bluuebunny/crossref_metadata_2025 huggingface dataset:
Complex three-component constructions of the “adverbial participle - participle” type in the Altai language
Authors:   Institute of Philology of the Siberian Branch of the Russian Academy of Sciences, Tazranova Alena R.
Published: February 2023

Analytical constructions are common in the Altai language. The verbal analytic constructions are very diverse, including adverbial participle, participle, and infinitive ones. This paper examines three-component “adverbial participial - participial” constructions: adverbial participle on =p; auxiliary verbs of being in the participle form on =Ar and =GAn; and auxiliary verb bol= (to be) in different grammatical forms. Four subtypes of multi-component constructions were studied. The analysis revealed the analytical construction to be the most frequent, with the first component being the free verb adverbial participle and the second component represented by the verbs of being tur= (to stand), otur= (to sit) and d’at= (to lie), d’ür= (to walk), fully grammaticalized and appearing as =GAn, and the third component, the verb bol=, used as a service predicate bolor (probably) expressing a high probability of the action. The semantics of an analytical construction proved to depend on its semantic components. Each grammatical element contributes its shade depending on: a) what verb is used as the first free component; b) what auxiliary verb is used as the second component and what is the temporal form of the verb; c) the grammatical form of the modal verb bol=. The analytical constructions studied demonstrate the following pattern: if the form with =DY of the final component bol= takes on the personal affixes, then the meaning of the action credibility in the past does not come first, the meaning of the admonitive becomes apparent, expressing a warning to the addressee about possible negative actions.
Typological features of Shor equative and similative constructions
Authors:   Institute of Philology of the Siberian Branch of the Russian Academy of Sciences, Nevskaya Irina A.
Published: February 2023

Equative constructions state that the object compared and the standard of comparison possess the same quality to the same degree (She is as tall as her father). In contrast, similative ones presuppose that the action is processed in the same manner (She sings like her mother). Such comparative constructions of equality have not been studied sufficiently in the typological aspect. Research on such constructions in a language allows for delineating their universal and individual features. This paper deals with equality constructions in Shor, an indigenous Turkic language spoken in South Siberia, Russian Federation. The author describes the morphological means expressing comparative semantics of equality in Shor, the structural and semantic types of such comparative constructions, distinguishing their equative and simulative semantic and structural types, as well as quantitative and qualitative ones. Also, generalized equality constructions are considered. The descriptive framework and terminology of Martin Haspelmath and Oda Buchholz are used to describe the typological properties of Shor equality constructions. This research has shown Shor to preserve ancient synthetic equality markers. They can be classified into quantitative and qualitative ones, although this distinction is present only in equative constructions. These markers are gradually replaced by newly coined analytical markers that are much more specialized and can be used only in equative or simulative constructions and express either qualitative or quantitative semantics. Interestingly, simulative constructions can also be of the quantitative semantic type that Martin Haspelmath and Oda Buchholz consider very uncommon.
Substratum of natural written speech texts in the aspect of genre relevance
Authors:   Kemerovo State University, Lebedeva Natalia B. , Rabenko Tatyana G. ,   Kemerovo State University
Published: February 2023

The research subject matter corresponds to the idea of speech genre parameterization - the definition and justification of genre-relevant features involved in marking the genre characteristics of the text. One of these parameters is a substratum, a material carrier of a written sign. The paper considers various types of correlation between the substrate and genre characteristics of the text, from a high degree of their relationship to their relatively neutral interdependence. Given the concept of M. Foucault, four types of correlation of the substratum and functional-content features of the genre are outlined. Conformity is where substratum and functional-content characteristics are harmonized. Rivalry is where the substratum and functional-content characteristics of the genre, having a certain closeness and systemically determined integrity, come into conflict, especially once placed in a different sphere, leading to a genre shift. Analogy is where form and function, substrate and content, due to their initial heterogeneity, can share only specific characteristics. Sympathy is where the substratum and the content exist independently in the world but, under certain conditions, are attracted to each other. Thus, it seems significant for natural written speech to have an external to the content, may prove to be genre-relevant to some degree. The idea about the organic connection of all sides of a speech work, characteristic of natural written speech, corresponds to the general methodological principle of form, function, and content correspondence.
Expository text grammar and disciplinary knowledge (presupposition)
Authors:   The Herzen State Pedagogical University of Russia, Trushchelev Pavel N.
Published: February 2023

