scholarly journals «THOUGHTS ON UNIVERSAL HISTORY» BY ALEKSEY KHOMYAKOV IN THE SPIRITUAL AND CULTURAL CONTEXT OF THE SERBIAN TRADITION

2020 ◽  
pp. 109-117
Author(s):  
Yelena A. Osipova
Keyword(s):  
Literary Criticism ◽  
Cultural Context ◽  
Literary Tradition ◽  
Creative Work ◽  
Main Subject ◽  
Historical Knowledge ◽  
Human Race ◽  
Universal History ◽  
National Tradition ◽  
Artistic Vision

The article considers the work of the Russian Slavophil thinker Aleksey Khomyakov (1804-1860) «Semiramis, or Thoughts on Universal History». Despite the fact that in recent years there have been many works in the fi eld of literary criticism devoted to this work of the philosopher, it still remains unraveled in full. However, much in the worldview and creative work of Aleksey Khomyakov and Slavophil philosophers are revealed in a new light as a result of the ideological and thematic correlation of «Semiramis» with the broad historical and spiritual and cultural context of the Serbian national tradition (on the example of the philosophical works of Bishop Nikolaj Velimirović, Archimandrite Justin (Popović), poet Jovan Dučić and other authors). What is the main subject of Aleksey Khomyakov’s study in «Semiramis», is history and ways of development of the whole human race. The vector of basic refl ections of the philosopher, who focused his attention on the fate of Europe and Slavics as its integral and essential constituent, can be seen against this background. The consonance and «intersection» of the thinker’s reasoning with the Serbian cultural and literary tradition makes it possible to draw a conclusion about the unity of the Orthodox Slavic identity of Russians and Serbs - despite all the unique cultural and historical features of the nations. Realisation of this fact becomes possible due to the scale of themes stated by Aleksey Khomyakov in his work, as well as due to the organic connection of the author’s deep historical knowledge and artistic vision.

MYTH IN SAM SHEPARD’S “THE GOD OF HELL” AND ITS POLITICAL IMPLICATION

2019 ◽  
pp. 32-38
Keyword(s):  
Literary Criticism ◽  
American Culture ◽  
The Political ◽  
Creative Work ◽  
Political Implication ◽  
Major Work ◽  
Sam Shepard ◽  
Long Period ◽  
Political Myth ◽  
The World

The article introduces the creative work of the famous American playwright Sam Shepard, whose works are almost unknown to our Uzbek reader. His plays are well known throughout the world; they influenced the formation of the worldview of readers of different nations and show the peculiarities of American culture. Despite the worldwide fame of Sam Shepard’s works, they are not studied well by literary critics. In America and Europe his works have been studied in details for a long period, and even several monographs in English have been written. However, neither in the Russian speaking, nor in the domestic literary criticism there is yet no major work on Shepard's works. The article also deals with the artistic features of the political myth of the “American dream” in one of the most scandalous plays, “The God of Hell,” dedicated to the protest against the war in Iraq. Thus, this study, which touches upon some issues of Shepard's creative work in connection with his innovative artistic originality, to a certain extent, seeks to fill this gap.

scholarly journals Russian philosophy and the formation of the Russian national and cultural canon: problems and prospects ([Review on:] Malinov A.V. Research and articles on Russian philosophy. Saint Petersburg: RHGA, 2020, 608 p.)

