «rulers», which indeed emerged on the basis of the word otьcь and worked with the meaning of the authority and power of the father. This concept then also appears in the hagiographic work of Danilo and his disciple.","PeriodicalId":41089,"journal":{"name":"Studia Slavica et Balcanica Petropolitana","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67788824","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}

{"title":"Constructing art history: Contemporary curatorial strategies in studying symbolism of the Baltic states","authors":"Elena Vitalievna Klyushina","doi":"10.21638/spbu19.2022.216","DOIUrl":"https://doi.org/10.21638/spbu19.2022.216","url":null,"abstract":"The article is devoted to the analysis of curatorial strategies used in the international exhibition «Wild Souls. Symbolism in the Baltic States», successfully implemented under the supervision of Rodolphe Rapetti in 2018–2021 in Paris, Tallinn, Vilnus and Riga. Revealing the originality of the curatorial narrative contributes to the identification of current research directions in the study of the Baltic countries visual culture of the 19th–20th centuries. The implemented project has the potential for further revision of generally accepted ideas about the genesis and development of the symbolist art in Estonia, Latvia and Lithuania. This also contributes to the formation and widespread dissemination of methodological approaches that have not been previously used in the art studies of these countries. To understand the novelty of the chosen strategies, historiographical analysis of art in the Baltic countries from the 1940s to the 1980s is carried out. The third conference of art historians of the Baltic republics in 1990 was called a turning point in the history of cultural studies. It is at this scientific event that Boris Bershtein calls for a metaposition and the usage of metalanguage in the construction of an «internal» description of national culture. According to the author of this article, an exhibition «Wild Souls» is intended to become such a metaposition, capable of summarizing the already accumulated knowledge and offering a new look at the development of visual culture. Using universal approaches to the study of symbolism, Rodolphe Rapetti, together with colleagues from Baltic museums, demonstrates the trans-regional community of artistic phenomena that took place in these countries, and also convincingly proves the involvement of the Baltic artists in the general European artistic process at the turn of the 19th and 20th centuries.","PeriodicalId":41089,"journal":{"name":"Studia Slavica et Balcanica Petropolitana","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67789317","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}