Journal articles on the topic 'Literature, modern (collections), 18th century'

We analyze the qualitative and quantitative composition of the book collection of the civil press of the 18th century, which are in the collection of the Tambov regional universal library named after A.S. Pushkin (hereinafter TRUL). The relevance of the work is connected with the need to restore an objective picture of the creation and functioning of manor libraries of the late 18th century as an element of the cultural environment. The implementation of the Russian Foundation for Basic Research project allowed showing the world of the Tambov book of the 18th century in all its diversity. The novelty of the work lies in a system approach to the study of the array of books in Russian and foreign languages of pre-revolutionary libraries of the Russian province. We consider Tambov collections of foreign books of the 18th century, system information of which is currently absent in historiography and appears only as separate mentions in the works of local historians. The work with the existing repertoire of the library showed the key importance of Derzhavin library for the formation of modern Tambov collections of rare books of the 18th century. It is shown that the main array of the identified publications reflects the products of the Capital printing houses of the 18th century. The variety of thematic composition of the revealed collections is demonstrated. Among these collections of TRUL books there are publications on history, literature, philosophy, religion and natural sciences. The research proves that the study of the composition of the book collections of civil press of the 18th century gives important information for the study of book culture of the Tambov province, allows to analyze the appearance of the book works in the region and to find out the degree of attention to foreign and Russian media. Also it allows to detect the role of the book in the structure of cultural environment.

Purpose. Among its collections, the Tobolsk Museum-reserve keep an axe, which was an accidental find. The purpose of this publication is to introduce the presented sample into scientific circulation, as well as to complete the description of the find, establish its functional purpose, chronology and determine its place of production. Upon admission to the museum, it was identified as a combat weapon and tentatively dated to the 17th century. Results. The axe has a wide blade which extends downwards, covered with a notched ornament. An important feature is its asymmetric cross-section, where one of the sides is flat and the other is convex. Similar axes found in Siberia are often defined as battle axes, however this definition is incorrect. Currently, no Tobolsk axe prototypes are known to have been found on the territory of the Moscow state, however asymmetric axes are known to have been used, in particular, in Eastern Europe, since at least the 15th century. According to some authors, asymmetric axes are specialized tools for carpentry and joinery. This definition is most reliably justified in the publication of Polish researcher M. Glosek. This point of view is convincingly confirmed by the catalogues of Eastern European metalworking plants of the first half of the 20th century. The definition of long-bladed asymmetric axes as a combat weapon is based, as a rule, on random finds with unknown dating. More proof can be found by their absence in the materials of archaeological excavations. Conclusion. It can be assumed that asymmetric axes were imported to Russia between the Modern Period up to ethnographic modernity. One of the most likely producers is the Transcarpathian plant in the village of Kobyletskaya Polyana, which specialized in the manufacture of tools for the forest industry and had a fairly wide market. The widest possible period when Transcarpathian axes could be imported into Russia is no earlier than the end of the 18th century, and not later than the middle of the 20th century.

The paper is focused on the adaptation of the image of Cerberus in Russian culture of the Middle Ages and the Early Modern Times. Fragmentary information about some characters of the Greco-Roman mythology penetrated into Russian medieval literature from the Byzantine. Christians often borrowed and reinterpreted those images in the traditions of Christian symbolism. One of these characters, Cerberus, the dog of Hades, became an infernal character: a guard or a demon of the Christian Hell. As a dog it turned into an Evil animal, executioner of sinners. Аs a three-headed creature it resembled dragons and other legendary monsters. Perhaps, the story about Hercules, who tamed Cerberus, became the basis of novel in the Sinai Patericon (story about Saint John Kolobos and graveyard hyena). At the beginning of the 18th century Russia experienced a secondary influence of Ancient symbolism through Western European emblematic collections and similar translated works. A lot of exotic images were rediscovered and aquired new meanings. Under the influence of the Jesuit theatre, the mouth of Cerberus became a variation of a well-known in Russia iconographic image of Hellmouth. In the plays by Dimitri of Rostov, the characters sent to the underworld found themselves in the mouth of a monstrous dog – inside an ingenious stage device. Toward the end of the 18th century Hell as a dog’s head appeared also in Russian popular prints, lubok.

The article presents an overview of the traditional Lithuanian folksong concept that has prevailed since the birth of the Lithuanian folkloristics until nowadays. Having surveyed statements of the Lithuanian folksong researchers regarding the value of songs, the author compares different historical periods to elucidate the changing attitude towards this kind of folklore. Throughout the 19th century and at the beginning of the 20th century, the emphasis in the song evaluations rested on the ethical and esthetical criteria as well as on the linguistic purity, folksongs being appreciated as expressions of the national spirit. Such view resulted in numerous popular folksongs being excluded from the published folklore collections, since they did not correspond to the values of the publisher. However, as early as in the 19th century, two rival notions of the folksong tradition started forming – the conservative and the fluid one. The first one idealized the old folksong layer, while the second one regarded the folksong tradition as multisided, changing, and affected by external influences. In the middle of the 20th century, the folksong canon experienced yet another major shift. The Soviet regime neglected the major part of the later folksongs based on the individual authorship, while the ethnographic movement of the 1960s – 1980s strengthened the new tendency in the folklore canon, enhancing the value of authenticity related to the rustic roots and the old traditional heritage. Meanwhile, quite different tendencies prevailed in the exile – authenticity there was restricted to those forms of the folklore repertoire and stylistic expression that had existed in the interwar period. Having surveyed the research works and publications, manuals for folklore collectors and various statements by cultural leaders, the author concludes that complicated historical and political situation of the last two centuries has lead traditional Lithuanian folksong to play the role of the representative of the national spirit; therefore, songs were exhibited for quite a long period as phenomena of particular artistic and ethical value. Historical circumstances cause even nowadays various social groups to identify themselves not only with different content planes of the folksong repertoire, but also with different styles of performance. Only the recent decades saw folklorists gradually abandoning the exaltations and idealizations of the traditional folksongs and replacing them with discussion that is more balanced: regarding folksong tradition as ambivalent, heterogeneous and therefore meriting controversial evaluations. However, the folklorism movement still exhibits the tendency of romanticizing the old folklore and making it grounds for constructing personal identity. On the other hand, there is another clear tendency: the old folksongs – both performed in traditional manner and in modern arrangements – exist as a certain part of subculture, while another popular repertoire flourishes in the contemporary society, however, essentially escaping attention of folklorists and so far underresearched as expression of national and social identity,

Sabres in the context of research on historical weapons – a contribution to the history of Polish hoplology This article is an attempt to provide a comprehensive view on the history of hoplology in relation to the most popular type of weapon used in the old Polish-Lithuanian Commonwealth, the sabre. The research history addresses the issue of modern weapons, which is motivated by the emergence of various types of sabre at that time. Research on old weapons, inspired primarily by collectors, museologists and members of academia, traditionally uses a range of methods developed by history, art history, archaeology and art restoration. Such research can also enter the field of sociology and cultural studies, provided that we take into account the fact that weapons, sabres in particular, symbolized social standing. The variety of issues, which are generally confined to the above mentioned concepts, also translates into the historiographic sphere. Because of that, it may be surprising that Polish literature on historical weapons only dates back to the second half of the 19th century. However, collectors had shown interest in military items much earlier. The first part of the article presents the most important private collections of weapons from the end of the 18th century to the beginning of the 20th century, with particular focus on the almost entirely preserved collection of Izabela Czartoryska, who founded the first museum in Poland. This layout is the starting point for presenting academic interest in military items, divided into the pre- and post-war periods.

Sabres in the context of research on historical weapons – a contribution to the history of Polish hoplology This article is an attempt to provide a comprehensive view on the history of hoplology in relation to the most popular type of weapon used in the old Polish-Lithuanian Commonwealth, the sabre. The research history addresses the issue of modern weapons, which is motivated by the emergence of various types of sabre at that time. Research on old weapons, inspired primarily by collectors, museologists and members of academia, traditionally uses a range of methods developed by history, art history, archaeology and art restoration. Such research can also enter the field of sociology and cultural studies, provided that we take into account the fact that weapons, sabres in particular, symbolized social standing. The variety of issues, which are generally confined to the above mentioned concepts, also translates into the historiographic sphere. Because of that, it may be surprising that Polish literature on historical weapons only dates back to the second half of the 19th century. However, collectors had shown interest in military items much earlier. The first part of the article presents the most important private collections of weapons from the end of the 18th century to the beginning of the 20th century, with particular focus on the almost entirely preserved collection of Izabela Czartoryska, who founded the first museum in Poland. This layout is the starting point for presenting academic interest in military items, divided into the pre- and post-war periods.

