Suchergebnisse

This article analyses The Concise History of Right-Speech Singing (1832), a previously unknown essay by Makar Yakovlev, written in the centre of the Fedoseevtsy denomination of the Bespopovtsy Old Believers, i.e. at the Preobrazhenskoye cemetery in Moscow a few years after the dissent of metropolitan Monin's community of the Bespopovtsy of the Pomortsy denomination over church singing practice. The purpose of the study is to criticise and analyse the source in the context of the events which led to its creation. The author employs several methods of archaeography, examining the paper, handwriting, design, and structure of the text. The arguments given in it in defence of the practice of right-speech singing are compared with the arguments of other polemical works of the Old Believers on the same topic. The author establishes a circle of persons associated with the origin of the essay analysed, except for Makar Yakovlev himself, making several suppositions about him. It is noted that the essay was supposed to be copied. The article clarifies the time frames for the creation of the text On the Words of Church Singing by Andreian Sergeev, one of the leaders of the dissent of the Monin community, and the reliability of the message of the pre-revolutionary researcher N. I. Popov about the role of the Fedoseevtsy community of the Preobrazhenskoye cemetery's choir in organizing church singing for the Bespopovtsy of that time. It is noted what kind of arguments the essay introduces into the dispute about right-speech singing, and that they are mostly based on rumours proving the ancient character of this practice, which is how they differ from the usual arguments of the advocates of "right speech", based on the analysis of language. The author concludes that the source is interesting for clarifying the process of work on the transfer of Ivan Anisimov's community, which the dissenters joined, to right-speech singing.

This article considers the emergence of mutual interest in the art of France and the Russian Empire in the period from the conclusion of the Franco-Russian Alliance in 1894 to the Franco-Soviet Treaty of Mutual Assistance in 1935. The author of the article singles out two stages in the appeal to the fine arts of a friendly state: the turn of the twentieth century and the period following 1924 after the recognition of the USSR by France. Describing the first period of interest in the fine arts, the author refers to events that took place in the Russian Empire and in France, organised with the cooperation of French and Russian cultural and art figures. It is concluded that the organisation of numerous art exhibitions in both countries testified to the mutual desire of the parties to get acquainted with the novelties of the art genre of the other, as well as comprehend the episodes of common history (in particular, the war of 1812). Describing the new round of acquaintance with the culture of France and the USSR after 1924 and drawing on sources from the funds of the Russian State Archive of Literature and Art, the author proves that both in France and in the USSR, interest in the fine arts of each other remained and was fueled by the desire of the People's Commissariat of Education of the RSFSR to cooperate with France. The work focuses on the fact that it was the smaller exhibitions through which the complementarity and commonality of cultures of both countries were recognised and which were the main place of cultural interaction. The author concludes that despite the different political systems in France and the Russian Empire / USSR, cultural ties between the two countries played a significant role, both at the turn of the century and in the 1920s–1930s, when cultural ties between them became a new impulse due to their respective revolutionary past.

Under the command of Field Marshal Arthur Wellesley, the future first Duke of Wellington, the British Army was one of the main participants of the military conflict on the Iberian Peninsula in 1808–1814. In the autumn of 1813, fighting on the side of the Spaniards and the Portuguese against the French Army, Wellington's army ousted the enemy from the Spanish territories and launched an offensive on French lands. This article focuses on the reception of the image of France and the French in the diaries, letters, and memoirs of British soldiers and officers who participated in the war in France in 1813–1814. After leaving the Pyrenees, the British combatants believed they had returned to enlightened Europe from the "semi-civilized" Spain and Portugal. At the same time, the British image of the French combined elements of Gallophilia and Gallophobia that dominated in English society in the eighteenth and early nineteenth centuries. On the one hand, British military narratives contained favourable characterisations of the locals whom King George III's soldiers seemed to be freeing from Napoleon's tyrannical rule. British officers noted such positive qualities of the French as politeness, gallantry, and friendliness. On the other hand, for the British military, the French Army became the personification of the "Other". The texts of the English combatants described the soldiers of Soult's army as cruel people capable of robbing and ruining their compatriots, and the French officers were perceived by the British military as self-interested careerists, ready to serve as a tool in the hands of Napoleon for the sake of promotion.

