Creative Heritage Research Articles

«Владимир Ильич Ленин». Фрагмент (первая публикация автографа в записной книжке)

The recently discovered V.V. Mayakovsky’s notebook with an autographed fragment of the poem “Vladimir Ilyich Lenin” is being published for the first time. This is approximately half of the first part and the whole second part of the poem, which restores the complete draft manuscript of the work with variants to the printed text, rhyme gaps and lines that were not included in it. The text is recorded in the form of a dynamic transcription. The introductory article preceding the publication deals with the place of Mayakovsky’s notebooks in the poet’s creative heritage, textual work on them and a new stage of their study, including the publication of notebooks in the Complete Collection of Mayakovsky’s works, which is currently being prepared at the A.M. Gorky Institute of World Literature of the Russian Academy of Sciences. It has also been proven that the text of the poem contained in this notebook can be placed between the texts of notebooks no. 23 and no. 24 pertaining to the same period and currently kept in V.V. Mayakovsky State Museum collection. Comparing these notebooks that contain the autographs of the first and the third parts of the poem, this paper analyses characteristic features of the poet’s creative work, confirms the authenticity of the published notebook, and substantiates its dating. In addition, the article presents the history of this notebook, which was gifted by Mayakovsky to the children’s writer N. Kalma in 1924.

Юбилей С. В. Рахманинова. Новые издания

The article highlights the 2023 jubilee year (150th anniversary of birth) publications of S. V. Rachmaninoff's creative heritage, both literary and musical, which has not yet received holistic coverage. Serious steps in this direction were: the release of the "Chronicle of the Life and Work of S. V. Rachmaninoff" prepared by V.B. Valkova, an updated and supplemented edition of his "Literary Heritage" in 3 volumes, as well as the preparation of the Complete Collection of S. V. Rachmaninoff's piano works for publication.

НАСЛЕДИЕ НАРОДНОГО ХУДОЖНИКА РФ МИХАИЛА ЯКОВЛЕВИЧА БУДКЕЕВА: 100 ЛЕТ СО ДНЯ РОЖДЕНИЯ

Currently, it is becoming relevant to analyze the activities of the artists who stood at the origins of the formation of the traditions of painting in the Altai Krai. To do this, it is important to explore the creative legacy of predecessors. The article presents the results of the joint work of the author of the article, the employees of the exhibition hall of the “City” museum and S.M. Budkeev on the organization of a personal exhibition dedicated to the 100th anniversary of the birth of the only People’s Artist of the Russian Federation in the Altai Krai, M.Ya. Budkeev. The article for the first time publishes the materials obtained during an interview about Mikhail Yakovlevich’s sketch collection, which has not been exhibited before. More than 200 works were presented at the artist’s personal exhibition, which reflect only a small part of his creative heritage. The favorite themes of the People’s Artist of the Russian Federation, his attitude to art, the search for himself and his individual style, are presented according to the memoirs of his son.

The Personality of the Distant Past in the Context of Foreign Historiography: on Macrobius and Research Practices of German, French-Speaking and Italian Historiography of the 19th — 21st Centuries

The paper notes that attempts to study the personality of Macrobius (5th century) and his creative heritage lasted for more than one century in foreign historiography — German, French-speaking and Italian. However, the interest of Western European scholars to the Latin author and his texts under the titles “Saturnalia”, “Commentary on the Dream of Scipio” and “On the Differences and Similarities of Greek and Latin Verbs” began to grow rapidly only in the 19th century. This was due to the publication of critical editions of Macrobius’ texts and the appearance of their French translations. The studies of the 19th — 21st centuries devoted to Macrobius and his texts are analyzed; all of them are considered fundamental in French-speaking, German and Italian historiography, which formed scientific schools in the field of research, called “Macrobius-Studies”.