The paper describes the expository text as the model of disciplinary knowledge. Consideration is given to the type of epistemic modality associated with presupposition, i.e., knowledge known and relevant to the participants of communication. Text analysis functional methods are used to study expository texts from Russian textbooks on Social Sciences and Physics for secondary school. It has been found that presupposition is most often expressed through modal constructions referring to a reader (personal pronouns) occupying an initial or non-initial position in the text. The didactic function of the expressed presupposition is to actualize the reader’s knowledge necessary for text comprehension. At the same time, the expressed presupposition allows presenting a model of knowledge and a knowledge-building process by mapping a knowledge structure. The expressed presupposition represents the epistemic relations (1) between the familiar and unfamiliar parts of disciplinary knowledge and (2) between familiar parts of everyday life and unfamiliar disciplinary knowledge. The expressed presupposition presents the knowledge-building process by affecting the text deployment. The initial presupposition can occur as a global topic sentence expressing the most significant referents and determining the thematic text structure. Also, the initial presupposition can convey familiar segments of knowledge and set an information context to introduce unfamiliar significant referents in the following sentences. The non-initial presupposition expands the information context and tends to elaborate and detail the topic. To conclude, there is a correlation between the text-deployment potential of the expressed presupposition and the epistemic potential of the familiar knowledge.
Code switching in a humorous discourse of a multilingual network community
Authors:   Yanka Kupala State University of Grodno, Minchuk Inna I. , Pivavarchyk Tamara A. ,   Yanka Kupala State University of Grodno
Published: February 2023

The paper is devoted to the discourse of multilingual online communities, with the Belarusian language and mixed Belarusian-Russian speech (trasianka) used to create humorous situations. The problem of involvement of different Belarusian language idioms on the Internet is discussed. In addition, the code preferences and code-switching in the publications and comments of the participants of the communities are analyzed, and the interrelation between code and genre-discursive characteristics of messages is identified. Messages that form the humorous culture of the online communities concerned are classified into two types based on the writer’s intention: informative and phatic. Phatic messages create a playful emotional back-ground, provide integration of the community members, and are an effective way to maintain intragroup solidarity relying on a shared sense of humor. Members of the online community publish informative messages to ironically interpret, ridicule, and negatively assess events in the life of Belarusian society. It has been established that informative and phatic types of messages in a discourse of “humorous” online communities are marked through different language codes. When creating phatic messages in the online community, users prefer the Belarusian literary language. Informative messages are formed by means of a network version of the mixed Belarusian-Russian speech with intentionally distorted language code, demonstrative marginalization of a speech stream, a LOL trasianka. Such language coding provides the members of online communities with a scenario signal and allows them to prevent the conflicts that could result from disagreement with the proposed humorous situation development strategy.
On the language and style of the book “Twenty-two days from F. M. Dostoevsky’s life (Kuznetsk, 1856-1857)” by A. S. Shadrina: on the elitist linguistic personality in the local history discourse
Authors:   Kuzbass Institute of Humanities and Pedagogy of Kemerovo State University, Pushkareva Irina A.
Published: February 2023

The book “Twenty-two days in the life of F. M. Dostoevsky (Kuznetsk, 1856-1857)” written by Albina Stepanovna Shadrina, an art historian and local history expert, is related to a local historical dominant of the Southern Kuzbass sociocultural space, embodied in artistic, journalistic, advertising, and scientific texts. The paper provides the results of semantic and stylistic analysis of the book, revealing how an elitist linguistic personality manifests itself in the local history discourse. The image of the author is depicted by examining evaluative and emotionally expressive contexts and means, with the cognitive and discursive basis for their use being the memorial and local history function. A stylistic basis of A. S. Shadrina’s work is the popular science substyle. Emotional and expressive means actualize the characteristics important for the author and the course of the argumentation. S. Shadrina’s argument is characterized by a humanistic message, attention to the writer’s personality, and focus on psychological and ethical issues. Her goal is not only to represent the story of Dostoevsky’s “fearsome feeling” but also to study the life of Kuznetsk of that period, with special attention to the moral aspects. The book highlights axiological ideas connected with the activity of a local historian, with a focus on the novelty and perspectives of the research, the importance of archival work. The methodological approach, explicated in the evaluative contexts, is based on working with reliable sources and the unacceptability of free subjective interpretations of the facts.
Genre traits of the song tradition of the Tuvans of the Ovyur disrtict of the Republic of Tuva
Authors:   Institute of Philology of the Siberian Branch of the Russian Academy of Sciences, Tiron Ekaterina L. , Bayyr-ool Aziyana V. ,   Institute of Philology of the Siberian Branch of the Russian Academy of Sciences
Published: February 2023