2021 ◽  
pp. 181-190
Author(s):  
A.B. Bocharov
Keyword(s):  
Cultural Context ◽  
Philosophy Of History ◽  
Russian Language ◽  
Russian Philosophy ◽  
Main Subject ◽  
Russian Culture ◽  
Saint Petersburg ◽  
The Common ◽  
Evolution Of Ideas ◽  
The Russian Language

This work is devoted to the analysis of the book by A.V. Malinov “Research and Articles on Russian Philosophy”. The main subject-content and thematic-subject lines of the book are revealed: philosophy of Slavophiles; historical, cultural and philosophical contexts of V.S. Solovyov and V.V. Rozanov; professional philosophy in Russia. Points to the variety of genres published in a collection of articles and materials of historical and philosophical articles, teaching materials (lectures and paragraphs from the textbooks), archival materials, methodological reflections. The author considers the interpretations of A.S. Khomyakov, the Slavophil ideas of O.F. Miller, the evolution of ideas about the common Slavic language, the attitude of V.S. Solovyov with N.I. Kareyev and St. Petersburg Slavophiles (including the polemic of V.S. Soloviev with the Slavophiles in the last work of the Russian philosopher – “Three Conversations”), V.V. Rozanov with the Slavophiles and V.I. Lamansky, features of V.V. Rozanov, the philosophical heritage of A.I. Vvedensky and the controversy caused by him, the place of L.P. Karsavin in the tradition of teaching the philosophy of history at St. Petersburg University, the specifics and historical path traversed by university philosophy in Russia, the modernization of the methods of modern historical and philosophical research, etc. The author notes the author's appeal to little-studied representatives of Russian philosophy, original interpretations of biographical and historical-philosophical plots, the use of the expressive possibilities of the Russian language, enriching the interpretive possibilities of the historiography of Russian philosophy. The conclusion is made about the preservation of the “Russian canon” in the research of Russian philosophy, about its heuristic possibilities. The author's intention is explained and the value of research of this kind, serving the purpose of reinterpreting the ideas of Russian philosophy, solving the problem of preserving the values and meanings of Russian culture in the modern historical and cultural context, is indicated.

scholarly journals Valeryan Sergin and the development of the Siberian landscape painting at the turn of 21st century: to the study of the artist`s works

2021 ◽  
Vol 62 ◽  
pp. 310-324
Author(s):  
Natalia V. Pokrovskaya
Keyword(s):  
Creative Work ◽  
Artistic Practice ◽  
Siberian Region ◽  
Full Member ◽  
Creative Strategy ◽  
National Tradition ◽  
Art Program ◽  
International Projects ◽  
The Subject ◽  
Academy Of Sciences

The subject of research is an artistic practice of V. A. Sergin, a national artist of Russia, a full member of the Petrovskiy Academy of Sciences and Arts, an academician of the Russian Academy of Arts, a participant in more than 180 exhibitions, including 25 national and international projects, more than 20 personal exhibitions. The paper explores artist’s creative biography in the context of Russian and Siberian traditions and analyzes bright stages of the formation and flowering of the “Siberian school” of Russia, the Krasnoyarsk organization of the Union of Artists, with regional, regional, personal exhibitions and specific works of Sergin highlighted. The author addresses artistic originality of the national tradition of the Siberian region, allowing to holistically present a wide panorama of the development of the Siberian and Russian schools. The paper consistently attempts to discover the artist’s creative laboratory and to identify the “formula” of his inspiration. The basis of the study is a set of principles and techniques of work that have been carried out in practice by the artist from the late 1950s to the present day, and takes into account the creative work of V. A. Sergin, which solves specifically pictorial issues. The creative strategy of modern artist is perceived as a universal cultural environment, a territory for the formation of artistic meanings. The creative environment in the workshop, in the open air and during travels creates the conditions for implementing the art program and reveals those processes that help demonstrate and provide the continuity of artistic traditions.

Unraveling Irony: from Linguistics to Literary Criticism and Back

2019 ◽  
Vol 5 (1) ◽  
pp. 147-173 ◽  
Author(s):  
Francisco José Ruiz de Mendoza Ibáñez ◽  
Inés Lozano-Palacio
Keyword(s):  
Literary Criticism ◽  
Systematic Study ◽  
Cultural Context ◽  
Cognitive Linguistic ◽  
Time Periods ◽  
The Relationship

