To see the other types of publications on this topic, follow the link: Influence (Literary, artistic, etc.) – History – 20th century.
Journal articles on the topic 'Influence (Literary, artistic, etc.) – History – 20th century'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Influence (Literary, artistic, etc.) – History – 20th century.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Kuzina, Nataliya. "Russian-Catalan Relations of the Second Half of the 19th and Early 20th Century." ISTORIYA 13, no. 10 (120) (2022): 0. http://dx.doi.org/10.18254/s207987840023314-4.
Full textAbstract:
This article is devoted to contacts and connections between Catalan and Russian intellectuals, artists in the period from the second half of the 19th century to the beginning of the 20th century. These interactions were largely fragmentary, the connections were personal and few, but they significantly influenced the literary and artistic life of Russia and Catalonia. Questions of culture, science and art were the main subjects of conversation between Russians and Catalans. The article highlights such episodes as the correspondence between I. Pavlovsky and N. Ollier, the influence of the Catalan artist M. Fortuny on domestic painters, joint projects of S. Diaghilev and H. Sert, etc.
2
Ushakova, Olga M. "Alexander Blok’s Motifs in T. S. Eliot’s ‘The Waste Land’." Вестник Пермского университета. Российская и зарубежная филология 14, no. 4 (2022): 115–25. http://dx.doi.org/10.17072/2073-6681-2022-4-115-125.
Full textAbstract:
One of the notable trends in contemporary T. S. Eliot studies is the comparative study of Eliot’s works from various perspectives (influence, interaction, typology, contexts, etc.). The methodological principles of this research are determined by the orientation of comparative studies toward the typological study of literary phenomena. The paper deals with the parallels between two most important poetic texts of the 20th century: The Twelve by A. A. Blok (1918) and The Waste Land by T. S. Eliot (1922). The texts under study belong to the same cultural period and are united by similar artistic principles and vision of the world. The purpose of this paper is to reveal the points of intersection of two poetic universes in one research space. Both poets were the witnesses of colossal civilization collapses: the Great War and the Russian Revolution. Both poets had a ‘sense of history’, which made it possible for them to foresee and depict the Decline of Europe in poetic form, to convey the ‘noise of time’ in all its polyphony of meanings and rhythms. The authors of both poems went similar aesthetic trajectories, which can be designated as the way ‘from symbolism to modernism’. Both Blok and Eliot were poets-playwrights, creators of their own theories of poetic drama, hence the dramatic plot and many colorful characters in The Twelve and The Waste Land. In their post-war poems, both poets created the language of the modern city, using its rhythms, experimented with poetic form. The paper reveals and analyzes a number of similar motifs in The Twelve and The Waste Land: an apocalyptic vision of modernity, West and East, Eros and Thanatos.
3
Šlekonytė, Jūratė. "Phenomenon of Popularity of the Lithuanian Folktale “The Sister as Duck”." Tautosakos darbai 57 (June 1, 2019): 76–99. http://dx.doi.org/10.51554/td.2019.28428.
Full textAbstract:
The Lithuanian folktale “The Sister as Duck” (AT 452C*), most commonly known under the name of “Sigutė”, is generally regarded as a popular narrative. It is appreciated for the rich mythical imagery: after the female protagonist is burned and the cow licks the ashes, the duck appears; the snow is allegedly sparkling because of the witch’s brains (bones) scattered there, etc. Moreover, the tale abounds in expressive song insertions.This tale has been published both in academic and popular editions. Its images are widespread in popular culture, even becoming stereotypical. However, in the card file catalogue of the Lithuanian folk narratives, only 17 variants of this tale and 5 fragments recorded from oral tradition can be found.By using contextual analysis, the author of the article attempts establishing when, how, and due to what circumstances this tale has turned into a phenomenon of popular culture.Its first recording from oral tradition in the 19th century purported to serve as illustration of the peculiarities of a particular Lithuanian dialect. After the ban of the Lithuanian press in Latin alphabet was lifted in the beginning of the 20th century, this variant of the tale was included into a published collection of folktales for children, subsequently spreading to various schoolbooks, which commonly used it for didactic purposes, such as educating empathy in children.During Soviet times, the tale found its way into several academic editions, afterwards crossing into popular folktales’ collections for children published in thousands of copies. The tale also became popular in audial shape: its sound recordings were published both in Lithuania and abroad.The analysis of the tale’s variants recorded from the oral tradition highlighted certain characteristics indicating that its popularity must have depended on the written culture. In the five variants of the tale recorded in 1936–1959, the female protagonist is not once called Sigutė or turns into the duck. However, the eleven variants recorded in 1962–1980 include most of the structural components or certain peculiar details from the first published variant of the tale, e.g. the song insertions, the girl’s name, the duck motive. In most cases, the girl turns into duck here, and only once into a cuckoo. This testifies to the obvious influence of the published variant.The folktale “Sigutė” earned phenomenal popularity also due to its artistic interpretations. In the beginning of the 20th century, it inspired works by such Lithuanian neo-romanticists as Vydūnas, Salomėja Nėris and others. During Soviet times, this story served as basis for plays and theater performances for children, thus further paving its way into popular culture.The fate of the folktale “Sigutė” may be regarded as a certain case of folktale canon formation: the folk text originating in oral tradition is affected by instruments of the written culture, turning into a narrative of national renown and importance. Possibly such cannon formation was also determined by the decline of the traditional folk culture, as result of which the educated people selecting the folk texts to inspire their creativity particularly favored the ones characterized by a dramatic story line and impressive tragic developments, which therefore could be easily adapted into individual literary compositions.Thus, the literary and musical interpretations of the folktale “Sigutė” have significantly added to its popularity, turning it into a canonic childhood text. Lacking popularity in the oral tradition and recorded as just a few fragmented variants, most likely retold from the published folktale collections, the folktale “Sigutė” became a special phenomenon of the written Lithuanian culture.
4
Teterina, Olga B. "COMPARATIVE PARADIGM IN WORKS OF Y. BOYKO-BLOKHYN: APPROACHES “INTERWEAVING AND INTERCROSSING”." Alfred Nobel University Journal of Philology 2, no. 24 (2022): 49–62. http://dx.doi.org/10.32342/2523-4463-2022-2-24-5.
Full textAbstract:
The article analyzes Y. Boyko-Blokhyn’s comparative model as an important integral concept element of Ukrainian emigre scholars comparative literary studies in the 1930s-1980s period (Y. Boyko-Blokhyn, M. Hnatyshak, S. Hordynsky, V. Derzhavyn, I. Kaczurowskyj, D. Chyzhevsky, Y. Sherekh and others). Approaches of the emigre scholar to literature comparative exploration are interpreted in the context of global comparative studies main trends, and placed against the views of the mainland comparative literary studies representatives. We clarified the distinguishing features of Y. Boyko-Blokhyn’s model, proved its multidimensional and multivector character, and ascertained comparatist attitudes relevance towards modern comparative literary studies, taking into account their development potential. This goes according to the purpose of the work and its tasks. This research applies advances in comparative historical analysis, methodology of both historic cultural and receptive aesthetic schools. Conceptual idea of the scholar shows his attention to contact-genetic relationship as well as typological similarities and differences. The author interprets functionality problem of inter-literary/ intercultural communication preeminently as a national literature stylistic development factor. The study reveals the interdisciplinary nature of Y. Boyko-Blokhyn’s works (with access to the realm of philosophy, psychology and cultural studies), and demonstrates his integration of contextual, intermedial and other approaches, which fundamentally enriched methodological tools of comparative literary studies. Reflections of Y. Boyko-Blokhyn on the problem of Slavic literatures comparative study, while witnessing the author’s inherent interest in national identity problem, emphasized and deepened research of Slavic, specifically East Slavic, literatures as a fundamental component of the European cultural space. They also substantiated the demand for changes in approach to study the East Slavic region, particularly historical and literary processes in Belarusian, Ukrainian, and Russian literatures. Scientist’s observations and conclusions, aimed at understanding Ukrainian literature in the European context, broaden drastically the idea of its peculiarity, with an emphasis on the features conditioned by its development (T. Shevchenko – G. Byron, R. Burns, J.W. Goethe, A. Dante, G. Leopardi, A. Mickiewicz, T. Moore, Novalis, S. Petőfi, W. Shakespeare, F. Schiller; I. Franko – G. Byron, E.T.A. Hoffmann, A. Chamisso; Lesya Ukrainka – G. Hauptmann, M. Maeterlinck, O. Wilde and others). The researcher traces occurrences of literary reception by the national literature of other nations artistic and aesthetic experiences at various levels of comparative poetics (themes, motives, style, etc.) Conclusion. We proved an important role of Y.Boyko-Blokhyn’s comparative model, who developed impactful traditions of national comparative literary studies of the second half of the 19th century – first third of the 20th century, and at the same time rethought (including through denial) western methodologies, in development not only of Ukrainian, but also of the global literature science as a whole. Insights and ideas of the emigre scholar, many of which were often ahead of his foreign colleagues ideas (A. Balakian, H. Bloom, U. Weisstein, D. Durishin, A. Popovich, H.R. Jauss and others), remain relevant even nowadays. Y. Boyko-Blokhyn’s approaches to comparative study of literatures in the world context with a special emphasis on the problem of national identity apparently acquired the utmost importance during the era of globalization. Similar logic of thinking is affine to those modern authors who insist to study first differences between national creative writings, which according to their deep conviction enrich and diversify the global cultural universe (A. Balakian, C.Bernheimer, E. Kaspersky, F. Toudoire-Surlapierre and others). In contrast to “cultural unification scenarios”, Y. Boyko-Blokhyn’s reflections which draw attention to different literatures/cultures polylogue phenomenon, their mutual understanding and enrichment, are based on the following fundamental thesis: “originality is a runner to commonality” (it is also of fundamental importance for formation of comparative literary history concept). It’s emblematic that the Ukrainian scientist back then strongly denied the position of R. Wellek and R.Warren, who absolutized the tendency to universalization of the global literary process. Instead, Y. Boyko-Blokhyn argued for study of national version of pan-European style (romanticism, realism, modernism), traditional plots and characters, and he also scaled out radically the influence range idea as a manifestation of literary reception, with an emphasis on its creative character (from influence as a repulsion to influence as an “activity stimulus”, “impulse for self-movement”). In fact, these reflections of Y. Boyko-Blokhyn anticipated approaches of those scholars who justified later the concept of active perception as opposed to passive influence, actualizing the role of recipient in the process of inter-literary communication (H.R. Jauss), thesis about the decisive role of the recipient literature (D. Durishin), interpretive theory – “fear of influence” (H.Bloom). Y. Boyko-Blokhyn’s conceptual thoughts about understanding the “reverse influences” problem, as well as related matter of contribution of each Slavic, in particular East Slavic, literature to the global cultural heritage, are extremely consonant with arguments that have been in the researchers’ focus even in these recent times (M. Boehmig, O. Pachlovska). In conclusion we can say that Y. Boyko-Blokhyn’s comparative model which is characterized by nation-centric orientation emphasizes fundamentally the prospects for further scientific research in historical, literary and comparative dimensions, first of all in projection of such methodologies inherent to modern comparative literary studies as imagology, theory of intertextuality and cultural transfer
5
Макаренко, Евгения Константиновна. "THE POETICS OF NARRATION IN THE HISTORICAL LITERATURE OF THE XIX – EARLY XX CENTURIES FOR CHILDREN AND YOUTH (THE STUDY OF THE WORKS OF E. POSELYANIN)." Tomsk state pedagogical university bulletin, no. 4(216) (July 6, 2021): 140–49. http://dx.doi.org/10.23951/1609-624x-2021-4-140-149.
Full textAbstract:
Введение. Становление исторической прозы для детей и юношества в русской литературе началось в первой трети XIX в. и было вызвано стремительным развитием отечественной историографии. Детской писательнице А. О. Ишимовой принадлежит заслуга создания первого адаптированного для детей исторического труда. Принцип художественного осмысления прошлого, фактический материал, концепция истории отечества были заимствованы Ишимовой из «Истории государства Российского» Карамзина. В своей «Истории России в рассказах для детей» писательница заложила жанровые доминанты нового документально-художественного рода сочинений в детско-юношеской литературе, среди которых можно выделить познавательную и нравственно-назидательную цели исторического труда; выбор политической идеологии, которой подчиняется концепция отечественной истории; опору на разные исторические источники, в числе которых важное место занимает современная историография; художественное осмысление прошлого, психологизацию исторического материала; включение фольклорных и авторских литературных текстов; диалогизацию монологического текста в форме обращений и вопросов к адресату и др. Цель – анализ поэтики исторического повествования, а также представленной концепции русской истории в исторических произведениях для детей А. О. Ишимовой и Е. Поселянина. Исследование продолжает необходимую работу в области изучения произведений второго ряда литературы и позволяет определить принципы формирования детско-юношеской исторической прозы XIX – начала XX в. Материал и методы. Дается анализ исторической книги для детей и юношества Е. Поселянина «Сказание о святых вождях Земли Русской». Исследование написано в русле сравнительно-исторической поэтики. Результаты и обсуждение. Созданное Л. Тихомировым государственно-правовое учение о монархическом принципе власти повлияло на идеологическую составляющую исторической книги для детей и юношества Е. Поселянина «Сказание о святых вождях Земли Русской». Поселянин описывает историю Древней Руси и затрагивает современную ему Российскую империю, основываясь на концепции о присущей природе российской государственности модели православной самодержавной монархии. В период обострившегося социально-политического кризиса в конце XIX – начале XX в., когда актуализировалась проблема переоценки российской государственности и общества, а также определялись перспективы развития России в контексте общеевропейских тенденций, Поселянин утверждает ценность и самодостаточность российской государственности, декларирует идею особого пути России. Заключение. Большинство сказаний о русских князьях Е. Поселянина представляют собой переложение их жизнеописаний, взятых из летописей, Четьих-Миней святителя Димитрия Ростовского, Пролога, древнерусских поучений, сказаний, воинских повестей, а также научных трудов историков XIX в. Разнообразие источников, ориентация как на древнерусский жанр исторического сказания, так и на современные писателю мемуарно-биографические жанры обусловили жанровое своеобразие «Сказания...», в котором житийные повести перемежаются с историко-биографическими очерками о русских князьях и святых, объединенных общим повествованием о трагических и героических событиях древнерусской истории. В «Сказании...» Поселянина сочетаются эпическое начало, лиризм и очерковость. Introduction. The development of historical prose for children and youth in Russian literature began in the first third of the 19th century and was caused by the rapid development of Russian historiography, which began with the publication of N. M. Karamzin. The children’s writer A. O. Ishimova is credited with creating the first historical work adapted for children. The principle of artistic comprehension of the past, factual material, the concept of the history of the fatherland was borrowed by Ishimova from Karamzin’s “History of the Russian State”. In her History of Russia in Stories for Children, the writer laid down the genre dominants of a new documentary-artistic kind of works in children’s and youth literature, among which one can single out the cognitive and moral-edifying goals of historical work; the choice of political ideology to which the concept of national history is subject; reliance on various historical sources, among which modern historiography occupies an important place; artistic comprehension of the past, psychologization of historical material; inclusion of folklore and author’s literary texts; dialogization of a monologue text in the form of addresses and questions to the addressee, etc. Aim and objectives. Analysis of the poetics of historical narration, as well as the presented concept of Russian history in historical works for children by A. O. Ishimova and E. Poselyanin. This study continues the necessary work in the field of studying the works of the second series of literature and allows us to determine the principles of the formation of children’s and youth’s historical prose of the XIX – early XX centuries. Material and methods. The article analyzes the historical book for children and youth by E. Poselyanin “On the holy leaders of the Russian Land”. The study is written in the mainstream of comparative historical poetics. Results and discussion. The state-legal doctrine of the monarchical principle of power created by L. Tikhomirov influenced the ideological component of the historical book for children and youth by E. Poselyanin “The Legend of the Holy Leaders of the Russian Land”. The villager describes the history of Ancient Rus and touches on the contemporary Russian Empire, based on the concept of the inherent nature of Russian statehood, the model of an Orthodox autocratic monarchy. During the aggravated socio-political crisis at the end of the 19th and the beginning of the 20th centuries, when the problem of reassessing Russian statehood and society was actualized, and the prospects for the development of Russia in the context of general European trends were determined, Poselyanin affirms the value and self-sufficiency of Russian statehood, declares the idea of a special path for Russia. Conclusion. Most of the legends about the Russian princes E. Poselyanin are transcriptions of their biographies taken from the chronicles, the Chetykh-Minei of St. Demetrius of Rostov, the Prologue, Old Russian teachings, legends, military tales, as well as scientific works of historians of the 19th century. A variety of sources, an orientation both to the ancient Russian genre of historical legends and to the contemporary memoir and biographical genres of the writer determined the genre originality of the Legend, in which hagiographic stories are interspersed with historical and biographical sketches about Russian princes and saints, united by a common narrative about the tragic and heroic events of ancient Russian history. The Peasant’s Tale combines an epic beginning, lyricism and essayism.
6
Stundžienė, Bronė. "The Lithuanian Folk Couplets: On This Side of the Permissible Laughter and Beyond." Tautosakos darbai 59 (June 2, 2020): 177–208. http://dx.doi.org/10.51554/td.2020.28374.