Currently, there is a danger of the local song tradition specifics disappearing due to mass migration of the rural population of the Republic of Tuva to the capital, Kyzyl city, resulting in the lifestyle changes and loss of traditional culture. Thus, it is highly relevant to study the genre traits of the song tradition of the Tuvans. This paper describes the main song genres of Tuvan folklore of the Ovyur district (Republic of Tuva), one of the local variations of Tuvan song traditions. The local culture specifics of this region, including its musical tradition, is due to its territorial remoteness, isolation, and bordering with Mongolia. Various tribal and areal communities of Tuvan ethnic groups have historically coexisted on this territory. The materials of the study are field records collected in 2009 and 2022, mostly represented by the examples of the kožamïk “song, chorus” genre. This genre is characterized by the performance of an improvised poetic text using one of the typical melodies. Kožamïk is one of the most mobile, democratic, and stable genres of oral poetic creativity of Tuvans. Other (notably less numerous) samples include the ïrï songs, lullabies, orphan songs, and Mongolian songs. The uniqueness of these songs comes from local toponyms and the names of the Tuvan clans living in this territory in the poetic texts being used, as well as from particular emotional intensity (particularly orphan songs). Musically, the Ovyur songs are characterized by typical melodies used both in kožamïk and ïrï.
Folk song poetry of the Chuvash people of the Krasnoyarsk Krai
Authors:   Institute of Philology of the Siberian Branch of the Russian Academy of Sciences, Ismagilova Ekaterina I.
Published: February 2023

To create an adequate picture of the existence of the oral folk art of the Chuvash settlers, it is necessary to characterize individual microlocal traditions. Such traditions include song samples recorded from the Chuvash of the Krasnoyarsk Territory in the Bolshemurtinsky (1981 year of recording) and Kazachinsky (2009 year of recording) regions. Genre-style composition of songs is heterogeneous. The calendar layer of folklore is represented by Maslenitsa and round dance songs. Life cycle patterns include wedding and recruiting songs. Untimed lyrics includes guest and traditional lyric songs, late lyric samples of the late 19th and 20th centuries, songs with plots and melodies borrowed from Russian folklore, and author’s songs. During youth meetings, ditties were performed in the Chuvash and Russian languages. The texts of ritual and traditional lyrical songs preserved a number of patterns that are characteristic of the Chuvash folk song poetry. These include the aphoristic type of versification, brevity of plot, two-link figurative parallelism. The texts of the songs accompanying the rite describe the ritual actions in detail. Ritual songs most often have a narrow local timing. There is also a supradialect layer of texts of much wider distribution (Siberia, the Volga region). This layer includes samples of untimed lyrics: some guest songs, many lyrical songs (especially of late origin), songs with borrowed plots and tunes, some ditties. Chuvash settlers who came from different places developed a common repertoire, one that includes songs known to most performers.
The way to Siberia as an experience of liminal situation in the memoirs of the Orthodox clergy of the 17th-19th centuries
Authors:   Irkutsk Regional State Universal Scientific Library, Melnikova Sofya V. ,   Tomsk State University
Published: February 2023

The article considers the idea of the liminal status of Siberia in the Russian cultural consciousness, which remains relevant today and affects the understanding of the essence and boundaries of the Siberian text of Russian literature. The aim is to expand the source base of this aspect of the Siberian text by referring to the Siberian spiritual literature. The paper analyzes the “Life of Archpriest Avvakum”, associated, according to V. I. Tyupa, with the beginning of the “conceptualization of Siberia as a liminal chronotope” Also, the texts of the 19th century are investigated: “Tales of the Pilgrimage” of Monk Parfeny and “Travel Notes” of Archbishop Nil (Isakovich). The significance of the liminal situation for the Siberian clergy is determined by the circumstances of its ministry: most of them were not natives of the region and had their personal experience of transition. Of importance is also a high level of self-reflection, contributing to a deep understanding of that event and its fixation in memoir-autobiographical form. The works offer two versions of depicting this situation: as a mystical experience, often reinforced by visionary practice and the motive of the miraculous, referring to the hagiographic tradition, and as a time-consuming and dialogical psycho-emotional process. Whatever the case, a holistic image of the transition to Siberia is created as an existential event, the transition purpose being interpreted as the realization of the apostolic mission or as a personal “сhristological initiation”.
Plots and motifs of the literatures of Siberian indigenous peoples in the twentieth century: topical research issues
Authors:   Institute of Philology of the Siberian Branch of the Russian Academy of Science, Nepomnyashchikh Natalya A.
Published: February 2023

