THE ARTISTIC DECORATION OF NORTHERN MANUSCRIPTS

2021 ◽  
pp. 163-178
Author(s):  
Larisa V. Nenasheva ◽  
Keyword(s):  
18Th Century ◽  
King David ◽  
15Th Century ◽  
Handwritten Text ◽  
Late 18Th Century ◽  
Liturgical Texts ◽  
Russian North ◽  
Long Time ◽  
The One ◽  
Xix Century

For a long time Russian manuscript book has been famous for its rich artistic design. Miniatures containing parts of liturgical texts, sermons, saints’ lives, richly decorated miniatures, initials have changed over time, so they help to date a manuscript. The article studies the artistic design of northern manuscripts in order to figure out a more accurate date of the source. The subjects of the study are liturgical and theological books from the collection of the Arkhangelsk Museum Association “Russian North artistic culture”, created in the XV–XIX centuries. All researched manuscripts are written on paper and all of them are not dated, therefore the date of writing a book is first determined by paper signs, which is then confirmed by other facts, namely by drawings written at the same time as the main text. In “Prologue”, created at the end of the 15th century, the scribe uses the Balkan ornament, which was popular in Russian books of the second half of the 15th and 16th centuries. On the sheets with miniatures there are also large initials of the Balkan type. The “Psalter” of the late 18th century was copied from the printed edition of 1651. It contains the unfinished design of King David copied from the printed edition evidenced by the artist’s manner of performing this image. Some of the manuscripts are decorated by scribes with drawings copied or taken from printed editions of the same period as the book. Thus, in the collection of the early XIX century (a “white” date on paper – 1815) there is a miniature that occurs in such printed editions as “The Life of Basil the New”, 1792–1795 and 1801, or “Psalter” 1802–1803, 1812–1814 years. In the collection of the museum there are books consisting of printed and handwritten sheets, restored instead of lost printed ones. For example, in the “Tablet” of Patriarch Nikon, published in 1656, the text was restored by hand on several pages at the beginning of the 18th century that is determined by the paper signs on the pages of the book. On the one of the manuscript sheets there is a miniature taken from a printed source and pasted into the text. Such an ornament is found, for example, in the Minne December 1714. These data show that the handwritten text and design were made at one time. The collection of the museum contains several bright books, richly decorated with Pomor ornament, which was popular in Old Believers' manuscripts written in the Russian North, near the White Sea, in the second half of the 17th and 19th centuries. The Pomor ornament is noted in the books that were created in the eighteenth and early nineteenth centuries, and is no longer found in manuscripts of late writing, which also indicates that a text and a décor of the book were made the same time. Thereby, the studied material helped to confirm the dates of the creation of the manuscripts, and also showed once again that when the source is dated, all the data in the book are taken into account.

scholarly journals 'Krojenje' in Serbian chant: Application of cognitive structural models of improvisation

New Sound ◽  
2015 ◽  
pp. 29-44
Author(s):  
Marina Marković ◽  
Blanka Bogunović
Keyword(s):  
Oral Tradition ◽  
18Th Century ◽  
Structural Models ◽  
Psychological Research ◽  
Musical Work ◽  
Oral Transmission ◽  
Inherent Feature ◽  
Late 18Th Century ◽  
Long Time

Serbian chant, which was formed on the territory of the Metropolitanate of Karlovci in the late 18th century, has been transmitted primarily by oral tradition for a long time, despite numerous attempts to make church melodies available for liturgical use by producing miscellaneous collections. In the process of the oral transmission of the melodies belonging to the so-called short chant (i. e. less melismatic chant), hymns of the Osmoglasnik (Octoechos) serve as a basis for krojenje (literally: tailoring), which means the adaptation of the melody to a text. Since the procedure of krojenje involves simultaneously detaching Osmoglasnik melodies from their original texts and attaching them to the texts from other liturgical books without notation and realized orally, improvisation is an inherent feature of the krojenje process. Improvisation is an integral part of the creative procedure during the act of performing, even in cases when the musical work is not altogether created by improvisation, as is the case with hymns of contemporary Serbian chant. The relation between krojenje and certain levels of creation, initiated our interdisciplinary - musicological and psychological - research, with the aim of determining the structure of the improvisational process in shaping the melodies in Serbian chant, based on the analysis and application of musical-cognitive structural models.