Full textAbstract:
The article deals with folk couplets (Lith. pl. talalinės) – an underresearched peripheral genre of the Lithuanian folklore. This genre includes short, mostly one stanza-long comic songs that frequently deal with obscene topics and use unquotable vocabulary. This unadvertised folk poetry provisionally dates back to the middle of the 19th century, when its first publications appeared. This genre of folksong attributed to the popular culture of laughter has been always marginalized in relation to the traditional culture. Therefore, the article presents an analysis of this ill-repute frivolous folksong genre, touching upon various aspects of its functioning. The main problem under investigation is, why couplets with no recognized positive value have been so popular among certain groups of the village community (especially young people), and on what grounds this essentially merry and playful folkloric communication has been carried on, bearing in mind that this process is actually not over even today. The development of the Russian частушка as a special instrument of communication and its meaning in the scholarly discourse is also taken into consideration, as well as possible influence of these Russian couplets upon their Lithuanian counterparts. The analysis of talalinės is based upon materials from the Lithuanian Folklore Archives and various publications. Firstly, the article gives an outline of the meager publication and research history of this genre, noting that for a long time these couplets have been made into a certain kind of the sociocultural taboo even in the sphere of scholarly investigation. Right from the beginning of its publication in the second half of the 19th century and throughout the Soviet times, this genre was ignored as having no artistic (or esthetic) value, which was the only criterion applied to the folklore appreciation during that period. However, the first half of the 20th century could be considered the “golden age” in terms of the public spread of these couplets: when the Lithuanian radio started broadcasting, these comic folklore pieces found their way into its program, immediately gaining huge public approval. However, performance only of couplets with appropriate contents was allowed; particularly those dealing with political or obscene topics had to be avoided. The reader is reminded about a historical case from the interwar period, when public distribution of proverb collection edited and published in 1934 by the famous writer Vincas Krėvė-Mickevičius was prohibited, since it contained 300 of obscene texts, which caused significant restrictions to the availability of this publication. A similar misfortune had somewhat earlier befallen the Latvian colleagues publishing a volume of “dirty” Latvian folksongs and other folklore. Such censorship was related to the rigorous program of fostering the national morality of the time that was introduced by the government. However, the authorities did not interfere with collecting of the obscene folklore for the archiving purposes. Therefore, big amounts of folklore material attributed to the culture of laughter were collected especially in the interwar period. Further reviewing of the history of talalinės elucidates the connections between these songs thriving in the 19th – the first half of the 20th century and the humorous poetry created by the contemporary poets, as well as the newly formed folksong genres related to it. The author presents a wide field of miscellaneous relations evolving around this form of folklore. She pays attention to the sarcastic way of caricaturing used in these couplets, when for the purposes of fun-making the outdated popular customs and beliefs are critically targeted, made fun of and vulgarized using obscene vocabulary. Discussion of the essential peculiarities of the talalinės pattern, among other things, elucidates two main tendencies in the thematic canon of this genre. One part of these couplets simply treats the members of the native community and their relationships in a humorous way, as if observing them through a sarcastically distorting comical lens. These cutting couplets mock people from the immediate surroundings, making fun of them as if having previously sorted them into groups according to various characteristics. These include: 1) age groups (making fun of the things that are well-suited to the young but ill-suited to the old, and vice versa), 2) social status (gibing at relations between people from different social classes, like landlords and farmhands, as well as those not engaged in agriculture, like craftsmen, particularly tailors, shoemakers, blacksmiths, but also musicians, priests, nuns, etc.), 3) the alleged or true foreigners, distinguished on the grounds of belonging to a different religious or ethnic group, or characterized by different behavior (however, certain “foreign” character may be attributed to nearly everyone that comes from another community, including a neighboring village or some further locality in Lithuania). According to the second provisionally distinguished type of the talalinės pattern, their thematic scope narrows considerably: these couplets focus on man as a physical creature, an on the human body, or rather, on its lower part. Such couplets are especially fond of the nonstandard – obscene or scatological – vocabulary. Obscene couplets create scenes of essentially similar kind, namely, describing sexual intercourse and the private parts, and using exclusively ribald vocabulary that is usually banned from the public discourse. These quatrains present a wide range of erotic improvisations – from foul suggestions to the harshest obscenities. However, the author concludes that this kind of comic, even obscene speech employed in the couplets is of carnival nature (to use the term by the Russian culture researcher Mikhail Bakhtin): that is, when the temporarily assembled social group aims at entertainment and by common consent decides to ignore the social norms, each participant experiences a special kind of communal unity and belonging. Having crossed the established line, the creator-performer-listener of these couplets feels free both from the public reaction and from the entrenched ideology, and experiences an overwhelming sense of freedom. Such transgression is supplemented by compromise (a certain concession in terms of individual moral principles that are temporarily abandoned for the sake of participating in the game, usually obscene, proposed by the talalinė), and it allows the addressee and the addresser to become equal members of the same group. This is a special mode of folklore communication. Having compared the Lithuanian talalinė with the outwardly related Russian частушка, the author concludes that in spite of certain coincidences, the Lithuanian couplets were composed and structurally arranged independently from their Russian counterparts. However, the most important thing is that the Lithuanian talalinė, recorded for the first time in the second half of the 19th century, presented an alternative for the old folksong, and continued to exist / keeps existing alongside the folksong, abstaining from dismantling its traditional canon, although occasionally making fun of it.
7
Gavrileva, N. G. "N.A. Nekrasov and the Literature of the Small Indigenous Peoples of Russia (Translation of the Poem "Knyaginya Trubetskaya" into the Yakut Language)." Язык и текст 8, no. 3 (2021): 61–67. http://dx.doi.org/10.17759/langt.2021080308.
Full textAbstract:
The article is devoted to the history of translation thought in Yakutia. Much attention is paid to the literary influence of Decabrists and Russian writers on the work of Yakut poets the first half of the 20th century. The main focus of the author is the controversy about the specificity of the artistic translation from Russian into Yakut, his function in the Russian literary process, and the peculiarities of the creative individuality of the translator.
8
Abramova, K. V., E. V. Kapinos, and I. V. Silantev. "Siberia and the Far East in the First Half of the 20th Century as a Space of Literary Transfer." Vestnik NSU. Series: History and Philology 21, no. 9 (2022): 98–109. http://dx.doi.org/10.25205/1818-7919-2022-21-9-98-109.
Full textAbstract:
Purpose. The article covers the studies on “Siberia and the Far East of the first half of the 20th century as a space of literary transfer”, which have been conducted in the sector of literary studies at the Institute of Philology of the Siberian Branch of the Russian Academy of Sciences since 2019 and are underway until now. Results. The aim of the article is to demonstrate the main lines of this work, so we shall list them. First, the study of Siberian and Far-Eastern futurism and Siberian and Far-Eastern periodicals of the 1920s with the selective publication of archival materials (N. Aseev, S. Tretyakov, V. Ryabinin, V. Mart, etc.). Secondly, the reconstruction of forgotten, but valuable for the history of Russian literature creative biographies of poets and novelists of the Eastern branch of the Russian emigration (V. Loginov, N. Peterets, B. Beta, B. Volkov, etc.). Thirdly, a description of the poetics of Far Eastern, Harbin and Shanghai authors, identification in their prose and poetic texts of artistic techniques discussed and developed in literary circles of Harbin and Shanghai (original rhymes, rare strophic and compositional forms, imitations of Eastern genres); identification of primary styles and subtexts for Harbin and Shanghai authors. Fourth, the study of documentary sources, up to the most contemporary, of Russian Harbin and Shanghai and the search for documentary evidence of the literary culture of the Russian China in artistic texts, such as V. Pereleshin's “Poem without Subject”.
9
Kostova-Panayotova, Magdalena. "RUSSIAN LITERARY MODERNISM AND ITS INFLUENCE ON BULGARIAN LITERATURE." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 203–24. http://dx.doi.org/10.37816/2073-9567-2020-58-203-224.
Full textAbstract:
The paper discusses to what extent major currents and representatives of Russian modernism and the Avant-garde had influenced the works of prominent representatives of 20th-century Bulgarian literature such as L. Stoyanov, Liliev, Debelyanov, Trayanov, Sirak Skitnik, and many others. In addition to addressing the influence of Russian symbolism on Bulgarian writers, the article examines the impact of Acmeism on the work of El. Bagryanа and At. Dalchev; the one of Imaginism on the work of Bulgarian modernists from the 1920s such as Slavcho Krasinski, Geo Milev and others. The intertwining of features of the poetics from different avant-garde currents, both in the works of individual authors and in the works of a single writer appeared as a typical phenomenon in the life of the Bulgarian avant-garde. Such poets as N. Furnadzhiev, A. Raztsvetnikov, N. Marangozov and others, and fiction writers as Ch. Mutafov, A. Karaliychev, A. Strashimirov, J. Yovkov, repeatedly experienced the influence of contradictory modernist and avant-garde currents, however, in their works they managed to add the “European form” to the “Bulgarian content”. The study also involves Bulgarian avant-garde journals such as Crescendo, Libra/Vezni, etc. This paper argues that by going against the rules, the avant-garde writers created a productive artistic method, a kind of alternative classic.
10
Ruge, Jing, та Irina S. Boldonova. "Transformation of a Literary Character’s Identity in the Artistic Mirror of Buryat Novels: from Soviet to Рost-Soviet". Humanitarian Vector 17, № 1 (2022): 55–64. http://dx.doi.org/10.21209/1996-7853-2022-17-1-55-64.
Full textAbstract:
In this article, the authors make an attempt based on an analysis from the point of view of neo-historicism to look again at the history of the development of Buryat novels, to analyze the features of constructing the identity of the main characters in works written by famous Buryat writers at different historical stages. The relevance is due to the absence of scientific works devoted to identifying the transformation of the identity of literary characters under the influence of historical eras. The purpose of this article is also to study the influence of various historical contexts on the work of writers in order to find out the pattern of manifestation of the ethnic identity of the Buryats in the historically determined dynamics of social development and their artistic embodiment. The most famous novels by Buryat writers of the 20th century served as the material for the study. Being a significant genre of Buryat literature, the novel has a natural connection with history since its inception, which makes it another channel for understanding the influence of the historical process on the identity of the Buryats. The authors analyze Buryat novels, which are an artistic medium for Buryat writers, with which they can write about national identity. Buryat novels are influenced by the social and historical environment and have features at different stages of history. Historical events and characters depicted in Buryat novels reflected the process of identity transformation in artistic form. The authors come to the conclusion that the identity of the heroes goes through stages from the desire for unification under the influence of Soviet ideology to the formation of a new identity of a USSR citizen, and to the conclusion about the revival of ethnic identity at a new stage. The research perspectives include the study of the transformation of identity in other genres of Buryat literature.
11
Skuridina, Svetlana A. "At the origins of literary onomastics." Neophilology, no. 17 (2019): 54–61. http://dx.doi.org/10.20310/2587-6953-2019-5-17-54-61.
Full textAbstract:
We present the history of the emergence and development of literary onomastics, the relevance of which is currently not in doubt due to the involvement of its data for the analysis of the artistic world of different authors as linguists and literary critics. The aim of the study is to acquaint readers with those works in which reflections on the function of the proper noun in fiction can be considered as prerequisites for the emergence of onomastics. An important role in the development of science about the proper noun not only scientists, but also critics, writers and journalists, for example, V.G. Belinsky, N.S. Leskov, O.I. Senkovsky. Despite the initial interest of researchers to the etymological meaning of a literary name, in onomastic works middle of 20th century lighting find such problems, as reflected in the anthroponyms of the essential characteristics of the literary character, stylistic conformity onomastic units, social conditionality of name, etc. We point out the primary importance in the problems development of the new branch of linguistics for the 1950s of the works of such scientists as V.N. Mikhailov, R.P. Shaginyan, E.P. Magazanik, D.S. Likhachev. In conclusion we note the modern Voronezh onomastic school research specificity, founded by G.F. Kovalev, the successor of the already classical traditions of Russian onomastics.
12
Na, Sai. "Artistic space in I.S. Turgenev’s prose poem «threshold» and in chinese literature of the XX century." Solov’evskie issledovaniya, no. 4 (December 15, 2019): 167–76. http://dx.doi.org/10.17588/2076-9210.2019.4.167-176.
Full textAbstract:
The popularity of «Prose Poems» (1878–1882) by Ivan Sergeevich Turgenev dates back more than a hundred years, while they remain the very first works of the writer, translated into Chinese. The study of Turgenev has gained particular relevance in China. This article discusses the understudied issue of the influence of the Turgenev’s prose poem «Threshold» on Chinese literature through the example of the work of the classics of Chinese literature of the first half of the 20th century, such as Lu Xin (1881–1936), the father of the modern Chinese novel, Li Ni (1913–1968), the singer of «sorrow and grief», and Lu Li (1908–1942), one of the founders of the new Chinese lyrical prose. Using the comparative method, the article analyses the artistic features of the following prose poems: «The Traveler» by Lu Xin, «The Falcon Song» by Li Ni, and «The Door and the Recluse» by Lu Li. The author reveals the significant influence that the philosophical ideas of Turgenev and his creative style had on these writers and Chinese literature in general. The comparative analysis shows that in the poems of Lu Sin and Li Ni, the spatial characteristics of Turgenev's prose poem «The Threshold» are recreated, while Lu Li was inspired by the philosophical meaning of this work of art. In this way, opening a new page for Russian literary scholars in the history of the relationship between Russian and Chinese cultures, the research topic and the analysis done reveal new material for Russian literary studies about on the history of the reception of Turgenev‘s creative work in China.
13
Tarasova, M. V., A. A. Sitnikova, and M. G. Smolina. "Laszlo Moholy-Nagy: the directions of creative work and the influence on the development of art of the 20th century." Siberian Journal of Anthropology 4, no. 4 (2020): 248–68. http://dx.doi.org/10.31804/2542-1816-2020-4-4-248-268.
Full textAbstract:
The creative work of the Hungarian theoretician and artist Laszlo Moholy-Nagy has recently become an object of reevaluation and scrutinous investigation. Laszlo Moholy-Nagy is also considered one of the forerunners of conceptual art. In a way, he also foresaw the "visual turn" of culture, which she made at the beginning of the 21st century, and he viewed his works in part as "exercises" in vision for a person of the future. Although today it is obvious that the art of L. Moholy-Nagy had a significant impact on the work of contemporary artists, a detailed analysis and understanding of the essence of this influence still remains insufficiently studied. In the development of his artistic method, L. Moholy-Nagy constantly evolved, moving from painting to photography and further to film works. The research explores the representatives of certain types of art in the work of Mohoy-Nagy. A detailed philosophical and art history analysis of the artist's photograms – works created in painting with light (light painting) is carried out in the research. Although the connection between Moholy-Nagy’s art and the artistic practice of the present day has been acknowledged the detailed analysis of the influence of Moholy-Nagy’s ideas on contemporary artists is still in great demand. The aim of our research is to understand the intermedial concept of Moholy-Nagy’s creative activities by means of the analysis of paintings, photographs, photograms and films produced by the artist. Our research is based on the modern theory of art as a mode of communication. The methods of our research include the conceptual, hermeneutic and comparative analysis. The methodological foundations of the research include the conception of the philosophical and art historical analysis, developed and proposed by V. I. Zhukovsky and N. P. Koptseva, which involves the appication of general scientific methods (measurement, analysis, synthesis, interpretation, analogy, etc.) to understanding the meanings of art works. As a result of our research we have revealed the meanings of Moholy-Nagy’s works of art and described their influence on the American, Hungarian and Russian artists of the twentieth and the twenty-first centuries.
14
Martonova, Andronika. "A whole century in the vibrating net of arts." Balkanistic Forum 29, no. 3 (2020): 324–28. http://dx.doi.org/10.37708/bf.swu.v29i3.19.
Full textAbstract:
The edition of Bratoeva-Darakchieva, Ingeborg; Genova, Irina; Levi, Claire; Spassova-Dikova, Joanna; Stoilova-Doncheva, Teodora; Tasheva, Stela; Traykova, Elka. Bulgarian 20th Century in Arts and Culture. Institute of Art Studies, 2019, ISBN: 978-954-8594-77-6, 632 рр. 333 ill. http://artstudies.bg/books/BG_XX_EN_2019_IIIzk.pdf in Bulgarian and in English in two separate books comes as a result of a collaborative interdisciplinary project supported by the National Science Fund, Bulgaria, which aims to present a general view on the history of arts in Bulgaria during the 20th century. There are specific but also general, parallel intellectual and artistic processes observed in the field of literature, theatre, music, cinema, visual arts and architecture. The accent is put on phenomena related to the modernization of Bulgarian culture and its place in the context of the flexible, dynamic cultural dimensions of modern Europe. The texts are structured in three parts: Under the Sign of Modern Europe (1878–1944), Metamorphoses of Modernity (1945–1989), Challenges in a Time of Transition (1989–2000). Splitting the period into topical parts creates convenience of sharpening the accents related to various “aspects of change” in the development of a particular art and its specific reflections from the point of view of personal and community identity analysed in synchronous or diachronous terms. The marking of such cross nodes (temporal, socio-cultural, institutional, genric, etc.) by following mosaic-chronological principle is conventional and provocative to the traditional idea concerning developmental trends in Bulgarian culture of the past century. The publication is richly illustrated and has an extensive bibliography. It is intended for a wide range of readers. It is evaluated as excellent edition by the National Science Fund, Bulgaria.
15
Tkachuk, Olena. "MULTICULTURALISM BY CONRAD-EMIGRANT." Polish Studies of Kyiv, no. 35 (2019): 376–80. http://dx.doi.org/10.17721/psk.2019.35.376-380.
