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1
Kirillova, Natalia B. "Metamorphoses of Russian Mass Culture." Observatory of Culture 16, no. 5 (December 4, 2019): 536–41. http://dx.doi.org/10.25281/2072-3156-2019-16-5-536-541.
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The article is a review of the monograph “Russian Mass Culture: From Baroque to Post-Modernism” by Doctor of Philosophy, Professor of the Russian State University for the Humanities, Academician of the Russian Academy of Natural Sciences I.V. Kondakov. The book, which consists of seven chapters, is devoted to the history of the emergence and development of mass culture in Russia from ancient times to the beginning of the 20th century. Studying its origins dating back to antiquity, the author proves that Russian mass culture received an “impulse of independence” in the 17th century, as the culture was becoming personified, which means a personal principle was coming forward in it. It was during that period, associated with the emergence of Russian Baroque, that two paradigms appeared — Pre-Renaissance and Pre-Enlightenment, which led to the subsequent juxtaposition of “mass” and “elite” cultures in Russia first before Peter the Great and then after his period. The author gives an interesting assessment to the period of the Russian Enlightenment of the 18th century, when there happened a demarcation of the noble culture into liberal-democratic and conservative directions. Moreover, the former contributes to “massification”, and the latter – to “individualization” of Russian culture. The crisis of the classical paradigm in the 19th century, including the “literature-centrism” and “critical-centrism” of Russian culture, ultimately led to the formation of new artistic movements, new genres and styles, that is, to the modernization of Russian culture at the turn of the 19th—20th centuries. In this regard, the Silver Age turned out to be an “exquisite and ephemeral construction of the Russian Renaissance” in paradoxical forms of symbolism and modernism.The review reflected the structural and substantive aspects of I.V. Kondakov’s monograph, the features of his theoretical analysis, the specifics of style and language. The article evaluates the publication, reveals its uniqueness and scientific significance for modern humanitarian science, including history and cultural studies, literary criticism and philosophy, art criticism and aesthetics.
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Abasheva, D., V. Sigov, and R. Sharyafetdinov. "Formation and development of the Chuvash folklore studies and literary criticism of the 19th century." Rhema, no. 4, 2018 (2018): 190–203. http://dx.doi.org/10.31862/2500-2953-2018-4-190-203.
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History of literary criticism of various nations of Russia in the 19th century is many-sided and is important both for further development of literature and for the process of mutual enrichment, addition of literatures and literary studies. A special place in this context belongs to the Kazan province which has always been characterized by ethnic diversity an multinational structure and to the University of Kazan which is the acknowledged center for studying traditional ways of life, folklore and literature of the Volga region. In the formation of literary criticism and the development of literature of the Volga region in general and Chuvash literature in particular, the activities of the Chuvash writers, actors, artists, composers (I. Yurkin, G. Timofeev, M. Akimov, K. Ivanov, N. Shubossinni, M. Trubina, F. Pavlov, P. Pazukhin, etc.) and researchers (A.A. Fuchs, V.A. Sboev, S.M. Mikhailov, P. Malkhov, I.Ya. Yakovlev, N.M. Ashmarin, etc.) are of special importance.
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Orekhov, Vladimir V. "Background of Russian Imagology: Tradition as an Indication of Target." Imagologiya i komparativistika, no. 14 (2020): 143–67. http://dx.doi.org/10.17223/24099554/14/7.
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Focusing on the history of Russian imagology, the article aims at identifying the origins of the imagological interests in research and public thought in Russia in the first and second thirds of the 20th century as well as research approaches of that time that may be required by modern imagology. This analytical insight arises from the endeavor of contemporary scholars to update and develop the imagology paradigm. The Patriotic War of 1812 and the entry of Russian troops into Paris in 1814 gave a powerful impulse to the imagological interests in Russian society. These events highlighted the irrational nature of European stereotypes and provided an opportunity for the Russian intellectual elite to observe how the European image of Russia evolves depending on the historical situation, which, in its turn, induced the Russians to collect and conceptualise the information about the image of Russia in European texts of different epochs. The Rossica Department in the Imperial Public Library was opened for the scholars to do bibliographic research of foreign publications about Russia. Commenting foreign essays about Russia was an important part of Russian academic and journalistic activity. Such publications regularly appeared in Syn Otechestva, Otechestvennye zapiski, Severnyy Arkhiv, Sovremennik, Biblioteka dlya chteniya, Russkiy vestnik, and Zhurnal Ministerstva narodnogo prosveshcheniya. The first imagological research proper was V.A. Klyuchevsky’s Skazaniya inostrantsev o Moskovskom gosudarstve [Legends of Foreigners about the Moscow State, 1866]. Without a critical analysis of foreign sources, the historian uses excerpts from different foreign texts to reconstruct an integral image of the Moscow state in the European consciousness. Although the first Russian imagological researches appeared in history, they laid the basis for the development of literary criticism. The book collection “Rossica” allowed Russian and foreign scholars (M.P. Alekseev, B.L. Modzalevsky, E.V. Tarle, M. Kadot) to study the Western literary opinion about Russia. Yu.M. Lotman relied on the imagological observations made by V.A. Klyuchevsky and his followers. Methodology of Soviet imagological research in literary criticism (M.P. Alekseev, B.G. Reizov, A.K. Vinogradov) was guided by the principles of history. These facts give grounds to speak about the formation of the Russian tradition of imagological researches, which has two characteristics: 1) following the principle of historicity and 2) focus on the functioning of the image of Russia in European literature of different epochs. In this context, it seems relevant for the Russian imagological works to focus on the phenomenon of “reverse reception” in Russian literature of the 19th century, that is on the Russian writers’ endeavor to comprehend the European image of Russia (to create a “meta-image”) and to oppose this image with their own holistic idea of Russia and its national features.
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Petrov, Alexej, Angelina Dubskikh, and Anna Butova. "Historiosophy & Eros in Russian anacreontics." SHS Web of Conferences 55 (2018): 04016. http://dx.doi.org/10.1051/shsconf/20185504016.
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“Love is the eminence grise of history”, – once one of the greats of the past said. Few doubt that history is driven by human, more or less conscious interests – economic, political, religious, etc. As for feelings, passions and instincts, their role in the historical process is not so obvious, particularly of those that are connected with policy or economy indirectly. The objective necessity to rehabilitate the position of Eros in the political life of 18th-century Russia determines the significance of the current research. The article aims to analyse how the feeling of love and/or the underpinning instincts of procreation and self-preservation affect the political life and the course of history. The most important task is to examine some of the poetic texts of the 18th – early 19th centuries, the authors of which are the part of this still non-trivial historiosophical paradigm. So, it is mainly going to be about love, but not always – about love poems. The novelty of the conducted research lies in the fact that mythological and political issues of Anacreonic poetry have already become the matter of literary criticism [1, 2], while the hidden historiosophical senses have been still neglected. Certain creative works of the 18th-century poets: M.V. Lomonosov, G.R. Derzhavin, S.S. Bobrov served as research material. The practical significance of the investigation consists in the fact that the results can be used for further studying of 18th-century literature and historiosophical problems as well as to develop special courses in historical poetry.
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Костригин, А. А. "HISTORICAL-PSYCHOLOGICAL IDEAS OF A.P. NECHAEV. PART 1: HISTORY OF LITERATURE, LITERARY CRITICISM, HISTORICAL PSYCHOLOGY." Институт психологии Российской академии наук. Социальная и экономическая психология, no. 1(21) (April 12, 2021): 252–70. http://dx.doi.org/10.38098/ipran.sep.2021.21.1.010.
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Статья посвящена Александру Петровичу Нечаеву (1870-1948), выдающемуся отечественному психологу и педагогу первой половины XX в. В данной работе А.П. Нечаев показан как историк психологии. Рассматриваются историко-психологические работы и взгляды ученого по трем направлениям: анализ историко-литературных работ, в которых освещаются идеи, связанные с исторической психологией; анализ работ, освещавших состояние психологии на рубеже XIX-XX вв. и об отдельных персоналиях современной Нечаеву психологии; анализ специальных историко-психологических и историко-философских работ. В первой части представляются историко-литературные и литературно-критические работы: «Об отношении Крылова к науке» (1895) и «Поэзия А.Н. Майкова. Критический очерк» (1898). Отечественный психолог анализирует взгляды И.А. Крылова на ученых и научную деятельность, выраженных в художественных метафорах и отражавших общественные и народные представления о науке. Рассматривая творчество Майкова, Нечаев показывает, что поэзия может выполнять психологические задачи: с одной стороны, она влияет на эмоциональное состояние читателя и на развитие его личности, с другой - выражает внутренние особенности самого поэта, и необходима ему для удовлетворения собственных потребностей и стремлений. Несмотря на то, что напрямую эти работы не касаются проблематики истории психологии, они показывают интерес Нечаева к историко-научным исследованиям, а также могут быть отнесены к области исторической психологии, поскольку в них представлено изучение образов ученого и поэта и их психологические качества, характерные для XIX в., через художественное творчество и литературу. The article is dedicated to Aleksander Petrovich Nechaev (1870-1948), an outstanding Russian psychologist and teacher of the first half of the 20th century. In this work, Nechaev is presented as a historian of psychology. The historical-psychological views and works of the scientist in three directions are considered: analysis of historical and literary works in which ideas related to historical psychology are presented; analysis of works covering the state of psychology at the turn of the 19th-20th centuries and dedicated to Nechaev’s contemporaries in psychology; analysis of special historical-psychological and historical-philosophical works. The first part presents the historical-literary and literary-critical works of Nechaev: «On Krylov's attitude to science» (1895) and «Poetry of A.N. Maikov. A critical sketch» (1898). The Russian psychologist analyzes the views of I.A. Krylov on scientists and scientific activities, expressed in artistic metaphors and reflecting public and popular ideas about science. Considering the work of Maikov, Nechaev shows that poetry can perform psychological tasks: on the one hand, it affects the emotional state of the reader and the development of his personality, on the other hand, it expresses the inner characteristics of the poet himself, poetry is necessary for him to satisfy his own needs and intentions. Even though these works do not directly relate to the problems of history of psychology, they show the interest of Nechaev to historical-scientific research, and can also be attributed to the field of historical psychology: through artistic creativity and literature, the author studies the images of a scientist and a poet and their psychological traits specific to the 19th century.
