On the Origins of the Monastic Worldview of St. Maximus the Greek (On the 550th Anniversary of His Birth)

2021 ◽  
pp. 250-272
Author(s):  
Neža Zajc ◽  
Keyword(s):  
Literary Text ◽  
Jesus Prayer ◽  
Monastic Life ◽  
Original Works ◽  
Prayer Of The Heart ◽  
First Time

The article analyzes six original works by St. Maxim the Greek, which are joined in the Parisian manuscript collection in a unique way. They all share the theme of monastic life and are composed in the form of answers. It turns out that it was in these works that Maxim the Greek created a special concept of “inner man”. Rather, traces of his personal practice of “prayer of the heart” (Jesus Prayer) can be detected, which bears testimony to his monastic experience and worldview that bring to mind the spiritual ascetic practice of hesychasm. Moreover, the mentioned works of St. Maxim the Greek include essential techniques for creating a literary text, thus reflecting not only his understanding of literary creativity, but also the essence of poetics of St. Maxim the Greek. It is for the first time that these works are examined in such a detail and on the basis of handwritten materials.

scholarly journals The formation of the original repertory for the Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts as a historical mission of Kharkiv composers (1950–1960)

2021 ◽  
Vol 60 (60) ◽  
pp. 216-238
Author(s):  
Strilets Andriy
Keyword(s):  
Symphony Orchestra ◽  
Phenomenological Approach ◽  
Academic Status ◽  
European Tradition ◽  
Original Works ◽  
National University ◽  
The Individual ◽  
Interdisciplinary Interaction ◽  
Historical Moment ◽  
First Time

Statement of the problem. The Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts has been performing for more than 90 years. However, the original works composed for this orchestra have never been the subject of serious scientific interest. The relevance of the problem is determined by the necessity to generalize the previous generations of composers’, performers’ and teachers’ experience in the field of folk instrumental art, in particular, the training in the orchestra of folk instruments as a concert unit. Analysis of recent publications shows, that the study on folk instruments orchestral performance has not been reflected in national scientific journals for a long while, but currently this is considered as an up-to-date issue. The articles by N. Bashmakova and V. Kikas and Yu. Fedotov (2018), Z. Stelmashchuk (2014), K. Maidenberg-Todorova (2019), I. Fedun (2020) are confirming this statement. The main purpose of the article is to find basic principles of the original repertoire formation for the Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts related to the creative activities of Kharkiv composers in the 1950–1960s. For the first time, the historical mission played by Kharkiv composers in the original repertoire formation of the Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts is determined. The concept of the article is based on the interdisciplinary interaction of historiographical, holistic, genre-stylistic and performing methods of researching, as well as a phenomenological approach to the analysis of the individual style of a composer based on the example of the particular works. Results and conclusions. The selected works by O. Steblyanko, D. Klebanov, V. Borisov, B. Alekseev, I. Kovach, P. Haydamaka and V. Podgorny included in the concert program of the creative project of 2021 have been analyzed due to their compositional, intonation and dramaturgical structure. The compositions that have been arranged for the folk instruments orchestra from the scores of symphony orchestra or ones instrumented from the compositions for accordion, domra ensemble, domra accompanied by piano were identified. According to the results of analysis, the creative approach of the composers of Slobozhanshchina in the 1950s–1960s was based on the thematic development of folklore material (song and dance prototypes) or the creation of the original themes, which are as close as possible to the folk samples. Having created large forms for domra and balalaika, Kharkiv composers fulfilled a historical mission in the formation of the original repertoire and, correspondingly, genre and stylistic priorities of the Folk Instruments Orchestra of KhNUA named after I. P. Kotlyarevsky. Due to the arrangements of these works for the folk instruments orchestra, a high academic status of playing folk instruments was demonstrated. It is necessary to emphasize the genre and stylistic orientation of these works on the Western European tradition. Along with the traditional forms of processing and arrangement, the folk instrumental art received the entire genre palette of European music, from miniatures to suites and concerts (in terms of timbre and texture capabilities of the folk instruments). On this way we see the keys to the academic status of the folk instruments orchestra. The prospects for further development of the theme. On the basis of the formed original repertoire at a certain historical moment it is possible to substantiate other leading principles of the orchestra as a concert and educational unit: the combination of an orchestra performer’s training, the formation of his professional skills with the ensemble’s concert activity; the introduction of academic approaches in the training of the folk instruments performers, conductors etc.

