scholarly journals F. M. Dostoevsky: Biography in Photographs

2020 ◽  
Vol 7 (3) ◽  
pp. 114-148
Author(s):  
Pavel Fokin ◽  
Maria Zusmanovich
Keyword(s):  
Comparative Analysis ◽  
Russian Literature ◽  
The State ◽  
Comprehensive Description ◽  
Thematic Content ◽  
Memorial Museum ◽  
State Museum ◽  
History Of

The collection of photographic materials of The Vladimir Dahl State Museum of the History of Russian Literature, related to the life and work of F. M. Dostoevsky, is the largest such collection and currently includes 2540 items. The collection of photographs is based on the memorial collection of A. G. Dostoevskaya from the Memorial Museum of F. M. Dostoevsky. In the 1930s, it was transferred to the F. M. Dostoevsky Museum, established in Moscow in 1928, and after its merge with the State Literary Museum in 1940 (since 2017 — The Vladimir Dahl State Museum of the History of Russian Literature), it became a part of its photography collection. The compendium of photographs related to the life and work of Fedor Dostoevsky continued to grow in the following years. The article provides a comprehensive description of the collection of photos based on two main criteria: by the type of material — original photos, reshot photos, duplicate photos; by genre and thematic content of the images — portraits of F. M. Dostoevsky, portraits of relatives, portraits of children of F. M. Dostoevsky, nephews, descendants, portraits of friends, acquaintances, сontemporaries, sights of places related to the biography of F. M. Dostoevsky. The article analyzes the accompanying inscriptions and autographs on the photographs, specifies the dating and location of the images, which allows to make corrections and additions to the Chronicle of the life and work of F. M. Dostoevsky. Based on a comparative analysis of the translator’s gift autograph on his photo, the facts of F. M. Dostoevsky’s biography, and the analysis of F. M. Dostoevsky’s letter to an unidentified person dated December 5, 1863, an assumption is made that the addressee of the letter is W. Wolfzon.

scholarly journals F. M. Dostoevsky: Biography in Photographs

2020 ◽  
Vol 7 (3) ◽  
pp. 114-148
Author(s):  
Pavel Fokin ◽  
Maria Zusmanovich
Keyword(s):  
Comparative Analysis ◽  
Russian Literature ◽  
The State ◽  
Comprehensive Description ◽  
Thematic Content ◽  
Memorial Museum ◽  
State Museum ◽  
History Of

The collection of photographic materials of The Vladimir Dahl State Museum of the History of Russian Literature, related to the life and work of F. M. Dostoevsky, is the largest such collection and currently includes 2540 items. The collection of photographs is based on the memorial collection of A. G. Dostoevskaya from the Memorial Museum of F. M. Dostoevsky. In the 1930s, it was transferred to the F. M. Dostoevsky Museum, established in Moscow in 1928, and after its merge with the State Literary Museum in 1940 (since 2017 — The Vladimir Dahl State Museum of the History of Russian Literature), it became a part of its photography collection. The compendium of photographs related to the life and work of Fedor Dostoevsky continued to grow in the following years. The article provides a comprehensive description of the collection of photos based on two main criteria: by the type of material — original photos, reshot photos, duplicate photos; by genre and thematic content of the images — portraits of F. M. Dostoevsky, portraits of relatives, portraits of children of F. M. Dostoevsky, nephews, descendants, portraits of friends, acquaintances, сontemporaries, sights of places related to the biography of F. M. Dostoevsky. The article analyzes the accompanying inscriptions and autographs on the photographs, specifies the dating and location of the images, which allows to make corrections and additions to the Chronicle of the life and work of F. M. Dostoevsky. Based on a comparative analysis of the translator’s gift autograph on his photo, the facts of F. M. Dostoevsky’s biography, and the analysis of F. M. Dostoevsky’s letter to an unidentified person dated December 5, 1863, an assumption is made that the addressee of the letter is W. Wolfzon.

scholarly journals The history of the Memorial Museum Perm–36: the experience of historiographical comprehension and museumification

2021 ◽  
Vol 5 (4) ◽  
pp. 1325-1368
Author(s):  
Sergei A. Shevyrin
Keyword(s):  
Human Rights ◽  
Administrative Support ◽  
Timber Harvesting ◽  
The State ◽  
Political Repression ◽  
The Public ◽  
Memorial Museum ◽  
State Museum ◽  
History Of ◽  
Public Museum

