Stylistic Traditions Research Articles

The Origin of “The Citizen”: Authors, Concepts, Genres

The article proposes a systematic analysis of the weekly “Grazhdanin” (“The Citizen”) in the first year of its publication (1872), just prior to F. M. Dostoevsky joining its staff. According to its opponents, the image of the “Grazhdanin” (“The Citizen”) was determined exclusively by V. P. Meshchersky, nicknamed the “dot prince” for his call to halt the movement towards a constitutional reform. Both the strengths and weaknesses of Meshchersky’s program and the writing style are revealed. At the same time, contrary to the well-established opinion about the prince’s monopoly in shaping the concept of the periodical, the importance of other key authors is revealed — both those whom Meshchersky called “receivers” in his memoirs, and those whom he did not mention for some reason. The concept of the publication was formed at the junction of ideological and stylistic traditions, adopted by its authors from Slavophiles and members of the Native Soil movement, on the one hand (M. I. Koyalovich, N. N. Strakhov, A. N. Maikov, I. Yu. Nekrasov), and from the state-conservative “Katkov” journalism, on the other (B. M. Markevich, P. K. Shchebalsky, K. P. Pobedonostsev). The desire for harmony of moral (Christian) and legal (state) principles was the basis of the projective concept of the “Grazhdanin” (“The Citizen”). These principles were not always reconciled with each other, causing internal editorial controversy. It did not necessarily mean a break (although this has happened), since it was about the formation of a single broad “Russian” trend, which Strakhov, following Fyodor and Mikhail Dostoevsky, defined as the “Russian party.” Meshchersky’s idea from the very beginning was to create a press body that would become a discussion platform for the free expression of “independent” minds. The rejection of the authoritarian style (which prevailed at that time in radical and liberal journalism) brings to mind the experience of the Dostoevsky brothers’ magazines “Vremya” and “Epocha”. “Grazhdanin” (“The Citizen”) also aimed for dialogue, rather than dictate — a dialogue with the authorities, the zemstvo, the nobility, the church, and the youth. In this regard, it is clear why the pages of the weekly preferred a genre as autonomous as “letters”: historical, political, literary, theatrical, provincial, travel, letters to the editor. In an effort to present the polyphony of opinions of “decent people” who are not indifferent to the fate of the country, Meshchersky sometimes resorted to role-playing journalism, writing letters to himself on behalf of a peasant, a teacher, a zemstvo worker, a military man. In general, in the aggregate of all published materials, “Grazhdanin” (“The Citizen”) appears to be a publication that resolutely and sometimes boldly raised the question of the price of the ongoing changes, the destruction of the moral and spiritual foundations of society and the state, and a return to traditional Christian values. The weekly formed an updated kind of conservative journalism, which was further developed in the journalistic work of F. M. Dostoevsky.

Sidimi, a dacha village in Ussuri: architectural and planning features

Sidimi (Sidemi, now Bezverkhovo) in Primorye region is the only surviving (though ruined) complex of country estates in the south of the Russian Far East dating back to the turn of 20th century. Other estates and dacha villages in the region were destroyed or have survived as isolated buildings. Our study of the history of Sidimi and its architectural and planning features helps understand the concept of Far Eastern country architecture. It combines eastern and western stylistic traditions, new architectural trends of the early 20th century and their adaptation to the unique lifestyle in Ussuri taiga.

Una Tradición y dos estilos de tabletas para alucinógenos en el intercambio ritual de los Andes circumpuneños (1000-1470 d. C.)

This paper identifies a stylistic tradition among the set of snuff trays for hallucinogens from different cemeteries in the oases of San Pedro de Atacama (Antofagasta, Chile) and northwestern Argentina. Even though these snuff trays are part of a large group of artifacts with prominent shared characteristics that make it possible to distinguish them in formal and iconographic terms from other styles/traditions among registered hallucinogenic implements, this task had not been undertaken previously. The tradition has two different styles; the respective iconographies are outside what is recognized for the Circum-Puna area. Thus, this analysis sheds light on a possible place of origin for the tradition in general and these styles in particular. The styles also serve as indicators for the flows of macro-regional ritual exchange. Furthermore, analysis of the funerary contexts of some of these trays provides data on the temporal location of the two styles, and the paper discusses the social identity of the individuals who owned the trays.