Full textAbstract:
The article is devoted to the problem of the multiculturalism by Joseph Conrad, the English writer and the world classic of the 20th century, who, due to the preservation of his Polish national-cultural identity, and by estrangement from this identity in his artistic consciousness, was able to influence the intellectual and artistic atmosphere in England of his times. In this way, the Polish identity became a background for Conrad’s artistic creativity, and at the same time, universal values and criteria were the key to the successful acculturation in English society in its one of the most effective strategies – the integration strategy. In this case Conrad acquired another national-cultural identity, English, – while retaining his native, Polish. Undoubtedly, one of the most important issues touched by almost all researchers is his arrival in English literature, a Pole in origin, who only arrived in England in the twenty-first year, actually emigrating, and for a very short time becaming a venerable writer. It should be noted that, taking into account the peculiarities of English mentality, the task was rather uneasy. All this undoubtedly led to the development of a variety of approaches to understanding the creative personality and rich heritage of Joseph Conrad. Foreign literary and critical academic circles, which introduced the concept of «new English literature» (meaning the post-colonial period), do not take into account such figures of the English literary process as Joseph Conrad, whose work falls out of its chronological framework, and indicates that multicultural literature appeared on the approaches to the twentieth century. However, only nowadays it was possible that such an approach was based on the principles of multiculturalism, that is, the phenomenon justified in the 90s of the XX century, although, as the majority of scholars testify, it existed for a long time in cultural studies, literary criticism, art history and philosophy. We have chosen this approach. The research is devoted to the study of the problems of national-cultural identity by Joseph Conrad, as well as the mechanism of his acculturation in the conditions of emigration.
16
Radmilo Derado, Sanja. "MERGING SOCIAL CRITICISM WITH IRISH CULTURAL HERITAGE IN THE SHORT STORY COLLECTION THE UNTILLED FIELD BY GEORGE MOORE." Folia linguistica et litteraria X, no. 32 (2020): 43–63. http://dx.doi.org/10.31902/fll.32.2020.3.
Full textAbstract:
The paper analyses the short story collection The Untilled Field by the Irish writer George Moore (1852-1933) with the aim of establishing the subversive potential of these stories in the context of the criticism of the overpowering dogmas within the Irish society at the beginning of the 20th century. With this long neglected short story collection, George Moore reveals a darker, silenced side of Ireland, hidden from the public discourse of the socio-political mainstream of the period. His social criticism is primarily focused on some neuralgic aspects of the Irish society of the time, namely on the dominant influence of the Irish Catholic church on the collective ethos of the nation and, subsequently, on the spiritual and moral paralysis of the Irish people as well as on mass emigrations of the Irish to America. By pinpointing these, in his view, destructive social forces and the complex sociopolitical situation in Ireland during the formation of the modern Irish state, George Moore identifies a state of collective moral lethargy characterised by total absence of any possibility of individual affirmation through artistic agency. The importance of this short story collection, from the point of view of scientific research, lies in the foregrounding motivation behind it. In other words, in George Moore´s intention to dig deep into the relentless existence of the Irish people at one stage in the country´s history and to re-shape the well- established colonial representations which favoured falsely pastoral visions of Ireland. It was not until the second half of the 20th century that the stigma of ´un-patriotic´ and ´subversive´ was lifted from this short story collection giving it, though still limited, well-deserved attention and recognising its literary and artistic importance for Irish national culture and for its literature.
17
Kozhina, Svetlana A. "The socio-psychological novel on the modern Czech book market (based on Alena Mornštajnová's works)." Slavic Almanac, no. 3-4 (2021): 296–310. http://dx.doi.org/10.31168/2073-5731.2021.3-4.4.03.
Full textAbstract:
The modern Czech literary market (after 1989) has undergone significant changes. Its development was influenced, in particular, by the commercialization of the cultural sphere. The article describes the current (since 1989) literary process in the Czech Republic, presents the most successful — primarily from a commercial point of view — works in order to trace the most striking trends in modern Czech literature. The article provides an overview of contemporary Czech literary awards, nominations, as well as participating works. Particularly emphasized is the phenomenon of the growing popularity of works reflecting the events of recent history (the second half of the 20th century). An example of these trends are Alena Mornštajnová’s works — The Blind Map (2013), The Little Hotel (2015), Hana (2017) and Years of Silence (2019). When characterizing the novels, special attention is paid to the role of historical plots and motives, as well as their influence on the modification of the genre of the socio-psychological novel in modern Czech literature. Moreover, the article dwells upon on Mornštajnová’s artistic processing of historical material. She uses it as a method to depict psychological transformations of the characters, thus creating an effect of reader’s involvement (through “recognizing” oneself and one’s life story in the life story of the character).
18
Al-Rahbi, Ahmed Mohammed. "Modern Arabic Literature. “The Breaker” Edwar Al-Kharrat." Asia and Africa Today, no. 8 (2022): 78. http://dx.doi.org/10.31857/s032150750021327-1.
Full textAbstract:
The article is devoted to the developing of modernism in Arabic prose and the art of one of the most prominent figures of this trend - Edwar al-Kharrat (1926-2015). The end of the dominance of the classical novel exactly in the first half of the 20th century and the turn of the generation of the 60s to new artistic techniques is directly associated with the historical events of 1967 (Six-Day War). It is noted that one of the consequences of these events for literature was the change of discourse - from revival (an-Nahda) to defeat (an-Naksa). The artistic method of Edwar al-Kharrat is characterized in detail on the examples of his early story “Station” and the novel “Rama and the Dragon”, which was included in the top ten Arabic-language novels of all time by the Union of Arab Writers. The authors distinguish thematic blocks in the works of al-Kharrat: the eternal themes of love, life and suffering, which are passed through Hellenistic and Middle Eastern mythologies and Christian philosophy. Such techniques of al-Kharrat as playing with the chronotope, narration through the subjective perception, attention to sensations, replacing the plot with a description, using dichotomy - the opposition of male and female, Christianity and Islam etc. are highlighted. Also the authors stress the significance of al-Kharrat's theoretical works on literature, where the artistic method, defined by him as a “new sensibility” and opposed by critics to what was called “al-Mahfuzia”, is comprehended. The question is raised about the role of al-Kharrat in the history of the latest literature of the Arab countries, while the authors try to remove the contradiction that is seen in the inimitability of al-Kharrat and his simultaneous fundamental influence on subsequent generations of prose writers.
19
Derevianchenko, Olena. "Mykhailo Verikivskyiʼs “Five Pieces For String Quartet on Folk Themes”: Principles of Folklore Processing". Scientific herald of Tchaikovsky National Music Academy of Ukraine, № 134 (17 листопада 2022): 69–84. http://dx.doi.org/10.31318/2522-4190.2022.134.269612.
Full textAbstract:
Relevance of research. The introduction to the musicological using of the manuscript of M. Verikyvskyi's early work, which was previously only briefly mentioned in the literature, is connected with the current scientific trend of studying little-known pages of the history of Ukrainian music of the era of national liberation struggles of the 20th century. The return of the forgotten artefact of the composer's heritage is intended to contribute to the establishment of more complete and objective picture of the development of genres, stylistic trends, individual authorial style, etc. The purpose of the study. The purpose of the article is to explore the principles of processing folklore in the M. Verikyvskyʼs cycle "Five pieces for a string quartet on folk themes" in the genrestylistic aspect, to find out the extent of the influence of theoretical views and didactic instructions of B. Yavorskyi on the writing of the work, to outline the meaning of the composition in the context of the evolution of the author's creativity and directions development of Ukrainian quartet music of the 20th century. Methods. The article uses source, genre and style studies, structural and intonationalconstructive methods of analysis of musical work. The results and conclusions. The composer's notes in the margins of the manuscript are commented in the context of the artist's creative life (1921), social-political and aesthetic-artistic trends of the era, communication with the teacher of composition. The stylistic features of neofolklorism were revealed in the work: appeal to folk archaic and principles of folklore thinking, combination of folk elements with technical and compositional means of the modernist era, subjugation of the folklore theme to an individual artistic idea. The influence of the theoretical and didactic instructions of B. Yavorskyi, M. Verikyvskyiʼs teacher at the Kyiv Conservatory, can be observed on two levels: 1) general aesthetic views on the use of folklore in the composer's work, 2) specific compositional and stylistic techniques in the plane of lado-harmonic processes (the role of the tritone, constructive and modal continuous exposition), dynamization of the metrorhythm, texture, formation. In the composer's creativity, this work initiates the genre of instrumental folklore composition, prepares the appearance of large-scale neo-folkloric compositions (oratorio, symphonic uite, ballet, opera), tests for the first time the model of the five-part suite cycle, built on the principles of contrast, symmetry and concentricity. In Ukrainian quartet music, this opus is located near the origins of the folklore line of development of the genres of piece (folk miniature) and suite.
20
Макаренко, Евгения Константиновна. "GENRE SPECIFICITY OF BIOGRAPHICAL SKETCHES ABOUT RUSSIAN MOVEMENTS BY E. POSELYANIN." Tomsk state pedagogical university bulletin, no. 1(213) (January 11, 2021): 95–103. http://dx.doi.org/10.23951/1609-624x-2021-1-95-103.
Full textAbstract:
Введение. Известный в дореволюционной России публицист и духовный писатель Евгений Поселянин (настоящая фамилия Погожев), пройдя путь сомнений в вере и получив духовное возрождение в Оптиной Пустыни, стал участником развернувшейся между интеллигенцией и представителями Русской Православной Церкви дискуссии начала XX в. Церковность эстетического сознания Е. Поселянина определила основную задачу всего его творчества, заключавшуюся в воспроизведении и передаче духовного мира Русского Православия. Цель. Творчество известного духовного писателя и публициста конца XIX – начала XX в. Евгения Николаевича Поселянина, совершенно забытое на несколько десятилетий советской эпохи, требует реабилитации и серьезного научного исследования. Материал и методы. Исследуется сборник жизнеописаний Е. Поселянина «Русские подвижники 19-го века» (1900 г.). Работа написана в русле исторической поэтики. Результаты и обсуждение. В литературной деятельности Поселянина отразились важнейшие духовно-культурные искания его современников и художественно-эстетические тенденции конца XIX – начала XX в. Религиозное возрождение начала XX в. привело к сдвигу границ внутри русской культуры, при котором произошло сближение и взаимовлияние богословия, философии, науки с художественной литературой, что отразилось на трансформации традиционных художественно-эстетических форм. В творчестве Е. Поселянина можно проследить, как церковные темы и православное содержание облекаются в характерные для светской литературы и отходящие от строгих жанровых канонов литературные формы, которые становятся более пластичными жанровыми образованиями, открытыми для выражения и передачи современным человеком опыта духовной жизни. Заключение. Книга Е. Поселянина «Русские подвижники 19-го века» представляет собой документ русской духовной жизни XVIII–XIX столетий. В этом сборнике биографических очерков традиционализм жизнеописания святого размывается жанровыми новациями: включением структурных элементов из других художественных и публицистических церковных жанров (патерики, проповеди, церковная история) и популярной в светской литературе беллетризованной мемуарно-биографической прозы. Introduction. Evgeny Poselyanin, a well-known publicist and spiritual writer in pre-revolutionary Russia, having traveled the path of doubts in faith and received a spiritual revival in Optina Pustyn, became a participant in the discussion between the intelligentsia and representatives of the Russian Orthodox Church at the beginning of the 20th century. The ecclesiastical nature of E. Poselyanin’s aesthetic consciousness determined the main task of all his work, which was to reproduce and transmit the spiritual world of Russian Orthodoxy. Aim and objectives. The work of the famous spiritual writer and publicist of the late 19th – early 20th centuries. Evgeny Nikolaevich Poselyanin, completely forgotten for several decades of the Soviet era, requires «rehabilitation» and serious scientific research. Material and methods. The article examines the collection of biographies of E. Poselyanin «Russian ascetics of the 19th century» (1900 edition). The research is written in the mainstream of historical poetics. Results and discussion. Poselyanin’s literary activity reflected the most important spiritual and cultural searches of his contemporaries and artistic and aesthetic tendencies of the late 19th – early 20th centuries. Religious revival of the early 20th century led to a shift in boundaries within Russian culture, during which there was a convergence and mutual influence of theology, philosophy, science with fiction, which was reflected in the transformation of traditional artistic and aesthetic forms. In the work of E. Poselyanin, one can trace how church themes and Orthodox content are clothed in literary forms characteristic of secular literature and departing from strict genre canons, which are becoming more plastic genre formations open for the expression and transmission of the experience of spiritual life by modern man. Conclusion. The book by E. Poselyanin «Russian ascetics of the 19th century» is a document of Russian spiritual life in the 18th – 19th centuries. In this collection of biographical sketches, the traditionalism of the life of the saint is eroded by genre innovations: the inclusion of structural elements from other artistic and journalistic church genres (paterics, sermons, church history) and fictionalized, memoir and biographical prose popular in secular literature.
21
Siuta, Halyna. "Terminology of receptive stylistics: the adaptation of other-disciplinary concepts." Terminological Bulletin, no. 5 (2019): 104–11. http://dx.doi.org/10.37919/2221-8807-2019-5-13.
Full textAbstract:
Receptive stylistics is the latest trend in the stylistics of text. It studies the mechanisms of text perception, in view of the account time, socio-cultural and individual psychological factors of perception. This integrative model of textology combines the ideas of hermeneutics, phenomenology, receptive aesthetics and poetics, traditional poetics, linguоsynergetics etc. Maximum openness to the researching of the intellectual and communicative nature of the text is reflected in the terminology of receptive stylistics. One of the theoretical platforms of receptive stylistics is receptive aesthetics (aesthetics of the reception). Terminology of this scientific branch was actively accepted and integrated into the special language of the new stylistic direction. First of all, we are talking about key concepts such as aesthetic experience and horizon [expectations] of the author / reader, horizons of perception / understanding. empty spaces / semantic gaps in the structure of the text, identification of the reader with the text, specification of the text, actual dimension of the text, etc. Today, the Ukrainian receptive theory is structured by the concept of actualization of the text, the horizon of the text, the constitution of the text, the communicative certainty / uncertainty of the text. Emphasizing theoretical and methodological cores of contemporary Ukrainian receptive theory, it is necessary to focus on the national historical and cultural context of its constructing. Especially important from this point of view is the treatise by Ivan Franko From the Secrets of Poetic Art. Most of the theses of this work present a progressive vision of the deep psychological mechanisms of reading the artistic text in the measure of active perception, as lingual and aesthetic communication, dialogue between the author and the reader through the text. Also, the concurrence of Ivan Franko’s views with fundamental receptive principles of studying artistic text constitutes the scientific concepts of aesthetics, inductive aesthetics, perception, reception, suggestion, resonance, sensory vibration, etc. Consequently, the concept of reading and interpreting works of verbal art, formed in the treatise From the Secrets of Poetic Creativity, implicitly contains the basic principles of receptive aesthetics and poetics. Cardinally new philosophy of reconnaissance of the nature of artistic text, psycholinguistic mechanisms of influence on the reader, regularities of reception and interpretation at the end of the 20th century presented linguistic synergetic. Actual, and in some aspects methodological for receptive theory has become the following concepts of linguistic synergetic: nonlinearity of development, stability / instability of development, openness of the system, rhizomes, energy of the text, energy resonance, author’s energy, reader energy, etc. In contemporary receptive stylistic studies they do not stagnate, but are in a state of active deepening, refinement. For example, the concept energy of the text is coordinated with such established, well-known categories of stylistics as linguistic and literary tradition, lingual and cultural memory, reception and interpretation. Process of terminological borrowing and assimilation of units of other disciplines contributes to the development of an integrative terminological paradigm optimally adapted to the needs of the reciprocal description of the nature of artistic text.
22
Świątek, Adam. "Życie i twórczość Platona Kosteckiego jako wyzwanie biograficzne i źródłoznawcze." Krakowskie Pismo Kresowe 13 (December 13, 2021): 77–94. http://dx.doi.org/10.12797/kpk.13.2021.13.05.
Full textAbstract:
THE LIFE AND WORKS OF PLATON KOSTECKI AS BIOGRAPHICAL AND SOURCE STUDIES CHALLENGE
 The text considers difficulties which arise when writing a biographical work about Platon Kostecki (1832-1908), Lviv poet and journalist of the Ruthenian origins, multi-annual editor of “Gazeta Narodowa” and other Polish and Ruthenian newspapers. The publication discusses, among others, the problem of his identity, impossibility of recognition of all Kostecki’s texts published in the press (because of the lack of given authorship), and finally the lack of the sufficient number of sources allowing to prepare a comprehensive and complete biographical narration. Such a situation results especially from loss of the home archive of Kostecki, whose fragmentary history the author tried to reconstruct in this text. As a result, the biographer of Kostecki must accept the challenge of finding a golden mean between studying the facts from the life of his hero and views of this person visible in the press and literary works. For years, Kostecki was the most recognisable figure of gente Rutheni, natione Poloni among literary and artistic Galician elites, as well as the creator of vision concerning the independent Republic of Three Nations. These facts encourage to conduct deep studies on Kostecki’s biography and influence of his works. The biography of Kostecki can allow to better understand identity changes which appeared in the Polish-Ruthenian society of Galicia in the 19th century, and to answer the question why in the first half of the 20th century an ultimate disunity between Poles and Ukrainians arose in the area commonly inhabited.
23
Zavyalova, Anna E. "Alexandre Dumas’s Works in the Art of Alexandre Benois." Observatory of Culture 16, no. 2 (2019): 184–95. http://dx.doi.org/10.25281/2072-3156-2019-16-2-184-195.