This article argues for the need to strengthen the dialogue between linguistics and literary criticism to enhance existing accounts of irony in both camps. The analytical categories arising from this work allow for a more systematic study of the ins-and-outs of ironic discourse. Our proposal starts from the cognitive-linguistic view of irony, based on the activation of an echoed and an observable scenario, which are mutually exclusive. The clash between them gives rise to an attitudinal element. To this analysis, our proposal adds, on the basis of the more socio-cultural view of literary criticism, a consideration of felicity conditions and a distinction between two basic types of ironist and interpreter, together with a discussion of the communicative consequences of their possible ways of interaction. With these tools the article introduces a degree of homogeneity in the account of the relationship between irony and its socio-cultural context across different time periods.

scholarly journals Art. X.—On the original extension of the Sanksrit language over certain portions of Asia and Europe; and on the ancient Aryans (), Indians, or Hindus of India Proper

1856 ◽  
Vol 16 ◽  
pp. 172-200
Author(s):  
A. Curzon
Keyword(s):  
Human Species ◽  
Human Race ◽  
Universal History ◽  
History Of ◽  
Of Greece

In tracing back the orign of nations beyond the period embraced by the special histories of Greece and Rome, we reach the interval in universal history, during which four great nations are known to have floursihed, and to have extended their relations, political, millitary, or commercial, over the various regions of the globe. These are the races of India, China, Phœnicia, and Egypt. The two latter have long ceased to exist as distinct nations; or rather have been absorbed in other nationalities; whilst the two former, beside constituting the most numerous portion of the human race, have continued their ethnical existence to the present time. That other races of men inhabited the countries which have since been occupied and peopled by these races anterior to them may be considered certain; but no data exist from which it can be inferred that any considerable monarchy, or empire, was ever founded in any of these countries, prior to the clear, national establishment of those races, respectively, in India, and Egypt. The three former are the nations of Asia, who, whether by the antiquity of the civilization attributed to them, or the permanent influence they have exerted in the history of mankind, must be regarded by modern writers as the earliest races that have established themselves as great nations, whose peculiar languages and institutions mark them as the most distinct divisions of the human species, from whose records all researches in general history and ethnology must commence. Of the Chinese and the Phoenicians I shall have as little to remark as of the Egyptians.

Some Thoughts on the Mutual Displacements/Appropriations/Accommodations of Culture in Several Fictions by Toni Morrison, Cynthia Ozick, and Grace Paley

Prospects ◽  
1995 ◽  
Vol 20 ◽  
pp. 387-404
Author(s):  
Emily Miller Budick
Keyword(s):  
American Literature ◽  
Literary Criticism ◽  
Toni Morrison ◽  
Body Politic ◽  
Literary Tradition ◽  
The United States ◽  
The Body ◽  
Cynthia Ozick ◽  
History Of ◽  
Entire History

InPlaying in the Dark, Toni Morrison sets out to chart a new “geography” in literary criticism, to provide a “map” for locating what she calls the “Africanist” presence in the American literary tradition. The assumption of Americanist critics, she argues, has been that “traditional, canonical American literature is free of, uninformed, and unshaped by the fourhundred-year-old presence of, first, Africans and then, African Americans in the United States. It assumes that this presence — which shaped the body politic, the Constitution, and the entire history of the culture — has had no significant place or consequence in the origin and development of that culture's literature.” For Morrison, recording the Africanist presence produces nothing less than an absolute revision of our notion of what constitutes the American literary tradition.

