Why did D.S. Merezhkovsky change the title of the book “Gogol and the Devil”?

2021 ◽  
pp. 114-120
Author(s):  
Elena A. Andrushchenko ◽  
Keyword(s):  
Large Scale ◽  
Publishing House ◽  
Russian Literature ◽  
Uneven Distribution ◽  
Religious Consciousness ◽  
History Of ◽  
Russian Intelligentsia ◽  
First Time ◽  
The Devil

For the first time, this article considers the reasons behind the title changes of D. Merezhkovsky’s book “Gogol and the Devil” (1906) in light of its concept, discussions of it in the Religious-Philosophical Meetings and in periodicals. Having chosen “Gogol and Fr. Matvey” as the topic to present in the meetings, D. Merezhkovsky emphasized the causes of the writer’s death and interpreted it as a victory of “black” monasticism and bodiless spirituality over artistic inspiration and the “holy flesh”. The semantically provocative title of the book, which was designed by N. Feofilaktov, helped promote the edition of the “Skorpion” publishing house, yet it turned out narrower than the whole book’s scope, only covering the contents of its first part, “Works”. This is evidenced by the frequencies of the occurrences of “devil” and its synonyms and their uneven distribution across the text of the book. By disposing of “Gogol and the Devil”, D. Merezhkovsky obtained greater freedom to pose the problem of “new religious consciousness”, which he examined alongside the history of Russian literature and the religiosity of Russian intelligentsia. The final title of the book, “Gogol. Works, life and religion”, corresponds to its content and composition, and also places it on a par with large-scale studies, such as D. Merezhkovsky’s book “L. Tolstoy and Dostoevsky”.

scholarly journals The Ural Text of the Russian Literature

2021 ◽  
Vol 6 (2) ◽  
pp. 130-136
Author(s):  
Marina Ch. Larionova
Keyword(s):  
Large Scale ◽  
Book Publishing ◽  
Russian Literature ◽  
Ural Region ◽  
Regional Literature ◽  
Library Management ◽  
Region Data ◽  
History Of ◽  
History Of Literature ◽  
The 19Th Century

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.

scholarly journals M.E. Levberg’s Play “Danton” as Perceived by А. Blok

Literary Fact ◽  
2021 ◽  
pp. 115-130
Author(s):  
Veronika B. Zuseva-Özkan
Keyword(s):  
Russian Literature ◽  
State Archive ◽  
Silver Age ◽  
Saint Petersburg ◽  
Critical Attitude ◽  
Russian State ◽  
History Of ◽  
Aleksandr Blok ◽  
First Time ◽  
The Relationship

The article considers the unpublished play by Maria Levberg, a little known female writer of the Silver Age. Aleksandr Blok praised this drama entitled Danton; thanks to his efforts, it was performed in the Bolshoi Drama Theater in 1919. Danton is discussed in several articles by Blok (Bolshoi Drama Theater in the Next Season, of 19 May 1919, Tribune (Tiberius Sempronius Gracchus)) and in his correspondence; it is also mentioned in Blok’s notebooks. The author of the article analyzes all these mentions, reconstructs the history of interactions between Blok and Levberg. Some of her letters to the poet are published here for the first time. Blok’s notes on the typed copy of Danton, preserved at the Manuscript Department of the Institute of Russian Literature in Saint Petersburg, are described. The relationship between this version of the play and the version, preserved at the Russian State Archive of Literature and Arts in Moscow, is revealed. The author analyzes the plot and the system of characters, characterizes the concept of history expressed in Danton, and proposes the hypothesis why this play turned out to be so dear to Blok. Blok’s reviews on Danton are compared to those written by A.M. Remizov (who also welcomed the play, as well as other dramas by Levberg — Stones of Death and The Chevalier’s Epee) and by M.A. Kuzmin who displayed a more critical attitude. Finally, the place of this drama among Levberg’s works and her main themes and ideas are considered.