Symphonies Reframed

2018 ◽  
Author(s):  
Gjertrud Pedersen
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
Chamber Ensemble ◽  
Educational Value ◽  
Chamber Ensembles ◽  
String Trio ◽  
Original Works ◽  
The Difference ◽  
Core Questions ◽  
First Time

Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.

Andrey Krasnov’s contribution into development of comparative approach

2018 ◽  
Vol 90 (2) ◽  
pp. 112-120
Author(s):  
M. Davydiuk
Keyword(s):  
Comparative Method ◽  
Research Work ◽  
Scientific Work ◽  
Comparative Approach ◽  
Science Content ◽  
Tropical Plants ◽  
Original Works ◽  
History Of ◽  
The Many ◽  
First Time

The paper is devoted to the outstanding native botanist-geographer Andrey Nikolayevich Krasnov (1862-1914), who, with his original works, left a remarkable track in the history of geographic science. He has done a lot for the development of geography. Geospatial comparative-geographic research occupied a special place in the many-sided scientific work of the outstanding educator and geographer. Andrey Krasnov conducted them in the homeland and in different places of the globe. The purpose of this study is to highlight multi-component comparative-geographical developments, which are widely represented in Andrey Krasnov’s works. Elements of comparative analysis and comparative approach as a whole in these publications focus on itself all the richness of research work and constructive nature use results of the scientist, relevant up to now. Andrey Krasnov substantially enriched the comparative approach with the techniques of geographical comparative method with regard to research of the comparable geospatial objects of nature, and also considerably strengthened the approach by methods of paleogeographical, genetic, morphological, geomorphological, evolutionary, landscape-science content. Andrey Krasnov’s original geomorphological hypothesis of steppes forestlessness was developed by comparative study of steppe nature in different parts of the world. Using comparative approach Andrey Krasnov came to the conclusion that it is possible to create "Japan" in Colchis and grow tea there. The co-creation of man with nature realized by him (in the case of the introduction of tropical plants in analogical environment) was carried out on the basis of comparative-geographical approach. In that co-creation the future of constructive geography was guessed. Andrey Krasnov advanced and worked out the idea of "geographic combinations" – landscapes as the main objects of study of geographical science. This idea preceded the science of geographic landscapes and their regionalization, as well as the distinguishing of landscapes-analogues in different regions and zones of the Earth. Andrey Krasnov for the first time in the national literature has outlined the landscape regions and zones (strips) for the territory of the entire globe. In the scientific work of Andrey Krasnov the scientist and artist were harmoniously combined. His works are an example of combination of high scholarship with artistic presentation. He significantly developed the research capabilities of comparative approach and expanded the horizons of its effectiveness, including the teaching and educational field.

scholarly journals J. Offenbach’s opera “The Tales of Hoffmann”: on the question of interpretation. Part 1

2021 ◽  
pp. 81-101
Author(s):  
Natalia Yurievna Kireyeva ◽  
Angelina Leonidovna Kuts
Keyword(s):  
Music Analysis ◽  
Literary Text ◽  
Main Character ◽  
Music Drama ◽  
Romantic Irony ◽  
Original Works ◽  
History Of

The opera by Jacques Offenbach “The Tales of Hoffmann” is a unique phenomenon in the history of the opera genre attracting the attention of interpreters and researchers. Dealing with the text, musicians face particular problems caused by an unusual story behind the opera and its other peculiarities. The purpose of this article is to study the specificity of the opera at the literary, music, and stage levels using  the hermeneutical approach. The three independent original works of Hoffmann were combined in a grand drama composed by J. Barbier and M. Carré, and then in a libretto (J. Barbier) by means of deconstruction of romantic stereotypes of the main character, which reveals the peculiarities of the opera under consideration and explains the topicality of this research. The music analysis is aimed at the detection of expressive means through which the composer had managed to explain the idea of the authors of the literary text and get it across to the audience. The key formative way of building a music drama is a “romantic irony” (M. Ya. Kuklinskaya). That’s where the genre dualism of the opera under consideration comes from, which manifested itself in the form of the synthesis of the genres opera comique and opera lyrique. The authors also detect the interaction of elements of both genres helping to create an unusual atmosphere of the opera, and the play with the audience, allowing manipulating the spectators’ expectations, which is more typical of operetta than of opera genre.   