Strategies for building a professional reputation of Russian emigres and self-educated writers

Neophilology ◽  
2020 ◽  
pp. 512-520
Author(s):  
Yuliya V. Kaminskaya ◽  
Oxana A. Tolstonozhenko
Keyword(s):  
Critical Reflection ◽  
Literary Tradition ◽  
Economic Benefits ◽  
Creative Work ◽  
Common Features ◽  
Cultural Conditions ◽  
The People ◽  
Professional Reputation ◽  
Russian Literary ◽  
Literary Process

We analyze the ways of constructing a writer's reputation in exceptional cultural conditions related to displacement of entire generations of authors to the literary process periphery and their lack of a “right to creative work”. We compare the experience of two conditionally distinguished large and heterogeneous groups – writers from the people who tried to declare themselves at the beginning of the 20th century as an independent current, and representatives of the Russian literary emigration. In addition to a number of common features (falling into the “blind zone” of generally recognized literature, internal isolation, leading to the fact that the majority of readers belong to the same environment as writer, the lack of economic benefits from publishing works), self-educated writers and emigres resorted to similar strategies for building a reputation. We find that representatives of both groups formulated a noble mission uniting them, aimed at serving na-tional literature, turned to the experience and poetics of predecessor writers to construct their own literary tradition, legitimizing their special creative path, and tried to structure their sub-field by creating associations and circles , as well as critical reflection of the current literary process.

scholarly journals Staliniana as a Tool for the Myth Fortification: Once Again about Stalin’s Visits to Razliv

2020 ◽  
Vol 17 (1) ◽  
pp. 100-111
Author(s):  
Irina I. Rutsinskaya
Keyword(s):  
Cultural Context ◽  
Life Story ◽  
Visual Representations ◽  
Main Subject ◽  
Stalin Era ◽  
Long Time ◽  
History Of ◽  
Cultural Tools ◽  
Over Time

Historians have long been studying in detail the story of I.V. Stalin visiting V.I. Lenin in Razliv. The main subject of their interest is whether this event took place in reality. Most of modern authors agree that it did not. This article does not dispute this verdict, because it is not about the event itself, but about the history of the mythologeme’s origin and the forms of its representation in the culture of the Stalin era.Researchers have not ye raised the question of why this story was introduced by Stalin into the updated version of his own official biography only thirty years after the events described in it. Meanwhile, appealing to it makes it possible not only to comprehend the reasons and goals of mythologizing individual episodes of the leader’s biography at the culmination stage of building his cult, but also to study the methods and forms of using cultural tools to achieve such goals.The article focuses mainly on visual representations of the mythological story. However, it was important not only to analyze and classify the new unstudied iconographic schemes that had never been studied by anyone before, but also to see them in a historical and cultural context. This approach made it possible to demonstrate how the Soviet representation strategies had been “working” under the conditions of the permanent expansion of the leader’s “life story”, as well as how the universally proclaimed slogan about the immense veneration of the teacher Lenin by his student Stalin had been adjusted over time. The fact that the story of “Stalin in Razliv” had remained for a long time beyond the attention of the leader himself and the ideologists of his cult (i.e. it had been considered unworthy of special efforts) and was included in his biography only seven years before his death, makes the analysis proposed in the article even more comprehensive.

scholarly journals Euphuism in Robert Southwell’s Religious Poetry (on the basis of “St Peter’s Complaynte”)

2021 ◽  
pp. 82-90
Author(s):  
А. Н. Чекова
Keyword(s):  
Literary Criticism ◽  
Cultural Context ◽  
Focus Of Attention ◽  
Religious Conflict ◽  
Writing Style ◽  
Religious Poetry ◽  
Systematic Analysis ◽  
Poetic Expression ◽  
Poetic Texts ◽  
Stylistic Unity

