scholarly journals The Story of a Drawing from Chukokkala Miscellany

2021 ◽  
Vol 26 (1) ◽  
pp. 33-42
Author(s):  
Larisa N. Anpilova
Keyword(s):  
Detailed Analysis ◽  
Public Figure ◽  
Biographical Information ◽  
Avant Garde ◽  
Literary Life ◽  
History Of ◽  
Circle Of Friends ◽  
The Creation

A novel detailed analysis of a page from Chukokkala , Korney Chukovsky's handwritten miscellany with drawings by Yuri Annenkov, dated March 1923, is given. Involvement of archival sources makes up the history of the drawing creation. It turns out that Annenkov worked at the page of the miscellany and the portrait of Leo Trotsky at the same time. The analysis of the stylistic features of the drawing reconstructs the elements of the literary life of the 1920s. The study of the depicted persons clarifies the circle of friends and associates of prominent cultural figures of the first post-revolutionary decade. The article provides little-known biographical information about the characters depicted in the drawing. It specifies how Annenkov met Gorky's closest associate, the prominent public figure Albert Pinkevich. The author highlights little-known facts of friendship of A. Pinkevich, Boris Pilnyak, a Soviet writer, and the avant-garde artist Boris Shaposhnikov. The history of the creation of graphic portraits of Soviet writers made by Annenkov is considered. In conclusion, the page of the handwritten miscellany, and Chukokkala as a whole, are presented as a unique monument that captures the living passage of time.

The History of the Creation of the VII State Pharmacopoeia of the USSR (Review)

2021 ◽  
Vol 10 (2) ◽  
pp. 128-135
Author(s):  
K. S. Guzev
Keyword(s):  
Detailed Analysis ◽  
The State ◽  
Main Text ◽  
Scien Tists ◽  
History Of ◽  
Points Of View ◽  
The Creation ◽  
Objective Necessity

Introduction. The objective necessity of the appearance of this code of laws for the pharmaceu-tical industry is shown. The proofs of the readiness of all branches of pharmacy to develop the text of the Pharmacopoeia, taking into account modern international requirements for scientific and practical activities in the development, manufacture and production of medicines, are presented.Text. The work presents the history of the creation of the VII edition of the State Pharmacopoeia of the USSR. The sequence of steps for the formation of the Pharmacopoeia Commission, the stages of its activities for the preparation of the updated text of the Pharmacopoeia is described, a detailed analysis of the prepared text is given in comparison with the current Pharmacopoeia of the VI edition (1910). Various points of view of experts on the content of the main text are cited, which served as the basis for the new document. The role of domestic scien-tists-pharmacists in the development and publication of the VII edition of the State Pharmacopoeia of the USSR is evaluated.Conclusion. The role of the Pharmacopoeia Commission in the timely development of the text of the new edition of the State Pharmacopoeia is emphasized. The fact of its wide discussion among experts and the novelty of the approach, which gave a powerful impetus to the development of the entire industry, are noted.

OBERIU and the Conversations of the Lipavsky Circle

2021 ◽  
Author(s):  
Eugene Ostashevsky
Keyword(s):  
Social Aspects ◽  
Embodied Knowledge ◽  
The Real ◽  
Avant Garde ◽  
History Of ◽  
Circle Of Friends ◽  
Daniil Kharms

This article distinguishes the avant-garde group OBERIU and its predecessors, led by the poets Daniil Kharms, Alexander Vvedensky, and Nikolai Zabolotsky and performing openly in Leningrad between 1925 and 1930, from the informal circle of the 1930s, which also included the poet Nikolai Oleinikov and the philosophers Leonid Lipavsky and Yakov Druskin. Prevented from making their writings public, in 1933–1934 members of this underground circle of friends documented their interactions in Lipavsky’s Conversations. A history of the two overlapping groups, emphasizing their social aspects, is followed by a synopsis of the philosophy of the circle. The article argues that the montage-based composition paradigms of the avant-garde, replacing determinism, causality, and rationality with contiguity and the non sequitur, are reflected in Kharmsian play with numbers and in his concept of the “real,” as well as in the phenomenological methods of Druskin and Lipavsky, which seek perspectival, qualitative, and embodied knowledge that science cannot grant.