scholarly journals LEXIS AND PHRASEOLOGY, VERBALIZING CONCEPTS OF WOMAN AND GIRL IN A.B. KAITUKOV’S WORKS

2020 ◽  
Author(s):  
Р.Г. ЦОПАНОВА
Keyword(s):  
Mental Content ◽  
Literary Text ◽  
The Other ◽  
Contextual Analysis ◽  
The People ◽  
The World ◽  
The One ◽  
The Individual ◽  
Linguistic Units ◽  
First Time

Целью данного исследования является определение ментального содержания лексики и фразеологии, вербализующей концепты женщина (сылгоймаг) и девушка (чызг) в произведениях осетинского писателя А.Б. Кайтукова. Научная новизна связана с тем, что впервые на языковом материале произведений А. Кайтукова выявлено ментальное содержание указанных концептов. Актуальность данного исследования в том, что, благодаря описанию языкового содержания концептов женщина (сылгоймаг) и девушка (чызг), читатель, с одной стороны, вводится в мир национальной лингвокультуры, содержащей информацию о менталитете народа, с другой стороны – дается характеристика индивидуальных особенностей языка писателя. В работе использованы следующие методы исследования: семантико-стилистический, методы концептуального и контекстуального анализа языковых единиц в художественном тексте. Поставлены следующие задачи: определить номинативную плотность концептов женщина и девушка; раскрыть ментальное содержание лексики и фразеологии, вербализующей названные концепты; указать когнитивные признаки исследуемых концептов; охарактеризовать лексику и фразеологию, объективирующие названные концепты как средство создания идиостиля писателя. В результате работы дана характеристика концептов женщина и девушка в произведениях А. Кайтукова в аспекте лингвокультуры и в рамках идиостиля писателя. The purpose of this study is to determine the mental contents of the vocabulary and phraseology that verbalize the concepts of woman (sylgoymag) and girl (chyzg) in the works of the Ossetian writer A. B. Kaitukov. The scientific novelty is connected with the fact that for the first time the mental content of these concepts will be revealed on the language material of A. Kaitukov's works. The relevance of this study is that due to the description of the linguistic content of the concepts woman (sylgoimag) and girl (chyzg), the reader, on the one hand, is introduced into the world of national linguoculture, containing information about the mentality of the people, on the other hand, a characteristic of the individual features of the writer’s language is given. The following research methods were used in the work: semantic and stylistic, methods of conceptual and contextual analysis of linguistic units in a literary text. The following tasks were set: to determine the nominative density of the concepts woman and girl; to reveal the mental content of lexis and phraseology, verbalizing the named concepts; indicate the cognitive features of the studied concepts; to characterize the vocabulary and phraseology that objectify the named concepts as a means of creating the idiostyle of the writer. As a result of the work, a description of the concepts of a woman and a girl in the works of A. Kaitukov is given in the aspect of linguoculture and within the framework of the writer's idiostyle.

scholarly journals Yuly Aykhenvald and Petr Bitsilli: Reconstruction of the philosophical and aesthetic dialogue

Literary Fact ◽  
2020 ◽  
pp. 322-336
Author(s):  
Elena Takho-Godi
Keyword(s):  
Russian Literature ◽  
Literary Text ◽  
Russian Language ◽  
Russian Culture ◽  
Mutual Interest ◽  
Russian Poetry ◽  
The Impact ◽  
First Time ◽  
The Russian Language ◽  
Literature And Language

The article compares for the first time the philosophical and aesthetic views on Russian literature and language of two prominent representatives of Russian abroad — the critic Yu.I. Aykhenvald (1872–1928) and the medievalist, interpreter of Russian classics P.M. Bitsilli (1879–1953). A full overview of factual materials identified to date is given, confirming the mutual interest of Yu.I. Aykhenvald and P.M. Bitsilli: documents from P.M. Bitsilli collection at the Institute of Russian literature (Pushkin House) of the RAS, Yu.I.Aykhenvald’s review from the Berlin newspaper “Rul'”on P.M. Bitsilli’s “Studies on Russian Poetry”, obituary of Yu.I. Aykhenvald, which was published by P.M. Bitsilli in the Sofia newspaper “Golos”. Among the issues raised are the impact which Aykhenvald’s immanent method of analyzing a literary text had on P.M. Bitsilli’s aesthetically individualizing method, the approaches of both authors to solving the morphology of Russian culture and philosophy of the nation, the connection of the Pushkin theme with thoughts about the fate of post-revolutionary Russia and Russian language in their works, which they articulated during the discussion of S. and A. Volkonsky’s book “In defense of the Russian language”.