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Mumovic, Ana M. "DAM ON THE GREAT RUSSIAN SEA (Contribution to the interpretation of the Review of the History of Serbian Literature by A. N. Pipin)." Folia linguistica et litteraria XII, no. 35 (2021): 117–36. http://dx.doi.org/10.31902/fll.35.2021.6.
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The paper aims is to present and evaluate the Review the History of Serbian Literature A. N. Pipin's as a classical history of Serbian literature that became part of the national culture. The development of the history of literature among Serbs, as an independent discipline and its modest beginnings, can be found in the first decades of the 19th century, in the time of Dositej and Vuk. In its beginnings, the history of literature was a "story" about the literary past of a nation and at its core was - criticism. This main idea as an axiom is a signpost that leads from the history of literature, which has long performed the function of criticism, to the genesis of literary criticism as the youngest branch of literary science and the way it formulated and exercised its functions in conditions when literary history was in a certain measures and history of the people. The Serbs received the first History of Serbian Literature (1865) from the pen of Pavel Jozef Šafarik (1795–1861), a Protestant and German student who served in Novi Sad. The next history of Serbian literature was also written by a foreigner, the Russian Alexander Nikolaevich Pipina (1833–1904). His Review the History of Serbian Literature (1865) has not been fully translated into Serbian. When marking questions from the new Serbian literature, Pipin's approach leads to a synthesis of ideas about cultural and political and national development. Slavery replaced the idea of revival "among Orthodox Serbs who fled to Austria". From that perspective, he views the development of national literature as an important part of culture and identity. Pipin also deals with the issue of national identity and the awakening of the national consciousness of the Slavs in his extensive study "Panslavism in the Past and Present" (1878), in which "the Serbian national question is incorporated into the general critique of Russian official policy and Slavophile orientation in the Balkans during Eastern Europe crisis". In this paper, we value his competence, cultural mission, the gift of the comparator, without which there is no great literary historian, and his practical contribution to classifying Serbian literature and culture in the European context.
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Franek, Ladislav. "L’essence éthique du dialogue culturel." Interlitteraria 25, no. 2 (December 31, 2020): 298–309. http://dx.doi.org/10.12697/il.2020.25.2.3.
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The ethical essence of cultural dialogue. The definition of comparative literary studies in Slovakia. Historical poetics in the works of D. Ďurišin, focused on the typological essence of literary phenomena on the basis of interrelating theoretical and developmental aspects of national literature. The differences of Slovak methodology from Western positivist models of the study of interliterariness. Parallel existence of the principles of literary history and criticism in the reception analyses of Russian, German and French literatures by older Slovak scholars. The onset of realism in Slovak literature at the end of the 19th century (S. Hurban Vajanský). The important contribution of J. Felix’s critical reflection of universalist tendencies in European and esp. modern French writing. The complexity of organically incorporating these impulses into the context of Slovak literature as a result of the provincial character of a “small” nation. The wealth of translations from contemporary world literatures and its positive impact on the work of many Slovak writers in spite of the discontinuity of research in this area after 1989. Urgent need to return to similar forms of literary-cultural reflection and self-reflection through reviving an intensive philological, linguistic, theoretical-critical and historical study at our universities.
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Franek, Ladislav. "L’essence éthique du dialogue culturel." Interlitteraria 25, no. 2 (December 31, 2020): 298–309. http://dx.doi.org/10.12697/il.2020.25.2.3.
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The ethical essence of cultural dialogue. The definition of comparative literary studies in Slovakia. Historical poetics in the works of D. Ďurišin, focused on the typological essence of literary phenomena on the basis of interrelating theoretical and developmental aspects of national literature. The differences of Slovak methodology from Western positivist models of the study of interliterariness. Parallel existence of the principles of literary history and criticism in the reception analyses of Russian, German and French literatures by older Slovak scholars. The onset of realism in Slovak literature at the end of the 19th century (S. Hurban Vajanský). The important contribution of J. Felix’s critical reflection of universalist tendencies in European and esp. modern French writing. The complexity of organically incorporating these impulses into the context of Slovak literature as a result of the provincial character of a “small” nation. The wealth of translations from contemporary world literatures and its positive impact on the work of many Slovak writers in spite of the discontinuity of research in this area after 1989. Urgent need to return to similar forms of literary-cultural reflection and self-reflection through reviving an intensive philological, linguistic, theoretical-critical and historical study at our universities.
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Kachorovskaya, A. E. "On the Reception of the Myth of Prometheus in Austrian Literature of 19th-20th Centuries." Nauchnyi dialog, no. 3 (March 30, 2020): 221–35. http://dx.doi.org/10.24224/2227-1295-2020-3-221-235.
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This article focuses its attention on the motive of resistance characteristic of Austrian literature of the 19th - 20th centuries, which is considered from the point of view of the historical and literary relationship with the myth of Prometheus. The history of the issue is reviewed. A selective analysis of the versions of the Promethean myth in the Austrian historical and literary context of the 19th-20th centuries, which is part of the pan-European literary and philosophical heritage, is given. The stylistic and genre originality of Austrian interpretations of the myth of Prometheus is proved on the basis of a study of a number of works. The artistic reception of the image of Prometheus in the poem by Z. Lipiner "Liberated Prometheus", little studied in Russian literary criticism is considered in the article. Attention is paid to the version of the Promethean myth in the literature of Austrian Art Nouveau (on the example of F. Kafka's little prose). The issue of conflicting trends in the development of Austrian literature of the 20th century, affecting the interaction of the motive of resistance with the Promethean myth, is investigated by the example of M. Gruber's essay. The correlation of the Austrian versions of the motive of resistance with the myth of Prometheus is proved. The results of the study confirm the significance of the Promethean myth in the Austrian reception of the 19th-20th centuries, which has more pronounced features of drama and theatricality in relation to the European context.
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Nosonovsky, Michael, Dan Shapira, and Daria Vasyutinsky-Shapira. "Not by Firkowicz’s Fault: Daniel Chwolson’s Comic Blunders in Research of Hebrew Epigraphy of the Crimea and Caucasus, and their Impact on Jewish Studies in Russia." Acta Orientalia Academiae Scientiarum Hungaricae 73, no. 4 (December 17, 2020): 633–68. http://dx.doi.org/10.1556/062.2020.00033.
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AbstractDaniel Chwolson (1819–1911) made a huge impact upon the research of Hebrew epigraphy from the Crimea and Caucasus. Despite that, his role in the more-than-a-century-long controversy regarding Crimean Hebrew tomb inscriptions has not been well studied. Chwolson, at first, adopted Abraham Firkowicz’s forgeries, and then quickly realized his mistake; however, he could not back up. Th e criticism by both Abraham Harkavy and German Hebraists questioned Chwolson’s scholarly qualifications and integrity. Consequently, the interference of political pressure into the academic argument resulted in the prevailing of the scholarly flawed opinion. We revisit the interpretation of these findings by Russian, Jewish, Karaite and Georgian historians in the 19th and 20th centuries. During the Soviet period, Jewish Studies in the USSR were in neglect and nobody seriously studied the whole complex of the inscriptions from the South of Russia / the Soviet Union. The remnants of the scholarly community were hypnotized by Chwolson’s authority, who was the teacher of their teachers’ teachers. At the same time, Western scholars did not have access to these materials and/or lacked the understanding of the broader context, and thus a number of erroneous Chwolson’s conclusion have entered academic literature for decades.
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Panina, Nina L. "Illustrations in Children’s Educational Books in Russia in the Late 17th – Early 19th Centuries." Tekst. Kniga. Knigoizdanie, no. 23 (2020): 82–99. http://dx.doi.org/10.17223/23062061/23/5.