This article explores poems devoted to the dynastic festivities of the ruling House of Habsburg as one of the multiple instruments of fostering loyalty and dynastic patriotism, primarily in in-school youth who were regarded as future citizens of the Austrian Empire. The concepts of dynastic patriotism, Kaisertreue (literally, faithfulness to the emperor), Huldigungsschriften (literally, homage writings), the Habsburg myth, pietas Austriaca, and Habsburg propaganda provide the theoretical and methodological basis of the research. The author refers to three poems devoted to the wedding festivities of Emperor Francis Joseph and Elizabeth of Bavaria in 1854. Two of them — one of which is written in Hungarian and the other in German — are examples of the panegyric ode and were authored by schoolteachers. The third one is a moral poem, easy to understand, with a heartwarming storyline. All the three poems in question are quite ordinary in terms of literary and artistic merit. Their choice is motivated by the author's desire to demonstrate through those Huldigungsschriften her hypothesis that the Habsburg myth which emphasised the virtues and all-encompassing benevolence of the Habsburg rulers was being transmitted in various formats and different languages to in-school youth in the lands of the Austrian monarchy to foster loyalty and dynastic patriotism. Rather than studying the three writings for their literary and artistic merit, the article mainly focuses on discussing this kind of poetry as a historical phenomenon and an instrument of propaganda which was aimed at developing a loyal and faithful population of the polyethnic and multicultural Habsburg Empire.

Among the various innovations that appeared in Russia under Peter I, the widespread practice of public procurement for the needs of the armed forces turned out to be underestimated in historiography. Significant public funds used to finance the purchase of food, fodder, uniforms, and ammunition became available for looting by unscrupulous officials and contractors. As a result, the losses of the state budget turned out to be so great that the tsar began to consider the theft of money through state contracts one of the main threats to the state. However, the problem was not only financial damage. The criminalisation of public procurement created a corruption environment and stimulated the emergence of criminal communities in the state apparatus. This article continues the author's research on this topic and presents preliminary observations on how Tsar Peter tried to build an organised system for combating economic crime in the field of public procurement. Particular attention is paid to the activities of the Moscow Contracting Office, a subsidiary body of the Office of Contracting Affairs. Since the head of the Department of Contractual Affairs, the captain of the Lifeguards of the Preobrazhensky Regiment, Colonel Gerasim Ivanovich Koshelev, simultaneously headed the office investigating high-profile cases of embezzlement and smuggling (the cases of the Solovyov brothers and Arkhangelsk vice-governor Alexei Alexandrovich Kurbatov), he combined the personnel potential of both subordinate departments. In part, this gave the work of the Office of Contracting Affairs and its Moscow branch the form of an investigative body. The reconstruction and study of control and supervisory bodies' work in the field of public finance is complex, affecting unexplored issues of the economic, administrative and social history of Russia in the early modern period.

Founded in 1800, Edinoverie was considered, at least by some of its twentieth-century proponents, to be a vessel for preserving Old Believer culture within the Russian Orthodox Church. Typically, historians have approached Edinoverie either in terms of policy development and theological disputation in the empire's capitals or through the example of single regions. The article outlines the main trends in the development of Edinoverie in the nineteenth — early twentieth centuries on a nationwide scale. The work also presents a comparative study of Edinoverie parishes in the Perm and Nizhny Novgorod Governorates. The process of emergence and spread of Edinoverie in these regions is analyzed. The changes that the Edinoverie went through in different periods of its existence are noted. At the micro level, the life of Edinoverie parishes, the characteristics of the Edinoverie clergy, the problems of parishioners, the relationship of Edinoverie with the Orthodox episcopate are analyzed. As the article shows, in both parishes there were indeed similar problems in the development of the deanery, such as difficult relations with both the "official" Orthodox and Old Believers groups. However, significant differences can be noted. The dissatisfaction of Edinovertsy with the rules of Metropolitan Platon, which regulated the existence of Edinoverie in the Russian Orthodox Church, is noted. The Urals tried to solve this problem at the turn of the 1830s–1840s, de facto implementing the project of "Edinoverie on special conditions," which was aimed at increasing the autonomy of Edinoverstsy by reassigning them to secular authorities. The Nizhny Novgorod attempt to resolve this issue occurred in 1877 and was aimed at changing the very rules of Metropolitan Platon.