The article studies the history of a small timber-harvesting colony that was created in the times of the GULAG labor camps, outlived the period of being a political colony, and was transformed into a museum, the Museum of the History of Political Repression Perm–36, in the 1990s. Based on the analysis of publications of the 1990s–2000s, an attempt was made to recreate the history of comprehension of the era of political repression using the example of a certain museum. From the active study of the topic in the early 1990s and establishment of a public museum with support from the Perm Oblast administration, Perm–36 moved on to undergo severe criticism from the local and federal press, deprivation of financing and administrative support and, finally, rather rough dismissal of the museum administration and appointment of top managers from the Ministry of Culture. The public museum had a powerful creative and scientific potential that allowed it to develop, implement new forms of work, and attract the international museum and human rights community, but, unfortunately, the State Memorial Museum of the History of Political Repression Perm–36 has become an ordinary regional museum in fact. In the first years of being a state museum (2015–16), the administration of Perm-36 tried to revise the directions of work of the public museum. This was expressed in its attempts to justify the authorities and the cruel laws of the time when the colony existed and to find some incriminating evidence against its political prisoners. New exhibitions of the museum (e.g. “Broken by windfalls”) highlighted the state’s need for the prisoners’ work, in particular in harvesting timber needed for the reconstruction of war-ravaged cities, the successes in mechanization of camp production, and so on. The public outcry forced the leadership of the museum to adjust its course. Now, according to the development concept adopted in 2019, the activities of the reserve museum are aimed at preserving the memory of victims of political repression in order to prevent such tragedies in the future. The state museum Perm–36 continues to open new exhibitions and expositions that tell the story of the colony through the stories of people from the GULAG camps, dissidents, and human rights activists. However, the activities of the state memorial museum, which is deprived of public initiative and creative potential of the first directors, cannot yet rise to the level of international recognition and significance that its predecessor, the public museum, used to have.

scholarly journals Pushkin Speech by Fedor Dostoevsky as an Event (Based on the Materials of the Manuscript Fund of the Vladimir Dahl State Museum of the History of Russian Literature)

2020 ◽  
Vol 7 (2) ◽  
pp. 162-195
Author(s):  
Pavel E. Fokin ◽  
Anna V. Petrova
Keyword(s):  
Golden Age ◽  
Russian Literature ◽  
Public Event ◽  
Cultural Event ◽  
Memorial Museum ◽  
State Museum ◽  
Information Event ◽  
History Of ◽  
Almost All ◽  
Event Based

140 years ago, on June 8 (20), 1880, on the occasion of the celebrations associated with the opening of the monument to Alexander Pushkin, F. M. Dostoevsky gave a speech at the second meeting of the Society of Connoisseurs of Russian Literature at the Moscow Noble Assembly hall. It was immediately recognized as a social and cultural event. This episode in Dostoevsky's biography has repeatedly attracted the attention of researchers. The manuscript collection of The V. I. Dahl State Museum of the History of Russian Literature contains a significant set of materials related to Dostoevsky’s participation in the Pushkin Celebration. In the process of collecting materials for the Memorial Museum of F. M. Dostoevsky, A. G. Dostoevskaya, the writer’s widow conducted thorough bibliographic work, tracing almost all available publications in the Russian press devoted to Pushkin speech. She made extensive extracts from newspapers, which allow you to see the event through the eyes of Russian reporters. As the analysis shows, only minor fragments of newspaper reports were of interest to Dostoevsky's biographers. The characteristic of the responses of the Russian press to Pushkin speech as a major public event, presented in this article, allows to expand the context of Dostoevsky's speech and offer a more detailed overview of the audience of Pushkin speech. An observation is made about the similarity of the event associated with Dostoevsky's speech with his optimistic anthropology, formulated in the article Golden age in the pocket (1876, A Writer’s Diary). The presented systematic corpus of publications rooted in the Pushkin speech, allows us to conclude that the speech itself became the most important information event of 1880 as a social and cultural event and literary and journalistic essay. The Appendix to the article contains photos of some materials from the Manuscript Fund of the Vladimir Dahl State Museum of the History of Russian Literature.

scholarly journals Kashf al-Gharā’ib: Terjemahan atas Kitab Munfarijah Karya Imām Muḥaqqiq Abī Yaḥyā Zayn al-Dīn Zakarīyā

