ALEXANDER STREKAVIN’S (1889–1971) DRAWINGS OF MITAU – EVIDENCE FOR THE 19TH– EARLY 20TH-CENTURY INVENTIONS

Mitau, the former capital of the Duchy of Courland and Semigallia, became the Courland Governorate centre with the Governor’s residence in a palace on an island formed by the Driksa, the branch of the Lielupe River, and great changes have taken place in this city. Artist Alexander Aleksandrovich Strekavin, who born in Mitau on 17 September 1889, studied art history, read books, investigated documents in the museum, listened to people’s stories and completed materials about events and the development of his native city. His drawings introduce with the new iron bridge for traffic and technical innovations – bicycles, the first car in the Baltics and the first phonograph in Mitau, clothes of citizens during the 19th century and at the beginning 20th century. Since the 1950s, six notebooks in Latvian with memoirs recalling by Aleksander Strekavin and an illustrative appendix – a collection of his drawings “The Atlas of Notes on Ancient Mitau” are in the funds of Jelgava History and Art Museum of Ģederts Eliass. Research object: drawings of artist Alexander Strekavin. Research goal: analysis of changes in Mitau during the 19th century and at the beginning 20th century. Research problem: Strekavin’s drawings stored in the funds of Jelgava History and Art Museum have not been studied. Research novelty: analysis of information on technical innovations included in “The Atlas of Notes on Ancient Mitau”. Research methods: studies of published literature, cartographic materials and archive documents

Elements of nature in D. N. Mamin-Sibiryak’s novel bread

The article considers imagery connected to the elements of nature in the novel Bread (1895) from the Urals cycle by the known Russian writer Dmitry Mamin-Sibiryak; it explores the importance of the images of water, earth, and fire for the realization of the novel’s main idea. The novel is based on the events preceding and following the great hunger of the 1891–1892 that had affected even the most fertile lands of Russia and touched upon the Trans-Urals. We argue that the writer sees the causes for this catastrophe not as much in the forces of nature, as in the general indifference of the people, their vane ambitions, absence of mercy, irresponsibility of the officials, and merchants’ own adventurism. The novel’s main heroes give in without exception to the temptation of easy life and fast enrichment. Loss of immunity to evil and reluctance to consider the consequences of one’s own actions leads to amorality in traditionally agricultural regions. Fertile land, once utopianly beautiful, turns into cold desert towards the end of the novel. The force of life transforms into deadly threat. Klyuchevaya river that was lavishly giving away its waters, serving as the main artery for the vast region, turns into a grave for the main hero, Galaction Kolobov. The fire rages in the city, destroying it like a divine power that is punishing sinners. The elements, being an integral part of nature, therefore attain utterly symbolic meaning in the novel, revealing awful consequences of the human moral fail to the reader. The author uses those interpretations of the imagery that stem from the Biblical and popular Christian understanding. Introducing elements of nature endows the novel with a universal dimension; thus small town events become tropes of the all-human tragedy resulting from the loss of true life values. Mamin-Sibiryak painfully anticipates the forthcoming catastrophes of the 20th century; analyzing in his novel the deadly results of the recent events, he warns the reader of a possibility for yet deeper crisis, leaving them at the crossroads of the diverse possible ways for their Motherland.Рассматривается обращение известного русского писателя XIX в. Мамина-Сибиряка к образам стихий в романе «уральского» цикла «Хлеб». Показывается, насколько существенны были образы воды, земли, огня для воплощения идейной основы произведения. Роман, созданный на основе драматических событий случившегося голода 1891–1892 гг., который поразил даже самые плодородные губернии России, затронув Зауралье. Причины катастрофы писатель видит, по мнению автора, не только в природных катаклизмах, сколько в равнодушии людей, необоснованных амбициях, отсутствии милосердия, безответственности власти и предпринимательском авантюризме. Все главные герои романа подвергаются искушению легкой жизни и быстрого обогащения. Потеря иммунитета к злодейству, нежелание думать о последствиях поступков формируют аморальный климат в местах, связанных с традиционной земледельческой культурой. Благодатная земля, утопически прекрасная в начале романа, превращается в холодную пустыню в конце повествования. Живительная сила преобразуется в смертельную угрозу. Река Ключевая, щедро дарившая свои воды и бывшая главной артерией края, становится могилой для главного героя Галактиона Колобова. Огонь обрушивается на город, уничтожая его, подобно небесной силе, наказующей грешников. Стихии, будучи неотъемлемой частью природных условий, в романе обретают символическую природу, открывая читателю ужасающие последствия человеческого нравственного падения. Писатель использует трактовки этих образов, восходящие к библейскому и народно-христианскому пониманию. Обращение к изображению стихий дает роману необходимый вселенский масштаб, события провинциального города становятся воплощением общечеловеческой трагедии в результате утраты подлинных жизненных ценностей. Мамин-Сибиряк предчувствует грядущие катастрофы XX в. и в своем романе не только анализирует случившиеся губительные последствия, но и предупреждает читателя о возможном углублении кризиса, оставляет его на перепутье, заставляя думать о выборе пути и способах спасения отечества. Философская, мировоззренческая подоплека романа усиливается организующей ролью стихий в сюжете и композиции текста