This article analyses protocols of in-depth interviews of oocyte donors using a comprehensive methodology that combines aspects of psychology, semiotics, pragmatics, and cognitive linguistics. The authors examine discursive markers of oral dialogic speech that indirectly indicate the reliability of the statements of the interviewees or their desire to disguise information during the conversation. The interdisciplinary nature of the study is provided by the synthesis of psychological and linguistic methodological approaches to the analysis of linguistic material, united around the logical-philosophical category of modality. A similar methodological approach is found in the authorial methods of criteria analysis by A. Vrij. Within the framework of the first method, the authors consider the cognitive operations transmitted by the interviewee while describing the ongoing events, as well as the structural and lexical-semantic makeup of the text as indicators of the reliability of the information presented, which corresponds to the linguistic interpretation of modality. The second method of analysis is developed to a greater extent in line with the psychological approach to the definition of modality: the presence of accurate sensory information in the narrative of the interviewees is a significant indicator of the speaker's truthfulness. The analysis of interviews with oocyte donors using these methods reveals that perceptual and affective information updated in a communication situation is more indicative of the truthfulness of the speaker than the mental representation of the events and facts presented. In addition, truth-tellers provide more detail, also related to the realm of sensory perception. The desire to disguise any information is often accompanied by a reference to forgetfulness and a transition to another topic of the storyline. The applied research results may be of interest to a wide range of interviewers on different topics while the scholarly results can be used in interdisciplinary art and social science studies.

This article accompanies the publication and translation of two messages from king Frederick II of Denmark to king Charles IX of France and to Catherine de' Medici. The former focuses on the bestowing of a knighthood to the Danish monarch and him becoming a knight of the French Order of St Michael and his acceptance of the Order's golden chain. The latter concerns the role of the French crown and its ambassador in Copenhagen, Charles de Danzay, in stabilizing the international situation during the Northern Seven Years' War, and in finding a peaceful compromise between the main adversaries, the Danish and the Swedish kingdoms. The author places both epistolary works in the context of the epoch under study, considering the main stages of Franco-Danish relations in the second half of the fifteenth century — late sixteenth century. The author notes that to the present day, in historiography, there is no integrated concept of description of dynastic, political, and economic contacts between Denmark and France in the Middle Ages and the early modern period (before 1600). This paper partly solves this problem by dividing the history of Franco-Danish contacts into three periods. The first (1456–1519) represents the time of the beginning of diplomatic relations between the French kingdom and the Danish state. The second (1519–1561) consists of a series of bilateral crises and attempts to find a way out of a difficult international situation. The third (1561–1589) marks the stabilization of Franco-Danish relations and the transformation of friendly communication into an allied partnership. The author concludes that, having undergone a series of crises and difficult periods, the Franco-Danish relations in the second half of the sixteenth century transformed into strong allied ties, which allowed France to maintain its influence in the north of Europe by the beginning of the seventeenth century.

