Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal最新文献

{"title":"On Some Processes in Forming the Lexical Fund of the First Literary Language of the Slavs: Multi-word Nominations, Phraseological Calques, Phraseologisms","authors":"Valeriya S. Efimova","doi":"10.37816/2073-9567-2023-69-285-299","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-69-285-299","url":null,"abstract":"Old Church Slavonic language emerged in a narrow elite circle of bookmen. It is a literary language of the medieval type, and this fact in many respects determines the peculiarities of its lexical inventory. The lexical fund of the language consists not only of words but also of multi-word names, which are lexical units-designations. The method of nomination by multi-word names was not alien to the Slavic folk speech of the time, however, most of the Old Church Slavonic multi-word names were created by Slavic bookmen themselves in the translation process (mainly from Byzantine Greek). The appearance of quite a large number of phraseological calques with multi-word names in the Old Church Slavonic lexicon is due to the need of nominating concepts related to the adoption of Christianity and “medieval encyclopedism”. The repeated use by bookmen of phraseological calque in different translated works led to the phraseologization of this phraseological calque. The author assumes that the main and defining property of phraseologisms is the possibility of extracting them entirely by a native speaker from his memory (in the case of the Old Church Slavonic language, mainly by a bookman). Thus, Old Church Slavonic phraseologisms are the results of processes that could take place in the language both over the centuries and in the period of the first Slavic translations but from a synchronous point of view, these results are already built into the lexical system, ready for use by a bookman. This is the fundamental difference between “phraseological calque” and “phraseologism”.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"33 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":"135710652","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 Originality of the Musical Work of the Composer Vladimir Pozhidaev (1946–2009)","authors":"Galina A. Pozhidaeva","doi":"10.37816/2073-9567-2023-69-366-378","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-69-366-378","url":null,"abstract":"The paper shows the composer's work appeal to serious and significant topics related to the historical and spiritual life of the people of Russia, both in the past and today. Typical artistic images of folk culture and the national nature of the musical language make it possible to qualify the composer’s work as the mainstream of “new folklore wave” of the 50 – 70s of the 20th century through to the 90s and enriching it with folk-instrumental genre. The leading instrumental form in the composer's work becomes a symphony, a concerto - which applies to the principles of genre and epic symphonism. Particular emphasis should be placed on the importance of the spiritual mentality of the Russian people and their musical and liturgical culture The organic fusion of the music of folk life and the high spiritual culture of Holy Rus' allows us to take a fresh look at the composer's work. It brings a new quality to the “new folklore wave”, revealing, along with a genuine folklore stream, a deep Orthodox faith concealed from the official direction of socialist realism, preserved among the people despite all prohibitions and persecution. In the work of V. Pozhidaev, the ancient layers of folk and Christian musical culture are connected in an original way. The depth of the content, the organicity of the folk and professional, expressed by modern means — all this gives rise to a surprisingly original musical world, full of kindness and illuminated by the inner light.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"78 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":"135710872","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":"Tadeusz Różewicz — the Poet in Drama","authors":"Lidia N. Dmitrievskaya","doi":"10.37816/2073-9567-2023-68-225-234","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-68-225-234","url":null,"abstract":"The Polish writer Tadeusz Różewicz brings together lyrics and drama in his plays. This feature of his work has already been noted by previous researchers. The paper sets the task of understanding how and for what purpose the combination of lyrics and drama occurs in Różewicz's plays “The card-index” (1959), “Funny old man” (1965), “An Old Woman Hatches” (1968). The methods of the poetic in Różewicz's dramaturgy are diverse: the conflict, taken into the subconscious of the hero; internal, hidden content that dominates the external action and plot; the abundance of images-symbols, allusions, reminiscences, on which the subtext of the drama is based; frequent and sometimes obsessive repetitions that create a certain rhythm in the lines, etc. In the play “Card File”, the means of a lyrical kind of literature help the playwright to understand an ordinary, average, devastated person. Poetic images-symbols become the basis for Różewicz's plotless plays. The poeticization of drama gives the playwright the opportunity to bring inner world of a person to the stage, make the author's voice more independent and connect the viewer and reader to reflection on the key conflicts and problems of the world. Różewicz's plays are considered absurd, although most often there is no case of absurdity, since they are built according to the laws of the lyrical kind of literature.