scholarly journals Reception of Aristotle’s Works “De Animalibus” in Russia (18th – Early 20th Century)

2022 ◽  
Vol 19 (3) ◽  
pp. 115-130
Author(s):  
O. S. Egorova
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Russian Culture

The article is dedicated to the analysis of fragments from the scientific works of Russian authors in 18th – early 20th century, which contain references to Aristotle’s “De Animalibus” texts. The author makes a conclusion about poor research and superficial reception of these Aristotle’s treatises in this period. “De Animalibus” texts didn’t play a big role in Russian culture, having primarily just a historical value.

scholarly journals “True Heirs to a Heroic Russian Past” or “Russians in Name Only”: Sitka Creoles as Seen by the Late Nineteenth Century Russian Orthodox Clergy

2020 ◽  
Vol 5 (4) ◽  
pp. 12-37
Author(s):  
Sergei Kan
Keyword(s):  
Nineteenth Century ◽  
20Th Century ◽  
Alaska Native ◽  
Late Nineteenth Century ◽  
Early 20Th Century ◽  
Russian Orthodox ◽  
Russian Culture ◽  
Language And Culture ◽  
Late Nineteenth

The paper examines the criticism levelled against the Creoles of Sitka (persons of Russian and Alaska Native descent) by the Russian Orthodox priests who came to minister among them in the late 19th-early 20th century. These clergymen accused their parishioners not only of immorality but also of not being truly Russian, as far as their language and culture were concerned. By focusing on this criticism, the paper explores the symbolic significance of Alaska’s Russian colonial and missionary history and its legacy in the conservative nationalist ideology of the Russian Orthodox clergy. Particular attention is paid to the causes to which this clergy attributed the decline of the Russian culture and devotion to Orthodoxy among the Creole population of this frontier American/Alaskan town.

The Russian Silver Age: Dionysianism Versus Principium Individuationis

2020 ◽  
pp. 21-28
Author(s):  
Oleg A. Matveychev
Keyword(s):  
20Th Century ◽  
Modern World ◽  
Early 20Th Century ◽  
Silver Age ◽  
Russian Culture ◽  
Important Idea ◽  
Russian Intelligentsia ◽  
Almost All ◽  
Cultural Reality ◽  
Original Concept

The article examines the existence, development and historical fate of the famous Nietzschean antithesis “Apollonian and Dionysian” in Russian culture of the late 19th - early 20th century. The author considers reasons for the true triumph of Nietzsche in Russia during the Silver Age and the peculiarities of the reception of his ideas by the Russian intelligentsia. The emphasis in the work is on the ideas of V. Ivanov - the main guide, herald and living embodiment of the idea of Dionysianism in Russia (the works of almost all other authors who addressed this topic were written under his influence). The main stages of the formation of his original concept of the cult of Dionysus, perceived by Ivanov as a primarily a religious phenomenon, are analyzed (the thinker refuses to use the concepts “Apollonian” and “Dionysian” as metaphors to describe a particular cultural reality). Ivanov's most important idea was the presentation of the cult of Dionysus and the “religion of the suffering god” as a “preparation” for Christianity. In the "restoration" of the Dionysian cult, Ivanov sees the way to overcome the crisis of the modern world, based on the principium individuationis.

scholarly journals “Not a Golden Antique”: Experience of Negative Reception of the “Estate Culture” at the Turn of the 19th–20th Centuries

2020 ◽  
Vol 5 (3) ◽  
pp. 252-269
Author(s):  
Olga A. Bogdanova
Keyword(s):  
20Th Century ◽  
Golden Age ◽  
Early 20Th Century ◽  
Silver Age ◽  
Russian Culture ◽  
Organic Part ◽  
Andrey Bely ◽  
The One ◽  
Number Of Authors

In contrast to passeistic and neo-mythological trends in the representation of the “estate culture” in the so-called Silver age, a number of works of that time follow another line — the one of aesthetic, civilizational, and socio-psychological critique. The latter tendency dates back to the serfdom period (A.I. Herzen, N.S. Leskov, L.N. Tolstoy, etc.). Pan-aesthetics, one of the main trends of Russian culture of the early 20th century, prompted the mentioned aesthetic critique. A number of authors questioned and rejected the idealization of the Golden age of “estate culture”, which in the Silver age claimed to be the “national ideal.” This is how the polemical image of “not a golden antique” appears in the works of I.F. Annensky, Andrey Bely, N.S. Gumilev, G.I. Chulkov, A.N. Tolstoy, etc. In addition, the structure of the “estate topos” includes civilizational critique of the “estate culture” as organic part of the Russian national-patriarchal world (A.I. Ertel, A.P. Chekhov, I.S. Shmelev, etc.). The article examined the mentioned negative connotations of the “estate topos” on the example of the story by Alexey N. Tolstoy “Mishuka Nalymov (Zavolzhye).”

