Prince Igor Research Articles

Система збирання данини та причини її реформування в Київській Русі

У статті досліджено проблеми наповнення державної казни в Київській Русі. Вивчено систему збирання данини полюддя та виявлено недоліки, які ця система спричинила. Встановлено, що місцева адміністрація влади, знаючи, що князь не оперує точними даними стосовно данників, зловживала своїми обов’язками і приховувала від Києва частину данини, яку вони збирали на користь князя. З’ясовано, що саме приховування фактів крадіжок з боку місцевих князів та спроба князя Ігоря Рюриковича провести ревізію і з’ясувати масштаби зловживання древлянськими князями і призвела до його вбивства. Зроблено висновок, що війна на Балканах, яка починала переходити в затяжну, призвела до суттєвого навантаження на княжу казну, що вплинуло на Святослава Ігоровича і змусило провести реформу, в результаті якої в підконтрольні землі були направлені його сини, які самі почали збирати данину для княжої адміністрації, виключивши із системи посередників місцевих князів, посадників. Підсумовано, що ці обставини призвели до зникнення системи полюддя та встановлення нової системи збору данини, сутність якої полягала в її збиранні через своїх синів, що виконували роль посадників.

God Opposes the Proud: Crime and Punishment in Works about Prince Igor Svyatoslavich’s Campaign

Only three literary works about Igor Svyatoslavich’s campaign against the Polovtsians in 1185 are known to us: the story from the Laurentian Codex, the story from the Kiev Chronicle of the Hypatian Codex, and The Tale of Igor’s Campaign. This article investigates the theme of sin and punishment, i. e. the vainglorious campaign of Igor Svyatoslavich and his captivity. In the Pereyaslavskaya story of the Laurentian Codex, all the blame for the ruin of the Russian land and the Pereyaslavl principality is put on Prince Igor Svyatoslavich, who undertakes a campaign of conquest and is defeated, opening the gates of Russia to the Polovtsians. The hero of this story is Vladimir Glebovich Pereyaslavsky, who fearlessly defends his principality from the Polovtsians and is seriously wounded. The Kiev chronicler defends Igor Svyatoslavich, depicts his courage, and tries to show that he had God’s providence. Having suffered defeat, Igor Svyatoslavich interprets it as an Orthodox prince would, realising that he has received a punishment for his previous sin, i. e. the ruin of the city of Glebov in Pereyaslavskaya land and the death of Christians that he provoked. During his captivity in the hands of the Polovtsians, Igor demonstrates repentance, for which he invites a priest from the Russian land; as a result, his spiritual transformation takes place and the Lord leads him out of captivity. The Tale is close to the Kiev Chronicle in its interpretation of events. The difference is that The Tale describes Igor’s campaign more poetically, reveals the theme of vain glory and dishonour, and depicts the spiritual path of Prince Igor Svyatoslavich via artistic means. For this, the author of The Tale creates an artistic image of an “eclipse”: in nature, this is represented by the sun while in Prince Igor, it is his soul. When crossing the border river Donets, Prince Igor steps from light into darkness: his entire campaign takes place in darkness and he returns to the Russian land thanks to the prayers of his wife Yaroslavna, thus transiting from darkness to light.

Do we all know about the treaties of the Tenth century Kievan princes Oleg (911) and Igor (945) with Byzantium? Part two

The author informs about unknown facts of agreements, which a Kievan prince Oleg had concluded in 911 and a prince Igor had made with greeks (Byzantines) in 945. Although of double – sided way of the agreements, Byzantine representatives, being a creator of both texts, were able to use them as a method of keeping Kievan merchants from commiting crimes during their stay in Constantinopol.