Issues concerning the emergence and decline of the epic poem are fairly well researched in Russian literary criticism. Irinarkh Ivanovich Zavalishin was the second author who successfully completed works of this genre following in the footsteps of M. M. Kheraskov. Yet, this author's poems are often considered superficially as having had no serious influence on the literary process or the consciousness of contemporaries. This article looks at the unique aspect of his poem, Suvoroida, its extensive metatextual and paratextual structure, its relation to the core text and impact on the further development of the genre. The article demonstrates how in his commentary on the poem, the author expresses a new approach to the genre itself, i.e. a decisive rejection of classical fantastic elements of the traditional epic poem of the eighteenth century, postulating the value of historical accuracy and personal attitude to historical events. The article considers the immediate features of historical commentary, noting that, first of all, the author seeks to convey accurate historical information about the obstacles overcome by Suvorov and the losses of the enemy, which serves to formalize the image of the invincible hero. Finally, attention is drawn to the conceptual tension between the text of the poem and the author's commentary on it, manifesting an active authorial presence in the text. From this tension comes the complexity in the interpretation of Suvorov's image. As a character of the poetic text, he appears in the image of a classicist hero, sublime, magnificent, formidable, and gracious. The Suvorov of the metatext is down-to-earth, surrounded by everyday details and realities, and easy to deal with.

This review reveals the meaning, content, and main advantages and disadvantages of a unique bibliographic compendium presenting scholarly materials concerning the Res Gestae (Acts), i.e. works of Ammianus Marcellinus, the greatest historian of late Antiquity. The article demonstrates that the structure of the bibliography, segmented chronologically within the framework of 1474–2016, allows a specialist not only to obtain information about the Res Gestae and their epoch needed for research, but also demonstrates several features of the development of research based on this historical source for the first time in historiography. Based on the bibliography created by F. Jenkins, it is possible to identify a special increase in the interest of historians and philologists in Ammianus' work, to the works of his contemporaries and epigones, which, in turn, makes it possible to see new sides in the development of historiography of sociocultural processes of the fourth and fifth centuries. The author's scrupulousness as a bibliographer is noteworthy, and so it is as an expert on the main historiographical trends for several centuries when the work of Ammianus was published and studied.

This article attempts to analyse the book publishing activities of the Bespopovtsy Old Believers in the second half of the nineteenth century. The Old Believer book printing of this period is the least studied section in the history of Russian printed books. From its inception in the early eighteenth century until 1905, the book publishing of the Old Believers was illegal. If the period of the eighteenth — early nineteenth centuries is clear enough, there is only a certain general idea of the situation in the second half of the nineteenth — early twentieth centuries (before 1905). The reason for this is that all editions of the latter period are anonymous or have false imprints. The author of the article offers her own approach to the study of this stage of Old Believer printing. In her opinion, it is necessary to identify and describe publications with their subsequent grouping based on the commonality of some features, primarily fonts and ornamentation, with a further search for ways to link these book groups to printing houses known from archival documents. Following this approach, the article identifies a group of publications, which list Pochaev as their place of publication. An analysis of these publications and identified archival materials makes it possible to identify eight printing houses in which they were printed. The study results in the following hypothesis: all these printing houses belonged to the Old Believers of the Fedoseyevtsy denomination, they closely interacted with each other, forming a kind of network, whose activities were guided and inspired by the Preobrazhensky cemetery. A special role in the production of printed materials of the Fedoseyevtsy denomination was played by the printing house of the Ovchinnikov brothers, which functioned for about 35 years. It helped smaller printing houses, cast fonts for them, made decor clichйs, and received materials from closed establishments. After the Ovchinnikov printing house ceased operations, other printers took over from them, who probably studied with them and purchased their equipment.