Medlennoe ctenie "Evgenija Onegina" kak kurs vvedenija v literaturovedenie

This collection brings together the articles dedicated to the 60th birthday of Professor Wolf Schmid, one of the foremost literary scholars of our times who made a crucial contribution to a wide range of scholarly fields: narratology, poetics, history of Russian and Slavic literature, Pushkin and Dostoevsky. The contributors form a distinguished international group of prominent scholars whose essays in this volume further develop Wolf Schmid\u27s narratological theory, shed new light on major works of literature and offer fascinating new insights into various periods of literary history.This collection brings together the articles dedicated to the 60th birthday of Professor Wolf Schmid, one of the foremost literary scholars of our times who made a crucial contribution to a wide range of scholarly fields: narratology, poetics, history of Russian and Slavic literature, Pushkin and Dostoevsky. The contributors form a distinguished international group of prominent scholars whose essays in this volume further develop Wolf Schmid\u27s narratological theory, shed new light on major works of literature and offer fascinating new insights into various periods of literary history

Технология постановки хореографических композиций в стиле хип-хоп

В работе рассмотрены основные элементы хип-хоп культуры, прослежена история становления и развития этой удивительной культуры, дана характеристика национальным особенностям хип-хопа и выделены его основные критерии, а также созданы две современные хореографические композиции

Петровские ассамблеи как социокультурное явление в начале XVIII века

Бал в истории русской культуры XVIII века был регламентированной формой светской жизни. Начало русским балам было положено при Петре I Указом об ассамблеях. Основным социальным значением ассамблей петровского времени являлась выработка в обществе потребности к публичному проведению досуга, формирование интереса к светской жизни, патриотизма, а также нравов русского общества. После смерти Петра I ассамблеи прекратили свое существование, но балы заняли твердые позиции в культурной жизни Российской империи. Ключевые слова: культура, искусство, бал, петровские ассамблеи, историко-бытовой танец.Бал в історії російської культури XVIII століття був регламентованою формою світського життя, він був покликаний визначити тип соціальної поведінки всередині дворянської культури. Початок російським балам було покладено за часів Петра I Указом про асамблеї. Основним соціальним значенням асамблей петровського часу було вироблення в суспільстві потреби до публічного проведення дозвілля, формування інтересу до світського життя, патріотизму, а також моралі російського суспільства. Після смерті Петра I асамблеї припинили своє існування, але бали зайняли міцні позиції в культурному житті Російської імперії. Ключові слова: культура, мистецтво, бал, петровські асамблеї, історико-побутовий танець.Dance party in the history of Russian culture of the XVIII century was regulated form of social life, it was called upon to determine the type of social behaviour within the nobility’s culture. The beginning of Russian dance parties were put under Peter I by the Decree of the assemblies. Peter I tried to bring together the Russian estate through public holidays, which served as a pretext for the success of the Russian army during this period. It was emphasized that in the assemblies, women should participate equally with men. At the beginning of the XVIII century Peter’s Assemblies should have done the same tasks that are actual today. Dances started with staid Polish, then followed the minuet, they were the ceremonial dances. Сeremonial’s dances were changed by dancing- games, comic dancing, fast and fun - ketten-dance, ekosez, as well as grosfater dance that Peter I performed. The other group consisted of English dances - anglez, allemand and contrdance. Peter’s Assemblies were often ended with fireworks, which were based on political themes. Dancing was a very big examinig to the Assembly. They were held, bad move in unusual costumes. Peter’s assemblies were neither sophisticated atmosphere or trained manners. After Peter I‘s death the assemblies were stopped existing, but the dances had taken a strong position in the cultural life of the Russian society. In the second quarter of the XVIII century there was a gradual development of culture of the dances in Russia. The ability to dance helped the growing the career, because dancing was considered to be an important advantage and could bring sucess not only in the ballroom. Basic social value of Peter's Assemblies was to make out in the community the needs to public leisure activities, the formation of interest in the social life, patriotism and morals of Russian society. The participation in the Assembly for the higher ranks of Russian society at the time of Peter I was forced, but could to cultivate in the socio-cultural environment and grow in an era of balls when the ball had become very popular in the community and had a special social functions. Keywords: art, dance, ballroom dance, Peter Assembly, historical-social dance

Стихотворение Державина “Евгению. Жизнь званская”