РОЗДУМИ М.Ф. ГЕТМАНЦЯ ПРО ЧАС І ПРО СЕБЕ

Доктор філологічних наук, професор Михайло Федосійович Гетманець фахівець з історії російської і української літератури XIX–XX століть, «Слова о полку Ігоревім», літературного краєзнавства. Метою роботи є аналіз розвитку М.Ф. Гетманця як вченого, дослідника, літературознавця, педагога, засновника власної наукової школи. Кандидатська дисертація М.Ф. Гетманця «Творчість П.А. Павленка» і докторська дисертація «А.С. Макаренко і концепція нової людини в радянській літературі 1920–30-х років» свідчать про нові погляди автора на усталені питання. М.Ф. Гетманець надрукував понад 17 книг, 300 статей, бро-шур, тез. Головними з них є монографії: «Таємниця річки Каяли», мемуари: «Про себе і про час», книги: «Про Харків і не тільки», «Роздуми педагога», «Історія як педагогіка», «Педагогічні етюди», «Про рідну мову». Коло наукових інтересів дослідника різноманітне, тематика захище-них під керівництвом М.Ф. Гетманця докторських дисертацій (О.В. Кеба, О.М. Ніколенко, І.С. Маслов, О.С. Силаєв, В.І. Мацапура, С.В. Бесчетнікова, О.Г. Ткаченко) і 15 кандидатських дисертацій свідчить про широту його наукових пошуків. Понад п’яти книг і більше тридцяти статей присвячені дослідником «Слову о полку Ігоревім». Книга М.Ф. Гетманця «Таємниця річки Каяли» перевидавалася три рази, в ній проаналізовані результати походу князя Іго-ря Святославовича в 1185 році, вперше вченим були організовані широко-масштабні польові дослідження на місцях передбачуваного походу. М.Ф. Гетманець – дослідник літературного процесу на Харківщині. Три випуски довідника «Літературна Харківщина», що містить понад 500 імен, викликали великий інтерес дослідників. В останніх книгах М.Ф. Гетманця відстоюються його погляди публіциста. У роботі ми прийшли висновку, що розвиток наукової творчості М.Ф. Гет-манця, захопленого своїм предметом дослідження, його академічні роботи, наукова школа – результат життєвої працьовитості, самодисципліни, таланту. Вчений – надбання науки, яким має право пишатися Україна і Харківський національний педагогічний університет імені Г.С. Сковороди.

An epic tradition in the coordinates of the operatic genre: for example, the production of the opera by O. Borodin "Prince Igor" by D. M. Gnatyuk

The purpose of the article. The use of the work is outlined by the problem of highlighting essential aspects of the creative biography of D.Gnatyuk, fixed in the coordinate of the communicative cultural-artistic system of the Ukrainian space of the twentieth century. Applying to the master's directorial practice, we have the opportunity to generalize and rationally-objective analysis of artistic tendencies that were formed in the context of a complex sociopolitical and interethnic continuum. Methodology. The methodology involves the inclusion of the problem of analysis in the space of historical, art critic and culturological discourse with the obligatory consolidation of the issue in an interdisciplinary context. Such conceptual approaches will become a condition for coverage of little-known pages of D.M. Gnatyuk's creative biography, followed by an analysis of the artistic environment as the conditions for the artist to come to the Olympus of national and world recognition. The scientific novelty of the study consists in studying the creative figure of the twentieth century - D. M. Gnatyuk in a new format, which involves the consolidation of the individual in the coordinates of the subject of culture, whose reflection crystallizes in creative searches, tests, and achievements. Conclusions. Investigating the director's steps in the projection of the interpretive decision of the opera by O. Borodin "Prince Igor," we have the opportunity to feel the dynamics of the formation of the individual, in which the director's period is represented by a generalizing and accumulated internal demand model. The mentioned factor is a new stage in the creative biography of the artist, which stimulates a permanent rethinking of his inner essence, taking into account the cultural and artistic and sociopolitical context.

THE PROPER NAMES OF THE TITLE PERSONAGE AS MEANS OF CREATE OF THE BELLE-LETTER CHRONOTOP

The object of this article is the semantic feature of the title personage in the historical novel by V. Malyk «Prince Igor». The stylistic role of the proper names was analyzed also. Their role was revealed in the local and temporal structure of the literary work. In the title of any belle-letter word carries a special expressive, semantic and stylistic load plays a role of laconic lexical epicenter then fi guratively and captiously conveys the meaning of the whole work. The specifi c of the title makes him the leading value for belle-letter context. It is the fi rst sign of the work and the fi rst element of removable storage space, an original thesis that is revealed in the process of reading the work. The title combines the artistic text becomes the key to its interpretation. Using of the proper name of the title personage depends on the themes of the work, on the artist’s intention. This is a cause of the functioning of concrete variants of title. Author thinks out care every using of the title. It demonstrated the large spectrum of fi gurative and expressive transformations and close cooperation with all linguistic and extralinguistic factors. The result of the study of functioning of title personage’s proper name establishes about its pragmatic orientation and great connotative potential, which contains activate stylistic and expressive component. That extends expression of the title, its importance for create the artistic chronotope. The main fi ndings of the research are that the proper name of title personage performs text-forming, chronotopic (time and space showing), characterizing, and expressive functions, which facilitate revealing the general met message and the artist’s intention of the text.

Iranians, Armenians, Prince Igor, and the Lightness of Pushkin

The Animal Style that characterizes Scythian art came into Armenia and Russia, where it is attested in bas-reliefs on churches; and the epic Song of Igor's Campaign, a unique verbal reflection of it, inspired Pushkin and his descendants in their poetic visions.