В статье рассматривается духовная лирика поэта-проповедника Р. Саутвелла (1561–1595) как представителя Елизаветинской эпохи. Основное внимание уделяется влиянию на творчество автора такого литературного направления, как эвфуизм. Чтобы продемонстрировать, насколько активно и целенаправленно поэт прибегает к эвфуистическим приемам, и достичь понимания того, с какой целью он это делает, кратко рассматривается биография Р. Саутвелла в рамках религиозного конфликта между католиками и протестантами, являющегося историко-культурным контекстом, в который вписано творчество поэта. Проводится подробный лингвостилистический анализ 26 лирических текстов из стихотворного цикла «Сетование святого Петра» с элементами лингвопоэтического анализа. Новизна данного исследования состоит в том, что впервые систематический анализ лирики Р. Саутвелла проводится с позиций лингвистики, а не литературоведения или религии. По результатам анализа автор делает вывод, что эвфуистические приемы позволили Р. Саутвеллу не только ярко и наглядно отразить в своих текстах остроту религиозного конфликта, в эпицентре и под непосредственным влиянием которого, а также сопутствовавших этому конфликту противоречий обеспечили сохранение стилистического единства во всех текстах рассматриваемого цикла. The article concentrates on the religious poetry of Robert Southwell (1561–1595) as a representative of the Elizabethan era; the focus of attention is the influence of euphuism on the poet’s writing style. Southwell actively and purposefully employs euphuistic means of expression, such as parallelism and especially alliteration, in his works; in order to achieve a better understanding of the reasoning behind this stylistic choice, Southwell’s biography is briefly examined within the framework of the religious conflict between Catholics and Protestants, which provides the historical and cultural context for Southwell’s texts. A detailed linguostylistic and linguopoetic analysis of 26 excerpts from his didactic religious poem “St Peter’s Complaynte” is then carried out. The novelty of the research lies in the fact that this article, unlike most previous works focused on Robert Southwell’s poetry, carries out a systematic analysis of Southwell's poems from a linguistic standpoint, as opposed to that of literary criticism or religion. Based on the results of the analysis, the author of the article concludes that employing euphuistic means of poetic expression as actively as Southwell does allows the poet to achieve a more vivid depiction of the religious conflict in the eye and under the influence of which his poetic texts were born; moreover, euphuism serves to create a stylistic unity between all the poetic texts that comprise “St Peter’s Complaynte”.

scholarly journals 10. Creativity and Innovation in Visual Arts through Form and Space Having Symbolic Value

2017 ◽  
Vol 14 (1) ◽  
pp. 207-216
Author(s):  
Mihai – Cosmin Iaţeşen
Keyword(s):  
Media Coverage ◽  
Cultural Context ◽  
Specific Area ◽  
Temporal Area ◽  
Cultural Character ◽  
State Of Mind ◽  
Artistic Vision ◽  
Symbolic Value ◽  
Sensory Processes ◽  
Creativity And Innovation

Abstract The numerous plastic approaches of form in the 20th century are characterized by creativity and innovation. Form, as expression of an artistic language, is the cause and effect for the cultural evolution of a particular spatial-temporal area. The invention of forms depending on the factors which will impose them in a particular socio-cultural context and location environment is not everything. The challenges of the act of creation are far more complex. For the art of the 20th century, the role of the type of expression in visual or gestural language proved much more convincing and meaningful as to the data or phenomena occurring in immediate reality. The personality of the artist, his cultural character, his media coverage and exterior influences of his inner world, his preceding experiences and receiver’s contacts in a specific area are the factors that influence the relation between the work of art and the audience against a particular spatial-temporal background. The psychological and sensory processes in works of plastic art are spatially configured in structures, which leads to self-confession. The artist filters the information and the elements of exterior reality through the vision of his imagination and power of expression specific to his inner self, and turns them into values through the involvement of his state of mind. Constantin Brâncuşi is the sculptor whose role was considered exponential as he revolutionized modern artistic vision by integrating and creating space-form relations through symbol. Throughout his complex work - the Group of Monumental Sculptures of Tg. Jiu, the artist renewed the language of the sculpture-specific means of expression, though archaic forms, by restoring traditional art. Archetypes often make reference to the initial and ideal form and they represent the primitive and native models composing it. Form attracts, polarizes and integrates the energy of the matter outside the human body, and art acquires a unifying function for the senses of our spirit. We identify the forms developed by the junction between fantastic forms, the figments of the imagination of artists who communicate deep human meanings. They invite us in a world of constructive forms and mysteries, truly innovative and elaborate creations, by underlying different directions in the compositional space with symbolic value.

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