The article is devoted to understanding the origins of the formation and development of the theory of folk art. The relevance of the topic is determined by the existing contradiction: on the one hand, the positioning of folk art and traditional folk art crafts as an important part of the national artistic culture, an independent field of art criticism, which can be seen in legal documents, popular science literature and scientific works of the 20th century, and, on the other hand, the limited range of modern research in this area, insufficient development of the theoretical aspect of this issue.Based on the analysis of a wide range of sources, the author identifies five stages of the formation of the theory of folk art (the beginning of the 18th century — 1870s; 1870—1910s; 1917—1930s; 1930—1990s; 1990—2020s), gives a brief description of them, and names the main results of studying each of the periods. The provisions of the theory of folk art were most fully and systematically formulated and justified by M.A. Nekrasova in the 1980s.The article considers the process of forming interest in works of folk art in the middle of the 18th — the last third of the 19th century, and in the next period of “initial accumulation of facts” (until the 1910s), as the first experience of developing scientific approaches to the analysis of the specifics of folk art. The author reveals the significance of Peter the Great’s transformations in the field of culture for the formation of public interest in the traditions of Russian culture; defines the Russian folklore researchers’ contribution (songs, rituals, fairy tales) to drawing attention to the problems of preserving national features of Russian culture and their interpretation in works of literature; describes the activities of artists, critics, and public figures in creating the first collections of folk art, their analysis and description from a scientific point of view.

In the first half of the 19th century in literature on art the term ‘Old Masters’ was disseminated (Alte Meister, maître ancienns, etc.), this in relation to the concept of New Masters. However, contrary to the widespread view, it did not result from the name institutionalization of public museums (in Munich the name Alte Pinakothek was given in 1853, while in Dresden the Gemäldegalerie Alte Meister was given its name only after 1956). Both names, however, feature in collection catalogues, books, articles, press reports, as well as tourist guides. The term ‘Old Masters’ with reference to the artists of the modern era appeared in the late 17th century among the circles of English connoisseurs, amateur experts in art (John Evelyn, 1696). Meanwhile, the Great Tradition: from Filippo Villani and Alberti to Bellori, Baldinucci, and even Winckelmann, implied the use of the category of ‘Old Masters’ (antico, vecchio) in reference to ancient: Greek-Roman artists. There existed this general conceptual opposition: old (identified with ancient) v. new (the modern era). An attempt is made to answer when this tradition was broken with, when and from what sources the concept (and subsequently the term) ‘Old Masters’ to define artists later than ancient was formed; namely the artists who are today referred to as mediaeval and modern (13th–18th c.). It was not a single moment in history, but a long intermittent process, leading to 18th- century connoisseurs and scholars who formalized early-modern collecting, antiquarian market, and museology. The discerning and naming of the category in-between ancient masters (those referred to appropriately as ‘old’) and contemporary or recent (‘new’) artists resulted from the attempts made to systemize and categorize the chronology of art history for the needs of new collector- and connoisseurship in the second half of the 16th and in the 17th century. The old continuum of history of art was disrupted by Giorgio Vasari (Vite, 1550, 1568) who created the category of ‘non-ancient old’, ‘our old masters’, or ‘old-new’ masters (vecchi e non antichi, vecchi maestri nostri, i nostri vecchi, i vecchi moderni). The intuition of this ‘in-between’ the vecchi moderni and maestri moderni can be found in some writers-connoisseurs in the early 17th (e.g. Giulio Mancini). The Vasarian category of the ‘old modern’ is most fully reflected in the compartmentalizing of history conducted by Carel van Mander (Het Schilder-Boeck, 1604), who divided painters into: 1) oude (oude antijcke), ancient, antique, 2) oude modern, namely old modern; 3) modern; very modern, living currently. The oude modern constitute a sequence of artists beginning with the Van Eyck brothers to Marten de Vosa, preceding the era of ‘the famous living Netherlandish painters’. The in-between status of ‘old modern’ was the topic of discourse among the academic circles, formulated by Jean de La Bruyère (1688; the principle of moving the caesura between antiquité and modernité), Charles Perrault (1687–1697: category of le notre siècle preceded by le siècle passé, namely the grand masters of the Renaissance), and Pellegrino Antonio Orlandi writing from the position of an academic studioso for connoisseurs and collectors (Abecedario pittorico, 1704, 1719, 1733, 1753; the antichimoderni category as distinct from the i viventi). Together with Christian von Mechel (1781, 1783) the new understanding of ‘old modernity’ enters the scholarly domain of museology and the devising of displays in royal and ducal galleries opened to the public, undergoing the division into national categories (schools) and chronological ones in history of art becoming more a science (hence the alte niederländische/deutsche Meister or Schule). While planning and describing painterly schools at the Vienna Belvedere Gallery, the learned historian and expert creates a tripartite division of history, already without any reference to antiquity, and with a meaningful shift in eras: Alte, Neuere, and lebende Meister, namely ‘Old Masters’ (14th–16th/17th c.), ‘New Masters’ (Late 17th c. and the first half of the 18th c.), and contemporary ‘living artists’. The Alte Meister ceases to define ancient artists, while at the same time the unequivocally intensifying hegemony of antique attitudes in collecting and museology leads almost to an ardent defence of the right to collect only ‘new’ masters, namely those active recently or contemporarily. It is undertaken with fervour by Ludwig Christian von Hagedorn in his correspondence with his brother (1748), reflecting the Enlightenment cult of modernité, crucial for the mental culture of pre-Revolution France, and also having impact on the German region. As much as the new terminology became well rooted in the German-speaking regions (also in terminology applied in auction catalogues in 1719–1800, and obviously in the 19th century for good) and English-speaking ones (where the term ‘Old Masters’ was also used in press in reference to the collections of the National Gallery formed in 1824), in the French circles of the 18th century the traditional division into the ‘old’, namely ancient, and ‘new’, namely modern, was maintained (e.g. Recueil d’Estampes by Pierre Crozat), and in the early 19th century, adopted were the terms used in writings in relation to the Academy Salon (from 1791 located at Louvre’s Salon Carré) which was the venue for alternating displays of old and contemporary art, this justified in view of political and nationalistic legitimization of the oeuvre of the French through the connection with the tradition of the great masters of the past (Charles-Paul Landon, Pierre-Marie Gault de Saint-Germain). As for the German-speaking regions, what played a particular role in consolidating the term: alte Meister, was the increasing Enlightenment – Romantic Medievalism as well as the cult of the Germanic past, and with it a revaluation of old-German painting: altdeutsch. The revision of old-German art in Weimar and Dresden, particularly within the Kunstfreunde circles, took place: from the category of barbarism and Gothic ineptitude, to the apology of the Teutonic spirit and true religiousness of the German Middle Ages (partic. Johann Gottlob von Quandt, Johann Wolfgang von Goethe). In this respect what actually had an impact was the traditional terminology backup formed in the Renaissance Humanist Germanics (ethnogenetic studies in ancient Germanic peoples, their customs, and language), which introduced the understanding of ancient times different from classical-ancient or Biblical-Christian into German historiography, and prepared grounds for the altdeutsche Geschichte and altdeutsche Kunst/Meister concepts. A different source area must have been provided by the Reformation and its iconoclasm, as well as the reaction to it, both on the Catholic, post-Tridentine side, and moderate Lutheran: in the form of paintings, often regarded by the people as ‘holy’ and ‘miraculous’; these were frequently ancient presentations, either Italo-Byzantine icons or works respected for their old age. Their ‘antiquity’ value raised by their defenders as symbols of the precedence of Christian cult at a given place contributed to the development of the concept of ‘ancient’ and ‘old’ painters in the 17th–18th century.

Darovoye Estate is the place where F. M. Dostoevsky spent his childhood (1832–1836). The article analyzes the results of excavations in the central part of the Darovoye estate carried out in 2005–2020. The dating of remnants of buildings, complexes (mainland pits), as well as the entire lens of the cultural layer as a whole is considered. Based on the collection, which includes coins, stamps on glass and porcelain objects, ceramics, objects made of non-ferrous metals and iron, the author concludes that there were two main periods of development of the estate within its modern borders. The first refers to the mid-18th — early 19th centuries, the second covers the second half of the 19th — first half of the 20th century. An analysis of the ceramics collection allowed us to identify the types of ceramics characteristic of the 1820s — 1830s. The author concludes that the time period between the Napoleonic Wars to the 1850s is not represented in the present collection and suggests that during the “Dostoevsky period” center of the estate was located outside the current museum borders.

An important stage in the study and attribution of the Russian binding of the 18th — early 20th century is the description of the flyleaf and other elements of decorative paper. First of all, this applies to paper with marble drawings (marble paper), found in the Russian book since the 18th century. Modern researchers of Russian binding of the 18th — early 20th centuries face a number of problems related to the lack of literature on the topic, including methodological and reference, the lack of specialized collections and exhibitions of decorative paper in Russia and the lack of development in the domestic book science of the terminology for describing the binding materials. This article substantiates the need to create the nomenclature of drawings and link them to a certain chronological period. The author analyses three main groups of problems: terminological, systematization of marble drawings and their chronological correlation, problems of describing paper as a material. The first group includes different interpretations of term and unclear definition of many terms; phenomena of synonymy and polysemy when using particular names of drawings (patterns). Not only historians of the book, but also librarians, restorers, masters of individual binding, second-hand booksellers and bibliophiles have their own independently formed professional dictionary, which gives place to decorative papers. This inconsistency is reinforced by borrowing French, German and English terms, which, in turn, can also be duplicated. The author notes that systematization of decorative papers with marble drawings can be based on the methods of its colouring, but such a technological approach is not sufficient to describe a specific sample of marble paper. The article shows that various patterns periodically gained and lost popularity, then returned to bookbinding practice, but with a number of characteristic changes and additions. Correct description of the paper in binding is impossible without determining its origin (Russian/foreign), the method of production and colouring (manual/machine) and the specific properties of the material itself. At the same time, there are no methods and schemes for describing decorative paper grades. The article highlights that the development of such method will help to significantly narrow the chronological framework when attributing the binding.

