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

{"title":"Sacred Sites of the Demiansk Land in the Context of Hero`s Mythology","authors":"E. Okladnikova","doi":"10.37816/2073-9567-2023-68-30-46","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-68-30-46","url":null,"abstract":"The study comes up with results of the analysis of historical material collected in the north of the Demyansk district of the Novgorod region during expeditions on the topic “Historical and cultural map of the Demyansk district” in 2021. In the course of processing the material, we drew attention to the fact that in this map, in addition to the historical and ethnocultural, the contours of the sacred landscape are clearly visible. For the Demyansk land, the sacred landscape is a geographical space where topochron meets the hero's mythologeme. While we studied the topos of the sacred landscape of the Demyansk land on the district`s north, its chronos covers the epochs of the formation of the Old Russian state, the time of the spread of Orthodoxy and its rooting in tradition, the Soviet period and its important part — the Second World War. For each of the determined toposes of the sacred landscape of the Demyansk land we identified corresponding hero mythologeme: a prince (a hero of the feudal era of the formation of the ancient Russian state), a priest (a religious figure, framer of the Christian sacred landscape of territories) and a Soviet warrior (hero of the Second World War).","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83635825","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":"‘Women's Theme’ in the Russian Collection ‘Great Mirror’","authors":"S. Sevastyanova, E. E. Khudnitskaya","doi":"10.37816/2073-9567-2023-67-186-201","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-67-186-201","url":null,"abstract":"Interest in the “women's theme” is actualized in Russian humanities at the turn of the 21st century in terms of the feminology, historical anthropology and the history of everyday life. However, the “women's theme” in the exemplary collections of copies translated into Russian in the 17th century, still attracts little attention of researchers. This paper for the first time draws attention to women's issues as one of the cross-cutting ones in the code “Great Mirror” in its first Russian translation. The image of a woman is characterized basing on the material of 163 articles. The content of the examples is correlated with the events of the historical past of Ancient Rus` and Russian everyday life of the 17th century. The collection devotes considerable attention to the “evil wives”. Examples of women's activity show its manifestation not only as a vice, but as a social service. A woman is encouraged to lead a Christian lifestyle, to be submissive and faithful to her husband. At the same time, the source praises her wisdom and intelligence and readiness for self-sacrifice for the sake of her family and husband. Still weak, yet already noticeable in the chapters of the “Great Mirror”, manifestations of a new attitude towards women that flourished in the transitional period of Russian culture and modern times — development in the assessment of a woman's personality, strengthening women's status in the family, breaking stereotypes about a woman — were introduced not only by elements of European culture that have penetrated into Russian everyday life, but also the world culture`s plots inherent to the “female theme” of the collection.","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"77 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83131786","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":"Folk Art Crafts of Russia and ‘Russian Souvenir’","authors":"T. V. Belko, K. N. Saushkina","doi":"10.37816/2073-9567-2023-67-252-263","DOIUrl":"https://doi.org/10.37816/2073-9567-2023-67-252-263","url":null,"abstract":"Folk arts and crafts are part of the national heritage of Russia, a recognized contribution of Russia to world culture. The preservation, revival and development of folk arts and crafts always remain a topical topic of scientific research and the practice of developing souvenir products in the modern world. The paper presents the results of research on Russian folk arts and crafts: classification models have been developed including both text and illustrative materials, taking into account the geographical location of the centers of production of traditional crafts and materials used in the production, processing techniques and decoration of products. The study comes up with the results of testing the method of structural and graphic analysis of the folk art products based on the study of historical experience and the current level of souvenir production in Russia and abroad. It involves the design project “Souvenir from Russia”, which includes a series of wooden spoons: “Cyrillic” (based on the font graphics of Cyrillic writing), “Splint” (fragmentation of splint paintings and characters), “Ivanovo calico” (based on the plot ornaments of fabrics), “Khokhloma” (fragmentation of pictorial motifs and Cyrillic fontography).","PeriodicalId":41255,"journal":{"name":"Vestnik Slavianskikh Kultur-Bulletin of Slavic Cultures-Scientific and Informational Journal","volume":"14 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86041047","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}