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"15 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80103189","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":"67 Canto from Alfred Tennyson`s ‘In Memoriam’ and its Role in the Development of Vladimir Nabokov`s Translation Strategy","authors":"Artem Yu. Strygin","doi":"10.37816/2073-9567-2023-67-155-163","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-67-155-163","url":null,"abstract":"This paper examines 67 canto from Alfred Tennyson’s “In Memoriam” translated to Russian by Vladimir Nabokov, as well as the reception of Tennyson’s poetry in Nabokov’s works. The key conceptual features of the translation are analyzed with consideration of the evolution of Nabokov’s opinions on translation and literary theory in general. The paper addresses mentions of Tennyson in Nabokov’s prose and other publications in order to broaden the understanding of Nabokov’s perspective. Nabokov’s translation is compared to the original English text and to the translations by D.L. Mikhalovskii and N.M. Minskii. The study describes transformations and the differences between the strategies used by the translators. Nabokov’s commentary on his translation of “Eugene Onegin” is taken into consideration when iambic structure of the English text is examined. The author has concluded that Nabokov’s approach to the translation of Tennyson’s poem is different from his work on translations of prose from the same period and is defined by translator’s effort to reproduce both the imagery and the structure close to the original. This translation illustrates the early stage of Nabokov’s path from translation as “adaptation”, when the original is transformed in one way or another, to the literalism of “Eugene Onegin”.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"112 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80171887","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":"Folk Adaptation of the Sentimental Romance by M. V. Zubova “I`m Going to the Desert","authors":"Anastasija S. Repina","doi":"10.37816/2073-9567-2023-68-181-189","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-68-181-189","url":null,"abstract":"The paper presents the collection and analysis of the folklore adaptations of Maria Zubova's sentimental romance “I am going away into the desert” in the 19th and 20th centuries. The transformation of the author's work in folk song and theatre culture demonstrates a complex interaction between folklore and book poetry. The biography of the author, a representative of the artistic milieu and one of the few female poets of the late 18th century, is reflected in some journal sources (“Materials for the History of Russian Female Authors” by M. N. Makarov) and fiction sources (“Russian Women of New Times” by D. L. Mordovtsev) which confirm possible authorship of the poetess. The study highlights stylistic features of love, spiritual and prison lyrics, as well as the work of folk theatre, which uses the text under study. Women's love songs, including choral songs, vary the motif of infidelity, transform the spiritual meaning of the image of the desert into a symbol of conjugal loneliness. In an Old Believer environment, the work was included in spiritual songs developing a motif of renunciation of the secular life in the wilderness. Researcher P. A. Bessonov discusses the devastating impact of “pseudo-folk” song on Russian spiritual culture. Echoes of the sentimental romance may also be found in the prison lyrics of the 20th century collected from the Siberian narrator I. K. Beketov. The final part of the study deals with the folk drama “King Maximilian”, where the cited text appears as a precedent for the Russian culture, which is proved later by its active use in numerous works of fiction.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"42 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72787358","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":"Semantic Constants in Preludes Op. 32 by Sergei Rachmaninoff","authors":"D. I. Topilin","doi":"10.37816/2073-9567-2023-68-329-338","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-68-329-338","url":null,"abstract":"The present paper addresses the Preludes Op. 32 by Sergei V. Rachmaninoff. At first, the author presents the crucial from the researcher’s perspective semantic constants, i. e., the prevailing sense of nature and manorial life, including the correlation of indoor vs. outdoor states. The Preludes are replete with the foreboding of the impending fatal events of Russian history; they conceal oscillation between home warmth and wanderings. The idea of Russia, the idea of path, the idea of death as the pivotal elements of Rachmaninoff’s worldview