Full textAbstract:
The article studies the problem of interpretation of literary source in visual creative work of A.N. Benois. There are identified and analyzed new sources of his works — historical novels by A. Dumas, père. The question about the role of the novels by Alexandre Dumas devoted to the history of France of the 17th and 18th centuries in creative work of Alexandre Benois has never become the object of research. The relevance of this article is determined by this fact. The scientific novelty of this article lies in revealing new literary sources of creative work of A. Benois — Dumas’s novels “Joseph Balsamo (Doctor’s Notes)” (1846—1848), “Louis XIV and his Century” (1844), “Louis XV and his Epoch” (1849) — and determining parallels between them and art practice of the artist: painting, graphics and art of book. The author analyses content of the artist’s memories, his literary works, diaries, as well as diaries by E. Lanceray, and complements these information details by a comparative textological analysis of Benois’s memoirs and Dumas’s novels in Russian translations. This method allows to deepen the formal analysis of A. Benois’s works (primarily the two Versailles series) and partially reveal the mechanism of complex figurative synthesis in the artistic consciousness at the turn of the 19th—20th centuries, on the basis of which they were created, to expand the existing perceptions about the literary sources of the artist’s creative work. The author concludes that the novels by Dumas “Joseph Balsamo”, “Louis XIV and his Century” had an influence on the artist’s perception of the theme of court culture and Versailles in the historical, cultural and natural aspects. It was reflected in the appeal to the plot of “fish feeding” in the late 1890s, in the formation of the images of Versailles and King Louis XIV in old age. The article also finds that the novel “Joseph Balsamo” had an influence on Benois’s creation of Trianon’s everyday image in the past. At the same time, the artist turned to the interpretation of the image of Marquise de Pompadour as “sultana” under the influence of Dumas’s novel “Louis XV and his Epoch”. In addition, the three musketeers — characters of Dumas’s novel with the same name — are placed in the drawing of the title page of Benois’s “Versailles” album. It is important that it does not come about direct illustration of the novels, but about an artistic process of creating a figurative system of images and forming the artist’s stylistics.
24
Batsak, K. Yu. "Italian opera stars of the Kharkiv stage: the 80s of the 19th – early 20th centuries." Aspects of Historical Musicology 18, no. 18 (2019): 89–119. http://dx.doi.org/10.34064/khnum2-18.06.
Full textAbstract:
Introduction. The Italian opera in Kharkiv has a long history tradition. Its beginnings date back to the 1850s, when the city became a part of the tour routes of Odesa Italian opera troupes under F. Berger’s, V. Sermattei’s direction (1850s – early 1860s), those of Taganrog – under V. Sermattei’s, Corsi’s and Co (second half of 1860s – 1876). These little provincial troupes with unequal by quality the stuff of singers, with a little choir, usually without their own orchestra, within their possibilities, introduced the popular Italian opera repertoire to the Kharkiv audience. Technical and technological achievements – the development of the rail network, the shipping industry, the telegraph and telephone as the newest means of communication, etc., facilitated communication and, among other things, caused cultural achievements rapid exchange. Those times were marked by increasing of diffusive phenomena (in opera repertoire, in the troupe composition, etc.) in musical and theatrical arts, which, in particular, contributed to the scenic creativity activation of Italian artistes and the extension of the geography of their performances. Outstanding and average singers from the Apennines have travelled to different countries of the world with solo concert programs as part of wandering or stationary opera groups. Artistic tours to Eastern direction – to the European territories of the Russian Empire, along with touring trips to the North and South America countries, – became one of the most prevalent. Kharkiv, being one of the largest industrial and cultural centres in the Russian Empire, as a rule, was included by Italian theatre management in vocal-artistic tour programs. Theoretical background. The problem of the famous Italian opera singers’ activity on the Kharkiv stage in the 80s of the 19th – the beginning of the 20th is poorly investigated. Separate pages of M. Battistini’s, J. Bellinchoni’s, A. Mazini’s, T. Ruffo’s, and E. Tamberlik’s biographies related to Kharkiv were studied by M. Varvartsev (2000) in his historical and biographical work “Italians in the cultural space of Ukraine (the end of 18 – 20s years of the 20th century”, written in the form of a dictionary. The main source for the study of this subject were the local musicologists’ (V. Sokalsky, K. Bych-Lubensky, Yu. Babetsky, etc.) theatrical reviews, published in the Kharkiv regional and city press. Objectives. As the Italian opera art had undeniable influence on the Kharkiv musical culture development, the purpose of the article is to study the scenic activity of the famous Italian opera artistes, which acquainted the local theatrical audience with the assets of the world opera arts in the last decades of the 19th – early 20th century. For this purpose, the following tasks have been outlined: to find out the information potential of music-critical publications, dedicated to the Italian singers’ performances, which were printed in the local press; identify and systematize the facts describing the Italian opera performers’ participation in Kharkiv musical life during that period; to reveal the concert and opera repertoire, to study the evaluations of the Italian singers’ performances by professional criticism, the ways of artistes’ interaction with the audience; to determine the Kharkiv performances position in the famous vocalists’ creative biography, to reconstruct the geography of their tour routes, included performances in Kharkiv. The methodology involves the application of the semiotic-hermeneutic method in order to analyze the phenomena of musical-theatrical life (peculiarities of vocal-stylistic style, specificity of musical-critical thought, reactions and preferences of the audience) as a culture text and their hermeneutical understanding; bio-bibliographic method (to find out and combine facts of life and creative activity of Italian singers in Italy and abroad, in particular, in Kharkiv as well-known culture centre); cultural and historical method (allows to study the Italian singers’ scenic activities as a social phenomenon, to identify social factors contributed to the spread of the Italian opera achievements in the local music and theatre environment). Results and discussion. The study of famous Italian singers’ performances on the Kharkiv stage in the definite period allowed highlighting new facts of their biographies, to analyze the concert and opera repertoire, the features of vocal and performing style, acting specifics. The research revealed the place of Kharkiv concert and opera performances in Italian artistes’ touring programs, analyzed the directions and peculiarities of communicative interactions between performers and spectators, determined the Kharkiv performances place in creative biographies of vocalists who have gained European fame. Conclusions. Italian artistes’ performances had a great influence on local opera singers’ professional growth, the formation of musical tastes and preferences of the educated part of the city residents. The investigation of the repertoire of the Italian singers testifies to their desire to acquaint the listener with the best achievements of European opera art, as well as to present contemporary Russian composers’ operas, which, at the time, were getting popularity in the Western European countries, due, primarily, to Italian performers. Kharkiv performances were usually the part of Italian artistes’ tours, being organized in the largest cities of Ukraine and surrounding regions of former Russian Empire – in Odesa, Kyiv, Mykolayiv, Rostov on Don, which testified, in particular, that the city was transformed into one of the European music culture distribution centres then. The high valuation given by the musical critique of the famous singers artistic talents, the active support of their performances by the audience, attest to the utmost importance of the Italians’ touring activity in the Kharkiv musical culture development.
25
Nagornaya, Yana V. "А. М. REMIZOV AND FOLKLORE: ON THE ISSUE OF RESEARCH METHODOLOGY". Philological Class 26, № 2 (2021): 155–66. http://dx.doi.org/10.51762/1fk-2021-26-02-13.
Full textAbstract:
The article presents a critical review of research works on the topic “Folklore-literary interaction in the creative activity of A.M. Remizov” published in Russian. The study of the topic has been conducted mainly within the framework of literary criticism. Meanwhile, for a writer known for his commitment to preservation and innovative approach to traditional literary genres, folklore is one of the dominant sources of creativity. Currently, Remizov studies cannot boast of generalizing works on folklorism in the writer’s creative activity and on the influence of oral folk art genres on his artistic system, so one of the aims of the article is to attract scholarly interest to the issue and stimulate further research in this area. The publication gives a brief description of the current state of research on the problem, identifies the main vectors of its consideration and reveals the academic lacunae. The author analyzes the works, which deal with the creative heritage from the point of view of folklore studies and address the problems of the typology of folklorism and mythologism of the writer, clarify the range of folklore sources and the specificity of working with them, as well as the role and function of the author’s comments on the miniatures of Posoloni. These notes to the texts were created under the influence of a literary scandal related to the accusation of the writer of plagiarism. The assessment of the events around this incident by specialists in Remisov studies and folklorists does not coincide, the article outlines prospects for further research. The author undertakes a detailed description of the influence of the texts of calendar rite, spiritual verses, fairy tale, conspiracy-spell tradition, folk drama, children’s folklore and Russian folk pictures on the writer’s creative activity. For the first time, the author poses a hypothesis about the possible influence of the aesthetics of rayok (“World Cosmorama”) on the work of A. M. Remizov by the example of the fairy-tale novella “What is Tobacco”, which which depicts the reformatting of the apocryphal model by artistic means of lubok and rayok. The analysis of numerous studies made it possible for the author of the article to conclude that the writer’s creative activity does not only reflect the real diversity of folklore genres but also such specific features of them as oral format and variability. The results of the study can be used in the design of the course of the history of Russian literature and folklore studies of the beginning of the early 20th century, in the studies dealing with folklore-literary interaction, and in popularization and publication of folklore texts.
26
Раджабов, Бохир Мукаммилович. "PECULIARITIES OF LOIK SHERALI’S LITERARY CRITIQUE." Bulletin of the Chuvash State Pedagogical University named after I Y Yakovlev, no. 4(109) (January 26, 2021): 114–18. http://dx.doi.org/10.37972/chgpu.2020.109.4.013.
Full textAbstract:
В статье предпринимается попытка определения направлений и особенностей литературной критики таджикского поэта Лоика Шерали, который начиная со второй половины 60-х годов ХХ века до конца своей творческой деятельности, кроме поэтических произведений, написал около 150 критических и публицистических работ - статей, рецензий, интервью, выступлений, вступительных слов, предисловий, писем, послесловий и т.п., подтверждающих его значительное место в литературно-критической публицистике и литературной критике. Благодаря своей деятельности в качестве публициста, критика, историка и социолога Л. Шерали завоевал особое место не только в поэзии, но и в литературоведении, лингвистике, публицистике и литературной критике. Основными методами исследования послужили историко-сравнительный анализ материалов и описательный метод. Материал исследования составили сборники научно-публицистических статей Л. Шерали, публицистические произведения и литературно-критические статьи его современников.Размышляя над проблемами художественной литературы и литературной критики, Лоик Шерали акцентирует внимание на роли поэта и назначении поэзии, особенно с учетом социально-политических условий. В статьях Л. Шерали значительное место занимает критика творчества начинающих поэтов. В своих рассуждениях он настаивает на необходимости искусного владения языком, эрудированности, знания творчества классиков и правил сочинения стихов, законов аруза, метрики, логики, средств художественного выражения и т.п. В его критических произведениях прослеживаются социальные мотивы, отражаются проблемы национальных традиций и родного языка, имеют место проявление патриотизма и обращение к исторической теме, а также осмысляются вопросы литературных взаимосвязей и перевода. The author of the article makes an attempt to determine the streamlines and peculiarities of literary criticism of the Tajik poet Loik Sherali, who had written (besides poetic works) about 150 critical and publicistic literary works (articles, reviews, interviews, speeches, welcoming remarks, prefaces, letters, epilogues, etc.) since the late 60s of the 20th century to the end of his career, thus, confirming his significant place in literary critical journalism and literary criticism, in general. Owing to his activity as a publicist, critic, historian and sociologist, Sherali holds a special place not only in poetry, but in literary criticism, linguistics, journalism and literary criticism.The main research method is a comparative-historical analysis of materials as well as a descriptive one. The research material was compiled by the collections of L. Sherali's scientific-journalistic articles, his contemporaries’ publicistic works and literary critical articles. Reflecting on the problems beset with belles-lettres literature and literary criticism, Loik Sherali pays his particular attention to the poet’s role and his poetry target taking into consideration socio-political conditions. Criticism of the works of novice poets occupies a significant place in L. Sherali’s articles. Sherali insists on the need for erudition, knowledge of the classics and the rules for composing poetry, the laws of aruz, metrics, logic, means of artistic expression, language, etc. in his reasoning. The influence of social motives and the problems of national traditions and the native language, manifestation of patriotism, an appeal to a historical theme are reflected in his critical literary works. The issues in regard to literary interrelations and translation are taken into account as well.
27
Ulug`Bek, Djumaev. "ONOMASTIC CODE IN DYSTOPIAN NOVELS BY RUSSIAN WRITERS." European International Journal of Multidisciplinary Research and Management Studies 02, no. 11 (2022): 179–83. http://dx.doi.org/10.55640/eijmrms-02-11-41.
Full textAbstract:
We present the history of the emergence and development of literary onomastics, the relevance of which is currently not in doubt due to the involvement of its data for the analysis of the artistic world of different authors as linguists and literary critics. The aim of the study is to acquaint readers with those works in which reflections on the function of the proper noun in fiction can be considered as prerequisites for the emergence of onomastics. An important role in the development of science about the proper noun not only scientists, but also critics, writers and journalists, for example, V.G. Belinsky, N.S. Leskov, O.I. Senkovsky. Despite the initial interest of researchers to the etymological meaning of a literary name, in onomastic works middle of 20th century lighting find such problems, as reflected in the anthroponyms of the essential characteristics of the literary character, stylistic conformity onomastic units, social conditionality of name, etc. We point out the primary importance in the problems development of the new branch of linguistics for the 1950s of the works of such scientists as V.N. Mikhailov, R.P. Shaginyan, E.P. Magazanik, D.S. Likhachev. In conclusion we note the modern Voronezh onomastic school research specificity, founded by G.F. Kovalev, the successor of the already classical traditions of Russian onomastics. Surnames came late in human history to the world at large. They did not exist before the fifteenth or sixteenth century. Russia is no exception. In fact the very word for “surname” in Russian, familija, was borrowed from the West only in the seventeenth century, and a lot of Russian peasants did not have surnames right up to the day of the emancipation of serfs in 1861.[i] As you would expect, the upper aristocracy was the first social class to adopt surnames. They were based, for the most part on toponyms (place names). In other words, a prince whose domain encompassed the Vjaz’ma area became Prince Vjazemskij (most of these earliest surnames have adjectival type endings in -skij or –skoj). Among other names in this category are Obolenskij, Volkonskij, Trubetskoj, Meshcherskij, Kurbskij (Unbegaun intro, p. 20). To this very day Russians recognize these names as indicative of the origins of a person at the highest levels of the aristocracy in pre-Soviet Russia. It is noteworthy that two members of the Decembrists, who, in 1825, mounted an unsuccessful attempt to overthrow the government and introduce liberal reforms inspired by the West, were Prince Evgenij Obolenskij and Prince S.P. Trubetskoj.
28
Tychinina, Alyona. "Hryhoriy Skovoroda’s Idea of Related Work in the Poetry of the Modernist Association “Muzaget”." Pitannâ lìteraturoznavstva, no. 106 (December 30, 2022): 25–40. http://dx.doi.org/10.31861/pytlit2022.106.025.
Full textAbstract:
Hryhoriy Skovoroda’s idea of the immanent existence (1722–1794) about related work in Ukrainian modernists poetry, in particular representatives of the artistic group “Muzaget” (1919) is considered as the main methodological prism that conceptualize related work of Panna, outlined with the support of V. Gorsky, L. Ushkalov, and D. Chyzhevsky. The article describes the history of creation and specifics of Kyiv post-revolutionary group of symbolists “Muzaget” activities. The literary and artistic almanac with a similar name was analyzed, where each member of the collective presented his “related” art form: poetry, prose, criticism, painting and, at the same time, recorded the affinity of individual and social (national) principles. Based on the analysis of Mykhailo Zhuk, Dmytro Zahul, Volodymyr Kobylyansky, Klym Polishchuk, Oleksa Slisarenko, Mykola Tereshchenko, Pavlo Tychyna, Pavlo Fylypovych, and Volodymyr Yaroshenko poetry, conceptual dominants have been singled out, which in general realize the creative and collective affinity of “Muzaget poetry”. The symbolism of poetic images-archetypes is outlined: God, Christ, joy, star, flower, wind, path, poet’s soul, singing, music, and dream. The functioning of antitheses and parallelisms is emphasized: the flow of human life / the impermanence of nature, life / death, earth / hell / heaven, good / evil, day / night, asceticism / holiness / sinfulness, Christ / Satan, loneliness / crowd. The polyphonic musical imagery and musicality of the poem are analyzed by using tropes, phonetic and syntactic means. It is concluded that poetic innovation, truthful exhibition of creativity and individuality, accentuation of affinity between talent and character, productive interaction of friends in popular creative collectives in the conditions and under the influence of complex historical events and ideological dilemmas of the 20-30s of the 20th century, led some Musagetists to glorious recognition, and others to the tragic consequences of the Red Renaissance.
29
Schleicher, Alexander. "Museum of Contemporary Art by Artists." Advanced Engineering Forum 12 (November 2014): 79–87. http://dx.doi.org/10.4028/www.scientific.net/aef.12.79.