The Museum of Primitive Art, 1940–1982

Entitled ◽  
2019 ◽  
pp. 41-69
Author(s):  
Jennifer C. Lena
Keyword(s):  
New York ◽  
Small Group ◽  
Detailed Analysis ◽  
Metropolitan Museum ◽  
Ideal Case ◽  
Metropolitan Museum Of Art ◽  
Art Collection ◽  
History Of ◽  
The Creation

This chapter discusses the creation of the Museum of Primitive Art (MPA). The history of Michael C. Rockefeller's primitive art collection provides an ideal case study of the process of artistic legitimation. Through a detailed analysis of the complete organizational archive—including memos, publications, journals, and administrative paperwork—one can observe this process in detail. The small group of MPA administrators fought to promote artistic interpretations of the objects in the collection against the established view that they were anthropological curiosities. However, these objects were removed from their sites of production and early circulation and left in the care of American curators and tastemakers to make of them what they will; in Rockefeller's case, he leveraged them to produce capital he used in a struggle with other collectors and museum administrators. What he did not do is redistribute those resources toward living artists or register much hesitation about moving those objects to New York. Nor did he have to acknowledge the labor done by earlier advocates of these arts in black internationalist movements. Nevertheless, Rockefeller's triumph was the eventual inclusion of his collection in the Metropolitan Museum of Art (Met), as the Michael C. Rockefeller Wing.

scholarly journals BORIS TISHCHENKO. THE TWELVE. CREATION HISTORY AND BASIC COMPOSING PRINCIPLES

Globus ◽  
2021 ◽  
Vol 7 (2(59)) ◽  
pp. 15-18
Author(s):  
Yuri Serov
Keyword(s):  
Twentieth Century ◽  
Soviet Union ◽  
Avant Garde ◽  
Music Score ◽  
The Soviet Union ◽  
History Of ◽  
Clean Air ◽  
The Creation ◽  
Symphonic Music

The article is devoted to the history of the creation and music score of the ballet Twelve based on the poem by A. Blok by the outstanding Russian composer of the second half of the twentieth century Boris Ivanovich Tishchenko. The ballet was staged by the famous Soviet choreographer Leonid Jacobson back in 1964 and became, in fact, the first avant-garde ballet in the Soviet Union. Critics noted Tishchenko’s bright modern symphonic music and Jacobson’s free plastics, which “became a breath of clean air in the rarefied atmosphere of classical epigonism”.

scholarly journals The Slavic Question: «On the Riverbanks of the Russia» (Alexandr Trushnovich and Others)

Slovenica ◽  
2018 ◽  
pp. 138-153
Author(s):  
Neža Zajc
Keyword(s):  
First World War ◽  
Second World War ◽  
World War ◽  
Biographical Information ◽  
The First World War ◽  
History Of ◽  
The Creation ◽  
Second World ◽  
First World

The article describes the history of the creation, formation and perception of the idea of Slavdom in Russia (from A.S. Pushkin and F.I. Tyutchev and further on). The analysis was made on the basis of the biographical information (“Memoirs of the Kornilov’s Soldier”) of the Slovenian A.R. Trushnovich, who during the First World War (as a soldier of the Austro-Hungarian army) moved to the side of Russia, into the army of Kornilov. This act affected on his personal destiny (he became Orthodox, married a Russian, etc.) and on his worldview. However, after the Second World War, his attitude towards the fate of Russia changed. However, Trushnovich retained his fi rm faith and the most spiritually creative sources of the Orthodox thought, which was N. Berdyaev.

scholarly journals Studies on A.M. Remizov’s Creative Biography: 1926–1927. Part 1. “Aesthete-Degenerateˮ

Literary Fact ◽  
2020 ◽  
pp. 8-53
Author(s):  
Elena R. Obatnina
Keyword(s):  
Detailed Analysis ◽  
Active Participant ◽  
Literary Life ◽  
Russian Literary ◽  
Literary Process ◽  
History Of ◽  
Soviet Russia ◽  
Scholarly Discourse ◽  
Creative Tasks

The biographical essay is dedicated to the literary situation with Alexei Remizov in 1926 connected with his activities for the new journals — Blagonamerenny and Versty. Based on previously unknown materials from Remizov’s personal archive, correspondence and memoirs of his contemporaries involved in the events, the paper interprets Remizov’s position as an active participant of literary process. The paper describes the writer’s creative tasks that were realized in the above-mentioned periodicals, and his mission as a promoter of young talents in Soviet Russia and in emigration. Detailed analysis of the critical articles that accused the editors of both journals as well as their co-worker Remizov of destroying the Russian literary diaspora ideological integrity and aesthetic canons, allows to define the main contradictions in the émigré literary life that had accumulated by 1926. The essay also reconstructs previously unknown episodes in the history of Blagonamerenny and Versty using letters of Remizov, D.A. Shakhovskoy, L. Shestov, N. Berberova that are being introduced into scholarly discourse.

scholarly journals Contemporary Artistic Enamel: Stylistic and Innovative Development Trends

2020 ◽  
Vol 10 (4) ◽  
pp. 586-608
Author(s):  
Irina Yu. Perfilyeva ◽  
Keyword(s):  
Three Dimensional ◽  
Arts And Crafts ◽  
Russian Art ◽  
Avant Garde ◽  
Decorative Art ◽  
Three Dimensional Objects ◽  
Plastic Arts ◽  
Art Objects ◽  
History Of ◽  
The Creation