An important stage in the study and attribution of the Russian binding of the 18th — early 20th century is the description of the flyleaf and other elements of decorative paper. First of all, this applies to paper with marble drawings (marble paper), found in the Russian book since the 18th century. Modern researchers of Russian binding of the 18th — early 20th centuries face a number of problems related to the lack of literature on the topic, including methodological and reference, the lack of specialized collections and exhibitions of decorative paper in Russia and the lack of development in the domestic book science of the terminology for describing the binding materials. This article substantiates the need to create the nomenclature of drawings and link them to a certain chronological period. The author analyses three main groups of problems: terminological, systematization of marble drawings and their chronological correlation, problems of describing paper as a material. The first group includes different interpretations of term and unclear definition of many terms; phenomena of synonymy and polysemy when using particular names of drawings (patterns). Not only historians of the book, but also librarians, restorers, masters of individual binding, second-hand booksellers and bibliophiles have their own independently formed professional dictionary, which gives place to decorative papers. This inconsistency is reinforced by borrowing French, German and English terms, which, in turn, can also be duplicated. The author notes that systematization of decorative papers with marble drawings can be based on the methods of its colouring, but such a technological approach is not sufficient to describe a specific sample of marble paper. The article shows that various patterns periodically gained and lost popularity, then returned to bookbinding practice, but with a number of characteristic changes and additions. Correct description of the paper in binding is impossible without determining its origin (Russian/foreign), the method of production and colouring (manual/machine) and the specific properties of the material itself. At the same time, there are no methods and schemes for describing decorative paper grades. The article highlights that the development of such method will help to significantly narrow the chronological framework when attributing the binding.

The article presents the results of a comprehensive study of the illustrated collection of stories of the late 17th—18th century, which was conducted in 2018 and is a substantial part of the process of scientific restoration, one of the priority areas of the Russian State Library’s (RSL) activity. Library collections restoration pays special attention to manuscript sources. The document arrived from the Department of Manuscripts (coll. 178.1, no. 315) to the Department of Restoration of Library Collection for the planned restoration activities connected with the poor preservation status. The study of archival and literature sources was complemented by the application of modern methods for analyzing the composition of the document’s materials (the paper, ink, adhesives, and the paint layer of the miniatures). This technique allowed to settle a range of tasks necessary for developing a plan for further scientific restoration of the document: to characterize the materials of the manuscript and the paint layer of the miniatures and to analyse the existing losses and their causes. The manuscript contains 212 pages. Its artistic decoration includes illustrations to the stories (165 miniatures); headings written by ligature; red initials with ornamental appendices. The original text is written with black ink made on the basis of amorphous carbon and red ink on the basis of cinnabar (HgS). The last (binding) page has an owner’s entry, which is made with ink of iron gall nature likewise some marginalia in the margins. The paint layer of the miniatures contains protein as a binder; the pigments are ochre, azurite and cinnabar in a mixture with red lead. Several types of adhesives, used in previous (probably even pre-revolutionary) interventions, indicate the time diversity of their use. Based on the results of the study, methods have been selected and a plan of scientific restoration of the monument has been developed. It includes necessary interventions (taking into account their remote effects) that preserve as much as possible the manuscript’s features, which contain valuable information for researchers about the environment of its existence (notes, marginalia, etc.); its manufacturing techniques; processes occurring during its storage.

Recent advances in cultural analytics and large-scale computational studies of art, literature and film often show that long-term change in the features of artistic works happens gradually. These findings suggest that conservative forces that shape creative domains might be underestimated. To this end, we provide the first large-scale formal evidence of the association between poetic meter and semantics in 18-19th century European literatures, using Czech, German and Russian collections with additional data from English poetry and early modern Dutch songs. Our study traces this association through a series of unsupervised classifications using the abstracted semantic features of poems that are inferred for individual texts with the aid of topic modeling. Topics alone enable recognition of the meters in each observed language, as may be seen from the same-meter samples clustering together (median Adjusted Rand Index between 0.48 and 1 across traditions). In addition, this study shows that the strength of the association between form and meaning tends to decrease over time. This may reflect a shift in aesthetic conventions between the 18th and 19th centuries as individual innovation was increasingly favored in literature. Despite this decline, it remains possible to recognize semantics of the meters from past or future, which suggests the continuity in meter-meaning relationships while also revealing the historical variability of conditions across languages. This paper argues that distinct metrical forms, which are often copied in a language over centuries, also maintain long-term semantic inertia in poetry. Our findings highlight the role of the formal features of cultural items in influencing the pace and shape of cultural evolution.

Speaking Today. Literature, Politics and Other Languages in Songs (Herder, Alunāns, Barons). This article claims that the politico-cultural relevance of literary texts in their respective present consists, among other aspects, of their handling of linguistic diversity. As examples, it presents three 18th and 19th century publications from the German and/or Latvian speaking territories which put (folk) songs into the centre of their rather different politicocultural endeavours. Herder’s collection of folk songs from 1778/79 is read as an attempt at a poetic new beginning that makes use of linguistic diversity qua translation in order to inspire originality in the ‘mother tongue’. The folk songs here serve to synchronise and dynamise linguistic means in the name of a new literature. The Dseesmiņas (‘little songs’), a collection of translations of European poetry into Latvian published by Alunāns in 1856, combines precisely this claim to renewal with an attempt at an anti-colonial synchronisation and modernisation of the Latvian language. Eventually, the six-volume collection of Latwju Dainas (Latvian folk songs), published by Barons around 1900, takes up Herder’s efforts to preserve folk songs. Barons synchronises a dialectally, materially and historically diverse corpus of songs in the name of anti-colonial emancipation. In terms of cultural policy, his project aims to give presence to pre-modern folk life under the conditions of modernity.

The essay is focused on the classic of the 20th century Ukrainian literature Valerii Shevchuk and his complex and diverse literary work in various genres. He is a writer (poet, prose writer, play writer), historian of culture, literary scholar, archivist, translator, memoirist, prominent representative of Kyiv Sixtiers, leader of ‘Zhytomyr prose school’ and forerunner of Ukrainian postmodernists. Special attention is paid to the sources of the author’s work, its metaphysical connection with Zhytomyr where he was born, and Kyiv where he has been living and writing and endured a decade of forced solitude remaining free, where he truly established himself as a Ukrainian writer. His research activity and translation work, focused on Ukrainian history and Old Ukrainian literature (particularly of the 16th–18th centuries), provoked the writer’s interest in Ukrainian Baroque tradition and its transformation in his own works. It all started with poetry, which he never stopped writing. That is why the subjective stuff is also important in his prose, which is rational in its neo-baroque basis. The essay provides a general overview of the specific features of Shevchuk’s individual style, which is characterized by combination of realistic authenticity with convention or irreality, ‘high’ and ‘low’ narration style, travesty of storylines and images, parabolic technique, historiosophy, irony, etc. Worthy of separate attention and high esteem is the scholarly work of the writer and his contribution to the general field of culture. This activity includes preparation of different anthologies and collections, numerous translations of Kyivan Rus texts into modern Ukrainian, many articles, prefaces, extensive historical and cultural studies, etc. The work of Valerii Shevchuk is important for the humanities and promotes self-consciousness and self-empowerment of Ukrainians, as well as their communication with the world cultural heritage.

Heart-shaped brooches from modern timesDress accessories from modern times are only sparsely described in the Danish literature on the costume practices of the peasant population. The recent widespread use of metal detectors has yielded many finds which demonstrate that these dress accessories were found all across Denmark. Some types stand out as being particularly recognisable, and one of these comprises heart-shaped brooches typically decorated with a crown and birds. This article is based on ten such brooches in the collection of the Museums of Southwest Jutland, nine of which were found in the soil (fig. 1), but these will be comparable with brooches in many other museum collections across Denmark (fig. 7).Despite the fact that these ornaments have not left any particular traces in written or pictorial sources, they were very common. They were widespread across the entire country, even though the extant Danish literature on the subject is linked to particular geographical areas (fig. 6).The ornament type itself has a long history, and the Danish term særkespænde – shift brooch – refers to an original use in fastening the neck slit of a shift, the function originally performed by these brooches in the costumes of the High Middle Ages, (fig. 2).The heart as a motif on ring brooches and other ornaments is rooted in the Middle Ages and the Catholic symbolism, where the heart can symbolise both spiritual and worldly love, is associated with the worship of Christ (fig. 3).It is difficult to find a link between these medieval heart-shaped ring brooches and the heart-shaped brooches of post-Medieval times. The earliest dated Danish example is the silver brooch in the Horsens hoard dating from the middle of the 17th century (fig. 8), but there are no secure written or pictorial sources referring to such early use of these brooches in Denmark. Conversely, there are 17th century parallels in the published material from other countries (fig. 4).The brooches were used as lover’s gifts in Northern Germany, Norway and Sweden and occur in numerous variations and with various kinds of pendants and decoration, but always with the heart as the central motif (figs. 4 and 5). The brooches possibly had an original function innermost in the clothing as shift brooches, but at some time in the 18th – 19th century they began to be worn visibly as ornaments on the chest together with a scarf. Concurrent with this, they developed to become larger and more showy, as they were now worn where they could be seen (figs. 9, 10 and 11).The brooches could perhaps have had other functions and there are great differences in the size and quality of the examples that have been found and/or published. There are some reports that heart-shaped brooches were used in connection with children’s clothing/head attire in Norway.There were brooches for every taste, extravagant or simple, and some examples were intended for practical use, whereas others were exclusively for decoration. There was also something for every purse – some people could afford finer lover’s gifts than others. Mette Højmark SøvsøSydvestjyske Museer