Full textAbstract:
Museum is type of building which among architectural work occupies a special place by its distinct function of documenting existence and progress of humankind, society and their environment. This is reflected in the outstanding architecture of these buildings. 95% of museum buildings arose after World War II. This authorizes us to talk about the museum as a “20th century phenomenon“ especially of the second half of it. The unprecedented growth of museums after World War II – most of them are museums of art, especially contemporary art – entitles a question which is often discussed: What is an ideal museum like as an object serving for exhibiting art and what does an ideal exhibition space for contemporary art look like? This question had only been discussed among architects and museologists for a long time. According to the nature of contemporary art and because of the fact that alongside these two determinants the exhibiting artists who actively influence exhibition space and form the final spirit of the exhibition became an important element in creation of the museum; the question what is the artists’ vision of the ideal museum is poignant. Answer to that question can be given by concepts of the ideal museum of contemporary art from the end of the 20th century created by artists. The “Bilderbude” concept by Georg Baselitz, two projects “Ideales Museum” by Gottfried Honegger, “A Place Apart” by Marcia Hafif and also concepts of museums or opinions on a museum of contemporary art by other artists provide an idea of how the artists deal with and look on this problematic. The issue of museum of contemporary art perceived by the optics of artists definitely represents an interesting example of connecting functionality demanded by the artists, significant author’s approach and philosophical ideas concerning the ideal museum of contemporary art. Museum Concepts – Thinking about Museum Museum concepts from the beginning of existence of museum buildings (in some cases even before considering a museum an individual specialized object or an institution) provide us the notice about the main themes which the actors of this problematic were dealing with at that time. While at the beginning in the museum concepts we can trace the effort to define an individual type of a museum building, an ideal museum; then we can see searching for a form which would be adequate to the building expression. Later especially in the 20th century until nowadays there have been solved more specific problems concerning the growth of the museum collections, expanding the functional structure of the museum, shape and form of the exhibition space etc. The museum topic such important personalities as for example Étienne-Louis Boullée, Le Corbusier or Ludwig Mies van der Rohe brought their contribution. The 20th century especially the 2nd half of it, if we do not only consider the narrow present scope, brought an unseen growth of museum architecture. 95% of museums arose after the World War II. [1] A great part of museums which were built in this period are museums of art, often presenting modern or contemporary art. This fact - emerging of such an amount of museums of contemporary art together with the changed form of visual art in the 20th century – the importance of depicting and documenting function of art, which until then visual art besides the aesthetical function was satisfying started to decrease, the artist were engaged in new themes, they experimented with new methods etc. – brings increasing effort of the artists to influence the final form of the exhibition spaces in the means of their specific demands and also to influence the form of the general form of the museum building. The artists more and more actively participate at creating the museum, they influence the form of the exhibition space and the exhibition itself – unlike in the past, when the museologist, curator was creating the exhibition by choosing from the collection, which he had at disposal and the exhibition was formed by them relatively independently from the artists – authors of the exhibits. The first artistic experiments, which balance on the edge of visual art and museum, have been occurring since the 20-ties of the 20th century – let’s mention for example El Lissitzky (Proun room, 1923), Kurt Schwitters (Merbau, 1923-37) or Marcel Duchamp (Boîte-en-valise, 1935-41), and they persist until nowadays. In the 70-ties Brian O`Doherty analyses from the point of view of an art theoretician but also an active artist the key exhibition space of the 2nd half of the 20th century, which he characteristically identifies as White Cube. Donald Judd – artist and at the same time a hostile critic of contemporary museum architecture (70-ties-80-ties) formulated his uncompromising point of view to the museum architecture as follows: “Forms’ for their own sake, despite function, are ridiculous. One reason art museums are so popular with architects and so bizarre, is that they must think there is no function, the clients too, since to them art is meaningless. Museums have become an exaggerated, distorted and idle expression for their architects, most of whom are incapable of expression.“ In another text he posed the question: “Why are artists and sculptors not asked how to construct this type of building?“ [2] As we can see the artists’ opinion who seem to stay unheard in the museum and their needs stay unnoticed has full legitimacy and is very interesting for the problematic of museum and exhibition space. Beginning in the 70-ties of the 20th century these opinions are given more and more precise contours. While O’Doherty only comes with a theoretical essay on exhibition space (1976), D. Judd already presents his own idea of a museum even realised through the Marfa complex in Texas (1979/1986). Let’s mention some other artists who form their ideas of an ideal museum in form of unrealised concepts. Some authors name their proposals after a bearing idea of their concept; others call them directly ideal, in the same way as it was in the beginning of the history of museum. Contemporary Art Museum Concepts by Artists Georg Baselitz: Bilderbude.
30
Babicheva, Maya. "“Twice Crowned” (Leonid Yuzefovich – Laureate of the Big Book)." Stephanos Peer reviewed multilanguage scientific journal 47, no. 3 (2021): 86–97. http://dx.doi.org/10.24249/2309-9917-2021-47-3-86-97.
Full textAbstract:
The article discusses the two-aspect nature of the contribution of L.A. Yuzefovich into Russian culture, as a reflection of the specifics of his gift. The criterion for the writer’s achievements was chosen to be a double leader in the national literary prize «Big Book» (a unique case in its history). The purpose of the article is to show the genre specificity of the individual style of Yuzefovich, which doubled the significance of his works for Russian literature and culture in general. The well-known Bulgakovʼs metaphor is applicable to the work of this writer completely. In this case, the right and left hand of the pianist can be considered fiction and documentary proze. A writer’s achievements in each of these areas greatly contribute to his success in the other. The leading place in the work of Yuzefovich the fiction writer is occupied by a large epic form. His novels with criminal plot, as a rule, have a pronounced detective line. The action takes place in different eras in different locations. These are Moscow and Western Europe of the 17th century, imperial Petersburg of the late 19th – early 20th centuries, Perm in the 1920s., etc. Specific historical details are reproduced in detail, the atmosphere of the era is recreated. Critics have repeatedly noted the writer’s ability to convey the spirit of the times in artistic form. The documentary prose of this author is a continuation of his scientific career (he is PhD in historical sciences). The beginning of this direction in his work was laid by the artistically revised dissertation research of the scientist. Subsequently, the main interest of Yuzefovich as the author of documentary proze focused on the events of the Civil War in Siberia and the Far East. The writer’s historical books have a fascinating plot and are written in good literary language. The best (to date) works of Yuzefovich of each of the named directions were awarded the Big Book Prize (the 1st place), awarded for a significant contribution to Russian culture and increasing the social significance of Russian literature. These are the novel «Cranes and the Dwarfs» (prize 2009) and the documentary novel «Winter Road» (prize 2015). Both works reveal important stages in Russian history and, at the same time, deserve high praise for their artistic form.
31
NIKOLENKO, K., and O. NIKOLENKO. "CONTEMPORARY STRATEGIES OF STUDYING INTERTEXTUALITY." Philological Studies, no. 33 (April 19, 2021): 13–19. http://dx.doi.org/10.33989/2524-2490.2020.33.228193.
Full textAbstract:
The article explores the definition and the essence of intertextual theory as it is interpreted by M. Bakhtin, J. Kristeva, R. Barthes and other prominent scholars and literary critics of the 20th century, particularly from the viewpoint of poststructuralism. In the broadest terms possible, intertextuality can be defined as a set of relations between texts, which can include direct quotations, allusions, literary conventions, imitation, parody and unconscious sources among others. This concept dramatically blurs the outlines of texts, making them, in R. Barthes’s words, an “illimitable tissue of connections and associations.” The term itself was originally coined by the French semiotician and philosopher Julia Kristeva in the late 1960s. By combining Saussurean and Bakhtinian theories, J. Kristeva produced the first enunciation of intertextual theory, wherein she essentially suggested reconsidering the widely accepted notions of the author’s “influences” and the text’s “sources”. This theory was further developed by R. Barthes, who proclaimed the “death of the author” and insisted that the literary meaning can never be fully grasped by the reader, because the intertextual nature of literary works always leads readers on to new textual relations. In turn, French critic G. Genette introduced the notion of ‘transtextuality’ as a more comprehensive term, and put forward five types of transtextual relations (intertextuality, paratextuality, metatextuality, architextuality, hypertextuality). This theory has also become widely popular in the era of postmodernism, not just in relation to literary works, but also in other domains (cinematography, architecture, pictorial arts etc), as imitation of well-known artistic styles, direct and indirect references to various works of culture have become a salient feature of postmodern art. In general, it should be emphasized that intertextuality subverts the concept of the text as self-sufficient, hermetic totality. Instead, it emphasizes the fact that all literary production takes place in the presence of other texts, works of culture, and various social and historical factors. The reader also plays a crucial role in interpreting the text, because the reader’s previous experiences, their cultural and educational background will inevitably influence the scope of meanings that the reader is able to extract from the text.
32
Nakienė, Austė. "Shifts in the Traditional Culture. Folksongs in the 21st Century City." Tautosakos darbai 49 (May 22, 2015): 171–92. http://dx.doi.org/10.51554/td.2015.29011.
Full textAbstract:
The traditional culture existing in the city experienced considerable changes in the course of the last century. Rather than comprising continuous, gradual development, this change involved several radical cultural shifts, taking place in the 20th century (e. g. in the beginning of the century, in the 1960s, and 1990s). The article compares the urban, social and cultural changes in order to determine periods when the traditional culture experienced the most crucial transformations and when various new phenomena appeared. A clear shift in the urban culture took place in the 1960s in Lithuania, when a political “warming” of sorts could be felt and the pressure of the communist ideology was somewhat lighter. The economic growth was followed by the formation of the consumer society (although a rather different one from that emerging in the liberal countries), taking place in Vilnius, Kaunas, and other cities. The 1960s and the subsequent decades were characterized by a considerable variety of the urban culture in Lithuania, especially in its capital city. In the musical sphere, the state-supported academic music, the professionally performed folk music, and the show music were particularly thriving; but performances of jazz, rock and authentic folklore also gained momentum.The Lithuanian Folklore Theater, which started its activity in 1968 in Vilnius, can be presented as a typical example of the altered tradition. Director of this theater Povilas Mataitis and his wife, scenographer Dalia Mataitienė managed to achieve a subtle harmony between the folk tradition and their individual artistic expression, uniting in their performances elements of folklore and the modern art, and using small artistic forms, so typical to the folk art, to create complicate ambivalent compositions. Nevertheless, the stylistic shifts of the 1960s were best reflected in the rock music. The swinging two-part rhythm and open expressions of the individual feelings embodied a radical stylistic change at that time (although such means of expression are completely common and trivial today). Starting from the 1960s these innovations affected not only the urban composers, but also the folksong creators at the countryside.The significant cultural shift took place also after the Lithuanian independence was regained in 1990. The Soviet past was rejected, the Western notion of culture was willingly adopted, and the patterns of cultural life and financing were increasingly altered. The formerly state-supported cultural institutions and performers had to adapt to the free-market. At first, the cultural shift of the 1990s resembled an avalanche: the former unified whole – the coherent image of the national culture created during the Soviet times was shattered. Composers and authors plagued by various difficulties found respite, though, in the new kinds of the available information, the opened possibilities of getting to know the global culture, which had been hitherto almost impossible to gain access to. The epoch of postmodernity, characterized by free associations between various historical and cultural signs, was favorable to the continuation of traditions; therefore various transformations of folklore quickly appeared, musical styles from different periods and nations were abundant, and all sorts of their hybrids were created. A new thing establishing itself on the Vilnius pavement was hip hop – the Afro-American music and life style, born in the suburbs of New York. It was increasingly adopted and furthered by the Vilnius inhabitants, born in the concrete districts of the city, whose youth coincided with the years of the post-Soviet economic “shock-therapy”.The traditional music found its place in the city as well, growing as a moss on a stone. It is now performed both in the great ceremonious halls and in the small, stuffy premises, or simply outside during spring and summer. The city of the 21st century is characterized by such cultural phenomena as urban folklore, bard songs, live music, street music, post-folklore, indigenous culture, Baltic music, pagan art, improvisational music, underground music, etc. Urban tradition is a multifaceted and a multileveled one, its continuation constantly involves connecting different musical styles and respective communities.In the urban environment, the preservation of the folk music is no longer the concern of exclusively the representatives of the folklore movement; authors of different kinds are also involved, including the jazz and rock musicians, visual artists, IT specialists, and actors. Nowadays, the third generation is gradually involved into the urban folklore movement, as its pioneers, having already become grandparents, bring their grandchildren into the same halls and yards of the Old Town, where they used to perform in their youth. At the same time, new cultural wave created by the contemporary young people rises from the underground clubs, multimedia or electronic music labs, and artistic workshops. The young keep always creating something new, but this should not be regarded as a threat to the preservation of the urban folk tradition.
33
Ivanenko, Olena. "The semantics of the traditional women's headscarf as a source of modern design innovations." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 16–21. http://dx.doi.org/10.32461/2226-2180.39.2021.238674.
Full textAbstract:
The purpose of the article is to reveal the influence of the semantic-symbolic system of traditional women's clothing on the formation and development of trends in a modern design using the example of a scarf. Methodology. Comparative-historical and historical-typological methods have been applied in order to identify the tendency in the development of a headscarf as an element of a woman's costume; the hermeneutic method, which helped to understand and interpret signs and symbols as components of traditional culture; systemic method (for considering the system of symbols of a woman's headscarf as a cultural and artistic phenomenon); the method of art history analysis (according to M. Bakhtin and A. Losev); a method of a functional nature (for identifying the main functions of the elements of a semantically sign system and revealing their significance for expressing aesthetic, sacred and ethical motives), etc. Scientific novelty. The semantics of the headscarf as an element of the female national costume, the peculiarities of the coloristic and compositional solutions of the decorative design of the female headscarf are investigated, the main ornamental motifs and forms are analyzed in the context of their use in modern design; revealed and substantiated the influence of the semantic-symbolic system of the traditional women's headscarf on the development of modern clothing design; the semantisation of the elements of the system of symbols of the traditional women's headscarf has been carried out; the features of the integration of the elements of the ornament of the traditional national headscarf into the designer clothes of the 20th century are characterized; analyzed the problems of meaning and its expression by means of pictorial and colored symbols in a modern woman's headscarf. Conclusions. Preserving the ancient sacred symbolism of the canvas, characteristic of the mythological consciousness, as well as mastering the centuries-old experience of Christian understanding, the headscarf has remained an integral part of the traditional female costume for many centuries. In the design of the 21st-century women's scarf. semiotics of color is actively used, which acts as a symbolic guideline for associations that have developed in history, culture, and philosophy. Floral images are the aesthetic value of the subject environment and are realized in the process of artistic creativity of designers, enriching the aesthetics of human ecological space. At the present stage, the appeal of domestic clothing designers to the ethnic style makes it expedient to deepen the understanding of its semantical sign system. Revealing the peculiarities of the semiotics of the color of a traditional Ukrainian women's headscarf, research and analysis of its symbolism provide a modern designer with an almost unlimited dimension for creativity and contribute to the strengthening of national self-awareness.
34
Kuznetsova, Ekaterina V. "Traditions of franciscanism and pilgrimage in the life and work of A. Dobrolyubov." Verhnevolzhski Philological Bulletin 2, no. 25 (2021): 19–30. http://dx.doi.org/10.20323/2499-9679-2021-2-25-19-30.
Full textAbstract:
The fate and personality of Alexander Dobrolyubov gave rise to a kind of Dobrolyubov myth about the eternal wanderer in the culture of the Russian Silver Age and in many ways unfairly obscured his literary work. The article traces the influence of Francis of Assisi on Dobrolyubov's own life-creating strategy and his contemporaries' perception of him as a «Russian Francis. The author considers the peculiarities of artistic interpretation of the whole complex of motifs associated with the fate and personality of the Italian saint in the last collection of Dobrolyubov's works, From the Book Invisible (1905). The author analyzes the image of the pilgrim, glorification (preaching) of the poor, hermit’s life and the unity of man and wildlife, plants and the elements of nature in the context of teachings of St. Francis and the Russian franciscanism of the modernist era; the features of their modernist reception are traced in Dobrolyubov’s works written after his «departure». On the other hand, the author reveals evidence that the poet implements the individual author's interpretation of the characteristic Russian cultural and historical phenomenon of pilgrimage (real, metaphysical and spiritual), which was reflected, for example, in N. S. Leskov’s works, and philosophically interpreted in science and criticism of the early 20th century (V. Rozanov, N. Berdyaev, etc.). The author suggests that the poet was influenced by an anonymous work of Russian religious literature «A Pilgrim's Confessional Stories to his Spiritual Father». As a result, the author concludes that the poet creates a modern variation of the Franciscan image of the «simple man» and the divine man, possessing the gift of communication with nature, who combines the features of an Italian ascetic preacher with the type of a Russian pilgrim-god-seeker.
35
ФИДАРОВА, Р. Я. "TWO CONCEPTS OF THE DEVELOPMENT OF NATIONAL BEING IN THE ARTISTIC AND PHILOSOPHICAL COMPREHENSION OF OSSETIAN LITERATURE." Известия СОИГСИ, no. 43(82) (March 29, 2022): 119–28. http://dx.doi.org/10.46698/vnc.2022.82.43.010.