Artistic enamel from the 1920s to the 2010s, has experienced a difficult path of development. In the early twentieth century, it represented a variety of techniques in regard to the artistic processing of metals. Today, it is an independent type of plastic arts, which synthesized both technical and technological innovations, as well as stylistic features of contemporary art and current artistic practices. In the history of artistic enamel several stages are clearly visible. The beginning of the process lies in the penetration of the principles of easel art into decorative art, which occurred in the first post-revolutionary decade due to the participation of leading masters of the Russian avant-garde in the creation of enamel works. During the second stage, the artists of the next generation attempted to combine the principles of easel painting with the national traditions that prevailed in the centers of folk arts and crafts. The third stage was inspired by the entry into the process of monumentalists and the active participation of Russian artists in international creative enamel symposia. In the fourth stage, the role of a structuring factor in the development of domestic enamel art was played by individual creative workshops that opened in different regions of Russia. Easel enamel of the 2010s is characterized by the multidimensionality of the artistic space, the creation of enamel works at the junction of different types of characteristics: both traditional and contemporary. These are classic “paintings”, panels and easel three-dimensional objects in which enamel is combined with other materials, but also monumental and decorative art objects and digital painting in enamel. Contemporary Russian art enamel represents an independent type of plastic arts, in which, in addition to traditional ones, there are numerous innovative author’s technical and technological techniques as well as methods of work.

scholarly journals History of the flint inventory studies of the Neolithic and Bronze Age from the sites of Belarusian Neman region

2018 ◽  
Vol 63 (4) ◽  
pp. 447-460
Author(s):  
S. S. Velent-Shcherbach
Keyword(s):  
Detailed Analysis ◽  
Bronze Age ◽  
20Th Century ◽  
Natural Sciences ◽  
Simple Description ◽  
Classification Schemes ◽  
History Of ◽  
The Creation

The main directions and results of the 150-year study of flint artifacts from Neolithic and Bronze Age settlements of Belarusian Neman region are presented in this article. The study of flint industry has passed a long way from a simple description to a detailed analysis and systematization, the development of a typology and the creation of classification schemes. Since the second half of the 20th century the methods of natural sciences were begun to be employed in the analysis of flint assemblages. But despite the previous active work of researchers there are still a number of unsolved issues and tasks that require further study.

To Understand the Informal (on the Book BY V. L. Tambovtsev “Economics of Informal Institutions”)

2015 ◽  
pp. 151-158
Author(s):  
A. Zaostrovtsev
Keyword(s):  
Social Psychology ◽  
Detailed Analysis ◽  
Human Behavior ◽  
Interdisciplinary Approach ◽  
Informal Institutions ◽  
Economic Thought ◽  
History Of ◽  
Original Classification

The review considers the first attempt in the history of Russian economic thought to give a detailed analysis of informal institutions (IF). It recognizes that in general it was successful: the reader gets acquainted with the original classification of institutions (including informal ones) and their genesis. According to the reviewer the best achievement of the author is his interdisciplinary approach to the study of problems and, moreover, his bias on the achievements of social psychology because the model of human behavior in the economic mainstream is rather primitive. The book makes evident that namely this model limits the ability of economists to analyze IF. The reviewer also shares the author’s position that in the analysis of the IF genesis the economists should highlight the uncertainty and reject economic determinism. Further discussion of IF is hardly possible without referring to this book.

Misreading Egypt

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
New Media ◽  
Narrative Form ◽  
Experimental Film ◽  
Tower Of Babel ◽  
Avant Garde ◽  
Sergei Eisenstein ◽  
History Of ◽  
The One ◽  
The Relationship ◽  
Modern Technologies

The first chapter of Hieroglyphic Modernisms exposes the complex history of Western misconceptions of Egyptian writing from antiquity to the present. Hieroglyphs bridge the gap between modern technologies and the ancient past, looking forward to the rise of new media and backward to the dispersal of languages in the mythical moment of the Tower of Babel. The contradictory ways in which hieroglyphs were interpreted in the West come to shape the differing ways that modernist writers and filmmakers understood the relationship between writing, film, and other new media. On the one hand, poets like Ezra Pound and film theorists like Vachel Lindsay and Sergei Eisenstein use the visual languages of China and of Egypt as a more primal or direct alternative to written words. But Freud, Proust, and the later Eisenstein conversely emphasize the phonetic qualities of Egyptian writing, its similarity to alphabetical scripts. The chapter concludes by arguing that even avant-garde invocations of hieroglyphics depend on narrative form through an examination of Hollis Frampton’s experimental film Zorns Lemma.

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