Create in Me a Pure Heart, O God, And Renew a Steadfast Spirit within Me: On Some New Details of Creative Biographies of Sisters Olena and Olha Kulchytska (From Archival Materials)

The article’s purpose is to publish interesting and significant archival materials, introduced into scientific circulation for the first time, namely: Biographical Data, Recorded from O. L. Kulchytska in September 1–3 1947 in the Sanatorium “Syniak” in Transcarpathia; Olena Kulchytska’s Autobiography of the 1940s old and an excerpt from a S. Butnyk-Siverskyi’s archival encyclopedic entry about his participation in Olena Kulchytska’s exhibitions up to and including 1947, accompanied by an introductory article and commentary. These archival documents will be interesting and useful in further research of creative biographies of the mistresses. The materials are stored at the Department of Visual and Applied Arts of the M. Rylskyi Institute of Art Studies, Folkloristics and Ethnology (National Academy of Sciences of Ukraine) and are published with keeping to authorial style, spelling, and punctuation with minor correcting. The creation of the sisters Olena Lvivna Kulchytska (1877–1967) and Olha-Melaniia Lvivna (1873–1940) Kulchytska occupies a prominent, significant place in the history of domestic art and organically fits into the context of European art. Natural talent, intelligence, brilliant knowledge of their craft, artistic taste, ability to emanate their own refined and unique world, their attitudes to art, dignity of soul and intentions – these are the features that were inherent in both sisters. The range of Olena Kulchytska’s creative heritage is wide and well-known among specialists, educated public, and admirers of fine arts. The artist successfully worked in various kinds of art: graphic art, painting, and applied arts. A gifted draftsman, watercolourist, aquafortist, and illustrator, in particular of children’s books, it is she who is associated with the revival of woodcutting and linocutting techniques in domestic art. Olena Kulchytska worked in the portraiture, genre painting, landscape painting, as well as in the genre of religious painting (she created a unique iconostasis); she was engaged in art weaving, modelling and designing of clothes, furniture, and architectural décor. In addition, she made sketches for ceramics and carpets. Known for her wonderful enamels, the mistress also worked in the fields of metal, small-scale sculpture, and jewellery. Olena Kulchytska devoted a lot of time to teaching and ethnography. Her intense exhibition activity is also impressive. Olha Kulchytska is a renowned mistress of decorative and applied arts, a carpet weaver; she was also engaged in pedagogical practice. Together with her sister, she created distinguished works of carpet art. Certainly, the archival materials now published should greatly complement creative biographies of the mistresses, mostly Olena Kulchytska, with new details.

Criminal and military-criminal legislation in the creative heritage of P.S. Romashkin

Pyotr Semyonovich Romashkin (1915 - 1975) – Corresponding Member of the USSR Academy of Sciences, Doctor of Law, Professor; in 1958 - 1964 he headed the Institute of State and Law of the USSR Academy of Sciences, after 1964 he headed the Sector of General Problems of Criminal Law of the Institute. Author of a number of works on Criminal and International Criminal Law. The article analyzes his monograph “The main principles of the criminal and military criminal legislation of Peter the Great” (Moscow, 1947) - the first and, unfortunately, the last in the Soviet and post-Soviet criminal law literature study of the legislation of the Peter the Great era. The general issues of the Criminal and Military Criminal Law of Peter the Great are considered, its difference from both the previous criminal legislation and the Cathedral Code of 1649, which operated along with the military Articles of 1715. The author’s views on the crime and punishment reflected in the imperial acts, his assessment of the scope of these Articles, types of punishments and, in particular, the death penalty are investigated. P.S. Romashkin expressed his own point of view on a number of issues, therefore, the work of pre-revolutionary criminologists on both Criminal and Military Criminal Law is widely used in the article.

СМЫСЛОВЫЕ КОДЫ «ШОА-СИМФОНИИ» МИХАИЛА БРОННЕРА

In the dialogue between the composer and the listener, a significant role is played by musical images that carry information about the semantic codes of the works. It is easier to get it in music related to the word. To help the listener in choosing an adequate vector of music perception, the author often names instrumental works as well. The article introduces for the first time into the scientific context the programme five-part “Shoah Symphony” by the contemporary Moscow composer M. Bronner (born in 1952), which reflects the theme of the Holocaust. In the creative heritage of the composer, who works in various genres, one third of the compositions is associated with images of sacred texts of the Old Testament, which is due to the national identification of the author and the importance of the Holocaust (Shoah) theme for him. The originality of M. Bronner’s “Shoah Symphony” lies not only in its programme (I Lullaby; II Chorus of Children’s Souls; III Scrolls from Ashes; VI My People; V Psalm), but also in the presence of a companion work of 2014 in the genre of oratorio. The author’s libretto of the oratorio makes it possible to identify semantic accents by attaching verbal text to musical themes, including Yiddish songs and Kaddish fragments. Discovering the semantic codes of Mikhail Bronner’s “Shoah Symphony” will contribute to the expansion of the audience.