This article studies the history behind the nominations of carnelian that have existed at different times within the Russian language tradition. They are loans from the ancient Greek language сардион, сардий, сардоних and сардоникии; Western European loans of Modern times карнеол, корналин; and the word сердолик which is native, but in many respects formally "induced" by the appearance of loanwords that already existed in the language. The fact of the multiplicity of nominations of this stone is due to several reasons: the antiquity of humankind's acquaintance with this stone and the occurrence of its mentions in ancient texts that influenced the formation of the book culture of Old Rus'; the imported origin of the stone and only very late discovery of its home deposits; a specific linguistic and cultural situation that arose during the formation of the Russian scientific terminological system, when there was competition between the original names of the mineral and new Western European analogues, acquaintance with which occurred through the translation of mineralogical treatises. The article describes the factors that create the specifics of the linguistic history of carnelian, which are in different combinations characteristic of the whole area of the history of mineralogical names. The author comments on the time of the appearance of borrowed names of carnelian in the Russian language, their sources, the difference in the sphere of use, and semantic shades. Also, the article provides data on the time and reasons for the occurrence of the word сердолик, as well as its motivation based on intra-linguistic and extralinguistic factors, the existence of terminological parallelism with the participation of different names of carnelian, and competition between native and borrowed names.

This article discusses the mountain metonymy of the Urals, i.e. the designation of supernatural anthropomorphic creatures that store the riches of the subsoil (minerals and metals) and contribute to or hinder their discovery, extraction, and processing. Russian mountain mythology has been studied by folklorists, but the linguistic aspect is only beginning to be explored. The material for the article was collected in the field between 2020 and 2023, and derived from dictionaries, folklore texts, and authorial literature. The author mostly focuses on Middle Ural and South Ural mythonyms; for comparison, the article draws on material of other zones connected with the Urals geographically or historically (Bashkiria, Siberia). The article provides detailed descriptions of the motivations of mythonyms and the conditions for the appearance of nominations. Mountain mythonymy can be divided into several groups depending on the motivation, i. e. the thematic group of vocabulary underlying the mythonym. This article analyses mythonyms motivated by social vocabulary, namely, denoting a person or kinship: золотая девка (golden girl), каменная девка (stone girl), горная девка (mountain girl), чудская девица (Chudskaya maiden), горный батюшка (mountain father), горная матка (mountain mother), Шубин (Shubin), etc. The article reveals and explains the specificity of Ural mountain mythonymy: thus, the девка token is used for the nomination of female spirits, whereas the баба nomination is characteristic of traditional Russian peasant mythology. An expressive feature of Ural mountain mythonymy is the presence of mythonyms formed from toponyms (девка Азовка, девка Дедюрка). The article proves that the formation of mountain mythonymy was influenced by the mythology of the Russian peasantry, the mythology of the autochthonous peoples of the Urals (Turkic and Finno-Ugric), as well as the terminology of mining actively developing in the Urals in the eighteenth and nineteenth centuries.

This article studies the peculiarities of the iconography of The Passion of Christ cycle in Old Believers' books of the late eighteenth – nineteenth centuries. The research methodology developed by F. Buslaev and N. Kondakov is based on the study of different approaches to creating book miniatures. They involve revealing the main iconographic features of images, identifying elements of early Christian art, Old Russian heritage, as well as elements of the later influence of Western European art. The analysis of the compositional structure of the miniatures, as well as individual elements of the images makes it possible to carry out a classifying selection of miniatures according to iconographic versions. Each image of the Passion cycle was based either on the pictorial canon that had developed over the centuries or on elements of Western European art, which actively spread to Russia in the seventeenth century in connection with the popularisation of engravings of the Piscator Bible. In addition, through a thorough examination of the miniatures of Old Believers' manuscripts, it is easy to see quite interesting authorial interpretations of well-known plots. Miniaturists often included original images of the modern era, as if taken out of current life in traditional depictions of scenes from the Passion cycle. Reflecting biblical events, the miniatures bore the mark of the time when the manuscript was created, which is especially well traced in the sketches of everyday life and elements of clothing. It is often possible to see how a miniaturist seeks to convey their own attitude to the events, "explaining" the meaning of the event by selecting a colour scheme, depicting specific facial expressions, emotions, characters' gestures, interior details, etc. Referring to particular manuscripts which existed in the Urals, the author identifies such elements of novelty and originality of images. They show not only the abundance of creative potential of Old Believer artists, but also a remarkable mind and ability to think and analyse ancient events from the point of view of modern humans, deepening the semantic component of the text and introducing a moral aspect.