The literatures of the indigenous peoples of Siberia, who had no written languages before the Soviet period, were the outcome of the state-sponsored project and were to become “national by their form and soviet by their content.” However, the authors, subjects, and topics of these literary texts were initially associated with a certain ethnonym, culture, and mentality. They were also isolated from other literature texts due to institutional and infrastructural reasons: the works of indigenous writers were published as special book series by specialized publishing houses. As a result, a corpus of literary texts with similar topics, subjects, plots, and motifs was formed. This similarity goes beyond the common sources in the mythology and folklore. The authors’ introspection on ethnical self-identification and writers’ reflections on the ill-fated disappearance of their cultures and peoples become the main plot and motif “generators” in books of the second half of the 20th century. The study has identified four main groups of plots: 1) childhood plots: everyday life descriptions including detailed descriptions of rites and rituals, the plot of a wise old man/woman’s death, the motifs of loss and memory, idyllic topoi; 2) hunting plots: the most common plot is about breaking a taboo or rule and the consequences; 3) shaman plots and related plots about journeys to other worlds, literal and symbolic, and oneiric motifs; 4) plots about interactions with outsiders. It is concluded that the literatures concerned proved to be mostly writers’ reflections on the fate of their peoples and native culture.
Philosophy of synthesis and aesthetics of painting of Ivan Goncharov in his book of travelogues Frigate “Pallada”
Authors:   Tomsk State University (Tomsk, Russian Federation), Pavlovich Kristina K.
Published: February 2023

This paper is dedicated to identifying the origins of the artistic synthesis and aesthetics of the art of Ivan Goncharov. Of particular importance in the formation of Goncharov as a writer was Nikolai Nadezhdin. From Nadezhdin, Goncharov inherited an important philosophical category of synthesis. Underlying Nadezhdin’s aesthetic conceptions was the theory of synthesis of the classical and the romantic as the basis of contemporary art. His artistic theory was organically perceived by Goncharov. He understood the development of a literary process as a combination of two extremes: classical and romantic. Goncharov’s understanding of “synthesis” is distinguidhes by the reference to artistry and movement towards the poetization of reality. Depiction is associated with the aesthetics of the writer and the epic understanding of reality. The idea of synthesis was embodied in the character of Goncharov’s formulation of the problem of painting and of the pictorial principle. The aesthetic form of the embodiment of synthesis in the Frigate “Pallada” is represented by numerous “paintings,” “views,” “drawings,” etc., expressing the idea of the artistry of Ivan Goncharov. In Goncharov’s work, depiction appears as a stable system. It is manifested in the image plasticity, dynamic interaction of forms, volumes, color elements, the play of light and shadow, flexibility of lines, various spatial organization, and detailing of the depicted objects, dynamic and static. Goncharov’s depiction is considered a philosophical way of depicting man and reality.
Quotes and reminiscences from the works of Lermontov in the antinihilistic novel “Nowhere” by N. S. Leskov
Authors:   Pacific State University, Mekhtiev Vurgun G.
Published: February 2023

The paper deals with quotes and reminiscences from Lermontov’s works in the novel “Nowhere” by Leskov. The Lermontov’s text is used to express the author’s assessment and in the internal and external monologues of the nihilists of the “pure race” following the “theories” of nihilism. They tend not to delve into the contradictions of this phenomenon, therefore finding themselves in conflict with tradition. Lermontov’s reminiscences add lyrical drama to the characters’ conflict with society and their social protest. They help the author relate the theme of nihilism to the high themes and motives of Russian literature. As Leskov considers Lermontov’s poetry an example of skepticism and rebellion of the gifted man against authority, he shows the connection of the nihilism of his time with the complex of rebellious and demonic worldview characteristic of Lermontov’s lyrical hero and Pechorin. Lermontov’s motifs in the novel elevate the images of “pure nihilists” above the socio-pragmatic tasks of their plan. The personality traits of Lisa Bakhareva, Justin Pomada reveal a romantic yearning for an ideal. Searching for an ideal, they are captured by the “theories” of nihilism. Leskov regarded the contradictions in the inner world of both “Lermontov’s man” and the characters in “Nowhere” as a feature of the Russian national character. The writer’s sympathy for such a spiritual experience is accompanied by a desire to understand its moral origins. The quotes from Lermontov overcome the “pamphlet,” “tendentious” nature of the text, which Leskov’s contemporaries accused him of, to form a hidden tragic plot.
“Three years” by A. P. Chekhov: a story as a novel
Authors:   Institute of Philology of the Siberian Branch of the Russian Academy of Sciences, Yakimova Lyudmila P.
Published: February 2023

Considering the creative evolution of Chekhov, an undoubted consequence of his almost a year-long journey in Siberia, the genre structure of the story “Three Years” is regarded as the result of the intention to “write a novel from Moscow life”. Although retaining the definition of the story, in fact, “Three Years” appeared as a work saturated and permeated with the genre intentions of the novel, with the epic breath of a large genre revealed in the issues, the image structure, and the characteristic features of the poetic text. Chekhov conducted his work not towards releasing the story from its inherent functions, but, on the contrary, towards loading the story with the genre features of the novel, i.e., not “from a novel to a story,” but “from a story to a novel.” This study examines and analyzes the contribution of Chekhov to the formation of the Moscow text of Russian literature, manifesting the author’s original intention. The narrative space of the story “Three Years” as the work with clearly expressed novelistic intentions turned out to be so generously saturated with the living feature of the passing time, its social, cultural, everyday atmosphere, that many of its motive-plot concepts would find artistic embodiment in subsequent works, enriched with new ideologically aesthetic meanings and accents. In particular, the paper discusses the impact of the story “Three Years” on the play “Three Sisters” and the story “The Bride.”
Visual practices in the activities of Tomsk urban eco-communities
Authors:   Tomsk State University, Gorbunova S.V.
Published: February 2023