Full textAbstract:
В философско-эстетическом сознании осетин на протяжении XIX-XX вв. сформировались две концепции эволюции национального бытия, отражающие две его реальности: это объективно-онтологическая и политико-идеологическая. Суть обеих обусловлена логикой социально-исторического развития общества. Объективно-онтологическая сформировалась еще в XIX в. в парадигме философии истории осетинских просветителей, выступающих за общественный и технический прогресс, необходимость просвещения горцев, важность разработки природных богатств края и т.д. Политико-идеологическая концепция развития национального бытия зародилась и утвердилась после 1917 г. Суть ее заключается в недооценке объективно-онтологической концепции, что противоречит логике научной истины, согласно которой развитие любого объекта, явления, идеи происходит в русле преемственной связи «всего со всем» и в частности с предшествующим опытом. Данная концепция объясняла все успехи в развитии общества и состояние конкретной реальности национального бытия не столько результатом действия объективных законов социальной истории, сколько разумной деятельностью советской власти, подчеркивая роль коммунистической партии в историческом процессе. Политико-идеологическая концепция оказала мощное влияние на духовную жизнь осетинского общества в ХХ в., формируя в культурном сознании народа представления об обществе только как о политико-идеологическом феномене. Подобная концепция нашла яркое отражение в осетинской литературе, тем самым определив идеологическую направленность в ней социалистического реализма как художественного метода. Она показывала жизнь советского общества исключительно в свете «светлых» социалистических идеалов, стремясь подчинить реальность национального бытия политической задаче построения коммунизма как единственного пути достижения общественного прогресса, идеала, процветания и счастья для всего человечества. В последние тридцать лет в результате демократических процессов в общественном сознании и в такой его важнейшей сфере, как философия, происходит возврат к объективно-онтологической концепции эволюции национального бытия.Ключевые слова: общество, идеология, осетинская литература, просветители, писатели, герой, характер. In the philosophical and aesthetic consciousness of Ossetians during the 19th – 20th centuries, two concepts of the evolution of national existence were formed, which reflected two realities: the one is an objective-ontological and the second is political-ideological. The essence of both is determined by the logic of the socio-historical development of society. Objective-ontological was formed in the 19th century within the paradigm of the philosophy of history of the Ossetian educators, who advocated social and technical progress, the need to educate the highlanders, the importance of developing the natural resources of the region, etc. The political-ideological concept of the development of national existence was born and established after 1917. Its essence lies in the underestimation of the objective-ontological concept, which contradicts the logic of scientific truth, according to which the development of any object, phenomenon, idea occurs in line with the successive connection of “everything with everything” and in particular with prior experience. This concept explained all the successes in the development of society and the state of the concrete reality of national existence not so much as the result of the operation of the objective laws of social history, but as the rational activity of the Soviet government, emphasizing the role of the Communist Party in the historical process. The political-ideological concept had a powerful influence on the spiritual life of Ossetian society in the 20th century, forming in the cultural consciousness of the people ideas about society only as a political and ideological phenomenon. Such a concept was vividly reflected in Ossetian literature, thereby determining the ideological orientation of socialist realism in it as an artistic method. She showed the life of Soviet society exclusively in the light of "bright" socialist ideals, striving to subordinate the reality of national existence to the political task of building communism as the only way to achieve social progress, ideal, prosperity and happiness for all mankind. In the last thirty years, as a result of democratic processes in the public consciousness and in such an important area as philosophy, there has been a return to the objective ontological concept of the evolution of national existence.
36
Vasylenko, Vadym. "“Phenomenon of dual face”: Yurii Kosach at intersection of myth and ideology." Слово і Час, no. 5 (October 2, 2020): 96–113. http://dx.doi.org/10.33608/0236-1477.2020.05.96-113.
Full textAbstract:
The paper offers an analysis of Yurii Kosach’s literary heritage in the context of the Ukrainian literary process of the 20th century. The main subject is biographical, ideological, aesthetic, and ethical factors that influenced the formation of the writer’s self-identity. Special attention is paid to the ambivalence of Kosach’s worldview, the duality of his status, which was reflected in his literary self-representation.
 The views of Yurii Kosach on the historical role, cultural and social aims of the emigrants have been clarified. The paper discusses the history of the conflict between Yurii Kosach and the circle of the post-war Ukrainian emigrants, the theme of Kosach’s collaboration with Soviet totalitarian political and literary environments. Yurii Kosach’s engagement in the Soviet literary process is considered in the context of myth about Faust and Mephistopheles, which serves as a political metaphor covering the entire totalitarian history of Ukrainian literature and culture. The writer’s split between various totalitarian ideologies is considered as one of the symbolic plots of his time and interpreted psychologically.
 One of the main plots in Kosach’s prose, realized in his various works, is a symbolic meeting of Ukraine and Europe. The paper considers his understanding of Europeanism, the crisis of Ukrainian literature, the problem of the writer’s self-sufficiency, etc. Such issues as mythological thinking of Yurii Kosach, the influence of the neo-baroque and neo-romantic traditions on his work, the appeal to Panteleimon Kulish’s idea of Ukrainian Europe, the writer’s participation in the ideological discussion about the national and cultural identity of Mykola Gogol have been outlined as well.
 The author of the paper marks out Yurii Kosach’s critical heritage of the Art Ukrainian Movement period and issues of ideological, aesthetic, and stylistic modernization of Ukrainian literature, which have been considered in the context of ideological discussions and philosophical searches of his contemporaries.
37
KAMAL, Aysel, and Sinem ATIS. "Comparative Analysis of Ahmet Hamdi Tanpinar’s Travels to European Countries." European Journal of Multidisciplinary Studies 5, no. 1 (2017): 78. http://dx.doi.org/10.26417/ejms.v5i1.p78-84.
Full textAbstract:
Ahmet Hamdi Tanpinar (1901-1962) is one of the most controversial authors in the 20th century Turkish literature. Literature critics find it difficult to place him in a school of literature and thought. There are many reasons that they have caused Tanpinar to give the impression of ambiguity in his thoughts through his literary works. One of them is that he is always open to (even admires) the "other" thought to a certain age, and he considers synthesis thinking at later ages. Tanpinar states in the letter that he wrote to a young lady from Antalya that he composed the foundations of his first period aesthetics due to the contributions from western (French) writers. The influence of the western writers on him has also inspired his interest in the materialist culture of the West. In 1953 and 1959 he organized two tours to Europe in order to see places where Western thought and culture were produced. He shared his impressions that he gained in European countries in his literary works. In the literary works of Tanpinar, Europe comes out as an aesthetic object. The most dominant facts of this aesthetic are music, painting, etc. In this work, in the writings of Tanpinar about the countries that he travelled in Europe, some factors were detected like European culture, lifestyle, socio-cultural relations, art and architecture, political and social history and so on. And the effects of European countries were compared with Tanpinar’s thought and aesthetics. Keywords: Ahmet Hamdi Tanpinar, Europe, poetry, music, painting, culture, life
38
Martyanova, Svetlana A. "PUSHKIN-DOSTOEVSKY MYTH ABOUT “DEVILRY” IN THE WORKS OF T. YU. KIBIROV." Tyumen State University Herald. Humanities Research. Humanitates 7, no. 4 (2021): 180–91. http://dx.doi.org/10.21684/2411-197x-2021-7-4-180-191.
Full textAbstract:
The article is devoted to the analysis and interpretation of the myth of “devilry” in the works of the modern Russian poet T. Yu. Kibirov. The myth of “devilry”, which goes back to the poem “Demons” by Alexander Pushkin (1830), has a special place in the history of Russian literature of the 19th and 21st centuries. V. A. Grekhnev identified its main components, and D. M. Magomedova traced the path of myth in post-Pushkin literature, from M. Yu. Lermontov to M. A. Bulgakov. At the same time, the life of the Pushkin-Dostoyevsky myth of “demonic” in post-symbolist literature, in independent Russian literature of the 20th century and modern literature remains unexplored. The author of the article, referring to the material of T. Yu. Kibirov’s “Message to Lev Rubinstein” (1989), “Give me a deconstruction! Gave…”, “Good for Chesterton — he lived in England”, “Historiosophical centon”, “We did not sell Christ”, “Happy New Year” etc., the poem “Kara-Baras”, dramatic experiments “The night before and after Christmas”, “Victory over Phoebus”, the chronicles “Lada, or Joy”, reveals elements of similarity with the traditions of A. S. Pushkin and F. M. Dostoevsky: images of empty darkness and chaos, loss of the path, value orientations, an appeal to the symbolism of the ballad genre, presented in a serious, playful, ironic tone. The classical tradition contains important keys and values for understanding new reality and becomes an integral part of the artistic language of its description. At the same time, fidelity to the classics is devoid of a sense of exclusivity, loud pathos, moralism, often includes idyllic, sentimental, humorous tones. The poet’s return to the classical literary tradition occurs after oblivion or denial of its values in Soviet times, which gave rise to the cultural problems of the post-Soviet period. In the course of the work, the methods of comparative literary criticism, intertextual analysis, mythopoetic and historical and cultural studies were used.
39
Serhiy, Hordieiev. "Pedagogy of modern Ukrainian theater: on the way to artistic synthesis." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 63, no. 63 (2023): 91–107. http://dx.doi.org/10.34064/khnum1-63.05.
Full textAbstract:
Statement of the problem. Modern Ukrainian theatre studies, based on the theatre practice of the 20th – 21st centuries, pay considerable attention to the issues of evolution of the directing and acting art, theatre pedagogy, synthesis of traditional and innovative forms of education for creative youth. These explorations acquire special importance in the context of today’s theatre art, marked by the creative and pedagogical searches of Ukrainian theatre masters. The article is about the artistic and cultural situation in modern theatre education in Ukraine, the search for education models for actors and directors, about the role of the theatre school and teachers – heads of creative workshops – in this process. This topic, expressing the unique picture of Ukrainian theatre pedagogy at the beginning of the 21st century, has not yet become the subject of special consideration in theatre studies. At the moment, there are no fundamental studies that would highlight the pedagogical activity of masters of modern Ukrainian theatre, but there are theoretical works of directors and actors that touch on the problems of modern theatre art and the theatre school of Ukraine. The purpose of the proposed study is to summarises the pedagogical experience of theatre artists of Ukraine, directors, and actors who, in the process of forming the professional skills and spiritual culture of theatre students, actively include in the educational cycle of the special disciplines as playing musical instruments, plastic arts, history and theory of music, jazz improvisations, vocal ensemble, etc. Methodology. The basis for the search of expanding the methods for the education of modern theatre students for the article’s author became, first of all, theoretical, practical, and pedagogical achievements of outstanding masters of modern Ukrainian theatre, which are for us the embodiment of professional, aesthetic and methodological searches in the realm of acting and directing art, as well as the author’s own long-term creative experience acquired during acting, directing and teaching work. Working out the mechanisms of universalization of the methodological base of academic art education in the theatre school, the author of the article notes the trends and directions of innovative approaches, which determine the ways of forming a creative personality in the process of reforming theatre education in Ukraine. The scientific novelty of the research is conditioned by the study of the peculiarities of pedagogical ideas, methods and techniques of modern theatrical personalities, actors, directors, and theatre teachers. From the theatre schools and areas of training of Ukrainian artists, those whose searches are aimed at creating conditions for the manifestation and development of versatile talents of the personality of the future master of the stage have been selected. The latter means the development of the future theatrical specialist’s acting, directing, musical, plastic, and intellectual properties under the guidance of theatre teachers giving special disciplines, such as “Directing”, “Acting skills”, “Choreography”, “Vocal”, “Stage movement”, “Plastic education of directors”, “Work of a director with a composer”, “History and Theory of Music”, which are taught with the involvement of the latest pedagogical technologies and demonstrate originality of the teachers’ artistic thinking. Results and conclusions. The tendency to experiment and innovation has always distinguished the best representatives of the Ukrainian theatre school, the creative achievements of many of which are related to the use in pedagogical practice, in addition to professional subjects (directing, acting), a cycle of special disciplines. At the same time, special attention is paid to music (vocals, playing musical instruments, history and theory of music), plastic (choreography, pantomime) and physical education. The multifaceted creative and pedagogical activity of the masters of modern Ukrainian theatre, which unfolded in the 20th and early 21st centuries, became the forerunner of the searches of the last decade and witnessed innovative explorations of Ukrainian theatre pedagogy. Today, the experience of the National University “Ostroh Academy” is of significant importance for improving the learning process, in the methodology of which the principle of organic combination of K. Stanislavsky’s system, a metaphorical approach to creating a stage image according to the “transformation method” of L. Kurbas, with the pedagogical technologies of “play theatre” is laid down. In our opinion, it is the personal method of professional training of Ukrainian actors and directors under the author’s master’s program “Metatheatre” of the director and theatre teacher of the Ostroh Academy O. Liptsyn that gives reasons to assert that various facets of the artistic traditions of the Ukrainian avant-garde theatre, whose leader in Ukraine was Les Kurbas, are clearly manifested in the innovative ideas and searches of his followers, influence the formation of innovative technologies of the modern theatre school, which significantly expands the creative possibilities of acting and directing art, and becomes an integral component of the stage pedagogy in Ukraine.
40
Ponomarenko, Maxim D. "THE COSMOPOLITAN ASPECT OF YURI KUZNETSOV’S EARLY WORK." Alfred Nobel University Journal of Philology 2, no. 24 (2022): 38–48. http://dx.doi.org/10.32342/2523-4463-2022-2-24-4.
Full textAbstract:
The purpose of this article is to consider the cosmopolitan aspect of Yuri Kuznetsov’s early works. Kuznetsov was the Russian poet of the 2nd half of the 20th century. The main method of research for us is the method of ontological poetics, and elements of interdisciplinary and comparative analysis. It allows us to consider an artistic text in the context of consciousness and subconsciousness, archetypes and phenomena of the surrounding being. They, in turn, form a personal author’s myth. Yuri Kuznetsov creates his own poetic myth based on the real events of his own biography. In particular, the phenomenon of war has a key influence on it. The author is a “children of war” generation representative (born in 1941). His father died at the front in 1944. This fact determines Yuri Kuznetsov’s further outlook and path in literature. The article examines a number of the poet’s early poems. The opposition of Nature and War concepts can already be traced to each other at this stage. The latter is portrayed as an unnatural phenomenon that hinders the development of personality. Nature symbolizes life and natural dynamics, and War symbolizes halt and death, lack of dynamics. It comes into direct conflict with the laws of Nature. The leitmotif of the poet’s early work is the idea of man and nature’s unity. Such unity, in the end, allows us to build a progressive cosmopolitan model of the Home-Universe. It consists of three parts: Family-Home, Motherland-Home, and Planet-Home. The cosmopolitan orientation of Yuri Kuznetsov’s poems is manifested in his craving for the idea of “world citizenship”. At the same time, the fundamentally important fact is not the rejection of the Motherland and one’s own cultural identity, but their inclusion in a common threefold ontological model. The article also attempts to compare Yuri Kuznetsov’s work with the ideas of Russian symbolism representatives of the early 20th century. Conclusion. Based on the interdisciplinary analysis of the literary text, here are the following research results: 1. In poet Yuri Kuznetsov’s early works there is a process of upward movement along the vertical axis: from the personal myth and the lyrical “I/me” to the universal human experience. The latter, at the same time, is a unifying factor leading to the formation of an anti-war position. 2. The poet’s early works use cosmopolitan motives in the context of the verb “to create” which is semantically equivalent to the verbs “to generate” and “to build”, as well as connotatively close to the ontological processes of dynamics and movement. The verb “to create” is also opposed to the concept of War and is considered as part of the author`s anti-war position. Creativity acts both as an anti-destructive manifesto and as a means of uniting elements of the artistic world scattered by war. We should note that the author’s artistic world is closely connected with his biography and personal family history. 3. Through creativity Yuri Kuznetsov attempts to comprehend the phenomenon of War in three interdependent contexts: family, country and planet (“all people”). This approach allows us to come to the conclusion that war is incompatible with the natural course of things, that is, in fact, with the laws of Nature. 4. The sphere of the unconscious plays a key role in the formation of the author’s anti-war position and the stepped three-part model of the House. One more important connotation of the verb “to create” is connected with it. This connotation can be defined as the process of integrating the personal author’s unconscious into the collective unconscious (“great”). At the same time, a prerequisite for successful integration is a “storm”, a certain dynamic involving vertical ascent. The conclusions of such integration lead the author to the idea of “world citizenship” and universal interconnection. This, in turn, forms an anti-war position based on the similarity of the two sides in the “friend-foe” opposition.
41
Baghirova, Irada. "Historical cataclysms of the second decade of the twentieth century and their influence on the development of scientific knowledge in Azerbaijan (1914-1917)." Scientific knowledge - autonomy, dependence, resistance 29, no. 2 (2020): 35–47. http://dx.doi.org/10.37708/bf.swu.v29i2.2.
Full textAbstract:
The First World War, putting at risk the existence of many states, led to a controversial reaction from the scientific community. On the one hand, the war suspended many studies requiring a peaceful course of life and contradicted the very humanistic content of science, on the other hand, gave a powerful impetus to the development of many branches of chemistry, physics, agriculture etc. Scientists of all countries, including Germany and Russia, were called upon to actively participate not only in the implementation of military defense projects, but also in the creation of new technologies and weapons. At the same time, the war became the main reason for the break with the practice and ethical norms of scientific internationalism that existed in the 19th and early 20th centuries.During the First World War, it became clear that a new super-powerful weapon – oil had appeared. İn the war years, Azerbaijani oil was the only energy sourse in Russia, not counting firewood, since coal exports to Russia were stopped and Ukrainian coal mines were seized by the Germans. The First World War turned out to be a watershed in human history: for the first time, an internal combustion engine working on petroleum products was opposed to the muscular strength of horses and people — and they could not resist. The article highlights the development of science, especially the oil industry in Azerbaijan during the First World War and the two revolutions in Russia that followed in 1917. The role of the world famous scientists D.I. Mendeleev, I.M. Gubkin, D.I. Golubyatnikov, the Polish engineers P.Pototsky, V.Zglenitsky in the development of new technologies in the oil business, the construction of the first oil pipelines in Russia is shown.The article discusses the activities of the Baku Branch of the Imperial Russian Technical Society (BO IRTO), as well as features of its work during the war. In this society was carried out the work on the practical production of benzene and toluene from oil and coal in wartime. In addition, even before the war, the BO IRTO established the Emmanuel L. Nobel (the brother of Alfred Nobel) Prize,, whose main activity took place in Baku. The third brother Ludwig Nobel Prize was established in St. Petersburg and was awarded for outstanding achievements in the oil business. The article highlights the activities of the laureates of the Baku and St. Petersburg Nobel Prizes.