The article aims at reviewing the rich and ambivalent Western folk ballad research tradition in terms of confluence of the oral and written traditions. Although being well-reflected in the West, this approach is hardly at all present in Lithuania. The article starts with discussing such cultural phenomenon as broadside ballads. In surveying them, the author maintains that popular publications of the 16th–19th century Europe (bibliothèque bleue, skyllingtricker, Volksbuch, pliegos de cordel, лубочная литература, etc.) were an inherent part of the folk culture. Printed sheets of folksongs and ballads used to be popular in Great Britain, the Netherlands, France, Italy, Spain, Germany, and subsequently in America. However, although spread and promoted by the press, the ballads hardly ascended the field of interest of the educated elite, remaining instead in the “lower” spheres of the popular culture.The first collectors of ballads from the 18th century (the “antiquarian period”) paid little attention to the sources of their material, being instead very keen on improving and elaborating of the ballad texts, and presenting them as creative manifestations of the “original bard” or the “national muse”. After the collections by Thomas Percy and Walter Scott appeared, William Motherwell turned back to the still thriving ballad tradition. This Scottish scholar, followed by his Danish colleague Svend Grundtvig and the American Francis James Child founded the modern ballad folklore research, since their collections represented the oral folk tradition rather than engaging in search for the “original” folk ballads. The subsequent researchers, influenced by the Child’s ballad scholarship (Phillips Barry, Cecil J. Sharp, Olive D. Campbell, Louise Pound, Henry M. Belden, etc.), continued investigating the American ballad legacy. However, while collecting and encouraging to further collect the surviving ballads they increasingly realized the huge distance between their endeavors and the Child’s collection. The heterogeneous and fragmented nature of the ballads from the oral tradition was increasingly recognized and acknowledged, along with unavoidable impact of the written and printed sources.Barre J. Toelkien, the scholar belonging to even later generation, attempted methodical indexing of the oral ballads belonging to the Child’s collection. Dianne M. Dugaw in turn suggested that assuming the non-written songs, those from the oral tradition, being inherently different from the printed ones had largely affected the way in which folklore researchers perceived and interpreted folksongs. She concluded that differences devised between the written and non-written, between commercial and non-commercial forms were frequently just illusive, since commercial dissemination constituted an integral part of the folksongs development.In view of the confluence of the oral and written traditions surveyed in this article, it is reasonable to conclude that written culture, or rather the popular press, constituted a significant factor affecting the existence of folk ballads in the West; because of obvious reasons, such culture was absent in old-time Lithuania. Contrary to Lithuania, the ballad tradition of the West was nurtured by the written and printed sources. Therefore, the Lithuanian case could present a kind of thought experiment to the folklore researcher, vividly illustrating the plausible ballad tradition development in the West, if it could be unaffected by such phenomena as printed texts in native languages, readily available to the common people.

The article discusses the folksong reception against the background of the Lithuanian press from the second half of the 19th – beginning of the 20th centuries. The analyzed material includes periodical publications of that time elaborating on various issues of the folksong tradition, and miscellaneous published sources of the folksongs. The author seeks to establish what kind of folksong notion was shaped and promoted in the public discourse represented by the Lithuanian intelligentsia that was actively involved in the movement of the national revival. Besides, the analyzed material is examined in order to find evidence from the society at large – whether it accepted the cultural notions presented by its enlightened part.The first part of the article contains a survey of the folksong publication tendencies. The author also attempts to grasp the impact that various folksong publications had on the oral tradition. The Lithuanian folksongs have been established in the written culture since the end of the 18th – beginning of the 19th century. Their first publications were meant exclusively for the educated readership and became relevant in esthetical or historical aspects in various scholarly works or fiction. However, prerequisites for the folksong publications to reach the third social estate (the Lithuanian peasants) formed only in the second half of the 19th century. During this time, distinct attempts from various social groups at reflecting on folklore became increasingly visible, thus marking a significant shift in the social self-consciousness, which was brought about by two important factors. One of them was the movement of the national revival that accommodated all the social groups of the Lithuanian population and emphasized the significance of the ethnic culture in the process of creating the modern nation. Active participants of this movement, the majority of which comprised the Lithuanian intelligentsia of peasant descent, recognized the folk poetry as the sign of Lithuanian national distinction. Another factor was the growing Lithuanian secular press, which actively shaped the public attitude towards folklore, at the same time effecting distinct changes in the folksong tradition as well.The folksong publications from the period in question (scholarly and popular collections, sparse or occasional publications in the periodicals, or instances of usage in the literary fiction and journalism) enhanced the relevance of the oral tradition in various ways: the folksongs enabled emphasizing the uniqueness of the Lithuanian culture, while their spread was aimed at popularization and revival of the folksong tradition itself.Another part of the article focuses on the different ways of reflecting on the folksong tradition. The public cultural discourse regarded folksongs as a particularly important heritage, emphasizing their significance as a historical, ethnographic, or linguistic source. Besides, adhering to the folklore interpretation pattern established from the end of the 18th century resulted in evaluation of folksongs according to the ethical and aesthetical criteria. The folksongs were used in order to define the Lithuanian national character, while their comparison with folksongs of other peoples served for the attempts at establishing the exceptional or superior nature of the Lithuanian culture. Similar arguments that had been used to prove the folksong significance served to foreground the importance of their collection: folksongs merited preservation as an important scholarly, historical and cultural source that ensured continuity of the Lithuanian culture.The intelligentsia was the first to favorably respond to the attempts at enhancing the importance of the folksong tradition. While the reaction of the broadest social masses towards the narrative of the high value of folksongs promoted in the public discourse manifested itself simply as their active involvement in the folksong collection – whether in response to the public claims voiced by the intelligentsia or in result of their inner cultural aspirations.

The article details the activities of the Archive Committee of the Moscow Spiritual Consistory, set up on the initiative of Metropolitan Philaret Drozdov of Moscow to put in order diocesan archives, which had suffered in the Napoleonic invasion. The documentary complex of the consistory was the backbone of the institution. The disastrous state of the archive not only undermined the activities of the consistory, but also hindered its socially important search for information in the parish records. Thus, the first priority and essential task of the Committee was to sort through and describe burial record books, which were in disorder. The filed away documents of the consistory expeditions, or structural subdivisions of the consistory, also required serious systematization. The same was true of the historical part of the complex dating back to the previous century. Thus, the Committee faced a choice of an optimal classification scheme: territorial grouping of files by soroks and churches, which dated back to the 18th century, or grouping by “substance” — subjects corresponding to the activity areas of the consistory desks and expeditions. The latter was impelled by the Statute of the Consistory (1841), as well as by the permanently increasing volume of records. So far, the Moscow Consistory Archive has been studied primarily from a pragmatic point of view: as a rich source base for diverse research on the history of the Church. The issues of archival document arrangement have attracted no special attention in scientific literature, although the surviving materials of the Committee reflect an interesting debate of diocesan archivists on the possible solution to the existing problem. In this respect, the documents left by the Committee are a valuable illustration of the Church archiving in search for a better organization of systematic preservation of diocesan administrative documents. The conclusion is made that the Committee was directly involved in the development of the consistory's document complex, its continuous processing, description, and adaptation to the new records management conditions, as well as to the modern structure of the Moscow Ecclesiastical Consistory collections. Stable organization of work with documentary material would have been impossible without appropriate staffing. The Committee was an unusual, beyond-the-limits-of-corporate-culture union of Moscow priests. Representatives of the Moscow clergy formed a special type of archivist, combining work in the archives with everyday parish practice.