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The aim of this article is to analyse the transition period in the history of illustrating children’s educational books on the material of Russian-language publications. It is the period in which the function of an intermedial representation gradually develops from emblematic to encyclopedic and narrative-figurative images. This process is related to the literary history of children’s books and their genre transformations. In the last third of the 18th century, children’s literature in Russia was formed as an independent direction with its special goals, and the basis for further search for specific methods of children’s book design, including educational ones, was laid. In the first quarter of the 19th century, the children’s book had a typical European visual design and continued the trends inherited from the 18th century: translations, borrowings, and revised texts in publications often copied illustrations rather than made new ones. A new stage came at the end of the 1820s, when Russia was actively developing independent children’s literature, and professional authors and criticism appeared. It was the time of the pedagogical experiments of Vasily Zhukovsky. This article does not claim to analyse Zhukovsky’s pedagogical activity comprehensively, but this activity is significant for the subject-matter of the study. In his pedagogy, Zhukovsky went to a new level when searching for intermedial ways of transmission of the universal coherence of phenomena, the systemic representation of knowledge about the world, and the ideas of the world as a system. The search, though much slower, was also observed in contemporary children’s books. The integration of cognitive and didactic functions in the Russian-language children’s book of the 18th century resulted in a mix of different principles of illustration in one publication. These principles are: (1) emblematic: the title, image, and text form a three-part structure; (2) encyclopedic: the sheet contains separate numbered images of the same type of objects excluded from the visual context; (3) narrative: the plot, expressive and figurative, including caricature, illustrations are readily used in an educational book due to their persuasiveness. Each of these principles has its own ways of displaying coherence. An encyclopedic illustration shows an object in a series of similar ones, in an enumeration, shows the structure of the object. An emblem gives its symbolic and allegorical interpretation. A narrative illustration shows its functions and its involvement in causal relations, depicting the environment of events and objects. The children’s book of the studied period tends to integrate all these ways. While the emblem as an independent intermedial genre degrades, certain elements of the emblematic tradition are actively borrowed by new forms of publications. The emblem gives the European book of modern times the most important intermedial tools for displaying universal coherence, the world as a system. The change of the epochs leads to an inevitable blurring of the meaning of the emblematic sign. The transitive nature of the analysed period is expressed in the search for a new intermedial form of coherence, similar to the lost emblematic bimediality of the text and illustration in terms of effectiveness. In the search for such a form, encyclopedic publications that claimed to be all-encompassing use the emblematic and narrative principles of illustration. In turn, the narrative illustration, driven by a similar desire for inclusiveness, consistency, and universality, absorbs the emblematic and encyclopedic principles.
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Hryshchenko, Kateryna. "Caricatures in russian publicism of the second half of the 19th century: by the materials of N. B. Gersevanov." Universum Historiae et Archeologiae 2, no. 2 (October 12, 2020): 197. http://dx.doi.org/10.15421/26190214.
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The aim of the study was the desire to determine the place of the visual artistic and satirical component in the creative heritage of N. B. Gersevanov and the consideration of the caricature as a genre of journalism and a historical source in public opinion research of the 1850–1860s. Historiography. The history of the caricature was mainly of interest to art critics and artists. The sociocultural and political context of their appearance was considered, but in passing. The question of the place of caricature in the work of N. B. Gersevanov is raised for the first time. Sources. The set of sources was formed according to the principle of informational correspondence to the goal and consists of newspaper articles – reviews by N. B. Gersevanov on military cartoons and an album of cartoons “The Adventures of the Novgorod resident Fedora Ivanovna”, published under the pseudonym “Durov”. The materials involved cover 1858–1860. both the critic and the creator of this genre convincingly demonstrate the place of caricature in journalism of N. B. Gersevanov. Using the methods of historiographic and source analysis and synthesis allowed us to identify the state of development of the issue in the historical literature and realize the goal. The main result was the identification of thematic variability of the cartoons of N. B. Gersevanov and the reactions of representatives of the military community to them. Based on the content analysis, the contents of the caricature album “Adventures of the Novgorod resident Fedora Ivanovna” were investigated. The texts and the cartoons published by Gersevanov were a reaction to harsh criticism by the public of the Russian army and military after the defeat of the Russian Empire in the Crimean War of 1853–1856. Since 1812, wars have become a powerful impetus for development for the Russian caricature tradition. The humorous genre was not inherent in the work of Gersevanov, moreover, he considered it dangerous for military discipline. Thus, the appeal to the caricature of the socio-political and literary issues was a kind of experiment for the author. Despite economic success, the final goal was not achieved, the vices were not overcome. Gersevanov became convinced of the futility of ridiculing as a method of education, therefore, he did not turn to the humorous genre anymore. The conclusion is that the hermeneutic analysis of the texts and the contexts of their appearance allowed us to significantly expand our understanding of the multifaceted activities of such a little-explored personality as N. B. Gersevanov and to reveal the informational potential of the cartoon as a historical source. The type of article: analytical.
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Nikonova, Natalia Ye. "Vasily Zhukovsky and Friedrich Wilhelm von Schadow: Based on Materials From the Painter’s Unpublished Letters." Imagologiya i komparativistika, no. 14 (2020): 37–61. http://dx.doi.org/10.17223/24099554/14/2.
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The article presents, for the first time, an attempt to reconstruct the context and the object of creative contacts of Vasily Zhukovsky and Friedrich Wilhelm von Schadow (1788–1862), a theorist of painting and head of the Academy of Arts in Dusseldorf. The sources for the reconstruction were the previously unpublished eight letters by the German artist written in the period from 1838 to 1846 and now stored in the Manuscript Department of the Institute of Russian Literature and materials from the creative heritage of the Russian poet and artist. The article establishes new facts about the institutional role of Zhukovsky in the Russian-German cultural ties in the 19th century. Von Schadow gave some of his paintings in the original, in copies or prints for Zhukovsky’s personal collection and for the imperial collection of the future Hermitage. The list of these paintings is, for the first time, compiled in the article. The textual material is illustrated with images from von Schadow’s works discussed in the epistolary dialogue. Von Schadow’s published manifestos on the theory and criticism of Christian religious painting, which Zhukovsky read and which influenced his artistic worldview in the 1840s, are attributed. The article presents, for the first time, the most significant fragments from von Schadow’s letters of 1838–1845 translated into Russian. The fragments fill in the gaps in the objective representation of the scale of Zhukovsky’s activities at court on compiling a collection of Russian paintings both in the institutional and ideological artistic aspects. At the same time, the communication between the German artist and the Russian poet found reflection in Zhukovsky’s creative heritage of the late period: in his criticism, works on art theory, prose, and reflections. Von Schadow, in his last letters, and Zhukovsky, in his diary entries, pay special attention to reflections on pedagogical activities and works on the theory of fine arts, as well as on their social and political activities. The parable of the prodigal son was the final touch in the creative dialogue of the poet and the artist. Zhukovsky reflected this parable in his unfinished poem about the Wandering Jew. The lines of the poem paint in words fragments from the Sacred History quite in the spirit of von Schadow’s paintings: Zhukovsky compares the Wandering Jew who ascended Calvary with the prodigal son and depicts the holistic canvas of the inner and outer space of the character through his eyes. The conclusion is made that the discovered letters from von Schadow to Zhukovsky reveal the adherence of the both to the lofty romantic idea of a synthesis of arts based on the poetics of heartfelt feelings, artistic imagination, active teaching, and religious and mystical experience. Fine arts, science and history, issues of faith and politics of the mid-19th century were a background for the concentration of the correspondents on the rethinking of substantial religious and philosophical issues on the material of eternal biblical plots on the entombment of Christ, taking Christ down from the cross, on reasonable and unreasonable maidens, and, finally, on two parables about the lost sheep and the prodigal son, which became the ultimate embodiment of the dialogue of a poet and an artist in fine arts.
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Shalygina, O. V. "Time and space in the motor aesthetics of A. Volynsky." Solov’evskie issledovaniya, no. 4 (December 15, 2019): 100–113. http://dx.doi.org/10.17588/2076-9210.2019.4.100-113.
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The article describes the original aesthetic and philosophical concept – the motor aesthetics of Akim Volynsky. Volynsky uses the concept of «motor aesthetics» in the Kniga likovanii, describing the value of circular lines for the «all aesthetics, visual, sound and motor», and particularly pirouette for motor aesthetics. The term «motor aesthetics of Akim Volynsky» is used in this article for the first time and is studied by the author from an interdisciplinary perspective. Motor aesthetics is developed by Volynsky for plastic art as a language of description of classical ballet, he introduces the basic concepts, formulates the laws, defines the basic philosophical categories that underlie it. The importance of Volynsky's work on the formation of the language of classical ballet description is recognized in the professional environment and theater criticism. The study of the motor aesthetics of Akim Volynsky is relevant in connection with the study of the philosophical foundations of intermedial analysis. The article deals with the problem of time and space in the motor aesthetics of Akim Volynsky for the first time. The direct connection of Volynsky's later works on ballet with his early article on Kant is revealed, the conclusion about the originality of Volynsky's philosophical position in relation to the categories of time and space is made. Using the thesaurus of Kant's transcendental aesthetics, Volynsky defines the two-act structural relationship of time and space according to the «par coupe» (fr) principle, which he regards as universal. It was concluded of Volynsky's motorial aesthetics value not only in the history of classical ballet and theatre criticism, the history of of the Russian literature and philosophy of the late 19th - early 20th century, but also in the modern philosophical anthropology and ontology.
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Kan, Sergei. "“True Heirs to a Heroic Russian Past” or “Russians in Name Only”: Sitka Creoles as Seen by the Late Nineteenth Century Russian Orthodox Clergy." Journal of Frontier Studies 5, no. 4 (December 14, 2020): 12–37. http://dx.doi.org/10.46539/jfs.v5i4.211.