manifest in the Op. 32. The author points out the relation to the major symphonic works of the period, such as the Symphony No. 2 in E minor, Op. 27, the choral symphony-poem The Bells, Op. 35. The paper attempts to “perceive” the implicit programme nature of the cycle; associations with Alexander S. Pushkin’ oeuvre emerge, as well as a subtle affinity with I. Bunin’s lyrical poetry and A Nobleman’s Nest by I. Turgenev. The Prelude in B minor is a pinnacle of the cycle’s dramatic accumulation, appearing as a glimpse into the future through the burden of the happened events; the kinship with Rachmaninoff’s emigrant works is stunning. The “boundless snow desert” as an allegorical image of the native land on the eve of disaster is depicted in the Prelude in G sharp minor, reminding of the snowstorm in wilderness from Pushkin’s Captain’s Daughter — serving as the closest association, since in the beginning of the 1910s Russia yet again faced the fire of mutiny, the devastating revolutionary abyss of wrath and cruelty. The combination of intrinsic musical-theoretical observations with the historical-cultural survey allows the author to come near the comprehensive picture. The methodological basis of the paper relies on the complex method: the author has applied hermeneutical, comparative, and historical approaches.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"15 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73639007","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":"On Creative Biography of the Artist of the Second half of the 19th Century Anton Zakharovich Ledakov","authors":"Svetlana I. Mikhaylova","doi":"10.37816/2073-9567-2023-69-379-396","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-69-379-396","url":null,"abstract":"One of the Russian painters who left their creative mark in the Holy Land was Anton Zakharovich Ledakov, an artist of the second half of the 19th century, a graduate of the Imperial Academy of Arts. His biographical data, published in various sources, are very scarce and contradictory. For example, in the memoirs of A. N. Leskov, the artist is cast in an emotionally negative light, and the factual information presented there is refuted by archival documents of the Academy of Arts. Some refined details were found out thanks to the materials stored in the archives of Moscow, St. Petersburg and Samara: Ledakov came from court peasants of the village of Berezovy Gai of the Samara court estate. We also know from archival documents that he owned the murals of the church of the Great Martyress Catherine on Vasilyevsky Island, the ceiling in the altar of the house church of the righteous Zechariah and Elizabeth at the Elizabethan almshouse of the Eliseyevs in St. Petersburg, more than twenty icons and paintings for the chapel in Yelabuga. However, these works have not survived. A portrait of N. S. Leskov has been preserved from the artist heritage in Russia (currently located in the collection of the V. I. Dahl State Museum of the History of Russian Literature). The documents of the Central State Archive of the Samara Region made it possible to calculate estimated year of birth of the artist, but it has not yet been possible to find out the date of death. It is puzzling why the fact of the death of a person who had been in sight for a long time, and whose name was mercilessly bandied about in press, was passed by in silence. Many derogatory references to him were made by his fellow student at the Academy of Arts Ivan Nikolaevich Kramskoy, as well as the famous art critic Vladimir Vasilyevich Stasov. Most likely, he earned such a negative attitude by his commitment to academic writing and church art. In the Holy Land, he painted icons for free for the iconostasis of the Church of the Apostle Peter and the righteous Tavifa in the city of Jaffa (which were preserved), as a work entrusted to him by the Imperial Orthodox Palestinian Society. The study makes a number of assumptions about possible prototypes of this iconostasis, designed by Archimandrite Antonin (Kapustin), the fourth head of the Russian Spiritual Mission in Jerusalem, including analogies with polyptyches of Venetian Renaissance artists. The paper points out that the selection of saints for the top row at the request of the archimandrite was completely entrusted to Anton Ledakov. The author is trying to determine the motives for the artist's choice of the selection of these saints.