The paper examines visual practices related to the transformation of the environment, the protection of green spaces from negative influences, and eco-education using the example of natural objects in Tomsk. These practices can be attributed to prosumer practices, as they are free of charge, on a voluntary basis, and rely on the personal initiative of the participants. The painting on trees, which is analyzed as part of the project to create an eco-art-trail, goes as the main direction of the study, and the design of natural landscapes as places of recreation for citizens goes as an additional one.
“Meditating musician”: musical and critical articles by M.F. Gnesin in the provincial periodical of the 1910s
Authors:   Krasnodar State Institute of Culture, Anikienko Sergey V. , Ercengel Greta Y. ,   Union of Journalists of Russia
Published: February 2023

Musical and critical articles by the prominent Russian composer and music teacher Mikhail Gnesin, published by him in the periodicals of Ekaterinodar and Rostov-on-Don in 1913-1916, are among the least studied in his creative heritage. He began to work in the province after graduating from the St.-Petersburg Conservatory. It was a conscious step that continued the ideas about the public education of his teacher, Nikolay Rimsky-Korsakov. However, he did not immediately see the possibility of developing a musical culture and educational work by means of regional time-based publications. In the provincial press of the early twentieth century, musical enlightenment was still in its infancy. With a high degree of probability, it can be argued that Gnesin in Rostov from January to June 1916 was a freelance employee of the newspaper “Rostovskaya rech'” (“Rostov speech”). A study conducted by the authors made it possible to identify previously unknown materials, as well as to clarify the names and dates of publication of some articles presented earlier in the Gnesin's List of literary works. A significant number of publications are signed by the full name of their author. However, there are articles that have been signed by cryptonyms. Thus, today Gnesin's 41 journalistic material of various genres, published in the provincial press of the pre-revolutionary period, is known. This amount allows you to make a comprehensive analysis and classification. The influence on the formation of Gnesin, the publicist of musical-critical works, Vladimir Stasov, was established. Gnesin's journalistic style features include benevolence, an enlightening focus, simplicity of language, frequent citation of works by other musical figures of Russia, “fiery” statements, viewing the province's musical culture through a slice of the country's best music and artists. At the same time, Gnesin's musical and critical activity, reflecting his aesthetic views and tastes, went in parallel with the composer's work itself.
Distance learning for specialized musical disciplines: problems and the ways of solution
Authors:   Mikhail Glinka academy music of Dnepropetrovsk region, Hromchenko Valerii V.
Published: February 2023

The scientific article is devoted the investigation of the most actual questions concerning distance educational form into the light of the specialized training disciplines a namely „Ensemble” and „Special class”. The author has approved that the problem of distance educational form in relation to underlined musical subjects is maximally indicated their practical nature, what have had presentation in the professional communicative sensation of general (simultaneous) performing act, in the process for development and correlation of musician's performing apparatus, in detail-hearing comprehension of particularity for artistic musically-expressive means a namely timbre and attack of sound, traits and articulation, strong and dynamic of instrument (vocal) sounding. The importance of introduction to the contemporary educational process the mixed thematic-integrated learning, specifically the synthesis of distance and full-time educational forms. This interaction must be in the presence of academic musical compositions solo at the training repertoires, specialized musical pieces that were written by vocational composer for playing only one performer-soloist (instrumentalist, vocalist). It is necessary to emphasize that maximally active, result way for keep qualitative high level of creatively artistic practice, musical lessons into the special class (wind wood and brass, drums, vocal, string-bowed, string-plucked specializations) is creative appeal of contemporary pedagogue-musicians to the academic compositions, that were written by authors in to performing form solo, namely the address to masterpieces for performing only one artist-soloist. These academic stagesingle musical pieces are artistically self-sufficient, at the same time, this kind compositions are performed by musician without fortepiano. The pieces of music solo absorb by the power of composer's talent, artistic thoughts the excellently most potential of artistically expressive possibilities, intonation sounding means one or another instrument (voice) - chord sounding (monophonic instruments), microinterval (microchromatics), sound oscillation, playing with four mallets, hidden polyphony and others. This type of compositions (music solo) will be giving the distance professional development of artistically expressive means for student's practice, the formation of independence concerning artistically imaginative thinking of pupils, as well as the upbringing of academic ensemble performing skills among contemporary students.
“Enslavement” and “liberation” art in nicolay aksharumov'es aesthetic criticism
Authors:   Novosibirsk State Pedagogical University, Kozlov Alexey E.
Published: February 2023