2017 ◽  
Vol 7 (1) ◽  
pp. 96-118
Author(s):  
Syaukani Syaukani
Keyword(s):  
Social History ◽  
Physical Condition ◽  
Islamic Law ◽  
Ethical Issues ◽  
Scientific Information ◽  
The State ◽  
The Social ◽  
State Museum ◽  
History Of ◽  
North Sumatra

An effort to preserve and utilize manuscripts in this archipelago, especially religious manuscripts, is very important due to, at least, two reasons. Firstly, there has been abundant important information pertinent to religious phenomena in the manuscripts. Secondly, physical condition of the manuscripts has been increasingly fragile. Following the process of choosing the manuscript, the author has selected one of the manuscripts preserved in the State Museum of North Sumatra. This study employs the theory of philology, literature and history in analyzing the manuscript. Analyses are focused on the language used, the cultural background of the manuscript, and the social history of the region where it has been written. The findings of this study tell us that the manuscript, named Kashf al-Gharā’ib, is a classical Islamic manuscript which still has been well preserved at the State Museum of North Sumatra. It contains the scientific information of fiqh (Islamic law), especially discussing about the way of worshipping the God. The manuscript also consists of religious poems and problems of adab (ethics). Of the three topics discussed in this manuscript, I give considerable attention on worship and ethical issues.

scholarly journals The First Production of The Brothers Karamazov on the Russian stage in the Mirror of the Press (Based on the Collections of the Vladimir Dahl State Museum of the History of Russian Literature)

2020 ◽  
pp. 219-241
Author(s):  
Pavel E. Fokin ◽  
Ilya O. Boretsky
Keyword(s):  
Russian Literature ◽  
The Novel ◽  
Theatrical Production ◽  
Distinctive Features ◽  
The Brothers Karamazov ◽  
The Press ◽  
State Museum ◽  
History Of ◽  
Brothers Karamazov

The first Russian theatrical production of Dostoevsky's novel The Brothers Karamazov premiered on the eve of Dostoevsky’s 20th death anniversary on January 26 (February 7) 1901 at the Theater of the Literary and Artistic Society (Maly Theater) in St. Petersburg as a benefit for Nikolay Seversky. The novel was adapted for the stage by K. Dmitriev (Konstantin Nabokov). The role of Dmitry Karamazov was performed by the famous dramatic actor Pavel Orlenev, who had received recognition for playing the role of Raskolnikov. The play, the staging, the actors’ interpretation of their roles became the subject of detailed reviews of the St. Petersburg theater critics and provoked controversial assessments and again raised the question about the peculiarities of Dostoevsky’s prose and the possibility of its presentation on stage. The production of The Brothers Karamazov at the Maly Theater in St. Petersburg and the controversy about it became an important stage in the development of Russian realistic theater and a reflection of the ideas of Dostoevsky’s younger contemporaries about the distinctive features and contents of his art. The manuscript holdings of the Vladimir Dahl State Museum of the History of Russian Literature includes Anna Dostoevskaya’s collection containing a set of documentary materials (the playbill, newspaper advertisements, reviews, feuilletons), which makes it possible to form a complete picture of the play and Russian viewers’ reaction to it. The article provides a description of the performance, and voluminous excerpts from the most informative press reviews. The published materials have not previously attracted special attention of researchers.

scholarly journals The Interaction of the State Museum Fund and Museums of the Tatar ASSR in the 1920s

2018 ◽  
Vol 15 (6) ◽  
pp. 754-763 ◽  
Author(s):  
Natalia V. Gerasimova
Keyword(s):  
Fine Arts ◽  
The State ◽  
Public And Private ◽  
Art Collections ◽  
Art Collection ◽  
State Museum ◽  
Scientific Principles ◽  
History Of ◽  
Private Museums ◽  
First Time

