Vol 1, No 2 (2020)

Articles

THE DOCUMENTOSPHERE IN SOCIOCULTURAL SPACE

Sokolov A.V.

Abstract

The «documentosphere» is a field of documentary communication that is an auxiliary system for the design, preservation, broadcast and reproduction of cultural values and for the development of cultural life and creativity. In different sciences, the concept of a «document» is interpreted variously. The article offers a culturological definition. The article considers the relationship between the semiotic concept of communication in modern cultural studies and the theory of documentary communication. It is worthwhile to use the concept of documentosphere for further study of the sociocultural space of modern Russia.
Sphere of culture. 2020;1(2):13-24
pages 13-24 views

«THE MUCH RESPECTED BOOKSHELF»: WHAT BOOKS DID THE PROTOTYPES OF THE HEROES OF A. TOLSTOI’S STORY «NIKITA’S CHILDHOOD» READ?

Perepelkin M.A.

Abstract

This article analyzes the content of the «bookcase» that the prototypes of the heroes of A. Tolstoi’s story «Nikita’s Childhood» - Tolstoi’s parents and Aleksei Bostrom-read. Based on the study of family correspondence, Tolstoi’s diaries and other documents describinbg the literary preferences of the inhabitants the house on a farm near the village of Sosnovka, the author reconstructs some of their literary inclinations, attempting to see in them the context for Tolstoy’s story.
Sphere of culture. 2020;1(2):25-37
pages 25-37 views

Turko-mongol motifs and symbols in M. Veller’s «Altai» prose

Maryin D.V.

Abstract

The image of Altai in Russian literature of the nineteenth and twentieth centuries is multifaceted and contradictory. The popular contemporary Russian writer and publicist M. Weller (b.1948) has contributed to the formation of Altai’s image in Russian literature. The author analyzes Weller’s stories that were written on the basis of impressions from his stay in Altai in 1976, “The Horse for One Pass” (1983) and “We Will Not Go to Lake Ishtugol” (1988). These concern the customs and everyday life of cattle rangers leading a flock of sheep from Mongolia to Biisk. Weller depicts the culminating episode of “We Will Not Go to Lake Ishtugol,” the duel between Siverin and the red-haired Mongol horse, in epic, mythological terms, as a duel between the Man and Tulpar, the mythical horse of the Turks. The dressage of a horse in the story “The Horse for One Pass” is seen as an embodiment of the ancient Turkic motif of “kut-guch,” the exchange of vitality between a person and a horse as a symbol of spiritual improvement. The article thus contributes to a better understanding of the “Altai” topos in Russian literature.

Sphere of culture. 2020;1(2):38-46
pages 38-46 views

Understanding the symbolic language of the Mordva ethno-cultural heritage: Nikolai Riabov’sethno-futuristic art

Lapteva I.W.

Abstract

In this article, the author focuses on the problem of preserving traditional ethnic culture and believes that the continued existence of national traditions can ensure the existence of cultural diversity. The author analyzes Ethnofuturism in the Republic of Mordovia as one of its trends in modern art. The views of scholars from different national republics of the Russian Federation (E. Kolcheva, V. Sviatogorov, V. Shibanov, M. Ukolova, etc.) are summarized as well as those of Mordovian researchers and art historians (O. Belomoeva, N. Voronina, I. Lapteva, A. Runkova, I. Sirotina, V. Yurchenkov, etc.). The article considers the relevance of Ethnofuturism for modern culture on the basis of works by the Mordovian artist Nikolai Riabov, a practicing artist who explores problems of Mordvian traditional culture and their iconic embodiment in his own works of art. The author concludes that ethno-symbolic trends - the combination of new forms and ethnic symbols in modern art - enable modern viewers: 1) to immerse themselves in the historical past and comprehend the symbolic language of ethnic culture; 2) to discover new perspectives on ethnocultural design, transforming their understanding of traditional images.

Sphere of culture. 2020;1(2):49-58
pages 49-58 views

UKRAINIAN ENTREPRISES AND MUSIC THEATER OF THE FAR EAST IN 1900-1905

Krylovskaya I.I.