The article analyzes the key papers and referents of the critic and writer Nicolay Akhsharumov, who appeared in the Russian press as one of the first theoreticians of “enslaved art”. The research concludes tracing the evolution of his views from the “program” article “On the enslavement of art” (1857) to art criticism and abstracts written specifically for the periodical edition of the “Vestnik of Arts” (1884-1885). At the same time, the descriptive-interpretation method, chosen by the critic, is closely connected with Sh. Sainte-Beuve and I. Taine (on whom, in particular, his contemporary, P.D. Boborykin was oriented), but also to F. Schleiermacher, who put forward the idea of the hermeneutic circle, built on a constant return from part to the whole, from the whole to a part. A special attention is paid to the article “ The Tasks of Painting in the Period of the Formation of the Russian National School”. Based on his own memories, testimonies of contemporaries and program articles published earlier in the “Bulletin of Europe”, Akhsharumov recreates the evolution of plastic art in Russia in the XIX century. Following V.V. Stasov, he connects the first triumph of Russian painting - the art paintings of Bryullov - with “blossoming time” A.S. Pushkin, “the first significant successes” Lermontov and Gogol. Talking about the false path of the artist Fedotov and the catastrophe, which, in the opinion of the critic, befell Ivanov'es picture, Akhsharumov draws a parallel with Gogol, recalling the “glory and sense of friends about his great significance,” who so quickly managed to “turn his head”. Akhsharumov shows how literature “outstripped painting” by solving the question of depicting Russian life through the works of Gogol, Ostrovsky, Turgenev and Saltykov-Shchedrin. The central subject of the study is the interpretation by Ahsharumov of N. Ge's “The Last Supper” (1863). Highlighting the canvas Ge in a note reflecting the impressions of 1863, among other paintings of his contemporaries, Akhsharumov differently estimates the picture in the 1880th. In both cases, referring to the meaning of the picture, the critic carries out a revision of his own views, constantly conceptualizing and clarifying the essence of the “enslaved” and “liberated art”. Thus, the Aksharumov'es aesthetic criticism his articles on the history of Russian painting, on the whole correlating with similar works of V.V. Stasova, A.I. Somova, P.D. Boborykin, etc., constitute not only an important testimony of his literary and critical activity spanning more than 30 years, but also open a forgotten page in the history of Russian art criticism. Of course, Akhsharumov was not alone in his aesthetic search. The description of new figures and the reconstruction of a number of articles by critics and art historians constitutes a perspective of interdisciplinary studies that unite the history of Russian criticism and art history.
The program of painting of the pokrovsky cathedral of barnaul as a part of the hierotopical project Visual practices in the activities of Tomsk urban ecocommunities
Authors:   Altai State University, Kreydun Yuri A. , Pasechnyk Vladislav V. ,   Altai State University
Published: February 2023

The article presents the analysis of the program of monumental painting of Pokrovsky Cathedral of the city of Barnaul. The need in the detailed analysis of paintings of the temple lies is explained by the fact of their unsatisfactory state. Especially it can be seen in the southern nave where some of the images have been strongly damaged. The analysis was carried out from the point of view of an hierotopy - the concept of the organization of sacral spaces. The studies of the spatial imagery of the temple was carried out at three levels: the theological idea of the temple, the substantial plan of the images, and definite factors, such as customer's wishes, the value of church, samples for iconic imitation. The time of formation of the isographic ensemble of Pokrovsky Cathedral of the city of Barnaul, the periods of reconstruction and renewal of separate picturesque elements and compositions is designated. It is established that a considerable part of picturesque fund of the temple represents the imitational works of the Russian orthodox isographists of the second half of the 19th century, in particular, of painters of a Vasnetsov's circle. Religious plots intertwine with historical events, creating the complete art ensemble representing narrative icon-ographic space. During the research the scheme of the placement of the paintings of Pokrovsky Cathedral of the city of Barnaul has been made. According to the narrative-theological logic, the programs of monumental painting of three naves - Central, Southern and Northern and also the altar niches - an altar, consecrated in the memory of of the miracle of the Protection of the Theotokos, a side-altar of the Saint Great martyr Panteleymon and a side-altar of the Saint Blessed prince Alexander Nevsky are described (nowadays the Icon of the Mother of God “Consolation of All Who Sorrow”). The semantic, the liturgical and the theological loading of each site of isographic ensemble of the temple is defined. Paintings of the arch, walls and columns are described. The key motives which have formed the basis of each isographic program are designated. The space of the central nave is devoted to the history of Russian Orthodox Church, the Southern nave narrates about the events of the Manifestation of Christ to His disciples. Communication of separate art elements with the theurgical project of the temple as with the spatial icon, their correlation, creating complex isographic “sounding” which, in turn, defines the dynamics of the liturgical action is revealed. The hi-erotopical analysis in studying of art and liturgical space of the temple will help as with the restoration of orthodox church art culture, and with the creation of new harmonious theurgi-cal systems in construction of new temples.
History of building picture story books “Lenin in October” and “Lenin in 1918”
Authors:   Herzen State Pedagogical University of Russia, Liu Qi
Published: February 2023