The article is devoted to one of the Soviet State’s policy directions at the first stage of its existence, aimed at the preservation of cultural va­lues and the formation of museum art collections. The poorly studied question about the features of this policy implementation is revealed on the example of the TASSR (Kazan Province — before May 1920), where in the 1920s a whole network of museums was created; almost in each of them, an art department was organized. The appeal to this topic is relevant in connection with the opening of a large number of public and private museums, which face similar challenges, as well as the active scientific activities of museums to study their own collections, in the framework of creation of the State Catalogue of the Museum Fund of the Russian Federation. For the first time, the article introduces into scientific circulation a number of sources, on the basis of which the main directions of this activity, as well as the museums’ art collections themselves, are analyzed. In the TASSR, the interaction with the State Museum Fund (SMF) was carried out by the Department for Museums and Protection of Monuments of Art, Anti­quities and Nature, employees of which (P.M. Dulsky and P.E. Kornilov) were engaged not only in organization of the artworks’ transferring to museums, but also in their selection. The article states that, thanks to the SMF, the Central Museum of the TASSR had the most complete and valuable art collection, and an interesting collection was formed in the Kozmodemyansky District Museum, which was part of the Kazan Province until 1920. This study shows that the SMF was an important and effective mechanism for the implementation of state policy in the field of culture: its activities contributed to the creation of provincial museums’ collections, based on scientific principles and aimed at presenting the history of fine arts development.

scholarly journals The First Production of The Brothers Karamazov on the Russian stage in the Mirror of the Press (Based on the Collections of the Vladimir Dahl State Museum of the History of Russian Literature)

2020 ◽  
pp. 219-241
Author(s):  
Pavel E. Fokin ◽  
Ilya O. Boretsky
Keyword(s):  
Russian Literature ◽  
The Novel ◽  
Theatrical Production ◽  
Distinctive Features ◽  
The Brothers Karamazov ◽  
The Press ◽  
State Museum ◽  
History Of ◽  
Brothers Karamazov

The first Russian theatrical production of Dostoevsky's novel The Brothers Karamazov premiered on the eve of Dostoevsky’s 20th death anniversary on January 26 (February 7) 1901 at the Theater of the Literary and Artistic Society (Maly Theater) in St. Petersburg as a benefit for Nikolay Seversky. The novel was adapted for the stage by K. Dmitriev (Konstantin Nabokov). The role of Dmitry Karamazov was performed by the famous dramatic actor Pavel Orlenev, who had received recognition for playing the role of Raskolnikov. The play, the staging, the actors’ interpretation of their roles became the subject of detailed reviews of the St. Petersburg theater critics and provoked controversial assessments and again raised the question about the peculiarities of Dostoevsky’s prose and the possibility of its presentation on stage. The production of The Brothers Karamazov at the Maly Theater in St. Petersburg and the controversy about it became an important stage in the development of Russian realistic theater and a reflection of the ideas of Dostoevsky’s younger contemporaries about the distinctive features and contents of his art. The manuscript holdings of the Vladimir Dahl State Museum of the History of Russian Literature includes Anna Dostoevskaya’s collection containing a set of documentary materials (the playbill, newspaper advertisements, reviews, feuilletons), which makes it possible to form a complete picture of the play and Russian viewers’ reaction to it. The article provides a description of the performance, and voluminous excerpts from the most informative press reviews. The published materials have not previously attracted special attention of researchers.

scholarly journals F.M. Dostoevsky, Author of A Writer’s Diary, in the Reactions of 1873-1874 Periodicals (Based on the Materials of the Manuscript Department at the Vladimir Dahl State Museum of the History of Russian Literature)

2020 ◽  
pp. 134-157
Author(s):  
Anna V. Petrova
Keyword(s):  
Russian Literature ◽  
Freedom Of Choice ◽  
Editorial Policies ◽  
Daily Newspapers ◽  
The People ◽  
The Press ◽  
State Museum ◽  
History Of ◽  
Knowledge Of Christ

The article analyses the reaction of the press to the publication of A Writer’s Diary in 1873. It aims to answer the question of why leading daily newspapers such as Golos, Sankt-Peterburgskie Vedomosti, Birzhevye Vedomosti, Novoye Vremya, did not accept and negatively evaluated Dostoevsky’s work as columnist and editor of the Grazhdanin. Dostoevsky returned to the newspaper business with a new genre, and from the very beginning of A Writer's Diary he declares his unlimited freedom of choice about the topics and format of his conversations with the reader. This fact immediately distinguished him from other columnists, who usually followed the standards of the feuilleton (a genre normally dedicated to the latest news), and strictly obeyed their editorial policies, constantly taking into account the publisher’s “wishes”. Columnists from leading newspapers in 1873–1874 could not find similarities between their work and Dostoevsky’s, between his method of describing reality and theirs, and so they neither could nor wanted to see the author’s novelty and originality that went beyond the established newspaper practice, to be surprised by the courage and innovation of his Writer’s Diary. Instead, most of the journalists (Lev Panyutin, Arkady Kovner, Mikhail Wilde and others) chose to be “critical” and – using irony, satirical attacks, sarcastic comments mockingly sought to undermine Dostoevsky’s authority as a columnist and discredit the values that he put above all in A Writer's Diary in 1873 (a “heartfelt” knowledge of Christ, the purification through suffering, the preservation of a relationship with the people). The article attempts to trace the development of this controversy and the factors that influenced its contents.