Musorgsky and his circle: a Russian musical adventure

The extraordinary group of Russian composers who came together in St Petersburg in the 1860s - long known as 'The Mighty Handful', but, as the moguchaya kuchka, better translated as 'the great little heap' - gave rise to one of the most fascinating and colourful stories in all musical history. Stephen Walsh, author of a major biography of their direct successor, Stravinsky, has written an absorbing account of Musorgsky and his circle - Borodin, Cui, Balakirev and Rimsky-Korsakov. With little or no musical education they created works of lasting significance - Musorgsky's Boris Godunov, Borodin's Prince Igor and Rimsky-Korsakov's Sheherazade. Written with deep understanding and panache, The Kuchka, is highly engaging and a significant contribution to cultural history.

Knyaz’ Igor’ = Prince Igor: Opera ed. by Anna Bulycheva (review)

Knyaz’ Igor’ = Prince Igor: Opera ed. by Anna Bulycheva (review)

Reconstructing the Funeral Ritual of the Kievan Prince Igor (<em>Primary Chronicle</em>, sub anno 945)<br>Rekonstrukcija pogrebnih obredov ob smrti kijevskega princa Igorja (<em>«Nestorjeva kronika»</em>, sub anno 945)</br>

The article deals with the story of the revenge of Kievan Princess Olga to the Drevlyans who murdered her husband, Prince Igor, in 945. Three stages of the revenge are interpreted as a princely funeral ritual, determined by the mythological picture of the tripartite structure of the universe.

The problem of the existence of ancient Slavic pagan priests in VI-VII centuries.

No nation can exist without its own religious cults and traditions. The practical absence of records of the presence of pagan priests in our ancestors, the bearers of knowledge, beliefs and rituals, testifies only to the careful deliberate destruction of important aspects of national history. Some pages in the history of the Eastern Slavs are simply crossed out from the chronicles and replaced by pious stories in line with Byzantine hagiography. An example in this regard is the description of the baptism of Kiev under Prince Vladimir, which obviously had nothing to do with the real events. The pagan rites and traditions in the annals were changed beyond recognition and took the form of fairy tales and legends. Very interesting in this regard are the descriptions of the funeral rites related to the death of Prince Igor, which were transformed by the chronicler Nestor into the legend "On the revenge of Princess Olga Derevlyany". Even the term "priest" in ancient Slavic sources was replaced by the word "magician" or "old man". Because of all these facts, a fairly authoritative hypothesis has emerged in national historical science, according to which the Eastern Slavs did not have any "pagan priests" at all.

Five Operas and a Symphony: Words and Music in Russian Culture. By Boris Gasparov. pp. xxii + 268. Russian Literature and Throught. (Yale University Press, New Haven and London, 2005, 30. ISBN 0-300-10650-5.)

Between 1863 and 1890, Russian literature and music appear to evolve along very disparate lines. A side-by-side chronology of major works sees Chernyshevsky’s polemical What Is to Be Done, Tolstoy’s War and Peace, and Dostoevsky’s Crime and Punishment belonging to the same decade (the 1860s) as Dargomyzhsky’s The Stone Guest, Borodin’s Prince Igor (both operas left incomplete at the composers’ deaths), and Tchaikovsky’s Romeo and Juliet. This pattern continues into the 1870s and 1880s, with Dostoevsky’s disturbing novel The Brothers Karamazov sitting incongruously alongside Rimsky-Korsakov’s sparkling early fairy-tale operas, Tchaikovsky’s Eugene Onegin, and Musorgsky’s Khovanshchina (also left incomplete). At first glance, this looks like a clear case of a lack of social engagement on the part of Russian composers, with perhaps Musorgsky’s Boris Godunov (premiere 1874) serving as the sole honourable exception. And it is at this point that Boris Gasparov invites the reader to think again: to look more closely at those operas that are so often consumed uncritically and to see that they, too, are as typical of their epoch as the weighty historical novels whose philosophical message is rather harder to miss.

Ориентализм – Дело Тонкое

SUMMARY: In his article David Schimmelpenninck van der Oye verifies the theory of Said in the light of its theoretical critique and against the historical background of cultural representations within the Russian empire, drawing on both recent research and debates among western historians and analysis of paintings by Vereshchagin and works of Borodin. The author starts with acknowledgment of the ambiguous position of Russian Orientalism, which was due to the fact that Russia itself was subjected to a persistent tradition of Orientalization on the side of Western Europe. He proceeds further by pointing out that an ambivalent attitude of Russians toward their European identity and the heterogeneous character of empire’s Asiatic periphery created a matrix of perception and practice similar to European Orientalism but far more complex and less straightforward. Arguing for an inclusion of artistic representations into the study of cultural perceptions associated with the Orient, Schimmelpenninck van der Oye scrutinizes the Turkestan series of paintings by Vereshchagin and Borodin’s opera “Prince Igor’.” Whereas Vereshchagin represents a typical for Western Europe discourse toward the Orient, which asserts the “Otherness,” inferiority, and need for a civilized intervention, Borodin stands for a more positive attitude toward Asia, which hinges on the fact of close relationship between Russia and its Asian neighbors in the course of their history.