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The paper examines the criticism levelled against the Creoles of Sitka (persons of Russian and Alaska Native descent) by the Russian Orthodox priests who came to minister among them in the late 19th-early 20th century. These clergymen accused their parishioners not only of immorality but also of not being truly Russian, as far as their language and culture were concerned. By focusing on this criticism, the paper explores the symbolic significance of Alaska’s Russian colonial and missionary history and its legacy in the conservative nationalist ideology of the Russian Orthodox clergy. Particular attention is paid to the causes to which this clergy attributed the decline of the Russian culture and devotion to Orthodoxy among the Creole population of this frontier American/Alaskan town.
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Dvornichenko, Andrey Yu. "“History Misappropriation or Compreension?” (Russian Lihuanian Studies in the 19th and the Beginning of the 20th Century)." Almanac “Essays on Conservatism” 58 (August 1, 2020): 219–36. http://dx.doi.org/10.24030/24092517-2020-0-2-219-236.
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The abundant Russian historiography of the medieval history of Grand Duchy of Lithuania (Lithuanian-Russian State) has become in the last decades the centre of the discussions and is often subject to groundless criticism. This historiography was not very lucky in the Soviet period of the 20th century either, as it was severely criticized from the Marxist-Leninist position. When discussing Russian historiography the author of this article is consciously committed to the Russian positions. There are no reasons to consider this historiography branch either Byelorussian or Ukrainian one, as that was really Russian historiography, - the phenomenon that formed under the favorable specific conditions of Russian Empire before the beginning of the 20th century. The said phenomenon can be studied in different ways: according to the existing then main trends and schools or according to their affiliation with specific universities of Russian Empire. But according to the author of this article the best way to study the issue is in accordance with the main concepts of history. And then the pre-revolutionary historiography appears as an integral scientific paradigm that turns out to be the most divaricate branch of the Lithuanian studies of the time. It created, in its turn, the most vivid and objective historical picture that can still serve as the basis for the studies of Lithuanian-Russian state.
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Zhang, Jie, and Wenxin Lin. "Historical facts of literature and personality in research – about the compilation of the book “History of Russian and Soviet literary criticism of the XX century”." Neophilology, no. 24 (2020): 755–64. http://dx.doi.org/10.20310/2587-6953-2020-6-24-755-764.
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Russian literature is an important part of world literature and is studied all over the world. In comparison with the history of literature, the history of literary criticism is more an interaction between the objectivity of literary facts and the personality of the compiler of this history. This work presents a description of the personality in research using the example of the book “History of Russian and Soviet literary criticism of the XX century” written by Chinese scientist Zhang Jie, the main task of which is to provide a theoretical basis and methods of criticism for analyzing the mechanism of reproducing the meanings of literary texts and images. We analyze the functions of literary criticism and explain the interaction and harmony of objective historical facts of literature and the compiler’s personality in the study. We define three currents of Russian and Soviet literary criticism of the 20th century: religious and cultural criticism, real literary criticism, and aesthetic criticism. We prove that history reflects not only the objectivity of factors, but also its compiler’s personality, which is an indicator. We explain the need to coordinate the objectivity of historical facts and the subjectivity of the compiler, and we present a value-based reflection of a scientific linguistic personality in the Chinese ethnoculture.
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Abbott, Scott. "The Wanderer in 19th-Century German Literature: Intellectual History and Cultural Criticism (review)." Goethe Yearbook 17, no. 1 (2010): 406–8. http://dx.doi.org/10.1353/gyr.0.0046.
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Hilton, Alison, and Elizabeth K. Valkenier. "The Wanderers: Masters of 19th-Century Russian Painting." Russian Review 52, no. 1 (January 1993): 106. http://dx.doi.org/10.2307/130872.
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Haiguan, Gan. "THE IMPLICATIONS OF THE MODERN MYTHS OF PETERSBURG IN THE 19TH CENTURY RUSSIAN LITERATURE." Theoretical and Applied Linguistics, no. 1 (2017): 5–15. http://dx.doi.org/10.22250/2410-7190_2017_3_1_5_15.
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Myth creation is an integral element of human consciousness. All the images related to Petersburg, due to its unique role in the process of Russian modernization and forming cultural heritage, have been mythologized in the folk literature. Based on the folk literature of Petersburg and the special situation of Russian modernization and with the combination of historism and mythicism, Russian writers, with their unique mythological thinking and awareness, created the modern myths of Petersburg, that have the same images and consistent thinking. The modern myths of Petersburg in the 19th-century Russian literature are rooted in Russian history and social reality and truly reflect all kinds of conflicts in the development of modernization of the Russian society. The myths interpret the problems of modern civilization and unfold the unchanging factors in the empirical world and historical development.
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Sukhova, Natalia Yu. "The “Idea of the University” in the Russian Theological Academies (19th and Early 20th Centuries)." Slovene 6, no. 2 (2017): 400–412. http://dx.doi.org/10.31168/2305-6754.2017.6.2.16.
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For the first time, the Humboldtian university model is considered against the background of the 19th- and early 20th-century history of the Russian theological academies. The influence of educational ideas — direct or mediated by the experience of Russian universities — upon higher theological schools is traced along different historical phases delineated by two reforms: one that, between 1808 and 1814, introduced certain university elements into the life of the academies, and another that, in 1869, ushered in the research university model in its entirety. The author concludes that the fundamental principles of the research university significantly affected the further development of Russian theological scholarship, stimulating processes of specialization within the field and triggering the use of the method of historical criticism in all branches of theology. At the same time, however, some of the elements of the research university model failed to meet the specific needs of the theological schools. The application of methods of historical criticism, in turn, prompted speculation about the divine inspiration of the Scriptures, the affiliation of theological scholarship with the Church, and the limits of freedom in theological scholarship.
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Alıcı, Gülfem. "Arabic Literature of the North Caucasian Naqshbandiyya in the 19th Century." Journal of Sufi Studies 8, no. 1 (February 28, 2020): 50–76. http://dx.doi.org/10.1163/22105956-12341315.
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Abstract This article analyses the Sufi treatise al-Ādāb al-marḍiyya fī l-ṭarīqa al-naqshbandiyya written by the Daghestanian Naqshbandī shaykh Jamāl al-Dīn al-Ghāzīghumūqī (d. 1866/67), the Sufi master, companion and father-in-law of Imām Shāmil (d. 1871). After providing an outline of the life and activities of Shaykh Jamāl al-Dīn I will examine the concepts, persons, and practices treated in his Ādāb which not only provide valuable insights regarding the mystical orientation of the Sufi shaykh, but the North Caucasian Naqshbandiyya during the anti-Russian jihād movement in the 19th century. My aim is to illustrate that this document indicates no or in a minor degree references to the Khālidiyya branch of the Naqshbandiyya. This leads me to the assumption that in the case of the Daghestanian Naqshbandiyya in the 19th century, we have a premature, i.e. not developed form of the Khālidiyya.
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Brukhanchik, Ekaterina A. "The Russian historiography of the credit and financial system of the Russian Empire (1861–1914): approaches to the study, methodology and research methodology." Journal of the Belarusian State University. History, no. 3 (July 31, 2019): 101–9. http://dx.doi.org/10.33581/2520-6338-2019-3-101-109.
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The article is devoted to the Russian historiography of the credit and financial system of the Russian Empire of the second half of the 19th – beginning of the 20th century. Its purpose is to study the main methodological approaches to research of the credit and financial system of the Russian Empire in the second half of the 19th – beginning of the 20th century in pre-revolutionary, Soviet and modern historiography by identifying the main approaches and characteristic features of research on this topic in different historiographic periods, identifying the most prominent representatives and the most popular problematic issues of Russian historiography, identifying key research methods at different stages. The relevance of the article is determined by the coverage of different points of view on the problems of the development of the credit and financial system of the Russian Empire of the second half of the 19th – early 20th centuries, concerning the financing of large infrastructure projects, modernization, the use of new financial instruments to increase government revenues, stabilize adverse macroeconomic problems context. This information can be used to solve modern strategic tasks of the state and rational use of financial resources. The novelty of the research is determined by the fact that to study the historiography of the credit and financial system of the Russian Empire in the second half of the 19th – early 20th centuries was first applied to institutional evolutionary theory. The publication identifies the main features of pre-revolutionary historiography (empiricism, a reflection of the ideology of its social group, pluralism of opinions, deep erudition of the authors), Soviet (conducting research in the framework of the formation approach, officially approved methodological principles, criticism and repression of dissidents), modern (rejection of the formation approach, the use of information technologies, the use of economic research methods, the study of the object in the context of new directions). The author covers research methods (general scientific, historical, economic), characteristic for different periods of Russian historiography, the most popular problems, and areas of study of the credit and financial system (gender history, biography, everyday history, etc.). The article shows the pluralism of opinions of pre-revolutionary researchers, the results of the application of the formation approach by Soviet researchers, expressed in the harsh criticism of predecessors, one-sided coverage of events, the use of various research methods by modern researchers, and the development of new directions.