Collections of antiquities on Danish manorsBefore the establishment of the public museum system and during its first phase after 1807, important activity concerning the relics of antiquity was managed by the estates (fig. 3). This resulted in the creation of collections with varied contents, including Danish antiquities. These were either bought or found within the estate district as was the case with the pieces of ”danefæ”, which the peasants found and brought to the manor (according to a decree from 1737, all treasures found in the Danish soil must be handed over to the king or – later – the state. Such finds are called” danefæ”). It is notable that the collection of danefæ took place according to a decentralised structure, as described in King Frederik V’s public notice from 1752, which also stated that a reward is given in return. According to this, the king delegated his right to collect danefæ to counts and barons, who could then again pass it on and cash the reward. The danefæ became the nucleus in many collections (fig. 4). This category of landowners kept their central position to archaeological work for a long time. Their right to collect danefæ lasted until 1853, and the practice of delivering antiquities found on the estate at the manor went on until modern times.The early museum collections, the kunstkammers and collections of curios of the 17th and 18th centuries, are well described in the literature on museum history. However, only little attention has been paid to the collections of the 19th and early 20th centuries. For instance, the collections of Broholm on Fyn (fig. 9), of Nr. Vosbjerg in Western Jutland, of Brattingsborg on Samsø, and of Valbygaard (fig. 1) and Lerchenborg on Sjælland have all been thoroughly described, but only individually (note 5), not as a phenomenon. This article is based on information from a few selected archives supplemented by spot tests involving a number of manors and several museums in areas with many estates (note 14). ln spite of the limitations induced by the source material it is the aim of the article to throw light on as many collections as possible to reach a general view. The article focuses on the manor collections as a phenomenon and on the museum development and museum traditions to which these collections belong , with the emphasis on the 19th and early 20th centuries.The article is based on two archives,Victor Hermansen’s papers in the Royal Library, indicated in the lists I-V with the signature of ”gl. Bib. VH” and the part of the report archive in the National Museum / Danish Prehistory, listed as ”NM, Oldtiden”, which contains the private collections. The material has been described using five time references: Before 1807 (list I); 1807-1848 (list II); 1848-1892 (list III); and finally 1892-1919 and 1919- the present time (both in list IV) (fig. 2). The time divisions were the result of an overall evaluation of the material, the type of collections and the intellectual, mental and social motives behind the collecting activity. Although the types of collections from different periods overlap and late examples of early collection types do occur, it is still obvious that the ideal for collector’s activity changed in the course of time.The review begins with the period 1807-1848, at the start of which the ”Royal Commission to the Safe keeping of Antiquities” was to become the foundation stone of the public museum system.1807-1848: landowners and others put much work into the issue, which the ”Commission” had been appointed to safeguarding. Danish artefacts were collected as never before. A flow of artefacts arrived at the collection in the capital from several landowners on Fyn and elsewhere. As in the beginning of the previous period, the landowners were also taking part in excavations, in protecting relics of antiquity and in publishing archaeological treatises.1848-1892:The public museum services were established. The new keeper of the Danish antiquities, the archaeologist J.J.A. Worsaae travelled the country to collect information, and he specifically contacted the landowners, knowing that these were key figures within archaeological research (fig. 5 and 10). Consequently, the landowners changed the way they dealt with archaeology in line with the development of the profession as initiated by Worsaae, who went in the direction of a more scholarly method and a dissociation of philosophy and history, which had been closely connected to archaeology. King Frederik VII’s (1848-1863) personal interest in archaeology had a positive influence on the development of the profession and contributed to its growing popularity among the landowners and the public.1892-1919: This period began with the Old Nordic Museum changing its name into the National Museum, and Sophus Müller becoming its curator. The landowners continued their archaeological activity, especially on those estates, which had a tradition for this (fig. 6). However, in the correlation between these archaeologically interested and active landowners, the National Museum gained more authority due to its growing expertise. Not only did the museum engage itself in the landowners’ investigations, it also took over the work and continued it on its own terms. But at the same time the museum staff showed appropriate consideration to the landowners, who according to the constitution had the right of owners hip to extensive areas with artefacts and relics of the past. Cooperation was necessary for the growth of the profession. The landowners had unlimited rights to those finds of artefacts and structures that were not danefæ or listed relics. However, the registers of the National Museum from this time show that after the excavation, the landowner often gave the finds to the museum.This period also saw conflicts between the provincial museums and the National Museum, caused by Sophus Müller’s policy of a centralised museum structure, which gave the provincial museums little liberty of action (note 7). We lack a coherent description of the private artefact collectors’ part in this game. A closer examination of some of them, such as Beck on Valbygaard, the private collectors associated with the museum in Odense, and Collet on Lundbygaard suggests that they were sometimes on one, sometimes on the other front in this controversy (note 9 and 47).After 1919: In 1919, the privileges and special duties of the nobility were cancelled, a development parallelled in the rest of Central, East and Northern Europe. The advanced position in the government previously held by this social class had ended to be replaced by the public sector of the democratic society of which the modern museum system forms a part. However, some estates carried on the tradition of building up collections of artefacts even in this period, and a few landowners opened museums on their estates (fig. 7). These are late activities in the long tradition of archaeological activity on the manors. Both in this periods and the previous one, the interest in collecting artefacts spread down the hierarchy of the manors to the employees and to the farmers on the small holdings. Today almost every family holding owns a collection of artefacts found on the property.To throw light on the changing intellectual context of which the artefact collections on the manors formed part, from the collections of the late Renaissance until the present, the article includes the collections of curios and minerals from the 17th and 18th centuries (list I). Most royal and princely courts in Europe had a kunstkammer with a wideranging content. The archive information used for this article has shown that in Denmark in the 19th century, these collections were not exclusively connected to the nobility or the manors. It is a common trait that the collector was a learned person, an academic or a high official or a well- educated nobleman with or without property. To agree with this, both in Denmark and internationally, a well-equipped library was attached to the collection as a fixed element (fig. 8). Some kunstkammers were attached to grammar schools, orphanages and student hostels. Through purchase and sale parts of the collections changed owner and location from time to time, as for instance the collection of Jesper Friis, which can be followed in written so urces from the 17th century through the following centuries and for a couple of items even into the antique collection of the National Museum.Around 1800, the Romantic Movement and the national currents increased the interest in Danish arte facts and relics of the past. Via folk high school education, which was inspired by the Nordic mythology and attached importance to the prehistory and early history of the nation, this interest spread into the population. As opposed to the earlier collections, which formed part of a learned environment characterised by a classical, humanistic education, the many manor collections, which had their prime in the period of c. 1860-1919, formed part of a practical agronomy universe, where demanding farming techniques were pushed into effect and where hunting and outdoor life was an important part of life. At the same time the landowners put much strength into renovating buildings and erecting fine manor complexes, a natural consequence of the wealth that originated from the corn sales. In an era where natural sciences and practical trades were given pride of place, the turn of archaeology away from the old humanistic method and tradition within philology and history towards the exact sciences will have contributed to the populariry of the profession.The private collections of artefacts have a larger professional and intellectual value than what is usually attributed to them. They were made at a time when the creation of rype collections of artefacts, suites, were in fashion. Information on find conditions and contexts are therefore rare. In the 20th century, professional archaeologists valued these collections according to the presence of find information, and so many of them were split through exchange. The fact that many of these artefacts were from the time before the parish accounts (a registering of relics of the past initiated by the National Museum) and thus – when it comes to the local artefacts – told of the relics of the past that had been situated on the estate earlier, but had been demolished in the early, active farming years of the first half of the 19th century. Also, the ethnological value of these collections has been disregarded.The article ends with considerations as to the public / the private. Nowadays these two notions create two separate rooms. ICOM’s ethical rules for museums have a clear definition, stating that a professional museum activiry is in compatible with private collecting activity.The history of the private collections of arte facts throws light on the development from the time before the public sector, when landowners and other private persons were supporting archaeology and the public museum initiative economically, politically and professionally. The profession developed from here and in a continued interaction between the professionals and the private collectors. Even when today there is a clear distinction between public and private, there are some interesting reminiscences left. Without the contribution and support of the public, archaeology would have difficult conditions.Karen Løkkegaard PoulsenMariboTranslated by Annette Lerche Trolle

Based on three case studies of artifacts from 18th century collections preserved in Swiss cultural institutions, I attempt to rethink the use of the word "colonial" before the 19th century, and to apply it to describe collections from the modern period. I attempt to shed light on how these collections could be exhibited to provide critical perspective on these artefacts and the stories they are allowed to tell, in view of the upcoming exhibition entitled Exotic Switzerland? A Global History of the Enlightenment to open in 2020 at the Palais de Rumine in Lausanne.