Coulomb's Data on Harpsichord Wire

MRS Bulletin ◽  
1992 ◽  
Vol 17 (1) ◽  
pp. 24-27 ◽  
Author(s):  
Martha Goodway ◽  
William R. Savage
Keyword(s):  
18Th Century ◽  
Published Data ◽  
Torsion Pendulum ◽  
Late 18Th Century ◽  
Baroque Music ◽  
Degree Of Confidence ◽  
The Wire ◽  
Strength And Stiffness ◽  
The One ◽  
Brass Wire

Charles-Augustin Coulomb published data on the size, strength, and stiffness of harpsichord wire available in Paris in the late 18th century which has not been cited in the literature on musical instruments despite this century's revival of baroque music and the instruments upon which it was played. During an investigation of the internal friction of several antique music wires by means of a torsion pendulum similar to the one invented by Coulomb and first described in the 1784 mémoire (Figure 1), it occurred to us to ask what Coulomb had used as the suspensions in his pendulum. His biographer, C.S. Gillmor, mentioned “harpsichord strings”, and in Coulomb's 1784 Torsion mémoire we found: J'ai pris trois fils de clavcin, tels qu'on les trouve répandus dans le commerce, roulés sur des bobines, et numerotés (“I used three harpsicord wires, such as one finds distributed in commerce, wound up on spools, and numbered”).The spools of wire recently discovered in the stand drawer of a harpsichord in France fit Coulomb's description. The instrument was built in Paris in 1732 by Antoine Vater, and the wire found with it was wound up on small wooden spools similar to spools for thread. The spool of red brass wire had a mark punched in one end and the spool of iron wire had the gauge size (No 5) written on it in ink, while the spool of yellow brass wire had neither mark nor number. Samples of the wires from these three spools, generally agreed to be of 18th century manufacture, were collected by J. Scott Odell of the Smithsonian Institution as part of a research project which he initiated into the physical properties of antique wire. With these samples in hand it was possible to measure certain of their properties and to compare these properties with those reported in Coulomb's Torsion mémoire in 1784. Since Coulomb's wire was undoubtedly of 18th century manufacture (a degree of confidence that we do not always have with collected samples), and the data were taken not long after the wire was drawn, comparison with the Vater wire allows us to detect if, during two centuries, significant changes occur in highly drawn wire.

scholarly journals KRYASHENS OF UDMURT PRIKAMYE REGION IN THE LAST THIRD OF THE XVIII - MIDDLE XIX CENTURY

2019 ◽  
Vol 13 (3) ◽  
pp. 485-494
Author(s):  
Nikolai Viktorovich Pislegin ◽  
Vladimir Sergeevich Churakov
Keyword(s):  
Ethnic Group ◽  
19Th Century ◽  
18Th Century ◽  
Territorial Unit ◽  
Late 18Th Century ◽  
Udmurt Republic ◽  
Class Status ◽  
Xix Century ◽  
The 19Th Century ◽  
Over Time

The article comes to view the development of Kryashens, which are connected with Udmurts or with the territory of the modern Udmurt Republic, in the last third of the 18th - middle 19th century. The area in question is the Malmyzh and Elabuga counties of Vyaka province and Mamadysh county of Kazan province. The “Udmurt old-christened” ethno-class status of the inhabitants of the settlements of the Srednekushket volost’ of the Malmyzh county, noted by the sources, was to some extent a “tribute to tradition”. In Mamadysh county in 1834 historically associated with the Udmurts Kryashen settlements were located in 3 volosts; the tendency for their assimilation, which was reflected in the middle of the 18th century, was completed here even earlier, in the first third of the 19th century. In Yelabuga county since its formation there was a old-christened small administrative-territorial unit. In the historical settlements of Kryashens, located in our days in the territory of the Udmurt Republic (Grakhov and Kizner districts), their Udmurt origin, with few exceptions, is not traced. The appearance of this sub-ethnic group of Tatars here was mainly due to migration processes from the nearest southern territory. In this period the norm for the Kryashens was shared with other peoples - Tatars, Mari, Udmurts, and later - Russians. The presence of Russians in historical Kryashen villages steadily increased over time. From the late 18th century the Kryashen volosts often included villages with different ethnic-caste identity. From the second quarter of the 19th century the disappearance of the Kryashen small administrative-territorial units began. It was caused, first of all, by transformations of the state in this sphere.