Bing Crosby – 120 years later

The article is devoted to the analysis of the creative heritage and the role in the cultural life of the USA of the famous vocalist, film actor and creator of the musical style Bing Crosby. His role in the development of the country's musical culture, musical cinema and radio broadcasting, his influence on American and world popular music is considered.

CONTRIBUTION OF PERM RESEARCHERS TO THE STUDY OF RUSSIAN AND FOREIGN CONSERVATISM

The three-hundredth anniversary of Perm focuses on various achievements of residents of the city and the region as a whole. The significant contribution of Perm scientists to the development of various branches of science and art actualizes the appeal to the creative heritage of local historians, the scale of which has an all-Russian character. Perm historical school of the study of domestic and foreign conservatism has rich traditions and is one of the leading in the Russian Federation. Originated in the Soviet years, when its founder P. Yu. Rakhshmir was developing a research interest in analyzing certain aspects of conservatism in Western countries. Today the school continues to function successfully, a new generation of scientists is emerging, its luminaries continue to work, thereby expanding our understanding of various aspects of such a multifaceted and complex phenomenon as conservatism.

АЛЬТОВАЯ МИНИАТЮРА В ТВОРЧЕСТВЕ РЕБЕККИ КЛАРК

The work of English composers of the first half of the XXth century, who actively composed for viola, is little known to music lovers. The now popular English composers L. Tertis and W. Wilton were most prominent in large-form works for viola (primarily in the genres of sonata and concerto with orchestra). One of the pioneers of chamber music for this instrument is the talented, but now almost unknown composer and violist Rebecca Clarke, who established the viola miniature as a distinctive and striking artistic phenomenon. The relevance of the study lies in the urgent need to introduce into musicology the information about the creative heritage of composers who created those works for viola that reveal the multifaceted artistic possibilities of this instrument. The purpose of the article is to illuminate the creative heritage of R. Clarke in the genres of miniature for viola and piano. Objectives of the article — to present the main biographical information about the composer; to show the importance of the viola in the development of the composer's style; to comprehensively analyze R. Clarke's miniatures for viola and piano. The author attempts to explore the composer's language, which is based on romantic traditions and heavily influenced by C. Debussy. The article focuses on R. Clarke's significant contribution to affirming the performance potential of viola in the chamber repertoire. The materials of the article can be used both by teachers of viola class and chamber ensemble as educational and didactic material, and by concert musicians to enrich their own performing repertoire.

IN MEMORIAM: Reconstruction of the Creative Heritage of Sergei Fedorovich Denisov

The article is devoted to the reconstruction of the creative heritage of Doctor of Philosophical Sciences, Professor Sergei Fedorovich Denisov, with an emphasis on his works on the philosophy of science. The study also includes individual biographical information that is significant for understanding some aspects of the scientist’s personality that influenced the formation and development of his philosophical ideas. The article reveals the main provisions of his concept of the unity of the philosophy of science and philosophical anthropology, the role of science in culture and its significance in human existence. The development of the central idea of all creativity is monitored — the saving role of science in unity with philosophy and other areas of culture for the future of mankind.

К ИСТОРИИ ИЗУЧЕНИЯ ЖИЗНИ И ТВОРЧЕСТВА Г.С. СКОВОРОДЫ В РОССИИ: Г.Г. ШПЕТ

The article is one of a series of works by the author, which considers the long and bizarre history of the study in Russia of the life and creative heritage of Grigory Savvich Skovoroda (1722–1794). The proposed article deals with the Russian thinker from Kiev Gustav Gustavovich Shpet (1879–1937). In the rich intellectual context of Russian philosophy, where almost all directions of European thought were represented, Shpet occupied a special place. A disciple of E. Husserl, he was a supporter and conductor of the ideas of phenomenological philosophy, in his own original edition, suggesting a rather critical attitude to a number of the teacher’s positions. That particular philosophical position markedly distinguished him from both the thinkers of the religious and philosophical group “Put’(Way)” and from the Russian thinkers of the neo-Kantian orientation from the circle of the international magazine “Logos”. Philosophy, in the understanding of Shpet, is pure autonomous knowledge, the subject of which is the field of the profound foundations and absolute principles. From such positions, Shpet tried to comprehend the specifics of Russian philosophy, its origins, issues, and historical deployment. With that in mind, he approached the consideration of the life and work of G.S. Skovoroda.