Ivan Kavaleridze`s dramaturgy on the Sumy stage

2021 ◽  
Author(s):  
D.V. Budianskyi
Keyword(s):  
Large Scale ◽  
Musical Comedy ◽  
Historical Figures ◽  
Wide Range ◽  
Socialist Realist ◽  
History Of ◽  
Characteristic Features ◽  
Old Men ◽  
The Impact ◽  
First Time

The characteristic features of I. Kavaleridze’s drama is considered in the article. It is noted that there are signs of the artist’s individuality, attraction to expressionist forms, artistic techniques characteristic for the art of sculpture: symbolism, monumentality, hyperbole. I. Kavaleridze was well versed in the drama laws, understood the specifics of the stage events construction, had a large arsenal of literary means, thanks to which the characters’ monologues and dialogues were extremely expressive and colorful. In his work, he implemented original solutions that were ahead of time. Therefore, many of the artist’s ideas and achievements received due recognition only after his death. I. Kavaleridze’s creative heritage covers a wide range of both purely artistic and general philosophical problems. Among them the formation of the era of modernism and its features in the Ukrainian art of the early XX century, the impact of revolutionary ideas on the work of the 1920s, the role of spiritual leaders of the Ukrainian people T. Shevchenko and G. Skovoroda in the formation of national consciousness, political and ideological pressure on figurative art language and the formation of a socialist-realist canon, etc. The analysis of the productions of I. Kavalerizde’s plays “The First Furrow” and “Gregory and Paraskeva” on the stage of the Mykhailo Shchepkin Sumy Theater of Drama and Musical Comedy in 1970-1972. The article notes that these plays were staged in Sumy for the first time in the history of Ukrainian theater. The premiere of “The First Furrow” (the play was called “Old Men”) took place on March 19, 1970. The figure of the national genius Hryhoriy Skov oroda was als o embodied for the first time on t he stage in Sumy in th e play “Hryhoriy and Paraskeva”. It premiered on October 21, 1972. I. Rybchynsky, Honored Artist of the USSR, performed the production. Creating generalized historical outlines of people’s life, features of life at that time, depicting psychological portraits of people in various, sometimes-dramatic collisions, in the productions of I. Kavaleridze’s plays on the Sumy stage the emphasis was on universal values such as virtue, love. The main character was the Ukrainian people, who nurtured such large-scale historical figures, gave them strength and wisdom for great achievements. Based on publications in periodicals of that time, memoirs of Ukrainian directors, the peculiarities of the director’s interpretation, stenographic and musical design of these plays on the Sumy stage are considered. Considerable attention is paid to the analysis of acting works in I. Kavaleridze’s plays. In particular, the peculiarities of the actor’s embodiment of the image of the national genius Hryhoriy Skovoroda on the stage are presented. It is noted that I. Kavaleridze’s plays, created in a difficult political, social and ideological context, are rightly considered to be highly artistic works of Ukrainian drama. Their staging was carried out on various theatrical stages, including Mykhailo Shchepkin Sumy Theater of Drama and Musical Comedy is an important page of national theatrical art.

The Shang burials at the Yangjiawan Locality of the Panlongcheng Site in Wuhan

2018 ◽  
Vol 18 (1) ◽  
pp. 81-88 ◽  
Keyword(s):  
Large Scale ◽  
Terminal Phase ◽  
Shang Dynasty ◽  
Wuhan City ◽  
Close Proximity ◽  
History Of ◽  
First Time ◽  
Grave Goods

Abstract In 2013, the Department of Archaeology, School of History of Wuhan University and the Panlongcheng City Ruins Museum excavated seven burials of the Shang Dynasty at Yangjiawan Locality within the Panlongcheng Site in Wuhan City. All the burials were vertical earthen shaft burials. Some of the burials featured waist pits, human and/or animal sacrifices. The grave goods assemblage included artifacts made of bronze, jade, stone, pottery, gold and turquoise. Some of the unearthed objects were seen for the first time in the archaeology of Panlongcheng. The burials can be roughly dated to the terminal phase of the Panlongcheng Site. The Yangjiawan Locality yielded the densest distribution of burials in the Panlongcheng Site. It was an important cemetery of the early to the mid Shang Dynasty. The cemetery was in close proximity to a previously excavated large-scale architectural foundation of the Shang Dynasty. Together, these findings are important information for the understanding of the layout of the Panlongcheng Site.

scholarly journals It’s All in the Reading

Arts ◽  
2020 ◽  
Vol 9 (1) ◽  
pp. 19
Author(s):  
Déirdre Kelly
Keyword(s):  
Contemporary Art ◽  
Mass Production ◽  
Large Scale ◽  
Book Production ◽  
Art Practice ◽  
The Arts ◽  
History Of ◽  
First Time ◽  
The City