Abstract

This article examines the activities of Ukrainian enterprises in 1900-1905. in the Russian Far East and in the cross-border conditions. Applying a systems approach, attention is paid to the historical, performing, aesthetic and musical aspects of their functioning. A large number of sources are involved, the leading of which are unknown materials from the Far Eastern periodicals. The repertoire of Ukrainian troupes, the artistic composition are presented, evidence of the peculiarities of stage performances on Russian territory and in Manchuria is given. It is established that the activities of Little Russian enterprises helped the Far Eastern Ukrainian diaspora to preserve their national identity through language and musical and dance folklore. Thanks to them, the geographical area of the dissemination of the art of domestic musical theater has expanded due to the functioning on the territory of a foreign state. In the cross-border conditions, the Ukrainian Music and Drama Theater fully preserved the traditions of its own national culture.
Sphere of culture. 2020;1(2):59-68
pages 59-68 views

EXPRESSIVENESS IN THE PERFORMATIVE ART OF CHOREOGRAPHY AS AN INTEGRAL PART OF NATIONAL DANCE CULTURE

Makarova V.G.

Abstract

The article analyzes theoretical studies in the field of choreographic art and examines the small number of works devoted to expressiveness and the methods of its development. The main purpose of this publication is to describe expressiveness, one of the main professional competencies of a dancer. The concept of expressiveness is revealed through its definition in various types of art, cultural studies, and philosophy; and the describes the components of expressiveness of performance in classical dance classes. Ballet doesn’t use words as expressive means, but alternative possibilities are available for the non-verbal transfer of meaning. Expressiveness is closely connected to musicality. The article describes the significance of studying literature on dance for a ballet dancer’s personal development. Empathy promotes the development of dancers’ emotional-cognitive area that underlies expressiveness.
Sphere of culture. 2020;1(2):71-82
pages 71-82 views

THE «MARCH OF TIME» REFLECTED IN NEOLOGICAL «YEARBOOKS» OF THE TWENTIETH CENTURY1

Kozlovskaya N.V.

Abstract

This paper analyzes the updated series «[What Is] New in Russian Vocabulary», a number of issues of which were prepared at the Institute for Linguistic Research of the RAS. It examines the lexical composition of yearbooks («Ezhegodniki») and their main categories of vocabulary reflecting the relationship «one’s own - someone else’s» in the Russian language of the latest period. Based on a quantitative analysis, conclusions are drawn about the continuing modern process of word derivation and about the growth and deepening of active lexical borrowing in various thematic areas. Analysis of statistical data reveals a striking feature of the dynamics of modern Russian vocabulary - the formation of composites. Significant changes in the socio-cultural situation has also led to the inclusion of Internet discourse (lexicalized Internet memes and hashtags) in yearbooks from the second decade of the twenty-first century. The final part of the article is devoted to the «addressee factor». In connection with the development of modern humanitarian academic knowledge, significant changes have also affected the parameters of the yearbooks’ potential addressee. The author suggests that in connection with the emergence of zones of legal risk in modern Russian public speech communication, specialists in the field of forensic linguistics have a special need for operative editions introducing lexical neoplasms. The main addressee is a linguistic reader in whose interests yearbook should reflect the current scientific state of lexicology and lexicography. Research reveals another special type of addressee of the yearbook: a culturologist, for whom the yearbook is the most important source of material for studying the modern sociolinguistic situation, as it offers a linguistic and extralinguistic picture of the world.
Sphere of culture. 2020;1(2):85-92
pages 85-92 views

MARGINAL VICTIMS AS A CULTURAL PHENOMENON

Serikov А.Е.

Abstract

If marginality is defined as a deviation from the typical and normal then some victims may be understood as typical and normal, others as marginal. Further, it is possible to distinguish between two types of marginal victims. The first type is victims different from statistically modal victims identified in the framework of criminological victimology and in studies of disasters and catastrophes. The second type is victims that differ from the mass media prototype of the victim. This prototype can change over time or as it moves from one culture to another, but some characteristics are fairly stable.
Sphere of culture. 2020;1(2):95-100
pages 95-100 views

HUMANITARIAN SPACE OF SAMARA/KUIBYSHEV: TIME AND PLACE OF D. SHOSTAKOVICH

Burlina E.Y., Bоkuradze D.S.