42
Usatenko, Tamara, Galyna Usatenko, and Myroslava Marushchenko. "«GRAMMAR» OF PANTELEIMON KULISH IN THE CONTEXT OF UKRAINIAN WRITING." Almanac of Ukrainian Studies, no. 25 (2019): 120–27. http://dx.doi.org/10.17721/2520-2626/2019.25.19.
Full textAbstract:
The article is devoted to the defining of the phenomena of Ukrainian cultural movement of the 19th century, when under conditions of comprehensive Russification of the Ukrainian community and the influence of the Church Slavonic language as well as of complete lack of education in the native language, the processes of creation of the Ukrainian literary language took place. The new Ukrainian spelling was established, the struggle for teaching in schools in the Ukrainian language was intensified, various styles, and lot of genres of literature in the native language were developed. These searches and comprehension by advanced representatives of political, cultural and social life are considered. It is determined that the spirit of romanticism, European revolutions, the abolition of serfdom, scientific and industrial shifts gave birth to a galaxy of unique Ukrainian thinkers, scientific societies, writers, etc. Among them, Panteleimon Oleksandrovich Kulish (1819-1997) was a significant person due to his energy, ability to organize a business, multifaceted talent, profound knowledge. One of the resonance works of the diverse creative heritage P.O. Kulisha is studied in the article, that is a book for initial education in native language − the "Grammar" of the Ukrainian language, which was highly appreciated by T. Shevchenko. Its structure, the content of each part, the pedagogical role as well as the concept of the author, manifested in its preface and the final part were described. The study emphasizes that in the processes of creating a new literary Ukrainian language, its spelling, writing textbooks, grammars in Ukrainian for initials education, two periods are noticeable: the first one – the 20-30th years of the 19th century, when the problems of the necessity of a new literary language arose, the new literature, preservation of the ethnographic, folklore heritage of the people, the second one – the 40-60th-years was the period of active participation of a new generation of Ukrainian thinkers in the development of the Ukrainian literary language, the creation of new spelling, new literature for primary education in native Ukrainian language. The role of "Grammar" in the formation of a new Ukrainian literary language and its phonetic spelling, in the formation of education in the Ukrainian language, the creation of textbooks in the Ukrainian literary language, and the development of Ukrainian writing are underlined. The emphasis was also put on the introduction of the author's, phonetic spelling, the so-called "Kulishivka" in the "Grammar", which is the basis of the modern Ukrainian spelling. Despite the prohibition of "Valuevsky (1863)" and "Yamsky (1876)" decrees, books and newspapers, although very limited were published in Ukrainian. The article also highlights the following discourses: the role of "Grammar" wrote by P. Kulish (the theory and practice of creating a Ukrainian literary language, the new Ukrainian spelling, which caused the intensification of imperial repressions) and its contemporary significance for the new Ukrainian space of ideas, meanings, communication, methods of publications in the Ukrainian language, as well as some grammatical factors of the theory or history of writing: the language of sound - the language of the book: thinking - writing, writing - thinking; sound - letter, letter - sound; "science of reading" - writing, etc. Comparison of discourses contributes to the conclusion that the development of the living language, sound of language during writing has been improved so complex and multifaceted in the 19th century that passed later in the 20th century, and even in the 21st century remain controversial, as evidenced by the lengthy discussion of the “Project of the New Ukrainian spelling”.
43
Yanping, Xu. "THE DYNAMICS OF CHORAL CULTURE DEVELOPMENT IN CHINA IN THE 1930S ON THE EXAMPLE OF HUANG TZI’S ORATORIO ETERNAL REGRET." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (2021): 109–24. http://dx.doi.org/10.36340/2071-6818-2021-17-5-109-124.
Full textAbstract:
Choral music in China is a dynamically developing form of contemporary musical art. Scientific works devoted to the Chinese choral culture consider the 1930s of the 20th century as the most productive period in the development of this branch of musical creativity. The article examines the phase of the active entry of Chinese choral music into the sphere of the oratorio genre, which is directly related to the name of the great Chinese composer — Huang Tzi. It also highlights the issues of the country’s political life in the 1930s, which actively influenced the creation of nationwide singing movements and new choral works in the country. The oratorio genre, the genesis of which refers us to the European religious musical tradition of the 17th century, spread in China owing to the massive flow of Chinese intelligentsia to the territory of Western states throughout the entire beginning of the 20th century. In the article, the actualisation of the oratorio and its interpretation in a new light is presented as the merit of Huang Tzi, whose civic position was directly related to the desire to preserve ethnic origins in Chinese music and to complement them with Western composing techniques organically. Having proved himself not only as a composer but also as a theorist and teacher, Huang Tzi devoted most of his life to educating a large number of music professors, initiating a progressive approach to music education. His desire to raise the level of the composing school in China made it possible to enrich the repertoire of vocal and instrumental music with characteristics of the folk style. The oratorio Eternal Regret presented in the article is a unique creation that organically combines ethnic music and Western composition techniques. In the story of Emperor Xuanzong and Yang Guifei (to the poems of Tang poet Bai Juyi), taken by the composer as the theme for the libretto, there is certain symbolism that has the conceptual plan of addressing the power to demonstrate the alleged results of Kuomintang’s unclear policy. Thus, directly related to political cataclysms and their final embodiment in the form of the Sino-Japanese war (1937-1945), the oratorio Eternal Regret is presented in the article as a consolidating core that inspired the civilian masses to fight the Japanese invaders. The analysis of Bai Juyi’s original poem “Eternal Regret” and a fragmentary historical-stylistic and vocal-choral analysis of the oratorio have been carried out. The artistic features of individual parts of the oratorio, seven of which were completed by the composer, are revealed. Based on literary sources and theoretical research presented in the article, the author asserts the special role of the oratorio Eternal Regret in history and its far-reaching influence on the prospects for the development of the Chinese choir.
44
Andrianova, Irina. "Stenography and Literature: What did Western European and Russian Writers Master the Art of Shorthand Writing For?" Studia Slavica Academiae Scientiarum Hungaricae 64, no. 1 (2019): 1–11. http://dx.doi.org/10.1556/060.2019.64101.
Full textAbstract:
What brings together Daniel Defoe, Charles Dickens, Vsevolod Krestovsky, Nikolai Chernyshevsky, Fyodor Dostoevsky, Аlexander Kuprin, George Bernard Shaw, and Аstrid Lindgren, i.e. writers from different countries and belonging to different epochs? In their creative work, they all used stenography, or rapid writing, permitting a person to listen to true speech and record it simultaneously. This paper discloses the role of stenography in literary activities of European and Russian writers in the 19th and early 20th centuries. Some researchers believe that the first ties between shorthand and literature appeared in the days of Shakespeare when the playwright's competitors used shorthand to put down the texts of his plays. Others have convincingly refuted this viewpoint, proving that such records never existed. The most famous English novelist in the 17th and 18th centuries Daniel Defoe can be considered one of the first writers who used shorthand in his literary work. The writers mastering the art of shorthand writing such as Defoe, Dickens, and Lindgren were popular in various professional spheres (among others, the secret service, journalism, and secretarial service) where they successfully applied their skills in shorthand writing. Stenography was an integral part of a creative process of the authors who resorted to it (Dostoevsky, Krestovsky, Shaw, and Lindgren). It economized their time and efforts, saved them from poverty and from the terms of enslavement stipulated in the contracts between writers and publishers. It is mainly thanks to stenography that their works became renowned all over the world. If Charles Dickens called himself “the best writer-stenographer” of the 19th century, F. M. Dostoevsky became a great admirer of the “high art” of shorthand. He was the second writer in Russia (following V. Krestovsky), who applied shorthand writing in his literary work but the only one in the world literature for whom stenography became something more than just shorthand. This art modified and enriched the model of his creative process not for a while but for life, and it had an influence on the poetics of his novels and the story A Gentle Creature, and led to changes in the writer's private life. In the course of the years of the marriage of Dostoevsky and his stenographer Anna Snitkina, the author's artistic talent came to the peak. The largest and most important part of his literary writings was created in that period. As a matter of fact, having become the “photograph” of live speech two centuries ago, shorthand made a revolution in the world, and became art and science for people. However, its history did not turn to be everlasting. In the 21st century, the art of shorthand writing is on the edge of disappearing and in deep crisis. The author of the paper touches upon the problem of revival of social interest in stenography and its maintenance as an art. Archival collections in Europe and Russia contain numerous documents written in short-hand by means of various shorthand systems. If humanity does not study shorthand and loses the ability to read verbatim records, the content of these documents will be hidden for us forever.
45
Нгуен, Тхи Хоан. "THE INFLUENCE OF F. M. DOSTOEVSKY’S NOVEL “CRIME AND PUNISHMENT” ON THE WORKS OF VIETNAMESE WRITERS." Bulletin of the Chuvash State Pedagogical University named after I Y Yakovlev, no. 3(112) (October 15, 2021): 60–67. http://dx.doi.org/10.37972/chgpu.2021.112.3.009.
Full textAbstract:
В статье впервые дано общее представление о влиянии «Преступления и наказания» Ф. М. Достоевского на творчество вьетнамских писателей на протяжении целого столетия. Автор обращает внимание, что роман «Преступление и наказание» занимает особое место в культурном пространстве Вьетнама, оказывая влияние на поэтику художественных произведений вьетнамских прозаиков, их мировоззренческие и эстетические ориентиры. В работе наглядно иллюстрируется процесс вхождения «Преступления и наказания» в культуру Вьетнама, который шел через творческую адаптацию романа. Автор отмечает, что сложные философские проблемы, которые поднимались в романе Ф. М. Достоевского, вызывали большой интерес у вьетнамских читателей, а у ряда вьетнамских писателей и стремление к подражанию. Исследование показало, что «Преступление и наказание» оказало заметное влияние не только на сюжет, идею художественных произведений, но и на языковой стиль многих известных вьетнамских романистов в ходе модернизации вьетнамской литературы. Интерес к роману великого русского писателя сохраняется сегодня на высоком уровне, что способствует развитию культурных связей между двумя народами. В статье делается вывод о незаменимой позиции романа «Преступление и наказание» в сердцах вьетнамских читателей. Научная новизна настоящего исследования определяется изучением творческой адаптации романа Ф. М. Достоевского в литературной практике вьетнамских художников слова на протяжении XX-XXI веков, а также обозначением различных линий в рецепции известного русского романа во Вьетнаме. Результаты исследования могут быть использованы на занятиях по истории русской и зарубежной литератур, будут интересны учителям-словесникам, а также всем увлеченным художественной литературой и культурой. The article for the first time gives a general idea of the influence of “Crime and Punishment” by F. M. Dostoevsky on the works of Vietnamese writers for a whole century. The author observes that the novel “Crime and Punishment” occupies a special place in the cultural space of Vietnam, influencing the poetics of the artistic works of Vietnamese prose writers, their ideological and aesthetic guidelines. The work clearly illustrates the process by which “Crime and Punishment” enters into the culture of Vietnam, which went through the creative adaptation of the novel. The author notes that the complex philosophical problems that were raised in the novel by F. M. Dostoevsky aroused great interest among Vietnamese readers, and a number of Vietnamese writers also had a desire to imitate. The study showed that “Crime and Punishment” had a noticeable impact not only on the plot, the idea of literary works, but also on the language style of many famous Vietnamese novelists during the modernization of Vietnamese literature. Interest in the novel of the great Russian writer remains today at a high level, which contributes to the development of cultural ties between the two peoples. The article concludes about the irreplaceable position of the novel “Crime and Punishment” in the hearts of Vietnamese readers. The scientific novelty of this study is determined by the study of the creative adaptation of the novel by F. M. Dostoevsky in the literary practice of Vietnamese authors during the 20th-21st centuries, as well as the designation of various lines in the reception of the famous Russian novel in Vietnam. The results of the research can be used in classes on the history of Russian and foreign literature, and will be of interest to teachers of literature as well as to all those who are interested in fiction and culture.
46
Pylypchuk, Oleh, Oleh Strelko, and Yuliia Berdnychenko. "PREFACE." History of science and technology 11, no. 2 (2021): 271–73. http://dx.doi.org/10.32703/2415-7422-2021-11-2-271-273.
Full textAbstract:
The issue of the journal opens with an article dedicated to the formation of metrology as government regulated activity in France. The article has discussed the historical process of development of metrological activity in France. It was revealed that the history of metrology is considered as an auxiliary historical and ethnographic discipline from a social and philosophical point of view as the evolution of scientific approaches to the definition of individual units of physical quantities and branches of metrology. However, in the scientific literature, the little attention is paid to the process of a development of a centralized institutional metrology system that is the organizational basis for ensuring the uniformity of measurements. The article by Irena Grebtsova and Maryna Kovalska is devoted to the of the development of the source criticism’s knowledge in the Imperial Novorossiya University which was founded in the second half of the XIX century in Odesa. Grounding on a large complex of general scientific methods, and a historical method and source criticism, the authors identified the stages of the formation of source criticism in the process of teaching historical disciplines at the university, what they based on an analysis of the teaching activities of professors and associate professors of the Faculty of History and Philology. In the article, the development of the foundations of source criticism is considered as a complex process, which in Western European and Russian science was the result of the development of the theory and practice of everyday dialogue between scientists and historical sources. This process had a great influence on the advancement of a historical education in university, which was one of the important factors in the formation of source studies as a scientific discipline. The article by Tetiana Malovichko is devoted to the study of what changes the course of the probability theory has undergone from the end of the 19th century to our time based on the analysis of The Theory of Probabilities textbook by Vasyl P. Ermakov published in 1878. The paper contains a comparative analysis of The Probability Theory textbook and modern educational literature. The birth of children after infertility treatment of married couples with the help of assisted reproductive technologies has become a reality after many years of basic research on the physiology of reproductive system, development of oocyte’s in vitro fertilization methods and cultivation of embryos at pre-implantation stages. Given the widespread use of assisted reproductive technologies in modern medical practice and the great interest of society to this problem, the aim of the study authors from the Institute for Problems of Cryobiology and Cryomedicine of the National Academy of Sciences of Ukraine was to trace the main stages and key events of assisted reproductive technologies in the world and in Ukraine, as well as to highlight the activities of outstanding scientists of domestic and world science who were at the origins of the development of this area. As a result of the work, it has been shown that despite certain ethical and social biases, the discovery of individual predecessor scientists became the basis for the efforts of Robert Edwards and Patrick Steptoe to ensure birth of the world's first child, whose conception occurred outside the mother's body. There are also historical facts and unique photos from our own archive, which confirm the fact of the first successful oocyte in vitro fertilization and the birth of a child after the use of assisted reproductive technologies in Ukraine. In the next article, the authors tried to consider and structure the stages of development and creation of the “Yermak”, the world's first Arctic icebreaker, and analyzed the stages of preparation and the results of its first expeditions to explore the Arctic. Systematic analysis of historical sources and biographical material allowed to separate and comprehensively consider the conditions and prehistory for the development and creation of “Yermak” icebreaker. Also, the authors gave an assessment to the role of Vice Admiral Stepan Osypovych Makarov in those events, and analyzed the role of Sergei Yulyevich Witte, Dmitri Ivanovich Mendeleev and Pyotr Petrovich Semenov-Tian-Shansky in the preparation and implementation of the first Arctic expeditions of the “Yermak”icebreaker. The authors of the following article considered the historical aspects of construction and operation of train ferry routes. The article deals with the analysis and systematization of the data on the historical development of train ferry routes and describes the background for the construction of train ferry routes and their advantages over other combined transport types. It also deals with the basic features of the train ferries operating on the main international train ferry routes. The study is concerned with both sea routes and routes across rivers and lakes. The article shows the role of train ferry routes in the improvement of a national economy, and in the provision of the military defense. An analysis of numerous artefacts of the first third of the 20th century suggests that the production of many varieties of art-and-industrial ceramics developed in Halychyna, in particular architectural ceramic plastics, a variety of functional ceramics, decorative tiles, ceramic tiles, facing tiles, etc. The artistic features of Halychyna art ceramics, the richness of methods for decorating and shaping it, stylistic features, as well as numerous art societies, scientific and professional associations, groups, plants and factories specializing in the production of ceramics reflect the general development of this industry in the first half of the century and represent the prerequisites the emergence of the school of professional ceramics in Halychyna at the beginning of the 20th century. The purpose of the next paper is to analyze the formation and development of scientific and professional schools of art-and-industrial ceramics of Halychyna in the late 19th – early 20th centuries. During the environmental crisis, electric transport (e-transport) is becoming a matter for scientific inquiry, a subject of discussion in politics and among public figures. In the program for developing the municipal services of Ukraine, priorities are given to the development of the infrastructure of ecological transport: trolleybuses, electric buses, electric cars. The increased attention to e-transport on the part of the scientific community, politicians, and the public actualizes the study of its history, development, features of operation, etc. The aim of the next study is to highlight little-known facts of the history of production and operation of MAN trolleybuses in Ukrainian cities, as well as to introduce their technical characteristics into scientific circulation. The types, specific design solutions of the first MAN trolleybus generation and the prerequisites for their appearance in Chernivtsi have been determined. Particular attention has been paid to trolleybuses that were in operation in Germany and other Western European countries from the first half of the 1930s to the early 1950s. The paper traces the stages of operation of the MAN trolleybuses in Chernivtsi, where they worked during 1939–1944 and after the end of the Second World War, they were transferred to Kyiv. After two years of operation in the Ukrainian capital, the trolleybuses entered the routes in Dnipropetrovsk during 1947–1951. The purpose of the article by authors from the State University of Infrastructure and Technologies of Ukraine is to thoroughly analyze unpaved roads of the late 18th – early 19th century, as well as the project of the first wooden trackway as the forerunner of the Bukovyna railways. To achieve this purpose, the authors first reviewed how railways were constructed in the Austrian Empire during 1830s – 1850s. Then, in contrast with the first railway networks that emerged and developed in the Austrian Empire, the authors made an analysis of the condition and characteristics of unpaved roads in Bukovyna. In addition, the authors considered the first attempt to create a wooden trackway as a prototype and predecessor of the Bukovyna railway.