CONTENTS I. PROBLEMS AND SOLUTIONSMichał Mazurkiewicz (Poland). Sport versus Religion... 11Natalia А. Kuzmina (Russia). Poetry Book as a Supertext... 19Jonė Grigaliūnienė (Lithuania). Possessive Constructions as a Purely Linguistic Phenomenon?... 31 II. FACTS AND REFLECTIONSAleksandras Krasnovas, Aldona Martinonytė (Lithuania). Symbolizing of Images in Juozas Aputis Stories...40Jūratė Kumetaitienė (Lithuania). Tradition and Metamorphosis of Escapism (Running “from” or “into”) in the Modern and Postmodern Norwegian Literature...51Natalia V. Kovtun (Russia). Trickster in the Vicinity of Traditional Modern Prose...65Pavel S. Glushakov (Latvia). Semantic Processes in the Structure of Vasily Shukshin’s Poetics...81Tatyana Kamarovskaya (Belarus). Adam and the War...93Virginija Paplauskienė (Lithuania). Woman’s Language World in Liune Sutema’s Collection “Graffiti....99Jolanta Chwastyk-Kowalczyk (Poland). The Models of e-Comunication in the Polish Society of Britain and Northern Ireland...111Vilma Bijeikienė (Lithuania). How Equivocation Depends on the Way Questions are Asked: a Study in Lithuanian Political Discourse...123Viktorija Makarova (Lithuania). The One Who Names the Things, Masters Them: Ruskij vs. Rosijanin, Ruskij vs. Rosijskij in the Discourse of Russian Presidents...136Dorota Połowniak-Wawrzonek (Poland). Idioms from the Saga Film “Star Wars” in Contemporary Polish Language...144Ilona Mickienė, Inesa Birbilaitė (Lithuania). Women’s Naming in Telsiai Parish in the First Dacades of the 18th Century...158Liudmila Garbul (Lithuania). Reflection of Results of Interslavonic Language Contacts in the Russian Chancery Language of the First Half of the 17th Century (Synchronic and Diachronic Aspects). Part II...168Vilhelmina Vitkauskienė (Lithuania). Francophonie in Lithuania... 179Natalia V. Yudina (Russia). On the Role of the Russian Language in the Globalizing World of the XXI Century...189Maria Lojko (Belarus). Teaching Legal English to English Second Language Students in the US Law Schools...200 III. OPINIONElena V. Savich (Belarus). On Generation of an Integrative Method of Discourse Analysis...212Marek Weber (Poland). Lexical Analysis of Selected Lexemes Belonging to the Semantic Field ‘Computer Hardware’...220 IV. SCIENTISTS ABOUT SCIENTISTSOleg Poljakov (Lithuania). On the Female Factor in Linguistics and Around It... 228 V. OUR TRANSLATIONSBernard Sypniewski (USA). Snake in the Grass. Part II. Translated by Jurga Cibulskienė...239 VI. SCIENTIFIC LIFE CHRONICLEConferencesTatiana Larina (Russia), Laura Alba-Juez (Spain). Report and reflections of the 2010 International Conference on Intercultural Pragmatics and Communication in Madrid...246Books reviewsAleksandra M. Ponomariova (Russia). ЧЕРВИНСКИЙ, П. П., 2010. Номинативные аспекты и следствия политической коммуникации...252Gabija Bankauskaitė-Sereikienė (Lithuania). PAPLAUSKIENĖ, V., 2009. Liūnė Sutema: gyvenimo ir kūrybos keliais...255Yuri V. Shatin (Russia). Meaningful Curves. ГРИНБАУМ, О. Н., 2010. Роман А.С. Пушкина «Евгений Онегин»: ритмико-смысловой комментарий... 259Journal of scientific lifeDaiva Aliūkaitė (Lithuania). The Idea of the Database of Printed Advertisements: the Project “Sociolinguistics of Advertisements”...263Loreta Vaicekauskienė (Lithuania). The Project “Vilnius is Speaking: The Role of Vilnius Language in the Contemporary Lithuania, 2010”...265Daiva Aliūkaitė (Lithuania). The Project “Lithuanian Language: Fractures of Ideals, Ideologies and Identities”: Language Ideals from the Point of View of Ordinary Speech Community Members...267 Announce...269 VII. REQUIREMENTS FOR PUBLICATION...270 VIII. OUR AUTHORS...278

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.

Pampean (Argentina) megamammal species are seen nowadays in different museums around Europe. These specimens were collected from the late 18th century until the early 20th century. They represent and have inspired the most important milestones in natural sciences during the 19th century, and were collected for social, political and economic reasons, both in South America and Europe. In these collections, paleontological, historical and archaeological realms are merged. Currently, they are useful at research and educational levels, contributing to worldwide society, whilst modern technological advances allow equal access to these materials, which has been especially necessary during the coronavirus pandemic.

Chests represented important piece of the household and sacral furniture until the end of 18th century. They were commonly used as containers, both for everyday needsand also for special occasions such as in the case of marriage/dowry chests. Nowadays chests can be found in museums, monasteries, palaces, historic buildings, but alsoin private collections, with some of them having great aesthetic, ethnographic and historical interest. In the current study we present the results of wood examinationof five chests exhibited in the Palace of the Grand Master of the Knights in Rhodes, Greece. Most of them were made of walnut, while the one made of conifer was useful for further dendrochronological analysis. Macroscopic examination of timber and cross-dating results suggest that the species used for its construction is most probablyCedrus libani, originating from Turkey. 1698 AD is the outermost preserved (most recent) ring, placing the chest’s construction during the Early Modern period of Europe,most likely at the beginning of the 18th century. Regarding the timber origin, the chest is an example confirming that during the early 18th century there was a trade betweenEurope and the East Aegean Islands, which then belonged to the Ottoman Empire.

The purpose of this article is twofold. First, I wish to discuss the origins of The Swedish Academy Dictionary against the backdrop of the social and cultural history of lexicography in 18th and 19th century Europe. Second, to consider material aspects of lexicography – the dictionary as interface – in light of German media scientist Friedrich Kittler’s “media materialism”. Ultimately, both purposes intend to describe how letters and writing have been constructed and arranged through-out the course of history. In Kittler’s view, “the intimization of literature”, that took place during second half of the 18th century, brought about a fundamental change in the way language and text were perceived. However, parallel to this development an institutionalization and disciplining of language and literature took place. The rise of modern society, the nation state, print capitalism and modern science in 18th century Europe necessitated (and were furthered by) a disciplining of language and literature. This era was for these reasons a golden age for lexicographers and scholars whose work focused on the vernacular. In this article the rise of the alphabetically ordered dictionary and the corresponding downfall of the topical dictionary that occurred around 1700 is regarded as a technological threshold. This development is interesting not only within the field of history of lexicography, but arguably also, since information and thought are connected to the basic principles of mediality, this development has bearings on the epistemo-logical revolution of the 18th century witnessed in, among other things, Enlightenment thought and literature.

This paper analyses the portraits of Habsburg rulers that were disseminated through different art media (paintings, sculptures, prints, crafts…) as an expression of power and propaganda across the Monarchy, including the area of modern-day eastern Croatia. Portraits of rulers and dignitaries were part of aristocratic collections in palaces that were built on estates established in the first decades of the 18th century, after the Ottomans had left the area. Apart from portraits of the ruling Habsburg dynasty and portraits of dignitaries, these art collections also contained portraits of the representatives of secular and ecclesiastical authority – electors, popes and archbishops – as well as portraits of the rulers from other ruling families. The majority of the preserved portraits of rulers are found in the collections of the foreign aristocratic families Odescalchi, Eltz, Hilleprand von Prandau and Normann-Ehrenfels.

The article focuses on the use of Russian and Latin in rhetoric classes in Russian seminaries of the 18th century, based on published and archival documents. Over the course of the century, the status of the Russian language changed significantly, which may be attributed to a number of factors: the development of belletristic literature, an increase in book publishing, the encouragement of preaching, etc. However, despite the fact that rhetorical textbooks began to be published in Russian, Latin remained the language of rhetorical theory in seminaries. These processes are illustrated both by surviving collections of extracts and exemplary texts, and catalogs of seminar libraries.

The aim of the article is to present the method of sharing and promoting the manuscript collections on the example of the 18th-century manuscript of Christian Gabriel Fischer available in the Pomeranian Digital Library (PDL). This manuscript inspired the Library of the Gdańsk University of Technology and the Institute of City Culture in Gdańsk to cooperate on a project promoting. Thanks to the joint initiative, work on the transcription of the German text written in „Kurrent” script was started and a number of events were organized to popularize both the manuscript’s content and the 18th-century calligraphy among contemporary audience. The authors used statistical information on the number of pageviews of the manuscript and the number of visits in the period from the launch of the PDL platform until May 31, 2021. In order to illustrate how popular and useful the organized events were, the authors presented the data collected by the Institute of City Culture monitoring the number of the participants of the events. The statistical data was supplemented with an analysis of the literature on the promotion of cultural heritage collections.

The paper discusses the Białowieża bison (Bison bonasus bonasus) as a museum exhibit in the 18th – early 20th centuries, basing on the analysis of archival documents, mainly from St. Petersburg. One of the last remnants of extinct megafauna once roaming through Europe, by the Early Modern time it had been eliminated in the most part of its previous range. In the 16th–18th century, it had the status of a natural curiosity and an exclusively royal game. In the 18th century, the carcasses of the European bison from the imperial menageries went into the cabinets of curiosities where they became the objects of study for naturalists. By the late 18th century, the last population of the European lowland bison had survived in Białowieża Primeval Forest, which became a part of the Russian Empire with the Third partition of Poland. The attention of the Imperial family, which preserved the system of protection of the European bison and the forest where they lived, ensured the survival of the species till WWI. The development of zoology and zoological collections provided a new status to the Białowieża bison – the status of a valuable gift of the Russian Tsar to a scientific community. To receive such a precious gift, a scientific community had to use its diplomatic and bureaucratic channels, to recruit a naturalist willing to travel to Białowieża, to organize a hunt, to process the skin and bones, and finally, to deliver this massive package to a museum. Nevertheless, throughout the second half of the 19th century, most requests made by European and Russian naturalists were granted and the majority of zoological museums received the European bison from Białowieża, either in form of a stuffed animal, a skeleton, or at least a skull. The transformation of the 17–18th century Kunstkammern into research zoological institutions and the development of taxidermy went in parallel with the transformation of the European bison as a museum exhibit. Stuffed animals became anatomically accurate; new expositions included habitat groups, and some institutions amassed extensive collections for comparative study. The presence of the European bison almost in every major European museum made them well known for wider public. In 1919, the last Białowieża bison was killed in the wild, but the popularity of this species helped the restitution of the animal. Nowadays, the “old” specimens are of interest not only from a historical point of view, but also as a source of samples for genetic research.