scholarly journals Four Portraits, No Retouching

2020 ◽  
Vol 7 (3) ◽  
pp. 97-113
Author(s):  
Pavel Fokin
Keyword(s):  
Russian Literature ◽  
Comprehensive Analysis ◽  
Comprehensive Examination ◽  
State Museum ◽  
History Of ◽  
Made In

Researchers are still raising questions related to the time and place of shooting of certain portraits in the scarce photographic iconography of F. M. Dostoevsky. First of all, this pertains to a set of early photographs, whose dating ranges between 1857 and 1863, according to various sources. The article offers new arguments in favor of attributing several portraits of F. M. Dostoevsky to 1859. This refers to photographs that captured an image of F. M. Dostoevsky that is unusual for most of his admirers, namely, without a beard. Two of them were taken in Semipalatinsk by the photographer S. A. Leibin, while in one of them F. M. Dostoevsky was captured together with the Kazakh educator Ch. Ch. Valikhanov, whom he befriended during the years of his exile. Another photo has not been precisely attributed. A comprehensive analysis of the details depicted on them, the facts of the biography of Ch. Ch. Valikhanov and the letters of F. M. Dostoevsky allows to date the Semipalatisk photographs with greater accuracy. The article proposes that another one of the portraits taken in Tver was carried out simultaneously with the shooting of the portrait of M. M. Dostoevsky. A comprehensive examination of various details and circumstances also leads to the same conclusions. To date, only a few copies of photographs with Ch. Ch. Valikhanov and a photograph allegedly taken in Tver are known. The original solitary portrait made in Semipalatinsk has been lost. The conducted research allows to assert that other copies of these photographs may exist. The proposed conclusions are made on the basis of a study of the originals of photographs in the collection of The V. I. Dahl State Museum of the History of Russian Literature.

Tradition, Innovations and Historical Events in the Early 20th Century Chinese Calendars from the Russian Collections

2021 ◽  
pp. 204
Author(s):  
Ekaterina A. Zavidovskaya
Keyword(s):  
20Th Century ◽  
Academic Library ◽  
Modern Technology ◽  
The State ◽  
State University ◽  
Political Events ◽  
The Family ◽  
State Museum ◽  
History Of ◽  
Technology Of Production

The paper discusses two types of Chinese calendars – a traditional agricultural calendar “nongli” which existed in China since the 9th century and a Westernized “yuefenpai” calendar that emerged in Shanghai in the late 19th century and flourished until the 30-40s of the 20th century. Apart from the lunar and solar calendars and a table of 24 seasons woodblock “nongli” calendar featured a Stove God Zao-wang alone or with a spouse surrounded by a suite, fortune bringing deities and auspicious symbols, Stove God was believed to ascend to heaven and report good and bad deeds of the family members to the Jade Emperor. New standards of “peoples`” art in PRC borrowed the aesthetics of the traditional woodblock popular prints by proclaiming “new nianhua” as a new tool of propaganda and criticizing “yuefenpai”.“Yuefenpai” differed from “nongli” by modern technology of production and acting as an advertisement, yet early pieces of Shanghai calendars either feature auspicious characters and motifs or introduce current political events, such as accession of the Pu Yi emperor on the throne in 1908 (reigned in 1908–1912). These calendars were seen to be a cheap and easily available media suitable for informing population about news and innovations. The paper attempts to revisit previously established interpretations of some “yuefenpai” calendars. The research is based unpublished pieces from the collections of the State Hermitage, the Museum of Anthropology and Ethnography, academic library of the St.-Petersburg State University, the State Museum of the History of Religion mostly acquired by V.M. Alekseev (1881–1951) during his stays to China.

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