The linguopoetics of D. V. Grigorovich’s short novel "The Peasant" in the context of the linguistic tradition of the 19th–20th century Russian literature (to the 200th anniversary of the birth)

This linguopoetic study of D. V. Grigorovich’s short novel "The Peasant" aims to identify features specific to the author’s creative writing style and trace the connections between the text and the linguistic and stylistic traditions of Russian literature in different epochs. The research subject is all constituents of the linguopoetic fabric of the work of art under consideration. These are linguistic units, compositional elements, stylistic devices, plot-building ideas, images, and motifs. The methods include observation, cross sampling, generalisation, linguistic material classification, and establishing the content, structural, stylistic identity of different texts. These methods helped to identify and describe the techniques of creating the lyrical context in the short novel, the place of precedent images in it, the role of syntactical parallelisms and comparisons, the functions of low colloquial and dialectal inclusions, the origins and significance of the stylistic register dynamism. The approaches of modern linguistic poetics combined with certain methods of cultural linguistics (linguoculturology), psycholinguistics, and linguistic folkloristics (linguofolkloristics) enabled the author to analyse the specific features of objectifying the Russian peasantry’s customs, superstitious, and popular beliefs in the text of the short novel. Additionally, the research paper presents some psychological phenomena, the sensory field, and the recreation of the Russian people’s cultural and linguistic picture of the world. In the course of the study, the influence of Grigorovich’s artistic heritage on the literary and stylistic context of the subsequent time (i. e. the writers creating on the cusp of the 19th and 20th centuries, the writers of the Silver Age of Russian literature as well as the "Village" Prose writers of the Soviet period) was determined.

Direct speech in Heliand and Otfrid von Weissenburg's Evangelienbuch: a shared vernacular tradition?

ABSTRACT This paper compares Heliand (Old Saxon) and Otfrid von Weissenburg's Evangelienbuch (Old High German) with each other and with several Old English poems to determine the extent to which those poems partake of a common stylistic tradition as regards their handling of direct speech. Particular attention is given to the location and form of the inquit and to terms of address. Close examination of those features confirms the well-known fact that Heliand uses a style that is very close to the Old English poetic tradition, whereas the Evangelienbuch is much more innovative stylistically. However, it also reveals significant differences between Heliand and Old English poetry that go beyond matters of dialect or metre. Conversely, it shows that, for all its innovation, the Evangelienbuch is not entirely exempt from traditional features characteristic of West-Germanic alliterative poetry.

4 Cholula: The Mall of [Meso]america

ABSTRACTEthnohistoric sources describe the market of Postclassic Cholula as featuring goods from throughout Mesoamerica. Furthermore, the merchant guilds centered in the city, followers of the god Yacatecuhtli/Quetzalcoatl, were elevated to princely status. Contact‐period sources also describe the political organization of the city, in which these merchant princes played a prominent role. The far‐flung influence of the religio‐commercial diaspora is represented through the distinctive symbolism of the Mixteca‐Puebla stylistic tradition, found throughout Postclassic Mesoamerica and as far south as Pacific Nicaragua. This paper uses the ethnohistorical evidence to construct a model of Cholula's urban economy and its international influence, with archaeological evidence to critically evaluate the sources.

CLASSICAL GRAPHIC ARTISTS OF ALTAI IN COLLECTIONS OF THE STATE ART MUSEUM OF THE ALTAI KRAI (BARNAUL, RUSSIA)