47
Svystun, I. "TRANSFORMATION OF THE HIERARCHICAL STRUCTURE OF COMPOSITION MEANS IN ARCHITECTURAL FORM MAKING ON THE XX AND XXI CENTURIES." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 115–30. http://dx.doi.org/10.31650/2519-4208-2020-20-115-130.
Full textAbstract:
The article provides an analysis of the characteristics of the artistic means of composition used in the architectural form making at the turn of the 21st century, helps to determine their role in the hierarchical structure by the degree of significancefor modern evolutionary processes in architecture. An overall decrease in the influence and effectiveness of the composition means for this period was noted. A significant redistribution of their influence over the basic hierarchical structure was revealed.One of the major problems in the evolution of architecture at the turn of the 21st century is the discrepancy between provisions of the compositional theory of architecture -a traditional means of shaping and findings the of worldwide experimental construction practices. Here, science was facing the new phenomena based on radical changes in the nature of the architectural form and its plasticity, when the clear, unambiguous rules for constructing the form of the basic theory of composition no longer fully carry out their organizing functions. The collision of science with unrecognized processes that appeared in original architectural forms that have no analogue in everything that existed in architecture in the past, created using modern digital technologies, has not yet become the subject of a serious study by modern theory.It should be noted that for almost entire 20th century, architecture relied on the traditional compositional base in the formation of the figurative characteristics of objects (regardless of their stylistic affiliation), considered it universal and did not respond to emerging new trends that had a significant impact on the volume and plastic properties of architectural forms. As the analysis confirms, during this period the foundations ofa new architecture with non-standard form-forming characteristics were laid.Characteristic in the development of architecture at the turn of the century was the desire of individual innovative authors (Kalatrava S., Hadid Z., Libeskind D., Gehri F. O., Maine T., Moss E.O., Koolhaas R. and creative teams: Coop Himelblau, MAD, Snochetta, etc.) create original objects using digital technology, complex geometry and the inclined position of the object or its parts in space. Here, traditional compositional means did not become the basis for the construction of innovative forms. This transformation took place fairly quickly in the late 80-90s of the XX century, which did not allow architectural science to simultaneously comprehend and formulate the corresponding theory, as well as to adjust traditional approaches that can cover the whole variety of emerging ideas and methods of shaping in architecture.In connection with these radical changes in architectural shaping on the cusp of the twentieth and twenty-first centuries, a need arose both to rethink the general theory and to clarify the role and place of each means of composition in the hierarchical structure.Among the literary sources that consider the basic principles of the theory of architectural composition, the most important are textbooks and manuals for preparing architects at universities, since they primarily affect the formation of professional thinking. What is the information on the theory of composition in this literature and how much the recommendations contained in them correspond to modern trends and the requirements of architectural shaping?In connection with the task, a number of published in the twentieth -early twenty-first centuries. textbooks and manuals on the theory of composition, intended for the preparation of architects in higher educational institutions of the USSR and countries that formed after its collapse, by such authors: Arauho I., Idak Yu. V., Ikonnikov A. V., Klimenyuk T. M., Krinsky V.F., LamtsovI.V., Lyaskovsky O.I., Malgin V.I., Melodinsky D.L., Mikhailenko V. Є., Stepanov A.V., Tits A.A., Turkus M. A., Chin F. D. K., Shapoval N.G., Yakovlev N.I. et al. [1-14] have been analyzed. These sources present the traditional classical ideas about the construction of forms, highlighting composition as the main means: proportions, rhythm, scale, symmetry, asymmetry, statics, dynamics, contrast, nuance, identity, etc. But if in the XX century their significance was not in, doubt, then in the XXI century -symptoms appeared of a decrease in the influence of the compositional apparatus on the processes of shaping and the role of each of them in the hierarchical structure [21].Considering the importance of composition in the historical and newest period of the development of architecture, we can make sure that despite the fact that in classical architecture all means of composition were necessary for building the form and were applied comprehensively (in modern times only selectively), the order of their significance fixed the priority of proportions and proportionality ( the first group), identified by the ancient Roman architect Vitruvius [16], and did not change throughout the development of European architecture. They are given more attention in treatises and textbooks [1-19]). The rhythm, meter, scale, symmetry, tectonics, statics, contrast, nuance, and identity performed the basic organizing functions (second group). Dynamics, asymmetry, geometric center, center of composition, emphasis, dominant (third group), although they were used in practice, but without special theoretical justification, occupying secondary places and being additional tools (they practically did not receive attention in treatises and textbooks [.. .])
48
Serdiuk, Oleksandr. "Karol Szymanowski and multiculturalism." Aspects of Historical Musicology 19, no. 19 (2020): 206–29. http://dx.doi.org/10.34064/khnum2-19.12.
Full textAbstract:
Background. The problem of self-determination of an artist who apprehends oneself as a representative of a certain nation, but is forced to selfactualize in the cultural space of a multinational empire, remained relevant for a long period for the majority of representatives of the Polish creative intelligentsia. Among them, it is appropriate to recall, in first, Karol Szymanowski, whose creative development took place in a multicultural environment. The outstanding musician was feeling his involvement not only in the European tradition in general, but also in the Antique, Eastern, Polish, Russian, and, especially, Ukrainian culture, because his life for 36 years was related with Ukraine. The temporal distance that has formed between the eras, the changes in cultural paradigms that have now taken place, encourage us to rethink the approaches to the various cultural-creating activities of artists in past eras, to evaluate them from modern positions. If we consider multiculturalism in a positive sense – as a phenomenon of social life characterized by coexistence and active interaction within one society of many cultures, then the analysis of Szymanowski’s creative evolution in this context looks relevant for modern cultural figures. At the same time, in Ukraine, there has not yet been a steady interest of scientists in the work by K. Szymanowski, although certain steps are being taken in this direction: PhD theses by Anatolii Kalynychenko, Hanna Seredenko, Oleksandr Serdiuk, Dmitriy Poliachok have appeared that explore some aspects of the Polish artist’s creativity, taking into account modern methodological tools. An important function of stimulating interest in the creative figure of Szymanowski is performed, in particular, by the “Kropyvnytskyi Museum of Musical Culture named after K. Szymanowski” (headed by Olexandr Polyachok) that initiates various projects related to the popularization of Shimanovsky’s creative heritage, including holding scientific conferences and publishing. A significant contribution to the study of various aspects of the K. Szymanowski’s creative activity was made by Polish scientists, in particular, Malgorzata Komorowska, Zofia Helman, Teresa Chilińska, but their works are in a greater degree focused on the analysis of the musician’s creativity in the Polish cultural context. Objectives of the study. This article is destined to examine the creative personality of the Polish artist in a new problematic field. The purpose of the study is to identify the features of the creative formation and growth of K. Szymanowski in the context of multiculturalism. The object of analysis is the creative activity of K. Szymanowski; the subject, on which the attention is focused, is the peculiarities of cultural and creative attitudes formation, the principles of artistic activity, the means of cultural communication of K. Szymanowski in the conditions of multiculturalism. Research results. The scientific novelty of the research consists in the identification of little-known facts of the creative biography of K. Szymanowski and their new interpretation, the formation of new ideas about the specifics of his creative approaches both in composing and literary work. The important role of self-education in his creative development, the ability for self-development, conscious cultural pluralism formed in the context of multicultural conditions, a tendency to innovate (for example, intense interest in new artistic and stylistic trends) are emphasized. Attention is drawn to the originality of Szymanowski’s relationships with various cultural environments, with which he was closely linked by fate. After all, his formation as a personality took place under the influence of several cultures, the features of which were intertwined, coexisting in the everyday life of his family estate in the Ukrainian village Timoshivka and Elisavetgrad, the city of his childhood and youth. The significant influence of regular visits to European cultural centers and travels to the countries of the Arab East on the formation of the cultural identity of the artist is also noted. The analysis of archival materials, in particular, comments in the margins of the pages of books from the family library, showed the enormous influence of literary texts on the composer’s cultural identity. Szymanowski carefully read, thought over and discussed with his close ones literary works, various works of philosophers and art historians. Szymanowski’s archives contain notes on the history of art of Ancient Greece in French, the history of the culture of Ancient Rome in German and Russian, extracts from the history of the origins of Christianity, the culture of Sicily and the life of King Roger II, notes from the letters by Seneca, Leonardo da Vinci, Machiavelli, works of Novalis, studies on oriental culture, etc. The composer was fascinated by the ideas of the synthesis of cultures (Ancient Greek, Ancient Roman, Byzantine, Arabic, Proto-Slavic), of religious syncretism in various forms (Christian modernism, paneroticism, etc.). Embodying his creative intentions, Szymanowski went through a fascination with a wide variety of aesthetic ideas. In the process of realizing artistic synthesis, along with the idea of cultural syncretism, signs of aesthetics of romanticism and impressionism, symbolism and modernism, expressionism and neo-folkloric trend often coexisted and intersected in his works. As a conclusion, we note: the creative formation and evolution of K. Szymanowski took place in multicultural conditions. Realizing himself a descendant of the Polish gentry family, he was at the same time a citizen of the Russian Empire and was formed as a person under the influence of many cultures, which were intricately intertwined in the space where the formation of his individuality took place, which, eventually, determined the multicultural profile of his artistic work. Szymanowski’s cultural positioning we propose to consider, to a certain extent, according to the formula: “one of our own among strangers, a stranger among our own”, because his creative searches, in which the polylogue of cultures acquired signs of multiculturalism, were not always perceived adequately by his contemporaries, especially in those cultural centers, where the traditional values of the national culture were considered priority. The artistic, aesthetic and cultural paradigms of the 21st century turn out to be largely consonant with those that determined the creative preferences of the Polish artist, which leads to the actualization of the creativity of the latter in the conditions of the dominance of the postmodern situation in the contemporary cultural space.
49
Kudrina, Elena V. "Collection of Children's Letters in the A.M. Gorky Archive of the A.M. Gorky Institute of World Literature of the Russian Academy of Sciences." Herald of an archivist, no. 4 (2022): 1198–211. http://dx.doi.org/10.28995/2073-0101-2022-4-1198-1211.
Full textAbstract:
The article is devoted to the review of one of the sections of the A. M. Gorky Archive of the A. M. Gorky Institute of World Literature of the Russian Academy of Sciences (AG IMLI RAN). The section contains a large collection of children's letters addressed to the “great proletarian writer.” The archive stores letters from children dating from 1899 to 1936. There are about 3000 children’s letters in the collection. Systematic and information methods have been used to study the collection; based on the principle of comprehensive study of documents, they have permitted to consider documents as elements of one system and to study the content. Source analysis has made it possible to study the internal and external features of documents and also helped to develop the basis for their classification and systematization within the archival collection. Typological and historical-functional research methods have made it possible to classify letters and consider them in the changing socio-cultural contexts. The collection of children's letters at the AG IMLI RAN is diverse and extensive. Most of it has not been subjected to detailed scientific analysis. The relevance of the research topic is due to the need for detailed consideration and comprehensive understanding of the materials of the collection. Scientific and practical significance of the research lies in the possibility of using its results in a variety of scientific aspects: historical, biographical, source studies, textual, literary, cultural, etc. The reason for the study is insufficient knowledge of the collection of children's letters stored in the archive, which are of scientific interest. The purpose of the study is to describe and to study the collection of children's letters to M. Gorky, to introduce interesting material into scientific use and to provide its preliminary analysis. When using typological analysis, three groups of letters have been identified: individual, collective, and those from adults. The same method has made it possible to divide letters by social, age, geographical principle. The genre-thematic analysis has helped to divide the letters into subgroups united by common formal, substantive, and functional features: letters of request, letters of thanks, letters containing reviews, letters containing feedback on Gorky's artistic and journalistic works, letters with reports, letters of greeting, letters of invitation, letters of complaint. The archive also contains drawings, illustrations, postcards, photographs of children, and children's writings (poems, fairy tales, short stories, plays). Content analysis of the materials allows us to conclude that children's letters contribute to the study of social history, literary process, and epistolary heritage of the first half of the 20th century; they are able to provide new information for those who study the history of pedagogy, textual criticism, literary criticism. Systematic analysis of the collection allows us to consider children's letters in the historical and literary context of the era. Drawing on the analysis of archival documents, the conclusion is made that Gorky initiated the correspondence and stimulated children's writing. The letters demonstrate that the writer was perceived by his young contemporaries as assistant and defender, his works and public activities were of great educational value. Some letters in the collection contain Gorky’s notes, showing his attitude to the text. Children's letters supplement the knowledge of the personality of M. Gorky and his addressees. An important result of the comprehensive study of the archival material is discovery of information opportunities and source studies potential of the collection of children's letters in the AG IMLI RAN.
50
Matulionienė, Elena. "Prototypes and Change of the Ornamental Motifs Decorating the Textile Pockets from the Lithuania Minor." Tautosakos darbai 57 (June 1, 2019): 127–53. http://dx.doi.org/10.51554/td.2019.28430.
Full textAbstract:
The historical attire of women from the Lithuania Minor (Klaipėda Region) has a characteristic practical detail: a textile pocket tied at the waist, which functionally corresponds to the modern handbag or pocket. Such textile pockets are called delmonai (pl.) and are usually decorated with colorful ornaments. The purpose of this article is introducing the prototypes of the ornamental motifs in terms of intercultural comparison, employing the visual materials collected by the author and historically formed intercultural contacts. While introducing her hypothesis of possible long-term influences, the author presents décor samples from identical or related textile pockets (from the 17th century until the middle of the 20th century), discussing the possibilities of their finding way to the Lithuania Minor. Researching the change occurring in the décor motifs, the author employs comparative analysis of the traditional (from the beginning of the 19th century until 1930s) and modern (from the beginning of the 21st century) textile pockets, still used as part of the national costume of the Lithuania Minor. The origins of several decorative motifs, e.g. the wreath, the crowned musical instrument, and the flower bouquet, are analyzed in more detail. The vegetal ornaments predominate in the décor of the textile pockets from the Lithuania Minor, including blossoms, branches, bouquets, leafs, wreaths and stylized trees. Certain modes of representation have been appropriated by the folk art from professional art or textiles. The most important centers of high fashion emerging in France, Italy, and Germany, exercised certain impact on tendencies occurring in the folk handicraft. Examples of textile pockets worn by the nobility were widely promoted by the periodicals. The surviving samples of embroidery patterns indicate one of the possible sources for the textile pockets’ décor in the Lithuania Minor: namely, the printed sheets with ornamental patterns, used by the nobility and lower social classes alike. Another likely source would be functionally similar needlework by women from the neighboring countries, since textile pockets make part of the national costume there as well. Sea trade created favorable conditions for commercial and cultural interchange between neighbors. The motif of wreath, rather frequently used in the Lithuania Minor, and the occasional motif of the flower bouquet also occur on textile pockets from Pomerania (the border region between Poland and Germany). Ornamentation of the pockets from Bavaria (in Germany) is also rather close in character to the décor of the Lithuania Minor. Such congruities may be determined by several reasons. Firstly, the producers of these textile works could have had interconnections (after the onslaught of devastating plague in Europe, numerous people from Salzburg moved to the fertile but rather wasted out territories of the Lithuania Minor). Secondly, the producers could have used the same original pattern, e.g. the printed sheet. However, although the mutual influence in the needlework décor of the neighboring countries determined by their economic and cultural connections is obvious, the décor of the textile pockets from the Lithuania Minor stands out in terms of its peculiar features (particular colors, modes of décor, etc.).In terms of spreading the regional ethnic culture, the problem of preserving the regional character of the folk art acquires special significance. Although separate parts of the national costumes inevitably change as result of the technical innovations increasingly applied to their production, these costumes should still remain recognizable as a continuation of the folk attire characteristic to the particular region. The patterns of décor used while making the textile pockets nowadays follow to some extent the traditional motifs of floral compositions. Although individual authors tend to create their original compositions, the majority of the textile pockets produced as part of the national costume of the Lithuania Minor still are easily recognizable as belonging to this particular region. The ornamental motifs are not especially distanced from the original ones as well, with embroidered flower bouquets and wreaths still making the majority. However, the motifs of the bouquet placed in a bag and the crowned musical instrument have lost their popularity. Rather than just making part of the national costume of the Lithuania Minor, the textile pockets increasingly appear as part of the modern clothing characterizing its regional peculiarity.