It seems inherent in the nature of contemporary artist’s book production to continue to question the context for the genre in contemporary art practice, notwithstanding the medium’s potential for dissemination via mass production and an unquestionable advantage of portability for distribution. Artists, curators and editors operating in this sector look to create contexts for books in a variety of imaginative ways, through exhibition, commission, installations, performance and, of course as documentation. Broadening the discussion of the idea of the book within contemporary art practice, this paper examines the presence and role of book works within the context of the art biennale, in particular the Venice Art Biennale of which the 58th iteration (2019) is entitled ‘May You Live In Interesting Times’ and curated by Ralph Rugoff, with an overview of the independent International cultural offerings and the function of the ‘Book Pavilion’. Venetian museums and institutions continue to present vibrant diverse works within the arena of large-scale exhibitions, recognising the position that the book occupies in the history of the city. This year, the appearance for the first time, of ‘Book Biennale’, opens up a new and interesting dialogue, taking the measure of how the book is being promoted and its particular function for visual communication within the arts in Venice and beyond.

scholarly journals ARCHAEOLOGICAL EXCAVATIONS IN THE LOWER PART OF THE NIZHNIY NOVGOROD KREMLIN (PRELIMINARY RESULTS OF THE 2018-2019 EXCAVATIONS)

2021 ◽  
pp. 322-338
Author(s):  
Н. Н. Грибов ◽  
Т. А. Марьенкина ◽  
Н. В. Иванова
Keyword(s):  
Large Scale ◽  
Historical Context ◽  
Urban Centers ◽  
Preliminary Results ◽  
History Of Development ◽  
History Of ◽  
First Time ◽  
The City ◽  
The Temple ◽  
The Church

В статье представлены предварительные результаты первых масштабных археологических исследований в нижней части Нижегородского кремля. Раскоп, заложенный в зоне воссоздания храма Святого Симеона Столпника, вскрыл культурные отложения двух периодов - XIII - начала XV в. и XVI - середины XVIII в. Впервые средневековая усадебная застройка Нижнего Новгорода зафиксирована на таком элементе волжской долины, как береговой склон. Выдающееся значение для нижегородской археологии имеют обнаружение стратифицированных культурных напластований XIII - начала XV в. и зафиксированный на стратиграфических разрезах перерыв в активном освоении городской территории, соответствующий большей части XV в. Предложена реконструкция истории освоения раскопанного участка. Выяснилось, что связанный с храмом малоизвестный нижегородский Симеоновский монастырь вряд ли существовал до строительства Нижегородского кремля. Наиболее раннее, предположительно, монастырское сооружение, возникшее после исчезновения усадебной застройки XIII - начала XV в., датировано концом XV - серединой XVI в. С этим периодом связано строительство деревянного моста, обеспечивавшего транспортное сообщение между «нагорным» и приречным районами города. Обнаружение остатков этого свайного сооружения существенно корректирует известную реконструкцию застройки кремлевской территории начала XVII в., выполненную по письменным источникам. Дано обоснование времени функционирования обнаруженного некрополя Симеоновского монастыря в пределах середины XVI - начала XVIII в., приведена общая характеристика изученных погребений. В общеисторическом контексте материалы исследований представляют интерес для изучения процессов, сопровождающих превращение удельных городских центров в города Московской Руси. The article presents preliminary results of the first large-scale archaeological research in the lower part of the Nizhniy Novgorod Kremlin. The excavation, laid in the area of the reconstruction of the Church of St. Simeon the Stylite, uncovered cultural layer of two periods - the XIII - early XV centuries and the XVI - mid XVIII centuries. For the first time, the medieval estate development of Nizhniy Novgorod was recorded on such an element of the Volga valley as the coastal slope. The discovery of stratified cultural strata of the XIII - early XV centuries and the break in the active development of urban territory recorded on stratigraphic sections, corresponding to most of the XV century, are of outstanding significance for Nizhniy Novgorod archeology. The reconstruction of the history of development of the excavated site is proposed. It turned out that the little-known Nizhniy Novgorod Simeon monastery associated with the temple hardly existed before the construction of the Nizhniy Novgorod Kremlin. The earliest, presumably, monastic structure that arose after the disappearance of the manor buildings of the XIII -early XV centuries., dated to the end of the XV - mid XVI centuries. This period is associated with the construction of a wooden bridge that provided transport links between the «Nagorny» and riverine districts of the city. The discovery of the remains of this pile structure significantly corrects the well-known reconstruction of the Kremlin territory of the beginning of the XVII century, made according to written sources. The justification for the functioning of the necropolis discovered Simeon monastery in the middle of the XVI century - beginning of the XVIII centuries, the general characteristics of the studied burials. In the general historical context, the research materials are of interest for studying the processes that accompany the transformation of specific urban centers into cities of Muscovite Russia.