The reported study was funded by Russian Fund of Basic Research according to the research project no. 19-412-220003 r_a. The paper outlines basic biographic information that reflects creative way of professional graphic artists from Altai, Russia: Fyodor Filonov (1919–2007), Andrei Vagin (1923–2006), Alexei Yugatkin (1926–2001), and Aleksandr Deriavsky (1927–2017), whose works will be in exhibition “Classical Works of Altai's Graphis Artists” of The State Art Museum of the Altai Krai (Barnaul, Russia) that will be held in 2022, after reconstruction of the institution's building. Individual artistic and aesthetic achievements of masters that followed stylistic traditions left by the first professional painters of Altai (Grigory Choros-Gurkin (1870–1923) and Andrei Nikulin (1878–1945), defined main vectors for development of professional graphics in Altai in the 2nd half of 20th century and the beginning of the 21st century. The author describes a contribution made by Vladimir Ramensky and Aleksandr Deriavsky in development of professional book graphics in Altai Krai, Vladimir Ramensky's work in developing professional artistic education in the territory.

Детская проза 1920-х гг. запрещенной писательницы Анастасии Вербицкой

The introductory note to the publication analyzes the reasons for the success of A. A. Verbitskaya “modern novels” “The Spirit of Time” and “ Keys of Happiness” with the young reading audience of the 1910s. In these two bestsellers the writer was able to combine a diverse, aesthetically and politically relevant topic of interest to the younger generation with the poetics of the adventure and adventure novel genres that descended from the heights of classics into the field of fiction. Verbitskaya managed to achieve, as K. Chukovsky put it, a successful “combination of Rockambole and Darwin, Pinkerton and Marx”. Having banned Verbitskaya’s novels in 1924, the new government, represented by N. Bukharin, gave the writers the task of creating new entertaining literature, their own “communist Pinkerton”, in effect urging them to continue the stylistic traditions of Verbitskaya’s rejected and banned literary experiments. In the Appendix, Verbitskaya’s stories from the 1920s are published for the first time from archival sources: “Joy”, “How Buttercup became a communist”, “Our pioneers”, “Memories of Lenin by pioneer Shura Andreeva, recorded from her words”.

Жанрово-стильова специфіка камерно-вокальної творчості С. Василенка

The purpose of the work is to identify the poetical of S. Vasilenko’s vocal heritage in the context of the traditions of Russian musical culture of the first half of the twentieth century. The methodological basis of the work is based on general scientific and special methods, among which the intonational-stylistic methods inherited from B. Asafiev and his followers, historical-cultural, genre-style, biographical, analytic-musicological methods in their complex application are essential, which together makes it possible to study poetics of the chamber-vocal heritage of S. Vasilenko in the context of Russian culture of the first half of the twentieth century. The scientific novelty of the work is determined by the fact that for the first time the genre-style specificity of the chamber-vocal creativity of S. Vasilenko is generalized in the foreshortening of the general evolutionary paths of the development of Russian musical culture of the indicated period. Conclusions. S. Vasilenko is an outstanding composer, conductor, teacher, folklorist, musician-educator who inherited the best genre and stylistic traditions of Russian music of the past. At the same time, he made a valuable contribution to its subsequent development within the framework of the culture of the first half of the twentieth century and the genre-style attitudes of Russian Art Nouveau. The sphere of chamber-vocal creativity of S. Vasilenko (over 200 compositions), covering all periods of his creative activity, has absorbed the most characteristic genre-style tendencies inherent in the composer’s creative method, focused on the academic direction of Russian culture and music of the first half of the twentieth century. The early period of vocal creativity of S. Vasilenko is characterized, on the one hand, by the inheritance of the best traditions of Russian chamber-vocal lyric poetry of the 19th century, including the traditions of P. Tchaikovsky and N. Rimsky- Korsakov (romances op. 2). At the same time, the poetics of his vocal work is closely connected with the traditions of Russian symbolism, and until the early 20s appeals to the worldview and poetry of A. Blok, S. Gorodetsky, V. Bryusov, K. Balmont, I. Bunin, M. Lokhvitskaya, I. Severyanin, S. Soloviev and others (op. 13, 16, 26, 40, etc.). The 20s in the activities of S. Vasilenko are also marked by a growing interest in folklore, international and oriental topics. The above is consistent with his compositions “Japanese melodies” (op. 49 a, 1924), “Hindu melodies” (op. 51), as well as with the cycle “3 Sinhalese melodies” (op. 55, 1926), etc. Finally, in mature period of creativity S. Vasilenko at a new stage of his creative evolution returns to the traditions of Russian folklore, creating two cycles based on adaptations of Russian folk songs (op. 61, 107), focused on a wide genre spectrum – from the ancient Slavic archaic and epic-historical songs, buffoonery up to ditties.