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Lyavinecz-Ugrin, Marianna. "History of the Russian Language in Hungary in the 19th Century. Discovering Kirill Szabov." Slovene 9, no. 1 (2019): 328–51. http://dx.doi.org/10.31168/2305-6754.2019.8.1.12.
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The history of the Russian language in Hungary was directly linked to the works of Russophile Rusyn writers, who in the 19th century proclaimed the idea of literary and spiritual pan-Slavism in Subcarpathian Rus, which led to the spreading of Russian language, literature and culture. Among the names of well-known figures and famous writers, such as Alexander Dukhnovich, Ivan Rakovsky, Adolf Dobrjanskу, Yevgeny Fentsik (Vladimir), Anatoly Kralytsky, Alexander Mytrak (Materin), Ivan Silʹvaі (Uriil Meteor), etc., from time to time one can spot the name of Kirill Antonovich Szabov, one of the Russophile writers. His modest personality and character could be the reason for which the name of the gifted and highly educated Russian language teacher and the author of the grammar of the Russian language (1865) and the brief collection of selected works in prose and verse (1868), went into oblivion. Consequently, his literary and academic work is not well known. This paper is devoted to the life, pedagogical and literary activity of Kirill Szabov with the aim of revealing new information about him and the history of the Russian language in Hungary to the academic community.
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Schmidt, Waldemar. "The Image of Christ in the Poetry of the Decembrists - Example of Poetic Creation by K.F. Ryleeva, A.I. Odoevskogo, V.K. Kuechelbeker and P.A. Katenin." Canadian-American Slavic Studies 44, no. 3 (2010): 296–315. http://dx.doi.org/10.1163/221023910x533135.
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AbstractThe topic of the following essay is Christ in the poetry of the "Dekabristen". By the example of the most popular representatives of this epoque, the essay shows religious imaginations in the Russian literature in the beginning of the 19th century.
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Дударев, В. С. "Germany in the life of Russian writers and poets of the first half of the 19th century." Диалог со временем, no. 76(76) (August 17, 2021): 206–21. http://dx.doi.org/10.21267/aquilo.2021.76.76.002.
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Помимо плодотворного взаимодействия в решении политических вопросов Россию и Германию в первой половине XIX в. связывали тесные культурные связи, в выстраивании которых ключевую роль играла литература. Германия являлась в определенном смысле фильтром, через который Россия знакомилась с европейской литературой. Образы немецкого мира, находившие отражение в русской литературе, возникали не в последнюю очередь благодаря личному опыту общения российских писателей с Германией и немцами. Вследствие этого Германия нередко приобретала свое особенное значение в их жизни и творчестве, чему и посвящена настоящая статья. In addition to fruitful interaction in solving political issues in the first half of the 19th century, Russia and Germany were linked by close cultural ties, in the building of which literature played a key role. Germany was a kind of filter through which Russia got acquainted with European literature. Images of the German world, reflected in the Russian literature, arose not least due to the personal experience of Russian writers with Germany and the Germans. In this regard, Germany often acquired its special significance in the life and work of Russian writers. This will be discussed in this article.
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Shevtsov, N. V. "Magazine «Otechestvennye Zapiski » in the History of Russian Culture of the 19th Century." Concept: philosophy, religion, culture, no. 3 (November 17, 2019): 132–42. http://dx.doi.org/10.24833/2541-8831-2019-3-11-132-142.
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The literary magazine «Otechestvennye Zapiski» legitimately belongs to the realm of the most known and reputable periodicals in the history of Russian journalism. Its publishers did everything possible to refine the journalistic style of its content and to turn each issue or, a book, as they used to call them, into high-quality classical thick literary magazines. The magazine published articles and stories of various genres. All of them stood out in terms of the high-quality writing. Both, up-and-coming and established authors dreamed of a publication there. At the same time, all of them realized that it was crucial to write something special for «Otechestvennye Zapiski», something not to be found in any other magazine. For many years, the magazine had a reputation of journalism training school. Yet, not only had it shaped outstanding journalists. Many up-and-coming writers became famous after the magazine featured their first works. Those, who we call today the classics of Russian literature, were among them. The magazine discovered Mikhail Lermontov to the world by being the first publisher of his short novels «Bela», «Fatalist», and «Taman» which later became parts of the novel «A Hero of Our Time». Many poems of Lermontov found the readers through «Otechestvennye Zapiski». Some of the early works of Nikolay Gogol and Fyodor Dostoyevsky were first featured there. It was this magazine, where young Turgenev gave his early poems as well. Plays of Alexander Ostrovsky went to the stages of the leading theaters shortly after being published in «Otechestvennye Zapiski». Taking advantage of the glory of a brilliant literary and artistic magazine, “Otechestvennye Zapiski” made a great contribution to the Russian culture. From the first years of its existence, articles on the newly opened private art galleries, numismatic collections, libraries, and various art exhibitions began to appear on its pages. From the very beginning of its publication and up to its closure, the journal carried out an important educational mission.
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Yuldashev, Akmal B. "FROM THE HISTORY OF UZBEKS IN TURKMENISTAN(FROM THE LATE 19th CENTURY TO THE 1990s)." JOURNAL OF LOOK TO THE PAST 4, no. 6 (June 30, 2021): 10–15. http://dx.doi.org/10.26739/2181-9599-2021-6-14.
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This article provides an overview of the number, history of distribution and occupation of the Uzbeks who lived in Turkmenistan from the 90s of the XIX century to the 90s of the XX century, through analysis of literature and sources. During the Russian Empire, in 1897, during the population census and in Soviet times, census data from 1926 to1989, reports, archival sources and historical literature, through a comparative analysis, the number of Uzbeks in Turkmenistan, the dynamics of their reproduction, distribution areas were studied Uzbek population. The article also provides detailed information on the daily life of Uzbeks in Turkmenistan and their activities
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Bijan, Amanj N. B. "Kurdish studies in Russia in the early 20th century." Tambov University Review. Series: Humanities, no. 190 (2021): 158–65. http://dx.doi.org/10.20310/1810-0201-2021-26-190-158-165.
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We consider the history of studying the history of Kurds in Russia in the early 20th century. The plans of cooperation between the Russians and Kurds against the Ottoman Empire are analyzed. We consider the socio-political and research activities of Russian politicians and scientists in the framework of solving the Kurdish issue. Research on Kurdistan, which began in the 19th century, continued and developed in Russia. Along with military and strategic studies, there were studies of Kurdish clans and Kurdish society. In addition to Russian scientists, Russian diplomats also contributed to the development of Kurdish studies. Before World War I, Russia tried to establish consulates and shopping centers in Kurdish cities. In the early of 20th century in Russia, Kurdish studies were developing rapidly, which was due to both the international situation and the activity of well-trained specialists-orientalists. Often they, like V.F. Minorsky and I.A. Orbeli, combined official (diplomatic) and research activities. Active role in the formation and development of Kurdish studies played N.I. Marr and A.S. Shamilov, who had no formal linguistic education and has been at the epicenter of political processes in the Soviet historiography and linguistics (repression, criticism of “marisma”). Despite the complex political processes of the early 20th cen-tury, it was during this period that the main ideas about Kurdish history and the Kurdish language were formed, and the main scientific schools were formed, which were developed after 1945.
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Timofeev, Mikhail Yu. "SEMIOTIC MATRIX OF THE 19th CENTURY FACTORY CITY: MANCHESTER, IVANOVO-VOSNESENSK AND LODZ." Ural Historical Journal 70, no. 1 (2021): 89–96. http://dx.doi.org/10.30759/1728-9718-2021-1(70)-89-96.
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The article is devoted to the formation of an industrial urban narrative in the 19th century literature. Changes in the urban environment as a result of the industrial revolution presupposed creation of a new figurative language, which could be used to describe industrial centers. This concerned the portrayal of social changes and their context. The main antithesis of industrial loci is not the patriarchal city, but the natural environment or the countryside, changing as a result of expansion of a growing number of factories and plants. One of the most rapidly developing spheres of capitalist production in the 18th–19th centuries was the textile industry. In the middle of the 19th century, Manchester became a kind of benchmark for textile centers in different European countries. As an example of the depiction of industrial loci, the author considers texts about two “Manchesters” of the Russian Empire — the village of Ivanovo (since 1871, the city of Ivanovo-Voznesensk) and the Polish city of Lodz. In the first case, numerous essays, stories and poems are the basis used to form the local text. In the second case, it is the famous V. Reymont’s novel “The Promised Land”. The semiotic analysis is applied to the urban environment and landscape, the auditory and olfactory characteristics of typical industrial cities.
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Cosma, Iulia. "Una rassegna bibliografica sui traduttori romeni dell’Inferno (1883-2015): considerazioni di tipo metodologico e deontologico." Translationes 7, no. 1 (June 1, 2015): 70–84. http://dx.doi.org/10.1515/tran-2016-0005.
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Abstract This paper is intended as part of a larger research that aims to the realization of a monographic study dedicated to the Romanian translations of Dante's Inferno, from 19th to 21th century. It is a historical and critical approach, intended as an interdisciplinary study, to be placed at the crossing of disciplines like translation history, translation criticism, reception theory, history of literature, history of literary language, cultural history. The bibliographical selection we propose is complete with some methodological and deontological considerations of utility in the study of the history of translation.