The Life and Ballets of Lev Ivanov: Choreographer of the Nutcracker and Swan Lake, by Roland John Wiley. New York: Oxford University Press, 1997. vii + 306 pp., photographs, illustrations, notes, appendices, bibliography, index. $65.00 clothbound.

The Life and Works of Lev Ivanov is the first book-length study in any language about this Russian artist - Marius Petipa's colleague and Tchaikovsky's collaborator - who is widely celebrated and yet virtually unknown. It follows Ivanov from his infancy in a St Petersburg foundling home through his training in the Imperial Theatre School and his celebrity marriage, to a career as a dancer, regisseur, and choreographer in the St Petersburg Imperial Ballet. Ivanov's artistic world is described, as is his legacy - some dozen works, including Swan Lake, The Nutcracker, and the famous dances from Prince Igor - which inspired Mikhail Fokine in the next generation. The book is richly documented, including the first complete publication of Ivanov's memoirs, and hundreds of citations, many published here for the first time, from state documents, reminiscences, and criticism.

‘Entoiling the falconet’: Russian musical orientalism in context

This essay originated as a contribution to a symposium organised by the Dallas Opera and Southern Methodist University around the Opera's production of Boro-din's Prince Igor in November 1990. Since many Soviet guests had been invited, the poster and programme book were printed in English and Russian side by side. I found that the word ‘orientalism’ in my title had become tema vostoka – ‘the Eastern theme’ – in translation, even though orientalizm, or more commonly, orientalistika, are perfectly good Russian words (well, Russian words, anyway). It was a sensible precaution. ‘The Eastern theme’ is neutral: from a paper with that phrase in the title one expects inventories, taxonomies, identification of sources, stylistic analysis. ‘Orientalism’ is charged. From a paper with that word in the title one expects semiotics, ideological critique, polemic, perhaps indictment. The translator was quite right to err on the side of innocuousness, rather than saddle me with a viewpoint I might not wish or manage to live up to.

The Epic Dimension in Borodin's Prince Igor

The Epic Dimension in Borodin's Prince Igor

Prince Igor. Alexander Borodin

Journal Article Prince Igor. Alexander Borodin Get access Roland Graeme Roland Graeme Search for other works by this author on: Oxford Academic Google Scholar The Opera Quarterly, Volume 8, Issue 1, Spring 1991, Pages 132–137, https://doi.org/10.1093/oq/8.1.132 Published: 01 March 1991

“If You're Afraid of Wolves, Don't Go into the Forest” On the History of Borodin's Prince Igor

Journal Article “If You're Afraid of Wolves, Don't Go into the Forest” On the History of Borodin's Prince Igor Get access HARLOW ROBINSON HARLOW ROBINSON Search for other works by this author on: Oxford Academic Google Scholar The Opera Quarterly, Volume 7, Issue 4, Winter 1990, Pages 1–12, https://doi.org/10.1093/oq/7.4.1 Published: 01 December 1990

Nicholas Roerich and His Theatrical Designs: A Research Survey

The Russian painter Nicholas Roerich, born in St. Petersburg in 1874, figured prominently in the Silver Age of Russian art at the turn of the century. By the time he left Russia, around 1917, he had painted several hundred canvases and had achieved an international reputation. He continued to paint prolifically in Western Europe, America, Central Asia, and India until his death at Naggar in the Himalayas in 1947. Roerich's paintings continue to be well known in the Soviet Union and India, as do his writings and his activities in the fields of archaeology, education in the arts, Eastern philosophy and world peace. In the West, though, he is best known as a theatrical designer, a reputation due especially to his sets and costumes for Serge Diaghilev's productions of the Polovtsian Dances from Prince Igor in 1909 and Le Sacre du printemps in 1913. Both ballets were acclaimed at the time of their Parisian premières and became classics of stage décor. In addition to being one of Diaghilev's leading designers during the early years of the Ballets Russes, Roerich carried out commissions for Konstantin Stanislavsky at the Moscow Art Theater (1912), Sir Thomas Beecham at the Royal Opera, Covent Garden in London (1919), Leopold Stokowski at the Metropolitan Opera in New York (1930), as well as for the choreographer Leonide Massine (1944), and others.

The Song of Prince Igor

The Song of Prince Igor