Russian and Slavic Orthodoxy in the ambassadorial report of Arseny Sukhanov 1650

В статье показано, что мотивация сербскими монахами в 1650 г. сожжения славянских книг на Афоне путем обращения к литературному источнику о негативном отношении греков к славянской письменности связана со сходством ситуаций середины XVII в. и времени Кирилла и Мефодия. Арсений Суханов, прекрасно зная литературные источники, не выдумал этот текст в публицистическом сочинении, каким представлялись в историографии его «Прения с греками о вере». Он изложил реальные обстоятельства дела в своем посольском отчете, где указанные сербами, русином и даже арабским иноком мотивы греков не играли существенной роли. Отчет, явивший нам пример русского и сербского книжного единства, превратился в публицистический памятник много лет спустя, в связи с Расколом Русской Церкви. The article shows that motivation ascribed by Serbian monks in 1650 to the fact of burning Slavic books on Mount Athos by referring to literary source about negative attitude of Greeks to Slavic booklore is associated with similarity of the situation of the middle of 17th century and of the time of Cyril and Methodius. Arseny Sukhanov, who had a good command of the Slavs literary sources, did not invent this text in a pamphlet, as his «Debate with the Greeks about Faith» was often presented in historiography. He described real circumstances of the case in his ambassadorial report, where motives of Greeks, indicated by Serbs, Rusin and even Arab monk, did not play a significant role. The report, which provided us with an interesting example of shared Russian and Serbian literary tradition, turned into a pamphlet many years later, in connection with the Schism of the Russian Church.

Pteridophyte distribution of the Urals and adjacent areas: a dataset

Data on the species diversity and distribution of pteridophytes (lycophytes and ferns) in the Urals and adjacent areas are presented. The dataset includes 13,742 observations of two classes Lycopodiopsida and Polypodiopsida. In total, the dataset contains information on 16 families, 28 generas, 65 species, four subspecies and nine interspecies hybrids. All records are for lycophytes and ferns collected over 170 years between 1853 and 2021. The dataset presented is based on herbarium specimens, published data and field research conducted by the authors. This dataset is the first and important step towards generalising information on the current diversity and geographical distribution of pteridophytes in the Urals and adjacent areas. The dataset contains 13,742 records of 65 species of pteridophytes occurrences in the Urals and adjacent territories: Udmurt Republic (42,100 km2); Perm Krai (160,600 km2); Sverdlovsk Oblast (194,800 km2); Chelyabinsk Oblast (87,900 km2); Republic of Bashkortostan (143,600 km2); Tyumen Oblast (160,100 km2); Yamalo-Nenets Autonomous Okrug (769,300 km2); Khanty-Mansi Autonomous Okrug (534,800km2) and Kurgan Oblast (71,500 km2). Each record includes a geographical description of the place of discovery and habitat, year of discovery, author of the finding and determination, as well as a link to a literary source (if the data were published) or the place of storage of the herbarium specimen. The presented dataset supplements the information on the occurrence of pteridophytes in the Russian Federation as a whole and clarifies their distribution in the Urals.

ABOUT THE LITERARY SOURCES OF THE EPILOGUE OF THE «WAR AND PEACE» BY L.N. TOLSTOY

В статье рассматривается вопрос о месте и значении эпилога в составе идейно-художественного целого романа Л.Н. Толстого «Война и мир». Указывается на роль литературных источников, оказавших влияние на формирование толстовской концепции и обусловивших тесную связь эпилога с основной частью эпопеи. Особое внимание уделяется анализу параллелей, которые выявляются между образной системой и принципами характерологии Толстого с одной стороны и стилистическими и аксиологическими особенностями «Переписки» Ивана Грозного с Андреем Курбским. Данный памятник ранее не рассматривался как литературный источник творчества Толстого. В статье обосновывается мысль о том, что «Переписка», известная Толстому и упомянутая в эпилоге романа-эпопеи, своим нравственно-психологическим и философско-историческим содержанием была созвучна толстовским размышлениям. Писатель сознательно использовал эту параллель. В контексте «Войны и мира» указание на письма Ивана Грозного приобрело знаковую функцию, тесно связав «историческую» и «художественную» части книги. Воплощенная в «Переписке» Курбского и Грозного «духовная брань» органически вошла в подтекст «Войны и мира», что сближает Л.Н. Толстого с представителями литературы «духовного реализма». The article considers the question of the place and meaning of the epilogue as part of the ideological and artistic whole of L.N. Tolstoy’s novel «War and Peace». The role of literary sources that influenced the formation of Tolstoy’s concept and caused the close connection of the epilogue with the main part of the epic is indicated. Special attention is paid to the analysis of parallels that are revealed between Tolstoy’s figurative system and characterology principles, on the one hand, and the stylistic and axiological features of Ivan the Terrible’s «Correspondence» with Andrei Kurbsky. This monument has not been previously considered as a literary source of Tolstoy’s work. The article substantiates the idea that the «Correspondence», known to Tolstoy and mentioned in the epilogue of the epic novel, was consonant with Tolstoy’s reflections in its moral-psychological and philosophical-historical content. The writer deliberately used this parallel. In the context of the «War and Peace», the reference to the letters of Ivan the Terrible acquired a significant function, closely linking the «historical» and «artistic» parts of the book. The «spiritual warfare» embodied in the «Correspondence» of Kurbsky and Ivan the Terrible organically entered the subtext of the «War and Peace», which brings L.N. Tolstoy closer to the representatives of the literature of «spiritual realism».