In the 18th century, Italian sanctuaries played an important religious and cultural role, especially in Venice and Padua. They were visited by Polish wanderers during their trips around Europe, for example: diplomatic missions, pilgrimages, educational or tourist trips. They recorded their impressions from visiting these places in the form of descriptions in diaries, journals and itineraries. Reading the reports from the expeditions provides valuable insights on the mentality, customs of upbringing, as well as the religious and aesthetic experiences of eighteenth-century adventurers. The article aims to present the ways in which the collections of sacred art were perceived by Polish travelers from the 18th century. The analysis of their accounts, especially the fragments concerning the sanctuaries in Venice and Padua, will serve to present the literary covenants used by Polish wanderers. It should also answer the questions which tendencies dominated in the travel literature of that time, what phrases and formulations were used, and what items were paid special attention to.

The article deals with quasi-relative constructions with ni budi/ ni jest’ , which were competing in 17th-18th century Russian language and claiming the role of an unspecific indefinite marker. This competition resulted in the victory of the ni budi- construction and grammaticalization of the formant nibud’ in modern Russian. The research was carried out on data taken from the historical module of the Russian National Corpus, as well as from a subcorpus of 18th century texts within the main corpus. Quasi-relative constructions are compared according to the following parameters: frequency, semantic distribution, degree of phraseologization and stylistic features. In the 17th century texts, both constructions show low frequency and occur in a limited range of sources: mainly in documents, as well as in some chronicles and everyday communication. In this period, the grammaticalization process was not complete for both constructions. In 18th century texts, the frequency of quasi-relative constructions with ni budi , unlike ni jest’ , sharply increases. Constructions with ni budi ( nibud’ ) penetrate into various functional domains of literary language, including church literature. Constructions with ni jest’ , on the contrary, were preserved in the 18th century language only as marginal archaisms. The semantics of quasi-relative constructions with ni budi in the period in question differed from nibud’ pronouns in modern Russian. The latter significantly narrowed their semantic scope, having lost the ability to be used as free-choice markers.

Archaeological museums often came into existence from private collections of curiosities. When official museums were created in the course of the 18th and 19th centuries, the question of which cultures belonged to the ‘ancient world’ (and which not) was hotly debated, as the example of the National Museum of Antiquities in Leiden shows us. In addition, the role of an archaeological collection in society could be regarded in various ways. In the 19th century the ‘purest examples from antiquity’ were used as models for architects, artists and artisans. Nowadays antiquity seems to inspire many aspects of our culture, but much can be argued against the feeling that the classical spirit is enlightening our lives. An important role can be played by archaeological museums and their curators in a world in which the humanities are severely at risk.

Abstract In the Ottomans, translation activities took place without much significance until the 18th century. Due to the dominance of religion and the closed society structure, mostly texts on Islamic civilization and arts from Arabic and Persian were translated in the form of commentaries, explanations and footnotes. The only contribution of translation then may be said to be the promotion of written Ottoman Turkish which was used in Anatolia as well as among the Court circles. With the beginning of Westernization efforts in the 18th and largely in the 19th centuries, translation activities gained momentum and proliferated in kind and quantity. A large amount of books from the West and the East in the fields of science, literature, arts, social sciences, etc. were translated during that time. Although these activities were disorganized and inconsistent, they still helped the development of similar sciences and Modern Turkish Literature which was to reach its peak in the Modern Turkish Republic established in the 20 th century.

This paper reviews the book Old Russian Translation of Krzysztof Dzierżek's Tale about the Astrologer Mustaeddin and its Later Reworkings (Study and Edition) by Eliza Małek, which is the ninth volume of the Library of 17th–18th Century Russian Translations of Old Polish Literature series. The book is concerned with Polish-Russian literary relations of the Early Modern period.

The article is to trace the heritage of Tamil and Assamese drama earliest times to present. The sub-genre of different periods is also discussed herewith. Earliest record of Tamil drama is available during Sangam period. In Assamese it is mentioned in the Sankaradev period. Sankardeva the father of Assamese literature and society maker had a great contribution to Assamese drama. ‘Chihno Jatra’ was the first drama of Assamese literature. To speed up his ‘Ek Saran’ religion he wrote many dramas as an instrument of it and his followers also followed him. In the end of the nineteenth century Tamil and Assamese drama underwent a change after its contact with western literature. Hence the Tamil drama can be divided into four periods. (1) Tolkappiyam to 16th century, (2) drama in the 17th,18th century, (3) 19th century, and (4) 20th century. Assamese drama can be classified as (1) Vaisavate period, (2) Ahom period, (3) modern period. Many authors wrote ancient, historical and modern dramas in both languages. All those dramas are taken as the very great wealth of Tamil and Assamese literature.

We study G.R. Derzhavin's personal library. The study is relevant due to the high historical and cultural significance of Gavriil Romanovich’s book collections. Reconstruction of his original collection – one of the most important areas of research of book culture of the late 18th century and, of course, the key story of the study of poet creativity sources. We analyze the thematic diversity of the preserved books, the history of the Derzhavin collection, its fate after the death of G.R. Derzhavin. Derzhavin’s library was transferred to D.V. Polenov – well-known diplomat and bibliophile of his time, and then entered the Naryshkin special library of Tambov. The study of the qualitative and quantitative composition of the transferred collections allowed to establish the safety of 293 volumes from his collection. The collection is distinguished by special brown leather bindings with flyleaf of decorative paper (presumably handmade), a lot of tray copies. Part of the journals convolutes from Derzhavin’s collection are bound in hard cardboard paper with a rectangular label-sticker of the early 19th century, reflecting the name of the journal, the year of publication and superexlibris “G. D.” (Gavriil Derzhavin). Analysis of Derzhavin's books from the library demonstrated a significant diversity of reading interests of G.R. Derzhavin. His library has preserved many rare lifetime copies of odes, letters, epigrams, messages of famous authors of the 18th century, a huge number of periodicals. The method of instance analysis of literature made it possible to identify and analyze the author’s marginalia on the poet’s books, their significance for the characteristics of the poet’s literary work.

Abstract Based on a satirical poem about the asparagus mass in Leipzig by the writer Johann Christian Trömer, who wrote about the sociability in the city of Leipzig in the first half of the 18th century, this introduction sketches the thematic concern of this volume. Firstly, it provides an overview of the state of research on early modern sociability in German Studies and in adjacent disciplines. Secondly, it explains why Leipzig can be regarded as a representative place for research concerning forms of Geselligkeit in the early modern period.

A number of publications have been devoted to the Persian campaign of Peter the Great and the stay of the Russian Imperial troops on the southwestern shores of the Caspian Sea in 1722–1735 – monographs, articles, dissertations, collections of documents and materials prepared with the use of a wide range of sources and literature. This topic continues to attract the attention of historians even today. It has acquired particular relevance in connection with the 350th anniversary of the birth of the first Russian Emperor Peter the Great and the 300th anniversary of the Persian campaign. A large number of documentary sources from the collections of the federal and regional archives of Russia cover the history of the Persian campaign and its results, which made it possible to reveal new episodes of imperial policy in the Caucasian-Caspian region in the first quarter of the 18th century. Among the most valuable sources on the history of the Persian campaign are the travel notes of the English-speaking authors – the direct participants and eyewitnesses of the events described. One of these sources is the John Bell’s book “Travels from St. Petersburg, across Russia, to different parts of Asia”, particularly, the section titled “Journey from Moscow to Derbent in Persia, in 1722”, translated by the author of the paper into Russian with commentaries. This translation may be a valuable contribution to both the ethnography and historiography of the Russian Caucasian studies of the first quarter of the 18th century.

Abstract This article examines definitions and evaluations of as well as alternative terms for ‘atheism’ in encyclopedias of the early modern period. In a representative overview it will be shown that the early modern discourse about atheism must be interpreted in the light of the history of concepts, of ideas and of knowledge: Not only was the scope of the term ‘atheism’ much broader in the 16th and 17th centuries than it is today, but the sometimes highly ambitious attempts to classify the phenomenon of atheism according to the early modern orders of knowledge remained influential during the 18th and well into the 19th century.