In 1950, the People's Republic of China and the USSR signed the Treaty of Friendship, Alliance and Mutual Assistance. The development of the Chinese economy and the sphere of art has experienced the all-round influence of the USSR. The Chinese language was translated works on the revolutionary struggle of the Soviet people, as well as on the topic of production and construction. Many works began to be produced in the format of picture story books. This trend greatly contributed to the popularization and dissemination of Soviet literature and art in China. Gu Bingxin is one of the talented artists of picture story books on Soviet revolutionary themes. Gu Bingxin is a key figure in the Lianhuanhua area. During his life he created more than one hundred books. Only in the fifties the artist created fifty picture story books. Picture story books „Lenin in October” and „Lenin in 1918”, created by Gu Bingxin and other artists and based on the films of the same name, can be attributed to the best works on the theme of the Russian revolution. They combine not only the successfully used traditional Chinese shading techniques, but also the perspective laws, borrowed from Western European painting, as well as the language features of the film text. The characters of the books are characterized by careful elaboration, a rich composition and an ideal density of lines. These works have high artistic value and are still considered valuable specimens in collections of book lovers in pictures. In 1971 and 1972 The Shanghai Publishing House Renmin Meishu produced these two picture story books - “Lenin in October” and “Lenin in 1918” respectively. Three million copies of the first edition were quickly sold out. Both works fully reflected the expressiveness of the contour drawing. Bends of lines and strokes, obtained by pressing the tip of the brush with the subsequent easy removal of the brush by moving to the right, showed a change in the structure of the body and the direction of movements. The density, length, thickness and direction of the lines conveyed a sense of space. Drawing on the needs of the image, the artists used the near, middle, distant plan, horizontal angle of view, top view and other compositional techniques with different angles of view. This helped to reproduce on paper realistic scenes from life. However, in general, the style of painting turned out to be too strict and neat, the illustrations were not enough fun. It was these shortcomings that showed that the freedom of artists in the style and form of painting, the choice of the main theme and even their personal freedom was severely limited by the conditions dictated by the Cultural Revolution and which made it difficult to create such rare masterpieces.
About criteria of modern art: cultural approach
Authors:   Minin State Pedagogical University of Nizhny Novgorod, Shmeleva Natalia V.
Published: February 2023

XX century introduced significant adjustments in the understanding of art. Art lost its special “aura” (V. Benjamin) with the development of visual practices, the growing role of science and the recipient in the design of artistic reality, which led to a change in the notion of the criteria of art up to the denial of its existence. The scientific novelty is determined by the change in the status of art in modern culture. The changes that took place in the art of the 19th century expanded the range of artistic value by recognizing new values and involving the figure of the recipient in the process of creating art. The acceleration of the development of culture in the 20th century led to a further change in the perception of art, which began to rely more on a rethinking of a tradition that had been enriched by the discovery of previously little-known cultures. In this regard, the criteria of art, representing the artwork as a cultural text aimed at understanding the experience of previous cultural eras, are changed. Purpose of the study describe the changes in the role of art in human life, which were reflected primarily in the rethinking of art criteria. In the twentieth century, there is a large number of contradictory phenomena called to be called culture and going beyond the framework of art, which requires their mastering. Visual mass culture, which does not have the signs of a new one, has trained the viewer to pay attention to the already realized reality, presented in a new shell from a different angle. Herewith the recipient ascribes traditional values and meanings to the mastered reality. Thus, the replicability and reproducibility of works of art change the person's idea of the subject of art. Methods: The analysis of art, through the lens of its criteria, took a cultural approach, which allowed to consider art in the context of the cultural text. To represent the specificities of contemporary art, descriptive and comparative methods were used to fit contemporary art into the cultural context and to identify its main criteria. The concepts of “art” and “culture” become largely synonymous in the consciousness of modern man. Peculiarities of the perception of a work of art are associated with the fusion of the concepts “work of art” and “cultural text”, when culture began to substitute for itself art, so people in the assessments of art are guided by the same concepts that apply to culture. Recognition of the conscious, as the main criterion of the art of mass consciousness, translates the work of art into the rank of a cultural text, for which other values and aesthetic criteria already act. We can draw a conclusion on the basis of the perception of the cultural text, that the toolkit for evaluating the cultural text passes to art, and therefore the main criteria are not the aesthetic, but the anthropological, associated with the creative activity of the recipient and his participation in the creation of a work of art.
The gotokaku leaf horn in iconography of japanese mandalas of Muromachi and Edo periods
Authors:   The State Institute for Art Studies, Novikova Natalia A.
Published: February 2023