Conception of the “Peasant Revolution in 1917” by Andrii Shestakov (about forgotten scientific achievements and the disputability of modern achievements)

The famous historian of agrarian history Andrii Shestakov in the 1920s in his scholarly studies as to 1917 in Russia used the term "peasant revolution". In such a situation, the modern scientific school of V. Danilov came up with the concept of the peasant revolution of the early twentieth century which he presents as the latest achievement of historical science. Due to this situation, the question arises about the primacy in the formation of the concept of peasant revolution. The aim of the article is presented to expose Andrii Shestakov's interpretation of the term "peasant revolution" and to show its relation to the modern concept of V. Danilov and his supporters. Andrii Shestakov regarded the revolutionary struggle of the peasantry in 1917 as an independent socio-political phenomenon. It took place in several stages. At first, it was relatively peaceful, hoping for a solution to the agrarian issue by the authorities. From March to May, the peasants actively appealed to various instances. They rarely resorted to radical action. In May – July 1917, the peasant movement became more organised. Its representatives were the executive committees of the parish and the land committees. In August – October peaceful methods of struggle were replaced by the peasantry force measures to seize landlords. From the end of October 1917 the revolutionary struggle of the peasantry merged into one stream with the revolutionary struggle of the workers, which led to the victory of the revolution. At the end of 1917 – in the beginning of 1918 there was a liquidation of the landed land ownership and transfer to the peasantry on the basis of the Soviet power legislation. Andrii Shestakov pointed to the low level of political parties` influence, as well as the revolutionary authorities and other institutions on the actions of the peasantry. Rural communities were the real organizer and leader of the revolutionary struggle of the peasantry. Andrii Shestakov considered the peasant revolution of 1917 to be victorious, and defined its character as bourgeois-democratic. As a result of this revolution, peasant land use per capita increased, on average, from 1¾ to 2¼ people. It is positively impacts on the peasant economy and the transfer of landlord inventory. As a result of the research, Andrii Shestakov's understanding of the concept "peasant revolution" is revealed, and thus shows the true origins of the concept of peasant revolution. The modern scientific school of the peasant revolution actually has its authoritative predecessors. In the 1920s, the concept of the peasant revolution was developed by Andrii Shestakov. According to the Shestakov`s concept the peasantry in the conditions of the revolutionary struggle of 1917 acted as an autonomous socio-political force. In its political behavior, it was beyond the control of political parties and urban social strata, and manifested a capacity for self-organization. The withdrawal from the scientific and cognitive use and forgetting the concept of the peasant revolution of 1917 came under pressure from the socio-political situation in the USSR. The consequences of this are tangible even in today's context, and still most historians do not see in the peasantry the self-sufficient power of revolutionary change. The conceptual similarity of Andrii Shestakov vision of the revolutionary struggle in 1917 and the modern scientific school of the peasant revolution indicates that the creative heritage of the scientist can be synthesized with modern methodological tools of historical science.

Музыкальные идеи и образы в творчестве К. С. Петрова-Водкина

K. S. Petrov-Vodkin (1878–1939) is an outstanding Russian painter, graphic artist, book illustrator, theater artist. He is also known as the author of literary works, works of a theoretical nature on issues of art, and a person with a keen sense of music. Comparisons and images that carry musical semantics appear in the literary works of Petrov-Vodkin. He shares with his family and friends in letters about his experiences with music; from the memoirs of his contemporaries, we know about his successful experiences playing the violin and piano. It is not surprising that music on a symbolic level is organically present in a number of his paintings. First, this is the artist’s early symbolist work, where images appear that carry musical meaning or motifs of dance. However, already at the initial stage of post-revolutionary creativity, musical plasticity and rhythm in his works became less and less. However, it is possible to highlight a number of still life compositions that include the image of a violin, the artist’s favorite musical instrument. We can conclude that Petrov-Vodkin’s “musical” works are attractive, filled with expression and expressive color. Music at the associative level is present in each of them, which is achieved through the rhythmic organization of the composition and the presence of certain symbols, such as notes, musical instruments, dance movements of figures. All this enhances the artistic imagery of the paintings and deepens their ideological and semantic meaning. To date, no major research works have been devoted to the study of musical motifs and images in the work of Petrov-Vodkin, however, this aspect of studying the artist’s work seems relevant. This article attempts to systematize images with musical significance in the works of this artist, analyze them and outline new directions for studying the creative heritage of Petrov-Vodkin.