Опубліковано матеріали гончарних комплексів ранньомодерного часу (XVIII століття),виявлені в середмісті Черкас 2020 року, що походять з двох археологічних об’єктів: гончарногогорна (вул. Остафія Дашковича, 7) та сміттєвої ями (узв. Старособорний, 32/1). Під час їхдослідження виявлено значну колекцію глиняного посуду та кахель. In Early Modern time Cherkasy was a small town. It was a center of Cherkasy starostvo of Kyivvoivodeship of the Polish-Lithuanian Commonwealth (Rzeczpospolita) by 1793. Finds dated to the 18thcentury are often found at the excavations here along with the materials belonging to the other periods.Such finds are mainly concentrated in the center of Cherkasy, at the territory of the Upper and Lower townaround the “Polish” castle (the modern Hill of Glory).This paper presents the ceramic complexes of Early Modern time (18th century), which wereinvestigated in Cherkasy in 2020. Materials are coming from the excavations in the city, which wereconducted by Cherkasy Archaeological Expedition of the Institute of Archaeology of the NAS of Ukraineheaded by Dmytro Kushtan. The large collections of materials are associated with pottery kiln, excavatedat Ostafyi Dashkovych street 7 and garbage pit from Starosoborny Descent 32/1.Ceramics is represented by wheel-made pottery and oven tiles. Kitchen pots, often decorated withpainted and incised ornamentations, dominate among pottery. The collection also includes lids, semi-bowlsand bowls. The other category of finds is represented by oven tiles. They are referred to the “box type”,having flat rectangular external surface and walls on the other side of it. The external surface is decoratedwith stamp ornamentation represented by geometric and plant compositions in Baroque style.Collections of ceramic finds from the 2020 excavations in Cherkasy are typical for pottery centersin the Middle Dnieper region of the Early Modern time. According to numerous analogies, they are datedby the early 18th century.

A biography of Franz Doleisch, a Prague maker of woodwind instruments, summarises the facts so far known about his life. Basset horns account for more than half of the instruments he made. Preserved specimens from Czech and foreign collections are described with respect to their characteristic morphological features, bore diameter, the number and design of the keys, and the trademark. Although the evaluation of findings with respect to the quality of workmanship shows that he was one of the leading Czech instrument makers of his day, current musical organology literature has not yet reflected this fact. The goal of the present study is to present the first phase of research on instruments made by Doleisch, with the intention of drawing attention to one of the elite European instrument makers of the latter half of the 18th century.

The article deals with the process of transformation of the old handwritten tradition of describing Paskhaliya into a printed one. Understanding the calculations of the day of Easter was important for the daily life of the population of Ancient Rus, and therefore Old Russian writers paid attention to describing the rules of Easter calculations. For a long time, these descriptions took the form of handwritten manuscripts. After the reforms of Peter the Great in Russia, works of this genre began to take the form of printed editions. The authors aim to consider the features of the transformation of the handwritten manuscripts into modern books. As part of study, it has been found that the descriptions of Paskhaliya, published in the typographic way first, tried to repeat the handwritten samples, but then began to turn into popular descriptions of the rules for calculating Easter. Moreover, the authors of these writings looked to the development of new ways of calculating the dates of the Easter celebration. It has been linked to the fact that after the authors-priests (18th century), secular writers (journalists, officials, officers, etc.) joined the genre of describing Paskhaliya in the first half of the 19th century. The way of transformation of Paskhalistics into an entertaining genre of popular-science literature became likely, but in the second half of the 19th century the representatives of academic science restored the scientific status of this field of knowledge. At present, the achievements of the science of Paskhaliya have become an important element in the study of the chronology of ancient Russian history. In modern science, studying the history of timekeeping, Paskhalistics became one of the necessary elements for studying the chronology of ancient Russian history. It can be recognized that the printed editions of Paskhaliya played an important role in the development of modern chronological science.

The article examines three legal treatises written between the late 16th and late 18th centuries, whose authors used the language of metaphors, analyzing also the way this language was reflected in images. Both jurists and artists tried to demonstrate to their readers and spectators that society was unified and, at the same time, consisted of estates unequal in their status. For this purpose, metaphors of the human body, tree, army, and family were used. Over the period under discussion, the attitude towards metaphors changed significantly. Although the possibility of using the language of metaphors to adequately describe and know society was put into doubt more than once in the 17th and 18th centuries, contemporaries did not abandon this language. In the 18th century, many of the usual metaphors were rethought in Enlightenment literature, as well as in journalism and propaganda texts published on the eve of the French Revolution. The body metaphor received a new interpretation within the framework of the social contract concept, while the image of France as the king’s spouse was transformed into the figure of Marianne the Republic.

The article explores English stone-cutting products of the 18th century from Blue John fluorite. The objects of research are items from the Mining Museum collection. The authors have identified a wide range of analogues from various collections of Russian and European museums, auction houses. The article considers the history of the development of stone-cutting production from Blue John fluorite; possible stone-cutting workshops have been identified. In the study determined the technical and technological features of the manufacture of fluorite products in England at the end of the 18th century. The article deals with issues of attribution and reconstruction of museum items using 3D-visualization. The technical and technological features of fluorite processing and the technology for producing art objects was clarified thanks to the involvement of the laboratory base of the Center for Collective Use of the Mining University. A chemical study was carried out on samples of the substance used to stabilize the stone material of objects. On the basis a wide visual range the appearance of the destroyed vases was restored using 3D-technologies and the places of loss in objects from the Mining Museum were supplemented. The use of modern technological innovations made it possible to restore the appearance of monuments with unsatisfactory preservation and include objects of the 18th century. into scientific circulation. A significant corpus of archival documents has been revealed, giving an idea of the sources and methods of entry of items from English fluorite into the collection of the Mining Museum. The results obtained allowed us to change the idea of the formation of the collection of the Mining Museum; to supplement previously known information about the production of fluorite objects of arts and crafts in England.

The article describes the problem of searching for unknown manuscripts in the study of new spiritual literature that occurred in the Russian Empire at the turn of 18th century. The documents of Moscow Ecclesiastical Censor’s Archive are the main information source of church and religious materials written during that period. The Moscow Ecclesiastical Censor was the first specialized authority established by Synod in 1799 for considering the religious compositions. Compositions which were banned by censors couldn’t be printed and for this reason they become unknown even for modern scientific society. However, a lot of these compositions weren’t lost: they are kept in manuscripts which are dispersed throughout different archive and library funds, that’s why they cannot be attributed without the engagement of the censor committee’s archive documents.

British children’s literature during the 20th century has a robust pedigree and reputation, with many internationally acclaimed authors and texts included within its realm. However, publishing archives and children’s literature archives have a low profile and use in the UK in both curatorial and research terms, resulting in huge untapped potential for researchers. Little has been published about modern publishing and children’s literature archives, and this paper seeks to begin to address this gap within the current academic discourse. This article is intended to constitute a starting point for those wishing to engage in study in this particular area of research by providing a contextual and historical background to the provenance and accessibility of 20th century literary and publishing archives in the UK. This paper is based on current PhD research into the translation of Nordic children’s literature in the UK, combining academic interests in children’s literature and publishing history with professional expertise in the curation of literary and business archive collections.

Abstract This article deals with the adaptation of the correspondence of Abelard and Heloisa in the form of the heroic epistle which became popular in the 18th century. It pursues the thesis that in going back to Ovid, the heroic epistle and its discourse of love stands in a contradictory relationship to the Christian correspondence of the medieval lovers. Therefore, the early modern adaptations ignore the community-building function of the love story and have to rewrite it in terms of unfulfilled love.

The essence of the series of essays published by the magazine is that with a maximum compactness of presentation it provides a summary of the main phenomena of world artistic culture covered in general, both from the point of view of the general historical process, and in relation to the various forms of art (literature, the visual arts, architecture, music, theater and cinema). At the same time, the usual categorization of national schools and division into separate types of art with the genre specification inherent in each of them is overcome, which meets the positive trends of globalization and provides a holistic view of artistic phenomena. The following artistic and historical periods are considered in a stepwise manner: the Ancient world, Antiquity, the Middle Ages, the Renaissance, the Baroque Period, the Enlightenment, Romanticism, Post-Romanticism, the First Modern Period, the Second Modern Period, the Third Modern Period, the Postmodern Period, and as an afterword — “The Golden Age of Russian Artistic Culture”.

The article discusses the phenomenon of the late manuscript book as part of the three largest libraries of the Ural industrial noblemen of the 18th century. Based on new sources (property inventories, statements, and other documentary materials of the preserved manuscripts unique to the region), the reasons for the existence of manuscript books in the noble environment of the Urals are considered. The author examines the composition of the books, determines their thematic sections, original and translated literature, and compares the manuscript book composition of libraries of different owners and representatives of different generations of the Ural industrialists. The author concludes that the latter had increased readership demands and lacked the necessary printed publications, which was one of the reasons for the distribution of manuscript books in the Ural province. The manuscript collections had distinguishing features and books unusual for typical nobility libraries, which can be explained by the transitive type of the Ural industrial nobility: they did not break their “tribal” ties with the democratic environment from which they emerged. Being noble only in the first or second generation, they strove to conform to the noble fashion for enlightenment, spared no means to complete their libraries, filling the shortage of printed publications with orders for translations and manuscript copies of books. The introduction of new sources into scientific discourse will give a new impetus to the study of the culturally and historically significant and yet insufficiently studied phenomenon of the late manuscript book in Russia and in the Urals.