scholarly journals Lucidarius in Russia, Belarus, Ukraine, Poland, and Czechia: Types of Reception in the mid-16th to the First Quarter of the 20th Century

2021 ◽  
Vol 66 (1) ◽  
pp. 10-22
Author(s):  
Sergejus Temčinas
Keyword(s):  
20Th Century ◽  
Negative Attitude ◽  
Literary Text ◽  
Reading Public ◽  
Historical Interpretation ◽  
General Overview ◽  
National Characteristics ◽  
First Time

The article is focused on the problems of historical typology of the Slavic reception of the translated Lucidarius (Lucidář) in Russia, Belarus, Ukraine, Poland, and Czechia throughout its existence. For the first time, a general overview of Slavic evidences is presented in a generalized way, reflecting various types of perception (positive, negative, and neutral) of the specific literary text and indicating the chronology of each of them. Based on these evidences, their historical interpretation is presented, which consists in identifying two qualitatively different stages in the reception of the text under consideration: emotionally engaged (it can equally manifest itself in a positive or negative attitude) and neutral. The change of these historical stages took place in different Slavic countries within half a century (from the 1850s/60s to the 1920s). This process did not depend on the national characteristics of the functioning of Lucidaria, for example, the number of translations performed or their manuscript copies made, as well as the presence or the absence of a local Slavic printed tradition of this particular text, which significantly influenced the degree of its dissemination and, consequently, the level of acquaintance with it in the reading public.

scholarly journals Stając się modlitwą. Trzy postaci, trzy głosy (tłum. B. Brzezińskiego)

2018 ◽  
pp. 253-271
Author(s):  
Michael Plekon
Keyword(s):  
Life Meaning ◽  
The Real ◽  
Raising Children ◽  
Jesus Prayer ◽  
Monastic Community ◽  
Positive Meaning ◽  
Prayer Of The Heart ◽  
Watching Tv ◽  
The Relationship

The article Becoming what we pray: Three images, three voices by professor Michael Plekon presents three persons who were very important for Orthodox culture, spirituality and thought — saint Seraphim of Sarov, Mother Maria Skobtsova and Paul Evdokimov. Showing the most substantial facts from their life and activity the author exhibits the real transformation, metamorphosis of their personalities, hearts and consciousnesses under the action of practice of the Jesus' Prayer or the prayer of the heart. The main aim of the article is — one can suppose — to underline the role of the Jesus' Prayer in changing people who systematically practicing it in their life, and in giving them the power to go over the stereotypes, myths and customs, even religious. The heart of the matter is emphasizing — in positive meaning — the real close union between the prayer andthe life and the relationship with neighbour. Professor Plekon stresses that “the personaland interior aspects of this prayer are never separated from liturgical prayer and ourlives”. Christians believe in salvation and resurrection of Jesus Christ and they practice the Jesus Prayer, but this prayer formula is not only devoid of life meaning formula but it is the method of changing the whole human mentality, in each everyday circumstances concerning family, marriage, work, life in monastic community, doing shopping, reading books, watching TV programs, raising children, writing the scientific articles, being in different social and cultural situations, generally — it changes all, the vision of life and the universe.

scholarly journals FROM THE HISTORY OF LITERARY TRANSLATIONS OF K.L. KHETAGUROV’S WORKS: L.D. KIPIANI’S RUSSIAN INTERPRETATION OF THE POEM "SIDZÆRGÆS" ("MOTHER OF ORPHANS")

Kavkaz-forum ◽  
2021 ◽  
Author(s):  
Е.Б. ДЗАПАРОВА
Keyword(s):  
Semantic Analysis ◽  
Russian Translation ◽  
Main Idea ◽  
Literary Text ◽  
History Of ◽  
Artistic Images ◽  
Symbolic Images ◽  
Priority Function ◽  
First Time ◽  
Artistic Manner