scholarly journals AN IMMORTAL POEM IN THE WORKS OF UKRAINIAN ARTISTS

2021 ◽  
pp. 83-91
Author(s):  
Petro Nesterenko
Keyword(s):  
New York ◽  
Publishing House ◽  
Russian Literature ◽  
State Committee ◽  
The State ◽  
Present Stage ◽  
Soviet School ◽  
Radio Broadcasting ◽  
12Th Century ◽  
First Time

Abstract. For the first time, the article highlights the continued interest of researchers and artists in the memorial of ancient Russian literature of the end of the 12th century, "The Tale of Igor’s Campaign" at the present stage. The peculiarities of the decoration of editions dedicated to the poem performed by domestic artists in the second half of XX — beginning of XXI centuries are investigated. The pearl of ancient Russian literature of the end of the XII century, «The Tale of Igor’s Campaign» does not leave many generations of its admirers indifferent. The 200 th anniversary of the release of the monument of Ukrainian culture has passed, and the interest in the «The Tale of Igor’s Campaign» has not subsided. The magic of this work continues to attract new researchers and artists. Anniversary dates helped to increase interest in the landmark. On the occasion of the 150 th anniversary of the first printing of the poem, J. Hnizdovsky in New York illustrated and artfully decorated the anniversary edition. A quarter of a century the design and illustrations for the poem were performed by Kyiv’s I. Selivanov. G. Yakutovich’s editions, created in the Dnipro publishing house as souvenirs, look like real masterpieces. The engravings of G. Yakutovich were already heard in another edition of «The Tale of Igor’s Campaign», which came out of print in the Kiev publishing house Veselka in 2008. In 1989, the publishing house «Soviet School» published a thorough edition of «The Tale of Igor’s Campaign», illustrations, layout and decoration of which were made by V. Lopata, and the editing and notes by O. Mishanych. The artist’s works are multifaceted in composition and imbued with special drama and symbolism with expression. Equally interesting was the 2015 edition, commissioned by the State Committee for Television and Radio Broadcasting of Ukraine under the Ukrainian Book program. Particularly noteworthy are the graphic works by V. Yefimov from Odessa and M. Bondarenko from Sumy region, who embodied their preferences and unique manners in the work on the poem.

“Every Life Is Interesting…”. On Russian Literature of the First Third of the 20th Century: Selected Articles and Materials

2021 ◽  
Author(s):  
Alexander Yu. Galushkin
Keyword(s):  
20Th Century ◽  
Russian Literature ◽  
Russian Formalism ◽  
Literary Heritage ◽  
Scientific Papers ◽  
History Of ◽  
Viktor Shklovsky ◽  
Phd Thesis ◽  
First Time

The collection of the most significant scientific papers by Alexander Yu. Galushkin (1960–2014), the last of Viktor Shklovsky’s literary secretaries, the creator of one of the first independent philological journals in Russia “De Visu”, the long-term employee of the IWL RAS, and the head of the Literary Heritage Department, reflects the main areas of his research interests. In addition to articles and publications, the section “From the History of Russian Formalism” includes the extensive work “From Conversations with Viktor Shklovsky”. The section “From the History of Literary Life” contains articles and notes from periodicals that have become inaccessible (the old “Literaturnoe Obozrenie”, the Parisian newspaper “Russkaia Mysl”). The section “From the Documentary Biography of E.I. Zamyatin” presents materials for the book of the same name prepared by A.Yu. Galushkin on the basis of his works on Zamyatin; as an appendix, his PhD thesis “Discussion on B. Pilnyak and E. Zamyatin in the Context of Literary Policy of the Late 1920s — Early 1930s” with author’s corrections and additions is published for the first time. The collection is concluded with the bibliography of A.Yu. Galushkin’s works.