The German Roots of Russian Orientalism: Hafiz’s Poetry in Early-20th-Century Russian Song

2021 ◽  
pp. 47-64
Author(s):  
Philip Ross Bullock
Keyword(s):  
Nineteenth Century ◽  
Complex Network ◽  
20Th Century ◽  
Early 20Th Century ◽  
Cultural Appropriation ◽  
German Romanticism ◽  
Russian Culture ◽  
Cross Border ◽  
Musical Exoticism ◽  
The Relationship

The Russian arts were as fascinated by exotic languages, cultures, and locales as their Western European counterparts, and at first glance, Russian settings of the poetry of Hafiz appears to form part of the broader field of musical exoticism in general, and Russian orientalism in particular. This chapter begins by examining the relationship between empire and music, before setting out a rather different account of Russian musical orientalism, one marked by a complex transnational flow of literary and musical influences, as well as practices of translation, imitation, cultural appropriation, and cross-border artistic exchange. Whilst forming part of a broader tendency to imagine visions of a supposed ‘orient’ that had little to do with any documented anthropological, ethnographic, philological, or linguistic reality, Russian settings of Hafiz’s poetry are ultimately the result of the import of elements of German romanticism. Here, writers, translators, and commentators co-opted a range of ‘exotic’ literatures in an attempt to distinguish themselves from the dominance of French classicism and fashion an autonomous form of German nationalism, key elements of which were then incorporated into mid-nineteenth-century Russian culture (as in the case of Afanasy Fet’s translations of Georg Daumer’s well-known ‘versions’ of Hafiz). Accordingly, Hafiz figures not so much as the object of orientalist representation (although there is certainly a strong element of that to the songs discussed here), but as an exemplary figure within a complex network of literary mediation.

scholarly journals Laboratory and studio in early 20th century Russian culture : A typology

Shagi / Steps ◽  
2019 ◽  
Vol 5 (4) ◽  
pp. 9-22
Author(s):  
Katarzyna Osińska ◽  
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Russian Culture

scholarly journals Genesis of the Archetype of the Trickster in Russian Literature

ICONI ◽  
2021 ◽  
pp. 59-74
Author(s):  
Svetlana P. Shlykova ◽  
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
Russian Literature ◽  
Early 20Th Century ◽  
Modernist Literature ◽  
World Culture ◽  
Russian Culture ◽  
The 19Th Century ◽  
Folk Tradition

The article is devoted to demonstrating the genesis of the archetype of the trickster in Russian literature. The antihero, the sources of whose anti-behavior are traced in harlequinade and skmorokh buffoonery, is examined on the material of folklore and literary works from the 18th to the early 20th century. Anti-behavior in Russian culture symbolizes a rebellion unrefl exed in the folk environment against the norms of behavior and orderliness of life imposed by those in power. The archetype of the trickster, which has longtime traditions in world culture, was personifi ed in Russia as the skomorokh, then the jester Farnos, who in many ways adopted the skomorokh traditions. Among the populace Petrukha Fornos became one of the favorite comic jester heroes, having acquired special popularity as the result of crude color woodcuts from the 18th century. In the 19th century the image of Farnos was transformed into Petrushka, a puppet character of the theatricalized genre. With his assistance the simplistic satirical subjects lay at the foundation of the so-called Petrushka theater which, despite the unaltered plot, bore an improvisational-play character, pertaining to a number of “baculine” comedies, in the 19th century the image of Petrushka was so popular, that it surpassed the oral folk tradition and found its place in literary compositions. In the early 20th century the image of Petrushka the trickster became the source for numerous interpretations in modernist literature.

Z dziejów emigracji rosyjskiej w Polsce – publicystyka Michaiła Arcybaszewa

2018 ◽  
Vol 2 (XXII) ◽  
pp. 37-47
Author(s):  
Patryk Witczal
Keyword(s):  
20Th Century ◽  
Russian Empire ◽  
Early 20Th Century ◽  
Important Place ◽  
Russian Culture ◽  
Insightful Analysis

In article was analized emigration’s journalism of Artsybashev from journal “Za svobodu!”. Journalism takes a very important place in the works of Mikhail Artsybashev. The writer witnessed historic changes in Russia of the early 20th century and emigration period and condition of Russian culture and literaturę in Russia and emigration. In his many works included a great number of valuable comments and insightful analysis of the processes taking place on the territory of the decaying Russian Empire.

The Image of the Orthodox Clergy in Russian Genre Painting of the 19th and Early 20th Century

2021 ◽  
pp. 54-67
Author(s):  
Svetlana M. Sankova
Keyword(s):  
Everyday Life ◽  
20Th Century ◽  
19Th Century ◽  
Early 20Th Century ◽  
Genre Painting ◽  
Russian Culture ◽  
Reform Period ◽  
The Everyday ◽  
The 19Th Century ◽  
The Church

The article traces the transformation of the artistic public's view on the clergy and their place in the life of Russia on the basis of the images of priests created by domestic masters of the genre in the 19th – early 20th centuries. Genre painting originated in Russia in the second quarter of the 19th century and allowed artists to move away from symbolic academic themes and turn to subjects from the everyday life of their contemporaries. However, as a rule, there was no place for the clergy in those works. The exception was the work of A.G. Venetsianov, who was at the root of the creation of genre painting in Russia. In the period of liberal reforms, the church was viewed as something reactionary and clergy was often portrayed in sharply satirical or comic situations (V.G. Perov, F.S. Zhuravlev). In the post-reform period and with the development of realistic worldview, the images of the priest lost their comic focus on the canvases of K.A. Savitsky, G.G. Myasoedov and I.E. Repin. Late 19th and early 20th centuries for the Russian culture was the period of searching spirituality and coming to understand approaching social upheavals in Russian culture, which was clearly demonstrated by M.V. Nesterov's turn to depicting the image of a priest. His disciple P.D. Korin, who witnessed active persecution of the church in the early 1920s, emphasized in his famous, but unfinished portraits of priests the heroic resistance of the clergy to impending persecution. It is important to say that after decades the artist did not get back to the unfinished canvas, since the situation in the country changed, and the genre of the painting changed to historical.

Was high grouse bag in early 20th century Norway due to a program for extermination of small game predators?

Ecography ◽  
2001 ◽  
Vol 24 (5) ◽  
pp. 579-587 ◽  
Author(s):  
Christian A. Smedshaug
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Small Game
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