scholarly journals »… sie bitten, sie weinen, sie drohen« – Emotionen in katholischen Ehedispensverfahren vom ausgehenden 18. bis zum Ende des 19. Jahrhunderts

Administory ◽  
2018 ◽  
Vol 3 (1) ◽  
pp. 48-60
Author(s):  
Margareth Lanzinger
Keyword(s):  
Social Interactions ◽  
18Th Century ◽  
The Other ◽  
Government Regulations ◽  
Other Hand ◽  
Late 18Th Century ◽  
Administrative Procedures ◽  
The One ◽  
Areas Of Interest

Abstract The points of departure for the contribution are the Catholic Church’s prohibition of consanguineous and affinal marriage and the practice of dispensation with a geographic focus on the Diocese of Brixen, which comprised parts of historical Tyrol and Vorarlberg during the period of study. Granting dispensation was and remained an act of grace, even when government regulations began to interfere in administrative procedures in the late 18th century. The amount of dispensation applications regarding close degrees of consanguinity and affinity significantly increased during this time. Emotions were an integral part of these proceedings. Two central areas of interest are: What were the effects of recording emotions in the dispensation paperwork, and how were the ways that emotions were described in writing expressed in social interactions? The hypothesis of this study is that applicants tried using emotions as instruments for expediting their applications on the one hand, and that lower-level clergy used the practice of recording emotions in order to legitimize supporting dispensation applicants on the other hand.

Las primeras propuestas de ‘Selección de Norma’ para el gallego

1997 ◽  
Vol 24 (1-2) ◽  
pp. 139-157
Author(s):  
Mauro Fernández
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
Writing System ◽  
Mountainous Regions ◽  
15Th Century ◽  
The People ◽  
Written Form ◽  
Actual Speech ◽  
The One

Summary Linguistic sttudies of Galician began in the last third of the 18th century with Father Martín Sarmiento (1695–1772). Since the tradition of writing in this language had been interrupted towards the end of the 15th century, its later recovery required certain decisions on what the model for ‘good Galician’ would be as well as on the norm for the writing system. In this article, I will explore the various destinies of the available options: (1) the adherence to actual speech; (2) the adherence to an archaic available norm; and (3) the approach to the Portuguese norm, which in its extreme formulation, assumes the adoption of this language as the high variant and the written form of Galician. A close examination of prefaces and introductions to grammars, dictionaries, and other relevant texts shows a clear preference for the first solution. ‘Good Galician’ would thus be the one spoken by the people, in all its diversity, with some exclusions which varied according to the author: In some cases, important towns and urban variants were excluded; in others, the mountainous regions and the areas bordering with Castile; and in certain cases, the ‘people’ only meant ‘the best’ in each town. Options 2 and 3 made a timid appearance towards the end of 19th century even though 3 gained acceptance throughout the 20th century, specially in the last twenty years.

scholarly journals Mellem kommunikation og kreativitet – deltagelse som æstetikkens missing link?

2014 ◽  
Vol 42 (118) ◽  
pp. 35-50
Author(s):  
Birgit Eriksson
Keyword(s):  
Social Change ◽  
18Th Century ◽  
Democratic Citizenship ◽  
Art World ◽  
Contemporary Culture ◽  
Participatory Art ◽  
Late 18Th Century ◽  
Social Aesthetics ◽  
Art And Culture ◽  
The One

The French philosopher Yves Michaud modernity has characterised modernity by three utopias: the utopia of democratic citizenship, which deals with freedom and equality; the utopia of labour, which deals with social change; and the utopia of art, which deals with inter-subjective communication and community. He has argued that the utopia of art, which since the late 18th century has been closely linked to the utopia of democratic citizenship, is coming to an end. Building upon this argument, the article examines two opposing tendencies in contemporary art and culture: On the one hand, the creativity and promise of novelty, traditionally belonging to the art world, has spread culturally, and creativity is often represented as the most important tool for individual and social change. On the other hand, the idea of art as sustaining participation has been revitalized in the art world by the “relational” or “social” aesthetics, and the “dialogical” or “participatory” art of the last 20 years. But how do these tendencies relate to the modern utopia of art – and to each other? What are the problems inherent in relating art to beautiful ideals of community and creativity, and (how) can the recent focus on aesthetic participation transgress these problems? The article examines these questions, drawing on theories and an analysis of contemporary culture.