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Gimadeev, Timur. "The feedback on the Slavophile theory of the Hussite movement in the Czech non-fiction historical literature (before 1918)." Slavic Almanac, no. 1-2 (2019): 46–58. http://dx.doi.org/10.31168/2073-5731.2019.1-2.1.03.
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This article deals with the reflection of Czech historians and political writers on the works of Russian Slavophilehistorians about the Hussite movement. The apologists of the Slavophile concept (such as P. Novikov and A. Th. Hilferding) defended the idea of the succession between Orthodoxy and the Hussite movement, supposing that Orthodoxy was brought to Czechia by Cyril and Methodius. This conception remained highly unpopular among the Czech authors. The professional Czech historians, such as J. Kalousek and J. Goll indicated that the information on such continuity is first found in the sources only starting from the mid-16th century, and noted that the communion in both forms was also spread in the West. The Czech authors that were studying the Russian Thought of the 19th century, such as P. Durdík and J. Perwolf, saw this concept as a mere transplantation of the contemporary Slavophile ideology into the past. The Catholic authors headed by A. Lenzrevealed numerous differences between the Hussite and Orthodox creeds.It was only J. V. Kalaš to advocate the Slavophile concepts, but this was caused by his uncritical acceptance of Russian Slavophile literature. The rest of the Czech authors were united in the criticism of the Slavophile publications that was caused by the national solidarity of the Czech intelligentsia and by the weak academic grounds of this theory.
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Butenina, Evgeniya M. "Russian Classics in the USA Transcultural Canon." Polylinguality and Transcultural Practices 18, no. 2 (December 15, 2021): 165–75. http://dx.doi.org/10.22363/2618-897x-2021-18-2-165-175.
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The issue of the canon (the most studied and taught classics) is one of the most important in the world literature system. The paper briefly outlines the formation of the USA literary canon since the middle of the 19th century and details the formation of the Russian segment in the transcultural canon since the late 20th century. In the history of the USA canon formation, the institutional or sociological model (Jonathan Culler, Stanley Fish, Paul Lauter), which argues that social institutions respond to ideological demands, and the aesthetic model embodied by Harold Blooms Shakespeare-centered Western Canon stand out. An up-to-date approach to the canon assumes taking both models into account, as well as the perception of the canon as cultural memory. Anthologies are most important sources of documenting the canon. For the 20th century American literature researchers distinguish three phases formed by the leading literary trends: historiographic (1919-1946), new critical (1947-1967) and multicultural (1967- present). Based on the analysis of Norton and Longman anthologies, as well as a popular textbook The Bedford Introduction to Literature since the late 20th century to the present, the paper highlights the Russian core in the USA transcultural canon, which became the source of creative reinterpretation in contemporary literature. The present research is to be continued through the study of the Russian literature canon in specialized editions to outline a comprehensive history of the Russian-American cultural transfer.
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Larionova, Marina Ch. "The Ural Text of the Russian Literature." Journal of Frontier Studies 6, no. 2 (June 24, 2021): 130–36. http://dx.doi.org/10.46539/jfs.v6i2.298.
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The article reviews contents, theoretical grounds, and significance for the contemporary philology of a large-scale work of Ural scholars – The History of Literature of the Ural Region (The 19th Century). In the 1920s, the idea of cultural nests – regional cultural centres, which have their own history and traditions, – was formulated in the works by N. K. Piksanov. The idea was followed and further developed by N. P. Antsiferov, who wrote about an attractive and magnetic power of locus, which organizes the cultural space around itself. That was the beginning of regional literature studies. V.N. Toporov and N. E. Mednis introduced the notions of the urban text, local text, and super-text of the Russian literature, which were accepted by the humanities geography (D.N. Zamyatin). Regional philological studies fitted into the frontier discourse smoothly: space and territory began to be perceived and considered as historical and socio-cultural factors. The reviewed book is the Ural text of the Russian literature incorporating literary and journalistic works about this poly-ethnic macro-region, written by authors biographically and territorially connected with the Large Ural Region; data on bibliography, book publishing and book trade, library management, the history of theatre, etc. The scale of research and the widest coverage of topics and data deserve the highest appraisal and make the work by the Ural colleagues exemplary.
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Shlapentokh, Dmitry. "The Western historians of the French Revolution in the late 19th century Russian intellectual history." Revue des études slaves 63, no. 4 (1991): 739–51. http://dx.doi.org/10.3406/slave.1991.6009.
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Bodrova, A. S. "Literary Societies in Russia in the First Half of the 19th Century: Approaches to an Interdisciplinary Description." Russkaya literatura 1 (2021): 5–18. http://dx.doi.org/10.31860/0131-6095-2021-1-5-18.
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The review article systematizes the principle achievements in the studies of the literary societies and associations in the Russian and foreign historiography of the 1990–2010s, and analyzes approaches to this material within the framework of various disciplines and methodologies. The author suggests an institutional approach as the basis for the development of a conceptual and fact-fortified language for describing the literary societies in Russia in the fi rst half of the 19th century. An institutional approach provides an opportunity to link the history of the literary associations with the broader socio-historical context and to describe the role played by the literary societies in the formation of the «public sphere» and civil society in the 19th-century Russia
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Danish, Miroslav, and Galina V. Rokina. "Archival Rossica in Slovakia: Documents on the History of Slovak-Russian Contacts in the Archive of the Slovak Matica." Herald of an archivist, no. 2 (2021): 543–54. http://dx.doi.org/10.28995/2073-0101-2021-2-543-554.
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The article traces the process of formation of archival Rossica in one of the oldest archives of the Slovak Republic. The authors analyze documentary materials on the history of the Slovak-Russian contacts in the 19th century, the period when ties between Slovak and Russian scientists and public figures were most intense. It was at this time that the process of national identity formation of the Slovaks took place. The article is to investigate the content of documents from the standpoint of methodology of historical memory and that of principles of historicism. Despite the fact that the history of the Slovak-Russian relations has been in the focus of attention of national and foreign scientists for many years, there are no special scientific studies in which archival materials on this issue would be systematized. In the modern historiographic situation, as there continues a “revision” of previous assessments of the history of the Slovak-Russian relations, the role of archival heritage increases, and yet its significant part has not been introduced into scientific use. In historical science, the most important archive for reconstruction of the history of the Slovak-Russian contacts in the 19th century is the archive of the Slovak Matica. This organization was created by order of the Austro-Hungarian authorities in Martin, city in the East of Slovakia. In the 19th century the Slovak Matica was a center of social life of the Slovaks and played an important role in the formation of the Slovak nation. The article details the complex history of the formation of the archival Rossica collection in the archive of Martin and all stages of its emergence and development. The archive of the Slovak Matica has undergone significant organizational changes over a century and a half of its existence. It is currently called the Archives of Literature and Art of the Slovak National Library (ALI SNB). The authors systematize the archival Rossica in the ALI SNB by the nature of documents and problems. The article provides an overview of the main groups of archival collections and fonds that preserve the historical evidence on nature and intensity of the Slovak-Russian contacts in the 19th century. An analysis of archival materials has shown that these relations developed mainly at the level of personal contacts between Slovak and Russian scientists, writers, and public figures. The authors of the article conclude that the Rossica in the archives of Slovakia still remains an incompletely developed topic for researchers, primarily for Russian ones. Study of the archival Rossica acquires special significance in modern humanities, as there continues a revision of previous assessments of historical events, facts, and actions of national movements leaders.
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Lahti, Katherine. "Costumes in Context: Masquerade in the Russian Silver Age." Russian History 43, no. 1 (March 23, 2016): 81–86. http://dx.doi.org/10.1163/18763316-04301003.
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This is a positive review of The Modernist Masquerade: Stylizing Life, Literature and Costumes in Russia by Colleen McQuillen. In the book the author supplies a history of masquerade in Russia in the 18th and 19th centuries, but the focus of the book is on the period called the Silver Age, from the end of the nineteenth century to the first decades of the twentieth. The author claims that costuming is at the center of the amazing cultural production of the Silver Age, and it is hard to argue with her. She finds costuming in Symbolist and Futurist poetry as well as works by Andreev and Akhmatova. Costuming was also central to the pre-revolutionary political activity of this period. The book has many surprises, and the reader will find masquerade permeating most aspects of Russian culture.
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Koltsova, Natalia. "The Program of the Academic Discipline “The History of Russian Literature of the late 19th – early 20th century”." Stephanos Peer reviewed multilanguage scientific journal 40, no. 2 (March 31, 2020): 119–28. http://dx.doi.org/10.24249/2309-9917-2020-40-2-119-128.
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Olczak, Z. "Creating the collection of Russian books in the Library of the Warsaw educational district in 1832–1850." Bibliosphere, no. 1 (April 29, 2020): 65–72. http://dx.doi.org/10.20913/1815-3186-2020-1-65-72.