К ВОПРОСУ ОБ АРХИТЕКТОНИКЕ ИСТОРИЧЕСКИХ НОВЕЛЛ Б. РИНЧЕНА

In the article author attempts to analyze the historical short stories of the outstanding Mongolian scientist and writer Byambyn Rinchen from the point of view of architectonics (external composition) and revealing the ways of expressing the author’s position. On the example of the short stories “Courageous Anu”, “Fatal Letter”, “Hand of the Goddess”, “The Bunia Flyer” it was revealed that they are characterized by freedom of composition, which is combined with a certain subjectivity and dynamism of switching from one stylistic register to another. The final parts of the short stories can be called “epilogues” or “colophons” and commentaries, which is quite consistent with the stylistic traditions of medieval Mongolian literature, but in the XX century they acquire a new, “living” breath.

ЖАНРОВО-СТИЛЬОВЕ РОЗМАЇТТЯ МУЗИЧНОЇ ТВОРЧОСТІ ІГОРЯ ШАМО ТА ЙОГО ПРОЯВ У МИСТЕЦЬКО- КУЛЬТУРОЛОГІЧНОМУ ПРОСТОРІ УКРАЇНИ (50–80-ті роки XX ст.)

Мета наукової роботи зумовлена актуальною потребою осмислення творчого доробку І. Шамо як явища національного культурного масштабу шляхом виявлення і співставлення жанрово-стильової домінанти та характеристик національно-стильових детермінант мистецтва українського композитора. Методологія дослідження полягає в поєднанні методів аналізу, синтезу, історико-хронологічного, культурологічного й музикознавчого методів, що використані для формування цілісного уявлення про феномен багатожанрової музичної спадщини українського композитора І. Шамо. Наукова новизна полягає в побудові діяльної моделі творчої особистості українського композитора І. Шамо, автора гімну Києва, який віддзеркалює змішано-імпульсивне, мозаїчне виявлення творчих інтересів митця на різних стадіях його життєвого шляху. Висновки. Встановлено, що між різними видами дыяльності І. Шамо існують тісні взаємозв’язки та взаємовпливи, а в моделі творчого універсалізму композитора перехід від одного жанру до іншого здійснюється плавними перетіканнями-модуляціями. Жанрово-стильова панорама музичного доробку композитора охоплює численні й різноманітні прояви – від пісенного жанру, романсів та опери до камерно-інструментальних і симфонічних полотен, які стали популярними не тільки в Україні, а й далеко за межами національного культурного простору. Реконструкція жанрово-стильового розмаїття музичної творчості І. Шамо дає підстави стверджувати, що, постійно підживлюючи митця, саме народна мелодика забезпечувала їй ефективність, підказуючи авторові певні концепції, образи і навіть сфери почуттів, зумовлюючи вибір стильових орієнтирів, жанрів і музично-виражальних засобів. Поєднуючи в собі глибокі національно-стильові традиції, дивовижну мелодійність, яскраві гармонійні фарби, багатогранна творчість І. Шамо, окрім іншого, стала ще й важливою віхою у формуванні національної композиторської школи в Україні 50–80-х років ХХ ст.

Introduction to “A Conversation between Chinese Artists and Mexican Painter David Alfaro Siqueiros”

Abstract In October 1956, the Mexican muralist David Siqueiros traveled Beijing and engaged in two dialogues with artists from the Chinese Artists’ Association. His visit came at an inflection point in China’s foreign and cultural policy. As Sino-Soviet relations deteriorated, China used cultural diplomacy to cultivate relationships with unaligned countries in Asia, Africa, and Latin America. China’s cultural policy mirrored this shift by relaxing its adherence to Soviet-style Socialist Realism and promoting new stylistic practices, including a revival of ink painting techniques. This policy shift re-animated a debate among Chinese artists over the best mode of representation for socialist art, with one side arguing that Soviet-style Socialist Realism was the only acceptable style, and the other advocating for the reform of Chinese ink painting techniques. Within this context, Siqueiros’s criticism of Soviet artists and his advice to follow Chinese stylistic traditions set off a rich discussion on new approaches to Socialist Realism within China.