scholarly journals Vrijednosni opisi umjetnosti

Ars Adriatica ◽  
2016 ◽  
pp. 253
Author(s):  
Nataša Lah
Keyword(s):  
18Th Century ◽  
Universal Theory ◽  
Stable Relationship ◽  
Late 18Th Century ◽  
Starting Point ◽  
History Of ◽  
Theory Of Value ◽  
The One ◽  
Relationship Of ◽  
Evaluation Matrix

Taking into account the fact that, throughout history, certain artworks have been considered as “worth of watching” (according to the Greek etymon ἀξιοϑέατος / aksioteatos), preservation, or theorizing, while others were not, one is led to investigate the various types of evaluative descriptions. Those artworks that are more valuable than others, or simply valuable in themselves on the basis of rather specific features, have always represented the paradigmatic model for the evaluator, thus revealing the identitary nature of value as different from one epoch to another. Our aim has been to discern, with regard to this starting point, the way in which the process of evaluating artworks fits the general matrix of the universal theory of value, with its clearly distinguished levels of evaluation, beginning with value descriptions, continuing through the features of evaluation or abstract qualities of values extracted from these descriptions, and ending with value norms or systems of accepted generalizations in evaluation. Value standpoints in such an evaluation matrix represent dispositions or preferences in procedures, which reflect the norms or signifying concepts of the time. Corresponding procedures, or applications of the hierarchicized signification of artworks, are manifested in all known forms of artwork assessment: attribution, institutionalization, and setting of priorities in terms of exhibition, conservation, acquisition, restoration, and so on. Research in the history of European art-historical ideas has corroborated the hypothesis that, prior to the late 18th century, clear normative patterns were applied when it came to the evaluation of artworks. However, with the emergence of early Romanticism, this could no longer be done in the traditional way. Before the period in question, visual art was created (regardless of some stylistic discrepancies between individual authors) and classified according to well-defined thematic areas and functions. Such qualifications made it possible to distinguish clearly between major stylistic periods, creating the impression of development regardless of the later evaluative classifications of individual cycles in historical production thus understood. A comparison between the axiological matrix and the features of individual historical periods has revealed, on the one hand, a stable relationship between the functionally nomological features of artistic productions and the cultural instrumentalizations of art, and on the other a stable relationship between the overtly semantic conceptualizations in the epoch of modernism and the ostensibly structural mode of artistic expression. In the postmodern period, all that was once understood as the stylistic language of form, or the autonomy of the artefact, has been transformed in the evasive media multiplication of the postindustrial epoch into a whole series of reproductive languages, replicas, transfers, copies, or simulacra, and forced into a relationship of permanent detachment with regard to the “original” (source). Thus, instead of an artwork in context, the context itself is now presented as an artwork, structured all over again according to some of the possible principles in the theoretical choice of interpretation. The impossibility of defining precisely the boundaries of the medium, and its increasing dematerialization, have made it more difficult to apply universal evaluative criteria to a particular artwork, which has led to a conflict between cultural evaluation and the subjection of experience to the semantic functions of evaluations. Nevertheless, recent research on perception in the field of neuroscience has indicated that the sensory perception of the external world and the assignation of meaning to those perceptions indeed happen simultaneously, and that these processes cannot take place separated from one another. The conclusion shows that the modern evaluation conflicts are largely a consequence of an irreversible and entropic state of culture in the 21st century. We should therefore aim at a revision, not so much of the hitherto accepted and standardized values, but rather of the present systems of evaluation and the ensuing evaluative descriptions of art.

scholarly journals From frontier military post to Hong Ngu district-level town

2014 ◽  
Vol 17 (3) ◽  
pp. 16-28
Author(s):  
Truong Kim Do
Keyword(s):  
18Th Century ◽  
Focal Point ◽  
District Level ◽  
Rural District ◽  
Early 19Th Century ◽  
The North ◽  
Late 18Th Century ◽  
Administrative Unit ◽  
Long Time ◽  
Sea Area