В статье впервые рассматривается переведенный на русский язык грузинским поэтом и прозаиком Л.Д. Кипиани текст стихотворения К.Л. Хетагурова «Сидзæргæс» (с осет. ‛Вдоваʼ, ‛Мать сиротʼ, в переводе звучит как «Мать»). Автором исследования представлен лексико-семантический анализ разноязычных текстов (оригинал, перевод), прослеживается степень воспроизведения переводчиком интенций автора. В ходе анализа установлено, что приоритетная для художественного текста функция эстетического воздействия на реципиента достигается Л.Д. Кипиани использованием лексических единиц с близким семантическим значением. Однако передача символики, заложенной К. Хетагуровым в художественных образах, не всегда находит выражение в переводе. Важные для раскрытия идейного замысла художественного текста образы-символы: «æргъæвст халон» (‛закоченелая воронаʼ), «сау айнæг» (‛черный утесʼ), «саударæг ус» (‛носящая траур женщинаʼ) и т.д. остаются вне поле зрения реципиента. Не всегда автор перевода преследует цель отразить национально-культурную специфику, заключенную в семантике выражений «зæрдæ къахын», «буц хъæбул», «дудгæ фæбадын», «къона», «гыцци», «лыстæн». В тексте перевода они находят свои русифицированные варианты или не передаются вовсе.Но там, где переводчик отходит от содержания подлинника, создается оригинальный текст в той же художественной манере, близкой к авторской. Основная идея произведения в переводе не теряется: переводчик и на русском языке демонстрирует мытарства матери сирот. Л. Кипиани в целом удалось изобразить картину жизни осетин конца XIX – начала ХХ в., представленную К.Л. Хетагуровым в стихотворении «Сидзæргæс». For the first time, the article considers the translation into Russian by L.D. Kipiani, the Georgian poet and prosaic, of the text of the poem by K.L. Khetagurova "Sidzærgæs" (‛Widowʼ, ‛Mother of Orphansʼ, translated as “Mother”). The author of the study presents a lexical and semantic analysis of multilingual texts (original and translation), traces the degree with which the translator reproduces the author's intentions. In the course of the analysis, it was found that the priority function of aesthetic impact on the recipient for a literary text is achieved by L.D. Kipiani by using lexical units with similar semantic meaning. However, the transmission of the symbolism laid down by K. Khetagurov in artistic images does not always find expression in translation. Symbolic images that are important for the disclosure of the ideological concept of a literary text: "ærgævst halon" (a freezing raven), "sau ainæg" (black rock), "saudaræg us" (a woman in mourning), etc. remain out of sight of the recipient. The author of the translation does not always pursue the goal of reflecting the national-cultural specifics contained in the semantics of the expressions "zarda kahyn", "buts kh'abul", "dudgk fabadyn", "qona", "gyzzi", "lystun". In the text of the translation, they find their Russified versions or are not transmitted at all. But where the translator deviates from the contents of the original, the created text is, nevertheless, in the artistic manner, close to the author's. The main idea of ​​the work is not lost in the translation: in the Russian translation the hardships and ordeals of the mother of the orphans are also vivdly conveyed. L. Kipiani as a whole managed to depict a picture of the life of the Ossetians of the late 19th - early 20th centuries, presented by K.L. Khetagurov in his poem "Sidzærgæs" ("Mother of Orphans").

scholarly journals Massimo il Greco e gli ordini religiosi dell’Occidente

2021 ◽  
Author(s):  
Francesca Romoli
Keyword(s):  
Documentary Evidence ◽  
Religious Orders ◽  
Complex Figure ◽  
Perfect Form ◽  
Monastic Life ◽  
The Subject ◽  
Life Path ◽  
Papal States ◽  
First Time ◽  
Literary Legacy

Maximus the Greek (c.1470-1556), born Michael Trivolis, is a complex figure. As a copyist and Dominican novice, Orthodox monk and humanist, he stands at the crossroads of different worlds, cultures and creeds. His life path unwound between his besieged homeland, humanist Italy – in the Republics of Florence and Venice and in the Papal States – Mount Athos and the Moscow of Vasili III and Ivan IV. This path brought him exceptionally into contact with both Latin and vernacular humanism and Latin Christianity, with the Greek and Slavic Byzantine tradition, with Orthodoxy and Islam, in a cultural, linguistic and religious polyphony that is at once his hallmark and the key to his literary legacy. The subject of this book is Maximus the Greek’s testimony regarding the Western religious orders contained in the Terrible and Memorable Narration, and the Perfect Form of Monastic Life and the Letter on the Franciscans and the Dominicans. The comparison with documentary evidence, made here for the first time, demonstrates the reliability of these works, casting light on the author’s life and the sources, places and people involved in it.

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