Persepsi Masyarakat Lombok Terhadap Seksologi Dalam Lontar Resi Sembina Pada Masa Grahasta Asrama

Understanding the meaning and sanctity of sex as a biological need that has the same position as the need to eat and drink leads humans to their nature to fulfill sexual needs. To find out the understanding of the Hindu community in Lombok about the philosophical value of the discourse of intercourse in the text of Lontar Resi Sembina. This study used a descriptive type of research with a qualitative approach. In this study, we dissect a literary source in the form of lontar, which will then be linked to data on public perceptions of the teachings in the text of Lontar Resi Sembina. (1) Public understanding of Hindu religious teachings, especially regarding tattwa or the philosophical meaning of intercourse in living the life of Grahasta Asrama or having a household in Pagesangan Village, is still shallow. (2) almost all people in Pagesangan Village do not have literary sources that discuss sexual intercourse or kama tattwa. (3) there is a discrepancy between the public's view of the importance of fulfilling sexual libido as one of the expressions of kama in life, with the fulfillment of sources of information, both primary in the form of lontar literature, books, and other socialization media as well as supporting information sources in the form of the existence of Hindu intellectuals in the dissemination of tattwa teachings contained in the text of Lontar Resi Sembina.

“A Sea Symphony” by R. Vaughan Williams and its literary source

The purpose of the article is to identify the features of the artistic concept of “A Sea Symphony” by R. Vaughan Williams and the key role in its formation of the literary source of the work. The methodology of the work is based on the application of analytical, structural, comparative and intertextual methods, which makes it possible to expand the horizons of cognitive search and identify intertextual semantic connections within the studied phenomenon. The scientific novelty is that for the first time in Ukrainian musicology the literary source of “A Sea Symphony” by R. Vaughan Williams receives analytical coverage as an important component of the holistic artistic concept of the work. Conclusions. As a result of the work carried out, it was established that the poetic texts by W. Whitman’s “Leaves of Grass” became the literary source of the symphony. They are both separate poems of the poet and fragments from his poems. Combining them, the composer builds his own compositional and dramatic logic, subordinate to the idea of revealing the significance of the mythological image of the sea, which appears in the symphony as a polysemantic archetypal complex. Features of the composer's work with a poetic text, the validity of certain notes, replications, transpositions while maintaining and accentuating its key role in building the musical and artistic whole are revealed. The specificity and principles of the distribution of poetic texts between parts of the work, as well as vocal parties, solo and choral, are determined.

Stage creativity of Bogdan Stupka: features of the techniques and methods of his acting skills

The purpose of the article. To highlight the specific features of the stage work of the outstanding theatrical figure B. Stupka and to characterize the peculiarities of the techniques and methods of his acting skills. The methodology of research of Bohdan Stupka's stage activity is based on: analytical method - for the elaboration of culturological, art and theatrical scientific literature; typological method - to identify and determine the techniques of his acting skills; art history method - determining the contribution of B. Stupka to the development of Ukrainian drama theater and stylistic specifics of its acting art, the individuality of artistic search, the identification of artistic and aesthetic features of his stage work; cognitive method - to substantiate the uniqueness of the artist's acting skills, to identify and outline the specifics of his individual creative methods in the process of working on the artistic image. The scientific novelty of the study lies in the comprehensive analysis of the stage work of B. Stupka as one of the leading Ukrainian theater masters of the late XX - early XXI century. The peculiarities of the techniques and methods of his acting skills are described for the first time. Conclusions. As a result of the analysis of the research it can be concluded that the special, original, specific features of B. Stupka's work were the observance of key criteria of the aesthetic value of the production; deep penetration into the psychology of the character and its full disclosure; philosophical approach to understanding the literary source; the true nature of the feelings and way of life of the character; endowing the character with rigidly organized plasticity.

