scholarly journals Stylistic features of Cyrillic graffiti of the pre-Mongol period in Kyiv St. Sophia's Cathedral

Author(s):  
Yuliya Dyadyscheva-Rosovetska

The article examines the peculiarity of the concept of the linguistic style of the literature of Kyiv Rus, which is closely linked with the traditions of the scientific study of this very “red writing”. The specificity of Old Russian literature as medieval leads to its almost church character, and the specific "simplicity" in the structure of secular literary works of its own, such as "The Word of the Igor's Regiment," forcing researchers to engage in secular business texts, for example, the chronicles that are works of historical the genre. That is, in this case, the peculiarity of the concept of literary language reflecting the peculiarity of the notion of ancient Russian literature, which is by no means the "artistic" literature of the modern type, or fiction. Accordingly, the volume of materials that should serve to study the stylistics of literature of the Kiev Rus era is determined by the peculiarity of scientific ideas about the very literature itself and about the literary language in which it is created. These considerations make us propose as an auxiliary "meter" to study the style of literature of the Kiev Rus age the criterion of reflection or absence of certain poetics in the texts. As is well known, the phenomenon of poetics is legitimately extended to folklore, to contemporary business writing, and to non-folklore oral speech activity. Thus we get the opportunity to define in the same graffiti Kiev Saint Sophia's Cathedral style of church writing and oral canon, folklore and business law. But with such an approach, the bright feature of the stylistics of graffiti Sofia of Kiev in the comparison with the volume similar to the volume of graffiti texts of Novgorod Saint Sofia Cathedral is immediately striking: among the Kiev graphite there is practically no folklore of origin, not to mention the reflection of the pagan rituals that we find on the walls of the Novgorod Saint Sofia Cathedral. This conclusion can be reliably based on statistical data. But when the researchers find in the texts of the XI–XIII centuries. syllabic or "elements of sillabotonism", it is worth reminding of the very probable chance of an appropriate combination of sounds and syllables. It is much more reliable to refer some graffiti to the clerical poem. But we must not forget the hypotheticalness of such identification in general, as well as the fact that only the adaptation of the Byzantine poem to the Slavic language context can be considered.

Vox Patrum ◽  
2018 ◽  
Vol 70 ◽  
pp. 449-469
Author(s):  
Zofia Brzozowska

The РНБ, F.IV.151 manuscript is the third volume of a richly illustrated his­toriographical compilation (so-called Лицевой летописный свод – Illustrated Chronicle of Ivan the Terrible), which was prepared in one copy for tsar Ivan IV the Terrible in 1568-1576 and represents the development of the Russian state on the broad background of universal history. The aforementioned manuscript, which contains a description of the history of the Roman Empire and then the Byzantine Empire between the seventies of the 1st century A.D and 919, includes also an extensive sequence devoted to Muhammad (Ѡ Бохмите еретицѣ), derived from the Old Church Slavonic translation of the chronicle by George the Monk (Hamartolus). It is accompanied by two miniatures showing the representation of the founder of Islam. He was shown in an almost identical manner as the creators of earlier heterodox trends, such as Arius or Nestorius. These images therefore become a part of the tendency to perceive Muhammad as a heresiarch, a false pro­phet, and the religion he created as one of the heresies within Christianity, which is also typical of the Old Russian literature.


It is for the first time ever that the excerpts from the diary of A.V. Karavashkin (1964–2021), Professor, Doctor in Philology, are published. An outstanding researcher of Old Russian literature, Professor Karavashkin was an all rounded man of versatile personality, a truly major representative of the humanities, he was close to different fields of knowledge: philology, linguistics, cultural history, philosophy. Diary entries show an extraordinary personality in his time of life. Thoughts and judgments of the humanist were aimed at the most acute and deepest issues of life.


2021 ◽  
pp. 595-610
Author(s):  
Irina Marchesini ◽  

The article focuses on the importance of old Russian literature in the works by Sasha Sokolov, with a specific reference to his first book A School For Fools (1976). The analysis of this text takes into account lexical choices made by the author and their meaning in the context of the narration. This approach lies at the basis for the proposal of a tripartite model that describes the relationship between Sokolov’s works and the old Russian tradition. The model includes the following categories: 1. Allusions to religion; 2. Presence of elements pertaining the realm of folklore; 3. Allusions to episodes or figures related to old Russian literature. The results of this research contribute to the broadening of knowledge in the field of contemporary Russian literature and its relations with the old literary heritage. Moreover, this investigation allows a deeper comprehension of Sokolov’s writing style.


1987 ◽  
Vol 31 (2) ◽  
pp. 234 ◽  
Author(s):  
Norman W. Ingham

2020 ◽  
pp. 335-340
Author(s):  
N. S. Gurianova ◽  
◽  
L. V. Titova ◽  

The review considers the monograph of the famous Polish specialist in the history of Old Russian literature, Eliza Małek. The monograph is a study of the “The legend about the astrologer Mustaeddin by Krzysztof Dzerzhek in the Old Russian translation and its later pro-cessing (research and publication of texts)”. The relevance of investigating the text written in Poland in the 16th century is highlighted. Not only does the monograph trace the existence of the Legend in Russia in the 17th – 19th centuries, but it also describes all known editions of the 18th – 21st centuries. Of particular interest are the texts of the Legend presented in the monograph, and no less valuable is the analysis that was carried out.


2020 ◽  
Vol 18 (2) ◽  
pp. 217-237
Author(s):  
Galina V. Mosaleva

<p>The article<strong> </strong>regards the evocation of <em>sobornost&rsquo;</em> (conciliarism) as a phenomenon of Orthodoxy in Leskov&rsquo;s chronicle <em>The Cathedral Clergy</em> (<em>Soboryane</em>). The author emphasizes Leskov&rsquo;s manner to poeticize Orthodox dogmatic teachings and the ways of their artistic presentation. By depicting clergy and its religious characters as part of the ideal modes of Russian life Leskov aims at refocusing readers&rsquo; attention on God-centered mind inherent in Russian literature of the 11<span>th</span><span style="font-size: 11.6667px;">&nbsp;</span>&mdash; 16th centuries. A five-part structure of the chronicle is aligned with Stargorod&rsquo;s five-domed Cathedral. Leskov prefers patericon as an inner form associated with its temple and liturgical plots, motives and images. The structure of Leskov&rsquo;s patericon is notable for its iconographic patterns and symbols&nbsp;&mdash; the trend which makes <em>The Cathedral Clergy</em> (<em>Soboryane</em>) a chronicle poem. By poetizing &ldquo;an old Russian fairy tale&rdquo; Leskov seems to restore Slavonic ornamental script as the main principle of his writing which is symbolized in &ldquo;knitting pins&rdquo; depicted in <em>The Cathedral Clergy</em> (<em>Soboryane</em>). Along with the focus on verbality and Orthodox fables Leskov poetizes the Holy Scripture. New Testament (the Gospel according to St. John in particular) seems to be central &ldquo;hagiographic writing&rdquo; related to Stargorod Trinity. The moment of truth for Leskov&rsquo;s character (who is regarded as a christian) has to do with internal eventivity when a person finds himself in front of God&rsquo;s face rather than with external one regardless of pressing social challenges of the latter. Storylines related to the communion with God reflect Leskov&rsquo;s intention to convey mystical nature of Orthodox Christianity.</p>


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