A Conversation between Chinese Artists and Mexican Painter David Alfaro Siqueiros

Abstract In October 1956, the Mexican muralist David Siqueiros traveled Beijing and engaged in two dialogues with artists from the Chinese Artists’ Association. His visit came at an inflection point in China’s foreign and cultural policy. As Sino-Soviet relations deteriorated, China used cultural diplomacy to cultivate relationships with unaligned countries in Asia, Africa, and Latin America. China’s cultural policy mirrored this shift by relaxing its adherence to Soviet-style Socialist Realism and promoting new stylistic practices, including a revival of ink painting techniques. This policy shift re-animated a debate among Chinese artists over the best mode of representation for socialist art, with one side arguing that Soviet-style Socialist Realism was the only acceptable style, and the other advocating for the reform of Chinese ink painting techniques. Within this context, Siqueiros’s criticism of Soviet artists and his advice to follow Chinese stylistic traditions set off a rich discussion on new approaches to Socialist Realism within China.

ГРАНИЦЫ ПЕРЕВОДИМОСТИ ЮРИДИЧЕСКИХ ТЕРМИНОВ

The article presents a modern approach to the issue of translatability/untranslatability and the limits of translatability of legal texts. Full translatability of legal texts is hindered by linguistic factors: 1) categorization of reality (discrepancy between the concept of a term in the source language (SL) and the target language (TL); 2) the presence of ethnographic gaps (the absence of both concepts and terms in the TL); 3) differences in the stylistic traditions of the SL and TL (different stylistic components of the texts of SL and TL). Some elements reflecting the content of the legal text also complicate translatability: 1) the alienation of the legal concept to the culture and perception of the recipient of the translation (groundlessness and impossibility of the existence of the concept in the TL); 2) the absence of a linguistic genre in the host culture (the algorithm for presenting textual information is not typical for the TL).

Стилистические традиции китайского садового искусства: архетип ландшафтной архитектуры

Стилистические традиции китайского садового искусства: архетип ландшафтной архитектуры

Defining the Black Aesthetic in African American Interior Decoration in the Home Environment through Art

This visual essay presents initial evidence for an on–going research study, which explores influences from American, African, and African Diaspora art that have shaped the development of African American domestic interior decoration and design. It examines the dominant stylistic traditions such as social practices, forms, colors, and beliefs to define the Black aesthetic in which African Americans create homemaking. Grounded Theory analyzes the role of memory, territoriality, displacement, and placemaking to create meaningful spaces—visual representation displayed in the form of photographic images of traditional and modern art obtained through historical archives that depict “African American” homemaking as a cultural repository.

A Stylistic Reading of Selected Poems from Niyi Osundare’s A City without People

This paper critically examines the stylistic traditions and innovations inherent in the poetics of Niyi Osundare, one of Africa’s most renowned literary-linguistic artists. Using the Text World Theory (TWT) as conceptual framework, it penetrates into the poet’s mind with the intention of answering the fundamental questions in stylistics: why and how has the writer chosen to use particular words, sentences and metaphors (imagery) in particular ways to achieve particular objectives. Ten poems are purposively selected from the anthology titled ‘A City without People: Katrina Poems’, published in 2011. In a way that speaks volume to his literary genius, Osundare makes the reader involved in the artistic depiction of the ruinous aftermath of the great Hurricane Katrina tragedy through the poetic use of the English language. The data, explored through the aforementioned theory, project the personal and communal feeling of loss, destruction and alienation in a way that unites the different (pieces of) poems as a whole unit (text). The findings reveal a style that, reminiscent of the vintage Osundare, validates his place as one of the few poets who maximise the total potentials of language in the rendition of art.