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"31 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":"135709274","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":"Is Poster a Mirror of Time or Reflection of Stereotypes? Female Images on Soviet Posters of the Great Patriotic War","authors":"Daria Y. Ermilova","doi":"10.37816/2073-9567-2023-69-56-72","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-69-56-72","url":null,"abstract":"The paper explores female images of posters of the Second World War. It was important to find out how the world of images corresponded to the challenges of the time and how adequately it reflected this time. This approach reveals that the constructed world is not identical to reality — it does not reflect all the roles that women performed, especially in the USSR. The image of the Motherland was the main thing on Soviet posters for the front and less often — the reward for Victory and victims. The posters for the rear were dominated by the image of a working woman. Unlike American and British posters with young “female friends”, Soviet posters depicted women more realistically – and there are almost no women in military uniforms on Soviet ones, although posters of the second half of the 1930s often depicted women of “male” professions (scientists, doctors, pilots, etc.). During the war, such images disappeared completely. There are no images of pilots, snipers, radio operators on Soviet posters, although they are reflected in other types of art. The main reason is seemingly the fact that military propaganda created a masculine image of a warrior-defender, while women were assigned to the traditional gender roles of mother, faithful friend, keeper of the hearth or a symbol of the Motherland. The experience of World War II propaganda, which focused on visual images, may be valuable for modernity, despite the specifics of communications in the digital world.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"41 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":"135710644","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 same Alexey Tried...’: Historical Concept of the First Book of the Novel Peter the Great by A.N. Tolstoy in the Assessment of Soviet Criticism","authors":"Anna S. Akimova","doi":"10.37816/2073-9567-2023-69-326-338","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-69-326-338","url":null,"abstract":"The research bases on reviews of Soviet critics collected and systematized for the first time on the works of A.N. Tolstoy dedicated to the Peter’s I epoch such as the story Peter’s Day (1918) and the play On the Rack (1929). These works directly related to the idea of the novel Peter the Great. As shown in the periodical press reviews of the play, as well as of the performance, soon to be staged by the Moscow Art Theater 2 (1929), their perception determined the tone of the papers dedicated to the first book of the novel Peter the Great (1930). The study provides an overview of all six reviews written by Boris Valbe, Gerge Gorbachev, Cornelii Zelinsky, Nikolai Jesuitov et al., and outlines their main provisions and comments. The main drawback, according to critics, was the lack of a Marxist understanding of history in the novel reflected in the selection of historical sources and facts and in the image of the main character, Peter I. Assessing the chronicle order of the composition of the work differently everyone noted the colorful language, cheery humor and dialogues. The reviews of 1931 shaped the main approaches to the evaluation of the novel which will be developed in 1935 after the release of the second book through the concept of a lonely ruler, historical parallelism, i. e. solving the issues of modernity based on the Peter’s epoch, reflection in the novel of the role of “trading capital”. The study of the reception of the first book by A.N. Tolstoy will allows us determining its role and significance in the historical and cultural context as well as — more broadly — considering the main approaches to the evaluation of the historical novels and the representation of images of historical figures in Soviet culture.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"44 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":"135710869","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":"Sergei Yesenin`s Poetic Intonation (By the Example of the Poem Cycle ‘Persian Motifs’ and the Poem ‘My Way’","authors":"Tatiana K. Savchenko","doi":"10.37816/2073-9567-2023-69-189-202","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-69-189-202","url":null,"abstract":"The paper looks into the specificities of poetic intonation in Sergey Yesenin’s poems. Yesenin’s making as a poet took place in the Silver Age of Russian literature, which explains a syncretism of arts in his work. This concerns primarily a synthesis of poetry and music. The study focuses on poems from the “Persian motifs” cycle and a “short poem” “My Way” (“Moy put”). In songlike poems an intonational component, being the dominant one, finds its realization in the poem’s syntax. The analysis of the poems’ melody allows us to detect numerous chorus variations, which order the verses and underline their melodic cohesion. Melodic harmony is visible on the semantic as well as on the intonation and syntactic levels, including the composition, while alliterations and assonances account for the harmony of sound instrumentation of the poems. The paper also studies facture, an important concept which closely concerns the intonational component. The facture character of Yesenin’s poems is made up of the specificities of the metrics and rhythm, compositional-stylistic and rhythmic-intonational devices, pauses, stresses, author’s punctuation, etc.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"08 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":"135710875","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}