The subject of this article is the imagery of gotokaku leaf horn, a rare musical instrument found on Japanese mandalas depicting Pure Land of Muromachi (1336-1573) and Edo (1603-1868) periods. It looks like a green tree leaf, folded in half and intertwined with a silk ribbon. Specialized studies on him in domestic and foreign literature have not been found. Artistic images of gotokaku are quite rare; associated with the “celestial music” motif, they usually placed in peripheral space of mandala. Bearing in mind that each composition element of Buddhist mandala is related to various aspects of practice, it seems very interesting to explore symbolic significance of this musical instrument within the context of some provisions of Amidism. The origin of the Pure Land school in China dates back to the Vth century. The imagery of paradise, the Pure Land of Buddha Amitabha, is crucial in Pure Land doctrine. It can be assumed that the symbolism of the musical instrument was associated with ideas about the melodious sound of “jewel-trees”, which, according to canonical texts, are grow in Amitabha's land. Ideas of Amidism were known in Japan in the Nara period (710-794), and during the Kamakura period (1185-1333) they became widespread. Traditional and the most complete form of the artistic representation of Amitabha's Pure Land in Japan has become Taima-mandala. The composition of Taima-mandala has a clear chain, and a large part of it is given to the sky motif. Over there, among the other instruments of the “celestial orchestra”, we can find an image of unusual musical instrument made from a leaf. Referring to Japanese compendiums on Buddhist iconography from the XVII-XVIII centuries, it was identified as gotokaku (梧桐角, Ch. wutong jiao) leaf horn. All the founded images were accompanied with a brief description in Chinese. The earliest Chinese text that mentions wutong jiao (梧桐角, Jap. gotokaku) is Wang Zhen's Nong Shu (Book of Agriculture, 1303); a schematic drawing of the instrument is given there, but it’s only remotely resembling gotokaku images on Japanese mandalas. Thus, it is not yet completely clear when and where the image of gotokaku appeared for the first time in the form which we find it on mandalas and in Japanese iconographic guidelines of the XVIIth-XVIIIth centuries. It is clear that the instrument had Chinese origin; Chinese literature sources refers to it as “ancient”. During the medieval times it was known as wutong jiao. There is a chance that different instruments with different methods of production and sound extraction were known under the same name in both countries.
The shirt dress as a sign of exclusion of women from the socio-political sphere in the late XVIII - early XIX centuries
Authors:   Lomonosov Moscow State University, Guryanova Maria V.
Published: February 2023

Fashion as an ephemeral and feminine sphere arose at the end of the 18th century as a kind of consequence of the gender division of the social roles of men and women. Until the French Revolution, both men and women were distinguished by the desire for luxurious bright fabrics, an abundance of decorations and trimmings, which were the main means of representing their social status. The French revolution embodied the destruction of the ves-timentary system of the Old regime and, as consequence, negated the importance of visual representation of the individual's identity, putting forward instead a bourgeois ideal with its value of private life and inalienable talents and abilities of the individual that do not have vestimentary channels of expression. In this regard, the shirt dress, which arose in the 1780s under the influence of the ideas of Antiquity and the utilitarian tendencies in costume, which came from England, having received its greatest impact in the neoclassical modes of the style of Empire. By emphasizing and exposing bodily outlines, this kind of dress embodied the collapse of the vestimentary system of the old regime, revealing the basis of fashion changes - a private body. Neoclassical fashion with dresses revealing body shapes can be considered the starting point of bourgeois fashion, by such a way manifesting the female body as the main object of transformation in fashion. The reduction of a woman to her corporality and to the private sphere, expressed in such dresses, can also be considered as a consequence of her exclusion from the political sphere as it declared in the Constitution of 1791, which deprived women of any political rights and, as a consequence, of the possibility of a similar with men vestimentary representation of their social identity. Thus, the aim of this article is to examine the historical and cultural context of the exclusion of women from the political sphere, a sign of which was the shirt dress that not only embodied the identification of women with a private sphere, but also, showing more than ever the outlines of the body in a public sphere, expressed the manifestation of the female body as the main object of transformation and manipulation in the bourgeois fashion.