ОБРАЗ ТАРАСА ШЕВЧЕНКА В ЗАКАРПАТСЬКІЙ ПРЕСІ 20–30-х рр. XX ст. У БІБЛІЙНОМУ ТА ЛІТЕРАТУРНОМУ КОНТЕКСТІ

A wide range of publications about the life and work of Taras Shevchenko in the Transcarpathian press of the 1920s-1930s have been analyzed, focusing on the biblical and literary context. The study reveals that among the vivid indirect and direct biblical images, allusions, and comparisons, the following conditional groups are present: 1) comparisons of Shevchenko with Jesus Christ, Moses, apostles, prophets, and martyrs; 2) comparisons of Shevchenko’s Ukraine with the Promised Land; 3) comparisons of Shevchenko’s earthly path with the crown of thorns; 4) comparisons of the collection “Kobzar” with the Bible (the second Bible) and the Gospel (the second Gospel) of the Ukrainian people. Among the vivid indirect and direct comparisons of Shevchenko with world writers, the following conditional poetic pairs are distinguished: 1) Shevchenko and ancient authors (Homer and Horace); 2) Shevchenko and J. W. von Goethe; 3) Shevchenko and A. Mickiewicz; 4) Shevchenko and A. Pushkin; as well as 5) Shevchenko and O. Dukhnovych. Leading Transcarpathian journals such as «Vinochok dlia Podkarpatskykh Ditochok», «Karpatska Pravda», «Narodnia Syla», «Nash Put», «Nasha Zemlia», «Nasha Oborona», «Nedelia Rusyna», «Podkarpatska Rus», «Prosvita – Shevchenkovi», «Rusyn», «Ruska Niva», «Svoboda», «Ukrainske Slovo», «Uchytelskyi Holos» dedicated over twenty articles to Taras Shevchenko, incorporating biblical and literary context. In their publications, M. Brashchaiko, A. Divnych, I. Nevytska, I. Pankevych, A. Shtefan, P. Yatsko, and others actively used biblical imagery and literary parallels to interpret the creative heritage of Taras Shevchenko and his significance for the national revival of Transcarpathian Ukrainians. Keywords: Transcarpathian press, Taras Shevchenko, Subcarpathian Rus, biblical images, poetic pairs, Alexander Pushkin, Alexander Dukhnovych.

ЗАБЫТЫЕ ИМЕНА РУССКОГО КАМЕРНО-ВОКАЛЬНОГО ИСКУССТВА: ВЕРА ДУХОВСКАЯ (к 120-летию со дня рождения)

The article highlights the activities of one of the leading Russian chamber singers of the first half of the twentieth century, Vera Iosifovna Dukhovskaya (1903–1982), who became widely known mainly to the ensemble with Mikhail Alekseevich Bikhter (1881–1947), which existed for about 12 years. An appeal to the periodical press of that time makes it possible to trace how reviews of the duo’s concerts changed as the Dukhovskaya-Bichter ensemble performed. While at first M. A. Bikhter played the leading role in their creative tandem, over time Vera Iosifovna, thanks to her extraordinary talent, reached individual heights of performing skill, which later allowed her to be called “an artist of a large chamber scale”. It is significant that one of the critics even cited her as an example to other singers as tirelessly searching, experimenting, asserting her genre and “her artistic individuality”. The study of the creative heritage of V. I. Dukhovskaya allows us to conclude that she was among the outstanding performers of the first half of the twentieth century, who made an invaluable contribution to the development of Russian chamber vocal art, which is clearly confirmed by the documents of the era and eyewitness testimonies. It is all the more surprising that today the singer has been almost forgotten, and her name is unfamiliar not only to a wide audience, but even to many specialists.