This paper approaches Derzhavin’s poem To Evgenii. Life at Zvanka from three angles: 1. Its relation to Horace’s II epode Beatus ille…. 2. The contrasting backdrop which is established in the first stanzas of the poem: the imperial court of Saint-Petersburg. 3. A further backdrop of this kind, which is implicit in the poem: a contemporary disdain for gentry landowners. In the light of Peter I’s reforms, their lifestyle was perceived as a backward relic of medieval Russia. From this point of view, Derzhavin’s idealized picture of country life is not only a criticism of court life, but also a didactic attempt to bring the country gentry’s way of life into accord with contemporary Russian culture: Zvanka was supposed to serve as a model to emulate. DOI: 10.31168/2305-6754.2021.11.1.8В предлагаемом анализе стихотворения Державина «Евгению. Жизнь званская» делается акцент на трех пунктах: 1. Отношение этого текста к ІІ эподу Горация «Beatus ille…». 2. Контрастный фон, который создается в первых строфах: петербургский двор. 3. Контрастный фон, который присутствует имплицитно: традиционное в XVIII веке презрение к деревенской жизни русского дворянства. С точки реформенной политики Петра І она отвергалась как отсталый реликт Древней Руси. В этой перспективе державинское стихотворение представляет собой не только разоблачение безнравственности придворной среды, но и дидактическую попытку привести традиционную жизнь русского помещика в согласие с требованиями Нового времени: Званка должна служить примером для подражания. DOI: 10.31168/2305-6754.2021.11.1.

КОРНЕВЫЕ МОРФЕМЫ В ЕВГЕНИИ ОНЕГИНЕ А.С. ПУШКИНА

Il dizionario dei morfemi radicali nell'opera Evgenij Onegin di A.S. Puškin si configura come possibile strumento di lavoro per l'analisi del testo letterario. Il morfema radicale viene osservato non solo dal punto di vista semantico (famiglie di lessemi derivati da un unico morfema radicale), ma anche da quello formale. L'individuazione degli anagrammi completi e parziali, nonché dei palindromi prodotti e derivati da un elemento formale minimo (il morfema radicale e le sue varianti allomorfe) permette infatti la ricerca di nuove, seppur minime unità "iterabili" (categoria-base di ogni testo letterario). Il materiale raccolto offre diverse possibilità di applicazione: a) spostamento dell'analisi della "ripetitività" dal livello lessicale a quello morfemico; b) nuove modalità di osservazione della categoria della frequenza e della sua manifestazione; c) individuazione del ruolo svolto da un elemento formale linguistico nella produzione di testo e dunque nella produzione di significato; d) osservazione delle diverse famiglie di parole e del ruolo che uno stesso nucleo concettuale (individuabile nella radice) può aver avuto nel processo creativo. Oltre all'introduzione, il volume contiene l'elenco in ordine alfabetico dei morfemi radicali e delle mutazioni allomorfe, le loro possibili trasformazioni anagrammatiche e palindromiche, la loro reperibilità nel lessico dell'Onegin e la loro effettiva presenza nel testo analizzato (capitolo/strofa/verso). La ricerca riporta inoltre una serie di appendici riassuntive, tra le quali alcuni diagrammi esemplificativi che, da una doppia prospettiva, illustrano la presenza costante, ascendente o discendente di un determinato morfema radicale e dei suoi prodotti lessicali: a) dalla prospettiva del tempo lineare della scrittura dell'Onegin; b) dalla prospettiva del tempo della lettura, ovvero alla possibile ricezione del lettore del testo definitivo (come oggi lo conosciamo a partire dalle prime edizioni complete del 1833 e del 1837).The dictionary of radical morphemes in A.S. Puškin's "Evgenij Onegin" is configured as a possible tool for the analysis of a literary text. The radical morpheme is observed not only from the semantic viewpoint (families of lexemes derived from a single radical morpheme), but also in formal terms. The identification of full and partial anagrams and of palindromes produced and derived from a minimum formal element (the radical morpheme and its allomorph variations) allows a search to be made for new, though minimum, "iterable" units (the base category of any literary text). The material collected offers a range of applications: a) the shifting of repetitivity analysis from a lexical to a morphemic level; b) new forms of observing frequency and how it is manifested; c) identification of the role played by a formal linguistic element in the production of a text and thus in the production of meaning; d) observation of various word families and the role that a single conceptual nucleus (identifiable in the root) may have played in the creative process. Besides the introduction, the book contains an alphabetically ordered list of radical morphemes and allomorph mutations, their possible anagrammatic and palindromic transformations, their distribution in the Onegin lexicon and their actual presence in the text analysed (chapter/stanza/line). There is also a series of summaries in the form of appendices, including diagrams which illustrate the constant, ascending or descending presence of a given radical morpheme from two viewpoints. a) that of linear time in the writing of the work; b) that of reading time, that is to say the reader's possible reception of the literary text (how we know it today, starting from the first complete editions published in 1833 and 1837)

Образ жизни и бытовой уклад населения белорусских земель: динамика трансформации (XVI – первая половина ХХ в.)

Объект исследования - материальная и духовная культура населения Беларуси XVI – первой половины XX в., связанная с жизнеобеспечением, повседневным бытовым укладом, менталитетом и традициями. Цель исследования - дать комплексную характеристику основных направлений развития материальной и духовной культуры в сфере жизнеобеспечения и бытового уклада городского населения Беларуси в XVI – первой половине XX в. Исследование основано на принципах объективности, научности и историзма. При написании работы использовались типологический, статистический, сравнительно-типологический, сравнительно-исторический, картографический, иконографический методы