scholarly journals "To Unite Telescope and Microscope": Concerning An Attempt to Solve Methodological and Source Studies Problems of Studying the History of the Russian Peasant Family of the Yepifan Uezd in the 16th – 20th Centuries

2021 ◽  
pp. 1265-1272
Author(s):  
Igor N. Yurkin ◽  
Keyword(s):  
Large Scale ◽  
High Reliability ◽  
Archival Studies ◽  
Human Communication ◽  
Documentary Sources ◽  
Russian Scientific ◽  
Source Studies ◽  
History Of ◽  
Peasant Family ◽  
First Time

The article assesses source and archival studies aspects of the V. P. Kozlov’s book “Remove to history ...”: The Peasant Family and Settlement of the Tula Region in the 16th – 20th Centuries. It is the first volume of the study, covering the period up to 1917. The work is devoted to the history and culture of the Yepifan uezd. This uezd is considered in two ways: as a territory, including the villages where the author’s ancestors lived, and as a part of its surroundings. The state of the territory is described for several periods. Via stepwise immersion accompanied by detailing of material, the author advances the restoration of the history of villages and their inhabitants. In the Russian scientific literature, an experience of large-scale and consistent implementation of this approach is a unique case. The author analyzes it theoretically, bringing it into correlation with trends of modern historical science and demonstrating its effectiveness. To study the history of the Yepifan uezd, a significant amount of documents, both published and stored in the archives, has been involved for the first time. V.P. Kozlov divides sources into three classes. In line with his approach used in his works on archeography, he characterizes eight types of sources. Among sources of personal provenance, he underscores oral history documents — records of his relatives’ memoirs collected over the years. He points to the cognitive heterogeneity of these sources: he emphasizes the need to take into account the “author's angles,” notes high reliability of correspondence, especially between relatives. Isolation by V. P. Kozlov of a special class of sacred documentary sources is new. The author refers to these documents as reflecting “relations with the sacred ... beliefs, convictions and symbols” and capturing “the sacrament of human communication with... extrahuman authority.” As an example, he cites his grandmother’s nightly prayers and recordings of miracles of St. Matrona of Moscow. V. P. Kozlov notes an abundance of such sources in the Russian archives. Identifying gaps in sources, he explains the reasons for different preservation of documentary complexes. He dwells on research methods that can partially compensate for the insufficiency of sources. He took some risk in choosing the inhabitants of a small village as main characters of his research. The analysis of source study and archival aspects of his research proves that such work can be successfully carried out even with insufficient sources.

scholarly journals FIFTY YEARS AGO YU. A. IVANOV WITH HIS COLLEAGUES DISCOVERED THE ANTILLES-GUIANA CURRENT

2019 ◽  
Vol 47 (2) ◽  
pp. 64-75
Author(s):  
V.G. Neiman
Keyword(s):  
Large Scale ◽  
Current System ◽  
Western Boundary ◽  
Boundary Current ◽  
Shirshov Institute ◽  
Actual System ◽  
Direct Measurements ◽  
History Of ◽  
Academy Of Sciences ◽  
First Time

A brief history of the Antilles-Guiana Current discovery during cruise 5 of the scientific research vessel (R/V) “Akademik Kurchatov” in 1969 in the Atlantic Ocean is presented. This expedition of the Shirshov Institute of Oceanology of the USSR Academy of Sciences was targeted for experimental study of the Western Boundary Current System in the tropical Atlantic. The previous studies in this region revealed signs of the Southern flow within the system, which overall meridional velocity component was of the Northern direction. However, the traces of Southern currents in all such cases were usually interpreted as a manifestation of a large-scale eddy activity in the velocity field of the main North-Western water transport. In the expedition of 1969, for the first time in the Russian oceanography a non-trivial method for the direct measurements of a current velocity was applied. It is based on the results of an immediate preliminary hydrographic survey of the area, which proposed by Y.A. Ivanov. This method has made possible to determine in details the actual system of the Western boundary flows, in which the previously unknown to science the Antilles-Guiana Current was discovered. The other Russian expeditions, which have been carried out in 1970 and 1972 during 9 and 12 cruises of the R/V “Akademik Kurchatov”, revealed the interannual stability of this flow, including the mass transport, approximately equal to 30 Sv, i.e. almost half of the volume of water carried by the Gulf Stream.

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