Hong Ngu Town is currently the only town of Dong Thap Province. Place name Hung Ngu dates back from early times and was officially recorded in many of Nguyen Dysnasty’s historical records. The place name Hong Ngu originated from Hung Ngu which was the name of the Nguyen Lords’ army troup assigned to guard the border and to collect taxes. The place where the Nguyen Lords’s army troup stationed was named Bao Hung Ngu. The land was garrisoned by the army troup of the same name. Through long-time contact, the land’s name was set as Hung Ngu. For convenience of sound pronunciation, “hung” was pronounced a little bit inclined to “hong”; thereby, “hung ngu” to “hong ngu”. The place name Hung Ngu (now called Hong Ngu) may have been formed in the late 18th Century or the early 19th Century. Bao Hung Ngu troup originally stationed at Rach Doc Vang rivulet mouth (at Thanh Binh rural district), then moved to the lower shore of Hiep An river, now is the Mekong resort of Dong Thap Tourist Company. Over 200 years, Hong Ngu constantly developed. It took 85 years sharp for the frontier military post in the Nguyen Lords’ times to become an administrative unit at rural district level (1029); now it has been the district-level town of the province for 5 years (2009-2014). The paper points out the continuity of the formation and development process as mentioned above. Hong Ngu continues to rise to become an urban area and the clue of an economic focal point of the North of Dong Thap Province, and towards the near future, a city in the sea area.

scholarly journals Toponymy of Russian Mining Settlements of the Komi Republic in the 21st Century Records

2021 ◽  
Vol 18 (1) ◽  
pp. 209-223
Author(s):  
Yulia A. Krasheninnikova ◽  
◽  
Svetlana G. Nizovtseva ◽  
Keyword(s):  
Cultural Memory ◽  
18Th Century ◽  
Small Towns ◽  
Komi Republic ◽  
The Other ◽  
Russian North ◽  
Iron Mining ◽  
The Times ◽  
The One ◽  
Hunting And Fishing

The paper deals with the toponymic material recorded in 2008–2019 from the Russian population of the mining settlements of Nyvchim, Kazhym, and Nychpas. All these small towns emerged due to iron mining development in the Komi Republic of the mid-18th century and the workforce migration from the central and northern parts of Russia related thereto. Analyzing the data from local toponymic systems, the authors discover motivations behind the local microtoponymy and the peculiarities of present-day place names in the region. Beyond that, the study deals with the names of intra-rural parts and periphery areas assimilated for economic, fishing, and other types of activities. Several groups of unofficial microtoponyms were highlighted: 1) titled by name/surname of the owner or user 2) referring to landscape and location features 3) situational microtoponyms. On the one hand, the analysis testifies to the adoption of Finno-Ugric names (hydronomy, above all) on the territory of the Russian mining settlements in the Komi Republic. On the other hand, in the times of territory reclamation, there is an increase of Russian-based naming establishing territorial law, regulating agrarian, hunting, and fishing activities, helping residents to navigate. Some Russian names attest to the deep cultural memory of the settlers, the continuity of naming traditions which refer to the territories of exodus and maternal culture. Characteristically, the toponymic system of Russian mining settlements in the Komi Republic shows a far smaller proportion of names related to religion, cults, and mythology compared to the rest of the Russian North.

PORTRAIT OF THE CHARACTER PUGACHEV IN A.S. PUSHKIN’S NOVEL THE CAPTAIN’S DAUGHTER: FROM THE ORIGINAL TO THE TRANSLATION

2020 ◽  
Vol 10 (Special) ◽  
pp. 97-104
Author(s):  
Thuong Linh Vu
Keyword(s):  
Original Work ◽  
18Th Century ◽  
The Other ◽  
The Novel ◽  
Other Hand ◽  
Late 18Th Century ◽  
The One

The novel The Captain's Daughter by Pushkin has been acknowledged by researchers as a prose encyclopedia about Russian life in the late 18th century. In this work, Pushkin proved himself not only a responsible historian, but also a talented portrait painter. This article is aimed at clarifying the art of creating the portrait of the character Pugachev in Pushkin's novel The Captain's Daughter. By making a comparison between the original and the translation by Professor Cao Xuan Hao, we have found that the translator has made fairly accurate depictions of the characters. However, there remain some limitations in the Vietnamese translation, including the incorrect translation of several portrait features of the characters and the omission of some details. These drawbacks, on the one hand, have reduced the expressiveness of the characters’ portraits; on the other hand, they have hindered the readers from fully perceiving the spirit of the original work.

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