1917-1927: Films russes entre l’ancien et le nouveau : genres, récits et corps

There are different forms of continuity and shifts in the Russian film after the October Revolution. On the one hand, films by Alexander Panteleev, Vladimir Gardin, and Czeslaw Sabinski adapted the new post-revolutionary reality to the established genres and narratives of the Russian prerevolutionary cinema, and the stylistic tradition of the Russian film school was continued not only between 1917 and 1924 but also afterward. The new generation of filmmakers, the Soviet Avant-Garde (Lev Kuleshov, Dziga Vertov, Sergei Eisenstein, Vsevolod Pudovkin), was looking for different canon of representation. The article shows the interplay between the tradition and the shifts which could be discovered in common gestural behavior and the mode of its representation produced on the screen between 1924 and 1927.

On the Methodology of Studying Palimpsests in Rock Art: The Case of the Shalabolino Rock Art Site, Krasnoyarsk Territory

This paper addresses the main problems in assessing the stratigraphy of superimpositions in rock art. When a petroglyph is overlain by one or several others, this may provide important information not only about single images but also about entire stylistic traditions. Existing methods used for evaluating the relative chronology of the parts of petroglyphic palimpsests are discussed, and a new approach is proposed, combining high-resolution three-dimensional visualization at the macro-level with traceological analysis. We focus on the characteristics of the pecked surface in the area outside the palimpsest and that in the overlap zone. The comparison of these parts makes it possible to reveal the traceologically informative features in the palimpsest areas, indicating the sequence of superimposed petroglyphs. This approach is instantiated by the analysis of one of the palimpsests in the Shalabolino rock gallery, the Krasnoyarsk Territory. Images representing various stylistic traditions are found in complicated stratigraphic relations. The sequence of three main fi gures (bear, bull, and elk) in this multilayered composition has been reconstructed. The results of the analysis cannot be used as an argument for attributing these petroglyphs to vastly different chronological periods. Rather, they provide new information relevant to the debate around the age of the Angara and Minusinsk petroglyphic styles in the Minusinsk Basin.

Analysis of Plots and Sources of Orientalist Motifs in Russian Porcelain of the 18th–19th Centuries

This article examines subjects and decorative sources of orientalism in Russian porcelain of the 18 th and 19 th centuries. It seems important to single out stages of the incremental development of orientalist motifs in Russian porcelain and describe their evolution. Additionally, the authors aim to clarify why orientalist motifs were chosen by porcelain collectors and buyers and what role they played in arts and crafts in Russian Empire at different times. The article presents a consistent analysis of the evolution of orientalist motifs in 18 th –19 th centuries Russian porcelain. This study employs methods of formal and stylistic analysis. The use of these methods allows the authors to study the stylistic origins of orientalist motifs answering the question regarding the framework of its stylistic tradition and why a fashion emerged for the motifs described in this research. Furthermore, the researchers use the historical-genetic method trying to trace the emergence and development of the phenomenon of orientalist motifs on the basis of literature, historical sources, and porcelain objects. By applying methods of historical analysis and cultural analysis, this paper investigates and highlights the historical background of the emergence and development of orientalist motifs in Russian porcelain. Additionally, these methods are appropriate to understand how the taste preferences of customers of porcelain in the Russian Empire between the second half of the 18 th and the 19 th centuries influenced the stylistic formation of orientalist motifs. The sources of the study are mostly porcelain items made between the 18 th and the 19 th centuries, albums of engravings and pattern books of porcelain manufactures, containing drawings and model designs for porcelain items. The authors refer to these sources in order to reveal models and patterns characterised by orientalist motifs. Relying on the same principles, the authors study periodicals of the 19 th century in order to find references and facts concerning the emergence and development of orientalist motifs in porcelain production. They also consider it important to study and describe a number of works of literature with elements of orientalism which became the basis for painting in porcelain items. Traditionally, orientalist motifs have been generalised in the concept of exoticism in Russian arts and crafts. This research contributes to a new understanding of orientalist motifs in porcelain painting and decoration created in the 18 th –19 th centuries Russian Empire.