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The author discusses the process of creating the collection of Russian books in the first half of the 19th century in the contemporary Library of University in Warsaw. Three types of sources were used: 1) the reports of the superintendents of the Warsaw Education District prepared in 1841–1860 and stored as part of the archival collections of the Ministry of Education of the Russian Empire in Russian State Historical Archives in StPetersburg; 2) the printed catalog of A. F. Smirdin Library – a copy with annotations of Warsaw librarians held by the University Library in Warsaw; 3) a hand-written catalog of Russian books held by the Library of Warsaw Education District in 1850 stored in the Archives of the University Library in Warsaw. Their analysis allowed the author the following statements about the collection of the Russian books: 1) in 1850 the collection included 4055 titles in 6493 volumes; 2) this collection makes 9% of the whole Library collection; 3) the subject of the collection is humanities (Russian literature, Russian philology, history of Russia and world history, theology and religion nearly absent); 4) the collection is of a very high cultural value (it includes rare and valuable editions of books of most prominent Russian writers of the first half of the 19th century, for instance first editions of Pushkin’s works); 5) main trends in Russian books acquisition were the history of Russia, politics, fictions and analyses of these works.
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Zhabreva, Anna E. "Male Costume of Serbia and Montenegro on the Frontispieces of 19th Century Books (From the Slavic Literature Fund of the Russian Academy of Sciences Library)." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 83–101. http://dx.doi.org/10.21638/spbu15.2021.106.
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The article analyzes eight frontispiece portraits of Serbian and Montenegrin statesmen from the 12–19th century as well as one collective ethnographic image of an inhabitant of the Bay of Kotor. These consist of prints found in seventeen Serbian and Montenegrin 19th century publications which were found in the Slavic Literature Fund of the Russian Academy of Sciences (Saint Petersburg). The portraits are considered as works of book graphics, as historical and ethnographic sources. They were compared with other pictorial sources — originals of portraits, images of genuine clothing and jewelry, as well as ethnographic materials. There are detailed descriptions of the costumes depicted in the portraits, the names and characteristics of the clothes, hats and decorations. As a result of the comparison, it was found that some engravings are fictitious images, while others, made from pictorial lifetime originals, can serve as important material for the reconstruction of Serbian and Montenegrin appearance and costume, including specific historical figures. An attempt was made to reveal the relationship of the costume of the ruler at the end of the 18th — first half of the 19th century both with the fashion trends of the era, and with his national identity and political views. These aspects manifested themselves with particular vividness in the portraits of Milos Obrenovich, Karageorgy, Vladyka Daniel and Peter Petrovich Njegos. The analysis of portraits in chronological order made it possible to touch upon the theme of Serbian and Montenegrin costume history, which has been insufficiently studied in the Russian press.
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Novyk, O. P. "THE POETICS OF ROMANTICISM OF MYKHAILO MINCHAKEVYCH’S WORKS IN THE SON OF RUS." Rusin, no. 60 (2020): 154–66. http://dx.doi.org/10.17223/18572685/60/9.
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The article analyses Mykhailo Minchakevych’s poems “Satire”, “Rozsvit”, “Roksolana”, “Separation”, dumka “Cross stone near Lyubchych”, love elegy “Dumka” from the manuscript collection The Son of Rus (1995), with the focus on the poetics of romanticism and imagery. The author compares the themes and motives in Mykhailo Minchakevych’s poetry with those of other Romanticists (Markiyan Shashkevich, Mykola Petrenko). The poetics of Minchakevych’s works was incluenced by the writing of Markiyan Shashkevych and other Galician authors; however, it demonstrates the similarities with East Ukrainian literature of the first half of the 19th century as well as European Romanticism. Mykhailo Minchakevych uses the so-called “word complexes” (D. Chyzhevsky), inherent to Ukrainian Romanticism. His desire to demonstrate the Rusinian great history is manifested in his reminiscences of the time of Kievan Rus and allusions to famous historical figures of the past. Similarly, the poet tries to show the influence of the Rusins on European history by mentioning the ties of blood between the Russian princes and European rulers. The poems “Satire”, “Rozsvit”, “Roksolana” convey the moods of “Russian Trinity” both through motives and imagery, thus revealing the influence of Markiyan Shashkevych. Mykhailo Minchakevych’s poems are also close to folklore, which becomes evident in their motives, composition, and the use of repetitions and onomatopoeia. Minchakevych’s poetry as a component of the “Russian Trinity” phenomenon reflects the processes that took place in the Ukrainian culture in the first half of the 19th century.
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Sarbash, Lyudmila N. "Non-Russian Mythology and Folklore in the Volga Travelogue of the 19th Century." Imagologiya i komparativistika, no. 15 (2021): 140–55. http://dx.doi.org/10.17223/24099554/15/8.
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The Volga Travelogue is a large layer of travel essays in the 19th-century Russian literature. This layer has not become a subject of special research in literature studies. The “journey along the Volga” is distinguished by the wide diversity of issues and themes it discusses: the economic and industrial activities of the region, its cultural and historical sights, the uniqueness of the Volga region in an ethnographic perspective – of the multifaceted “Volga region resident”. One of the structural components of the travelogue is the Volga mythology and folklore: historical-geographical and cultural-ethnic information is supplemented with legends of the ancient Volga, Russian and non- Russian (Tatar, Mordovian, German, Kalmyk) legends. Describing the “non-Russian Volga”, writers refer to the national aspects of the life of different nationalities, the most important archetypes of their consciousness. A characteristic feature of N.P. Bogolyubov’s travelogue The Volga from Tver to Astrakhan is the non-Russian word as a marker of cultural identity: it is invariably present in the description of national customs. Telling about the “Mordovian places” of the Volga region, Bogolyubov describes specific rituals associated with the birth of a baby and with burials. The Muslim as a different national and cultural tradition of the Volga region particularly attracts writers’ attention. M.I. Nevzorov, in his Journey to Kazan, Vyatka and Orenburg in 1800, tells about the spiritual and religious experience of the Tatar people: writes about the ontological constants, acquaints the reader with epigraphic culture representing Muslims’ existential ideas about people and the universe. S. Monastyrsky, in his Illustrated companion along the Volga, presents Tatar legends about the winged snake Jilantau, about the “Black Chamber” and the khan’s daughter. These legends express the religious and poetic ideas of the people. Telling about the local cultural and mythological tradition is a characteristic feature of the Russian travelogue: an autochthon is represented by its ethnocultural identity. Folklore material functions in structural parallels – multilingual sources: V.I. Nemirovich-Danchenko, in his travelogue The Great River: Pictures from the Life and Nature on the Volga, gives two – Russian and Mordovian – versions of the legend about “Polonyanka”, and notes the particular poetry of the non-Russian text. In the combination of various – Tatar, Russian, Kalmyk – cultural and national constants of the lower Volga. German characterology is particularly expressed. A German legend associated with biblical material about the history of the prophet Elijah’s wandering through the desert to Sarepta of Sidon is fixed in the travelogues of Ya.P. Kuchin, S. Monastyrsky, and A.P. Valueva. The legend conveys the historical “memory of the place” – the foundation of the Sarepta colony. In the travelogues of V. Sidorov, N. Bogolyubov, descriptions of Buddhist Kalmyks, with their way of life, khuruls and gelyungs, are supplemented with Kalmyk legends about the Bogdo-Ola mountain. Folklore and mythology as categories of a non-native cultural text complicate the artistic system of the travelogue and contribute to the poetic comprehension of the poly-ethnic and poly-confessional Volga region.
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Portnova, Irina V. "Russian Animalism in Relation to Other Genres of Fine Art in the History of Russian Culture of the 18th—19th Centuries." Observatory of Culture 17, no. 6 (February 10, 2021): 606–15. http://dx.doi.org/10.25281/2072-3156-2020-17-6-606-615.
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The article deals with the historical-cultural topic of relations of the Russian animalism with other genres of fine art of the 18th and 19th centuries. When the features of animalistic art were identified as a peculiar and characteristic phenomenon open to interaction, animalism became an original page of Russian culture. The author refers to this topic in connection with the small number of complex studies in the field of animalism. The purpose of the article is to consider the specific features of animalism, as a characteristic original phenomenon of Russian artistic culture, in the context of the existing genre system of the two designated periods. The relevance of the article lies in the fact that the issues of interaction and integration are very significant in historical and modern artistic practice. The demonstration of such “communications” on the example of Russian animalistic painting, graphics, and sculpture further enriches and diversifies the sphere of Russian art, giving it the character of integrity and national color.The article presents a review of Russian and foreign literature on this topic, indicates that animalism entered the system of genres of Russian art of the 18th—19th centuries as a special “genus” of it, showing an independent status. For two centuries, artists set their task to create an animal’s image in the sphere of the natural reality they observed. The nature they perceived and the animals in it were reflected in different genres of fine art. In the 18th century, when the Academy of Arts and related classes were organized in Russia, animals and birds began to be depicted in historical, battle, landscape paintings, and still lifes. Wild and domestic animals appeared in paintings by foreign and Russian masters. In the 19th century, the horse became one of the most preferred characters in portraiture and sculpture (along with the historical and landscape genre). The author concludes that the historical realities of that time highlighted that image and determined the formation of a separate “hippic genre”.
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Subotic, Milan. "Moscow, the third Rome: A contribution to history of Russian messianism, 2nd part." Filozofija i drustvo 22, no. 2 (2011): 105–28. http://dx.doi.org/10.2298/fid1102105s.