Abstract

It is recognized that the premiere of Shostakovich’s Seventh Symphony, whose preparation in 1941-1942 was extremenly difficult, represented a great personal and artistic achievement. Modern scholarly publications also add that Kuibyshev hosted perhaps its largest PR proiect of the twentieth century, which captured the attention of the entire world, including America, England, Sweden and other allied countries. Other outstanding works by Shostakovich also belong to the Kuibyshev period but they are poorly represented in Samara’s cultural memory. Their multi-dimensionality, ahead of their time, could enrich the city’s humanitarian space. The article also describes the presentation of the almanac «Samara’s Homage. Shostakovich-100 years» in Bonn, at the Russian Consulate General, on May 8, 2006. In conclusion, the authors cite the testimony of the writer Chingis Aitmatov about Shostakovich’s global thinking, addressed to the future.
Sphere of culture. 2020;1(2):103-110
pages 103-110 views

TIME AND SPACE IN THE MUSIC OF D. SHOSTAKOVICH

Yarmukhametova R.S.

Abstract

This article attempts to understand the philosophical categories of space and time in the music of D. Shostakovich on the basis of his symphonies, chamber music, and works for musical theater. With the help of culturological methods, we identify various types of chronotope in the composer’s work. In our dissertation research, we tried to prove the validity of studying musicological problems with the help of cultural tools (chronotope, authorship, genre formation). Here we focus on the implementation of space-time coordinates, created not only by means of musical language, but also as described in programs for works, in libretti, and in personal correspondence. The time and space of Shostakovich’s music are determined by the artistic intent of the particular work and may be embodied in the musical fabric sequentially, unfolding according to the cinematic «frame-by-frame» principle, or, on the contrary, they may be presented simultaneously in an exceptionally condensed and saturated polyphonic collage. The music of this great composer reflects the most important historical events, moods and ideas of the twentieth century. It is not by chance that he has been called the «chronicler of the epoch.» The composer displayed his vision of the world through the intonations of everyday life, of the street, popular music and folk art, weaving them into classical forms using various compositional techniques. His works represent “an intonational dictionary of the epoch» (B.V. Asafyev), «the intonational reserve of the epoch» (M.M. Bakhtin), which embody the Soviet picture of the world of his time.
Sphere of culture. 2020;1(2):111-116
pages 111-116 views

THE AUDIO CYCLE «DMITRI SHOSTAKOVICH SPEAKS» AS PART OF THE VIRTUAL PROJECT «THE VOICES OF THE GREATS: A COLLECTION OF VINYL RECORDS FROM THE COLLECTIONS OF THE SAMARA REGIONAL UNIVERSAL SCIENTIFIC LIBRARY»

Zagorulko I.A.

Abstract

This article reviews the virtual project «Voices of the greats. A collection of vinyl records from the collections of the Samara Regional Universal Scientific Library». The series is aimed at enhancing the corpus of records that preserve the voices of artists and cultural workers. It pays particular attention to the preservation and popularization of the creative heritage of the composer Dmitrii Dmitrievich Shostakovich, who has had a tremendous impact on the musical culture of Soviet and post-Soviet society. One of the most unique records in the collection is the recording «From a radio speech in Leningrad on September 16, 1941» in which the composer talks about his work on the score of the Seventh («Leningrad») Symphony.
Sphere of culture. 2020;1(2):117-123
pages 117-123 views

THE «HOLY TIES OF COMRADESHIP» IN THE DESTINY AND POETICS OF DMITRII SHOSTAKOVICH

Milovidova N.S.

Abstract

This article considers music of Shostakovich as well as his personality from the perspective of the twenty-first century. Its focus is on the spiritual and moral values of the composer, and above all, his deep inner need for friendly communication. The theme of «camaraderie» stands out as one of the dominant lines in his works. The article also examines this topic in its biographical aspect, in the composer’s relationships with people close to him. Among these, that of the major art critic I. Sollertinsky is particularly notable. The theme of «comradeship» is also considered in the poetics of Shostakovich’s music. From this perspective, the author analyzes his works created during World War II, when the composer was in Kuibyshev (now Samara) in evacuation. Here, in addition to the legendary «Leningrad» Symphony, he wrote a cycle of romances based on poems by English poets (Raleigh, Burns, Shakespeare) translated by S. Marshak; and an opera «Players», based on Gogol. In the cycle of romances, the theme of «comradeship» is embodied in the images of a warrior, defender, and friend. In the opera «Players», it gets a paradoxical realization in the display of a grotesque union of cheaters and swindlers, which is projected onto the political events of the time.
Sphere of culture. 2020;1(2):124-131
pages 124-131 views
pages 135-138 views
pages 139-140 views

Samarkand state university - heir to great intellectual traditions

Ionesov V.I.
Sphere of culture. 2020;1(2):141-141
pages 141-141 views

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