Stage design of the modern Ukrainian director theater

The purpose of the article is to identify and analyze the leading directions in the development of stage design in modern domestic director's theater, as well as to explore the problem of director's search in stage design. Methodology. A systematic method was applied, aimed at theoretical and artistic, and practical comprehension of the main aspects of the process of solving a stage work in the complex of organizing stage action and stage space; the method of artistic-critical analysis in the process of studying the modern theatrical repertoire, made it possible to study the stage design of the domestic director's theater in the variety of its forms; the typological method, helped to systematize traditional and innovative approaches to the development and implementation of stage design, as well as to determine its features in modern Ukrainian theater; the method of figurative and stylistic analysis, thanks to which the specifics of the stage design of modern productions of Ukrainian theater directors have been identified and analyzed; the hermeneutic method helped to identify and interpret the meanings laid down by the director in the rhythm-chronotopic configuration of the stage design. Scientific novelty. The directing-staging and scenographic activity of the leading Ukrainian directors (B. Polishchuk, D. Kostyuminsky, S. Masloboyshchikova) has been investigated, the variable variety of approaches to solving stage design in modern Ukrainian drama theater has been revealed and their influence on the artistic structure of the performance has been characterized; the specifics of the design solution for a modern theatrical performance by Ukrainian stage designers, as well as production directors, have been determined. Сonclusions. The transformations of the functions and vocabulary of stage design in Ukrainian directing theater XXI century are directly related to changes in the visual aesthetics of modern theatrical art, the problems of interpretation of the literary source, and its stage embodiment. Taking over the functions of a theatrical artist, stage directors strive to create a unique author's environment for a dramatic situation, visualizing a literary text in the space-time continuum of presentation in accordance with the individual definition of the meaning of the production, in an effort to accurately illuminate their own concept. But in the production, carried out by theatrical artists, the dominant position is occupied by the image - the performance is a series of visual images, and visual symbols exert an emotional impact on the viewer, which is usually stronger than a dramatic text and acting.

Icon “The Mother of God Tikhvinskaya With the Tale of its Image” From the Сollection of the Historical Museum

The article is dedicated to the icon “The Mother of God Tikhvinskaya with the Tale of its Image” of the last quarter of the 17th century from the collection of the Historical Museum. It discusses its history, clarifies the literary source, as well as presents the analysis of the iconographic program, compositional features and artistic uniqueness. The work ended up in the museum collection due to global changes in post-revolutionary Russia, which triggered a large-scale movement of cultural properties. The icon originates from the Tikhvin Lands and belongs to the poorly studied culture of the Russian province. Recent research has unveiled a whole set of works linked to the icon painters of the Tikhvin Posad. The icon “The Mother of God Tikhvinskaya with the Tale of its Image” represents a vivid example of the art of Tikhvin masters of the second half of the 17th century.

The character of Levin in the ballet “Anna Karenina” choreographed by John Neumeier Anna Karenina: the peculiarities of choreographic interpretation

The problem of choreographic interpretation of the novel “Anna Karenina” by L. Tolstoy in the modern ballet theater is relevant: in the past twenty years, several outstanding choreographers have selected this theme for their performance. The subject of this article is the interpretation of the character of Levin by John Neumeier. The goal consists in revealing the expressive elements and peculiarities of choreographic language used by the ballet master in staging this role, as well as in juxtaposing them with the original literary text. The article employs comparative and analytical methods, overt observation (in the process of working with Neumeier on the role of Kitty), Neumeier's lectures prior to the Moscow premiere of “Anna Karenina” (from the author's archive), and materials from video archives of the theatre. Detailed semantic analysis of stage direction and choreographic language of the role of Levin became the basic instrument for determining the traits of Tolstoy’s hero, which Neumeier derived from the literary source. Tolstoy’s reasoning on the topics that require in-depth philosophical reflection, which were inscribed into the artistic fabric of the novel, are instilled in the role of Levin. Creating the choreographic interpretation of this character, Neumeier did not pursue the original verbatim. However, the choreographer strongly emphasizes the difference between Levin and other characters. Determination of the staging techniques used for this purpose define the novelty of the research results, which can be applied in the further study of Neumeier's works. This includes explicit monologue, Stevens' songs as musical background, bare feet of the dancer, series of symbolic leitmotivs of bodily movements, arbitrary bodily movements that resemble improvisation, usage of costume details. Levin's monologues represent a performance within a performance, philosophical-symbolic choreographic meditation that is not connected with the overall plotline. Such solution, despite all apparent differences, conceptually brings together the choreographed character of Levin and the original text. Interpretation of this role is one of the key components in interpretation of L. Tolstoy's novel by J. Neumeier, which encompasses the author’s innovative staging solutions.