The First Architects and Engineers of Ussuriysk (the Second Half of the 19th — the Beginning of the 20th Century)

The article consider the professional and creative activities of military engineers A. H. Vinogradov, D. V. Vinogradov, V. I. Zhigalkovsky, D. V. Shebalin, technician P. L. Calmsky-Frontsevich, civil engineers S. O. Ber, V. A. Planson, who worked in Ussuriysk during the second half of the 19th — early 20th century. The purpose of the study is to compile a systematic picture of the diverse activities of Ussuri architects and engineers, as well as to identify their contribution to the development of the architecture of the city. The study examines the development of the planning solution of Ussuriysk in the pre-revolutionary period, as well as the contribution of Russian engineers to its formation. Special attention is paid to the formation of the structure of the city and the system of architectural dominants that determined the historical silhouette of the settlement from the side of the railway and the water area of the Razdolnaya (Suifen) and Rakovki (Toudagou) rivers. Preserved and lost objects of the creative heritage of engineers, including public and residential buildings, have been identified. The preserved archival projects of the unrealized Female Teachers’ Seminary, obtained by the authors in the course of work in the Archive of the Ussuri city district, demonstrating the specifics of drawing up competitive design documentation by regional designers, are also analyzed. The analysis of objects of various typologies made it possible to identify the main space-planning and stylistic solutions used in the projects of the first architects and engineers of the city of Ussuriysk, who went through the development path from “garrison architecture” to Art Nouveau, which corresponds to the all-Russian trends of the period under review.

The Personality of Augustine in the Context of Source Studies (Main Research Directions of the 19th — 21st Centuries)

The paper notes that the study of the personality of Augustine (354—430) and his writings is inextricably linked with his ideas on the soul, which occupy an important place in European religious and philosophical thought. Indeed, referring to any of the teachings of Augustine — whether it is the doctrine of the universe, time, memory, the relationship between free will and divine predestination, and others, — one should take into account his ideas on soul. The so-called psychologism of Augustine, noted by researchers of his vast creative heritage, is also associated with them. Those texts of Augustine which seem to be the most significant for the reconstruction and study of Augustine’s psychological concept are identified. There are “Confessions”, “On Order”, “On the Immortality of the Soul”, “The Soliloquies”, “City of God”, and others. It is noted that Augustine does not devote one or another of his works only to the problem of the soul; that his views on the soul can be reconstructed from individual fragments and lines taken from many other of his texts, diverse in terms of content, genre and problematic; that the involvement of the entire corpus of Augustine’s writings will allow not only to clarify his thought, to show the course of his reasoning, but also to study his psychological teaching more carefully.

ФЕНОМЕН ТРАДИЦИИ В РУССКИХ АВАНГАРДНЫХ МУЗЫКАЛЬНЫХ ПРОИЗВЕДЕНИЯХ 1960–1980-Х ГОДОВ

The article reveals the phenomenon of tradition as a leading principle in the music of Russian avant-garde composers of the second half of the XXth century. The author explores this problem based on the works of R. Shchedrin, S. Slonimsky, E. Denisov and S. Gubaidulina, created in the 1970s–80s. The choice of these authors is determined by the cardinal differences in the style of their work — from the radical avant-garde of E. Denisov to the relatively moderate style of R. Shchedrin. As criteria for defining the phenomenon of tradition in the compositions of these musicians, the author highlights the use of national folklore elements; the adherence to the creative heritage of Russian composers; the return to the forms and genres of the preclassic era in line with neoclassicism. The term "traditional music" has a corresponding connotation in the article. Within the first criterion, the author discovers the phenomenon of tradition in the works of composers of the New Folklore Wave. According to the second criterion, the continuity of these composers' work with that of the national musical classics is noted. In the context of neoclassicism, the author considers the creation of polyphonic musical works, the return to the genres of preclassical music and the use of polystylistic means. Based on the noted observations, it is concluded that in the work of R. Shchedrin, S. Slonimsky, E. Denisov, S. Gubaidulina the phenomenon of tradition is found as a form of intertextuality manifestation.

Between Moscow and Milan: Two Lives of Y. A. Dobrovolskaya (on the Materials of the East European Institute in Bremen)

On the basis of archival materials from the East European Institute in Bremen and other sources the creative heritage of the Italianist, translator, lexicographer, teacher Yulia Abramovna Dobrovolskaya (1917—2016), who successfully realized her professional career first in Moscow and then, after emigration from the USSR with ideological motives, in Milan, is reconstructed.