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In the second part of the text about the Filofei?s doctrine of ?Moscow, Third Rome,? the author deals with its reception in later periods of Russian intellectual and political history. Although this doctrine in its original form had no explicit imperial or foreign-political connotation, this paper analyzes the interpretations of the ?Third Rome idea? that had significant political consequences. Internally, this idea was used by Prince Kurbskii for the criticism of Ivan the Terrible?s politics (XVI Century), as well as the rejection of the church reforms of Patriarch Nikon in the Old Believers? literature (XVII Century). However, the revival of interest in the idea of the ?Third Rome? characterized the Russian nineteenth century when the discussions on the relationship between Russia and the West emerged. Criticizing the reforms by Peter the Great, the classical Slavophiles found confirmation of the Russian cultural originality and superiority in the past of traditional Muscovy. The author highlights the differences between religious-philosophical and geopolitical interpretations of Russian messianism in the works of Russian Slavophiles and Panslavs. In the final section of this article, Russian messianic ideas are put in a relation with the birth of nationalism in the context of the Russian Empire. In this way, the author?s findings call into question the widespread interpretation of the ?Third Rome messianism? as a distinctive and exceptional Russian characteristic.
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Khugaev, Irlan S. "“Imam, don’t go to Groznaya”: on the fundamental idea of the historical novel “The Wild Terek“ by Hadji-Murat Muguev." Polylinguality and Transcultural Practices 18, no. 3 (September 10, 2021): 268–76. http://dx.doi.org/10.22363/2618-897x-2021-18-3-268-276.
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Hadji-Murat Muguev (1893-1968) was a prominent representative of Soviet literature, an Ossetian by origin who wrote in Russian. As a veteran of three wars (WWI, the Civil War, and WWII), Hadji-Murat Muguev devoted most of his works to military topics. The Wild Terek (1937-1968), a historical novel about the Caucasian War of the 19th century, is considered his magnum opus. The topic proposed herein is of interest due to, first, the desirability of a new reading of the text of Soviet literature, especially as regards its historical concept; secondly, a vivid ethno-cultural character of the material; thirdly, a peculiar poetic manner of translingual (written in Russian) literature of peoples of the Russian Caucasus. It is noteworthy that the novel has not received due consideration by contemporary literary criticism; as for the Soviet period, the then critics were carried away with the major ideological issues provoked by its contents and thus disregarded its imaginary characters, internal framework and particular motifs that worked for the fundamental idea. In this article, by relying on a number of key factors, we intend to highlight some ideologic discourses of Muguevs text referring to the authors humanistic system and signs of forthcoming peace between the peoples of the Caucasus and Russia.
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Petrova, Aleksandra V. "Study of Handwritten Albums in the National Science in the 19th — Early 21st Century." Bibliotekovedenie [Russian Journal of Library Science] 69, no. 3 (August 27, 2020): 271–80. http://dx.doi.org/10.25281/0869-608x-2020-69-3-271-280.
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The article considers bibliography of study of Russian albums of the 19th — early 21th century. Development of Russian historiography of this topic was uneven. The author consistently describes three main stages in the study of handwritten album: response of contemporaries and public discussions of this phenomenon; the beginning of publication of album texts; introduction of albums to science. The article presents the main directions of academic research. The author considers domestic publications about Russian albums, starting from the first quarter of the 19th century through the beginning of the 21st century. The analysis of the literature on albums was carried out from the point of view of the author’s area of interests (study of the history of autograph albums, their typology and functions), the nature and scope of the objects studied, the main tasks of these works and their methodological principles. The main problem in historiography is development of typology of handwritten albums. The choice of typology as the main subject of analysis is explained by the fact that in general this phenomenon of Russian culture of the late 18th — first quarter of the 20th century was not studied systematically. The author notes that in order to create the full picture of Russian album culture, it is necessary, first of all, to build the typological system. The result of the author’s research is the complete review of publications on Russian handwritten albums published from 1820 to 2016. The author highlights the main typological principles of albums that are typical for different approaches, research schools and directions of study. The article notes that many issues have not been considered until the present moment. The approach to album as a source of history of individual writing and sociocultural behaviour is beyond the study, while the comprehensive analysis of Russian album, writing and signature in it is one of the promising directions of research of the culture of everyday life of the 18th — 20th centuries. The general conclusion of the article focuses on the absence of universal typology in historiography, which the author suggests to present in the following works.
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Abreu, José Guilherme, Salomé Carvalho, Rui Bordalo, and Eduarda Vieira. "THE IMAGE OF SOARES DOS REIS’ SCULPTURE IN ART HISTORY, ART CRITICISM AND LITERATURE: EPOCHS, MODELS AND REPRESENTATIONS." ARTis ON, no. 9 (December 26, 2019): 74–85. http://dx.doi.org/10.37935/aion.v0i9.240.
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A hundred thirty years after his dramatic death, António Soares dos Reis (ASR) remains a huge challenge for art history understanding and art criticism interpretation, since he has been seen simultaneously as “a Greek, […] a realist, […] a classical, […] and a naturalist” (Arroyo, 1899: 78). His major sculpture – O Desterrado – being “an existential work” (França, 1966: 454) escapes from the classic orthodox aesthetic analysis, standing apart from the typical sculptural work of late 19th century. Our hypothesis is that ASR art works like a Rorschach test, for the narratives referred to it, instead of unveiling its character, reveal the concepts and beliefs upon which successive art studies have been produced. No visual images are displayed in this text, since the aim of our study is to detect the mental images associated to the insights and models that art historians and other authors traditionally used to assess ASR’s artistic work.
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Kondakov, Yuri E. "Documents on Freemasonry from the Archive of Archimandrite Photius (Spassky)." Herald of an archivist, no. 3 (2020): 676–91. http://dx.doi.org/10.28995/2073-0101-2020-3-676-691.
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The article introduces into scientific use an analytical note on Freemasonry addressed to Alexander I. In Europe in the 18th – 19th centuries, there was extensive anti-Masonic literature. In Russia, such works were rare. Reputedly, the greatest Russian extirpator of Freemasonry was Archimandrite Photius (Spassky). The ban of Masonic lodges in 1822 is attributed to his influence on Alexander I. Photius was one of the leaders of the social movement of the Russian Orthodox opposition. Among other objects of its criticism were the Masonic lodges. However, a consolidated anti-Masonic action failed to materialize. Now it has been made possible to explain the opposition’s restraint in its attitude to Freemasonry. Four volumes of documents belonging to archimandrite Photius have been found in the Russian State Historical Archive. These are the materials from 1817-1832. The collection includes personal documents of Photius, messages and letters of Metropolitan Seraphim (Glagolevsky), A.A. Arakcheev, A.S. Shishkov, Metropolitan Filaret (Drozdov). Many of these documents were handed over to Emperor Alexander I and influenced his change of heart in the politics. An anonymous note on Freemasonry from the Photius collection is included in the article in its entirety as a rare example of an anti-Masonic message to the Emperor. The note gives a retrospective of the Masonic movement in Russia. It describes what influence the masons of the 18th century had on Freemasonry of the 19th century. Most mentioned Masonic leaders belonged to the “Rosicrucian” system of Freemasonry (Order of the Golden and Pink Cross). The author of the note assured the emperor that there were Rosicrucians in his inner circle. He named Senator I.V. Lopukhin, publisher and translator A.F. Labzin, R.A. Koshelev, and the tsar’s friend, Minister A.N. Golitsyn. Photius’s documents show that criticism of Freemasonry was not the focus of the Russian Orthodox opposition activities. Among the opposition there were people who shared the idea of a worldwide Masonic conspiracy: S.I. Smirnov, M.L. Magnitsky. In Archimandrite In the Photius’s documents references to Freemasonry are very rare. At the time of the opposition’s action in 1824, the issue of Freemasonry was no longer relevant, since Freemasonry was subjected to a government ban in 1822.
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Lushnikov, Alexander A. "The Origin of the Term “the Paganism of the Eastern Slavs” in the Russian Scientific Literature: the “Pagan Past” and Historical Memory." Study of Religion, no. 3 (2019): 5–20. http://dx.doi.org/10.22250/2072-8662.2019.3.5-20.
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The article deals with the genesis of the definition “the paganism of the Eastern Slavs” in the works of Russian historians in the 18th–19th centuries. The author determines the sources of that terminology and considers its methodological and ideological sense. He compares the definitions of Old Russian antipagan texts and first Russian scientific works on history and mythology. The medieval literature contained a lot of concepts, but one can’t find their any mention about “paganism” as phenomenon as well as the word “paganism”. Old Russian authors mostly wrote about “pagan people” as social and religious group and gave them the concrete features depending of the context. The awareness with “paganism” as a phenomenon should relate to the scientific works on history and mythology. This definition firstly appeared in the lexicons of E. Veisman and I.K. Adelung with their Russian translation of the Latin “gentile” and German “heidentum”. Also one can find it in the “Russian history” of V.N. Tatishchev who used “Cimbrische Heyden Religion” written by Arnkiel Trogilliusas as one of the important source. However, it took a while to make this definition to become central in the scientific literature. At the beginning of the 19th century, a lot of authors preferred to use the word “basnoslovie”. The definition “paganism” became fundamental with the issue of the great work N.M. Karamsin after all. Such history of this word reveals not only its complexity and ambiguity but the argumentativeness of the traditional view of “paganism” as a product of the church literature only.